Random Noise

Oscar Time: Best Achievement in Directing

[Originally posted on MySpace]

I didn’t get a chance to post over the weekend - we got a ton of rain on Thursday, which required another evening snowboard trip Friday. Went cruising with a bunch of other Microsoft-ies on Saturday… Had a going away party for a friend on Sunday…. In any case, here are my picks for Best Achievement in Directing:

#5: George Clooney for Good Night & Good Luck

Watching this film, you can clearly recognize a number of choices & styles that speak to a strong-willed director. Choices that I found really interesting… One example: Clooney does a nice job contrasting the jovial atmosphere in the newsroom (gathering news stories, joking about personal lives) with the tension delivering his reports on air. I think this tactic really gives you a deeper appreciation for the characters - not only are they fighting the uphill battle that is McCarthy-ism, but they’re trying to lead normal lives at the same time. But, with that said - I don’t see George pushing himself to the next level with this film… It’s a strong performance, but I think there will be other opportunities for George to really strut his stuff in the future.

#4: Bennett Miller for Capote

I really enjoyed the pace of this film… I think more novice directors would have been tempted to rush the story, not taking the time to illustrate the different sides of Truman’s character… I also liked how the film never deviated from the story of Truman… That is, the movie never diverted into a story about the murder’s themselves, we never debated the merits of the killers, we never dug deep into the mind of the town sheriff… The film stayed focused on Truman’s investigation & his life. That made events more emotional, more memorable…

#3: Steven Spielberg for Munich

I really liked the attention to detail in this movie. I felt like I was in 70’s Europe. There wasn’t any one element that made me feel that way, but the combination of costume, scenery, props, even the way the actors carried themselves, all made me realize that the events in the film took place at a radically different time. I also liked the slow transition that Spielberg evokes from the leading character. He starts as a naive officer, but ends up as a cold blooded assassin and I have no idea when that change took place. Propelling that character down such a transition without any clear pivot point really gives me an appreciation for Spielberg’s film direction..

#2: Paul Haggis for Crash

I think there are two big reasons to acknowledge Paul’s direction in this film. The first is the subject matter - directing a film about stereotypes is no easy matter, but Paul does a good job not only getting you totally pissed at the bigotry these characters show, but he also gets you attached to the them. I feel a sense of compassion for their ignorance… The second reason is the intersecting plotlines. I know what you’re saying - it’s been done before. Sure it has, but Paul does it in a way that leaves you guessing. Predicting the intersections is impossible and when they suddenly appear they make the scene really pop - forcing characters to deal with their conflicts and make tough decisions. Each intersection makes the lives of both characters more memorable, and that’s really skillful.

#1: Ang Lee for Brokeback Mountain

Ang must be the industry favorite for this category. He took a movie that Hollywood has passed on for years, the “gay cowboy” story and produced a really emotional & touching film. As a viewer you’re left with a sense of “what could have been” and even a hint of “forbidden love” … He weaves the wonderful landscapes of Wyoming into the film to give a sense of peace and tranquility to the time Jack & Ennis spend together, and he highlights the mundane off the mountain to further heighten the longing between the two main characters. For having such a delicate hand and weaving in such emotion, Ang Lee gets my pick for best director.

Next up, my last pick - Best Motion Picture of the Year…