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Well, here we are in the championship round and despite some mild upsets along the way, we’ve pretty much got the pair of movies remaining that I thought we’d have. This pairing might have been surprising at another site, but knowing our readers as I do, I was pretty sure this is where we’d end up. By this point we’ve done a basic rundown on how these movies got made, some of the music they used, one of their supporting players, and what the reaction was when they were released. You guys know a lot about what we’re looking at so I’m not going to jaw your ear off at this stage. Instead, we’ll just enjoy a couple of clips from the movies in question. You probably already know which one you’re voting for anyway. Let’s look!
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For the second consecutive year on this date, we have a WTHH headliner, as Daryl Hannah is celebrating her 57th. She attended USC and studied acting and dance, but had already made her first film appearance, in Brian De Palma’s The Fury, filmed when she was only 16. She first attracted notice as the replicant Pris in Blade Runner, and through the 1980s was a fairly prominent actress, starring as a mermaid named Madison in Splash and as the title character in Roxanne, and appearing in the ensemble cast of Steel Magnolias.
Hannah’s WTHH article details the subsequent course of her career. In the early 2000s, she had something of a resurgence. Indie film fans know this as the time she made Casa de los babys and Silver City with John Sayles, while action film audiences will remember her as Elle Driver in the Kill Bill films. Her most recent major project has been the regular role of Angelica Turing on Sense8.
At one point, Julianne Moore was one of the most prolific actresses in Hollywood. Every time you turned around, she was in a new movie. Moore could pop up in anything from a goofy comedy to a thriller to a piece of Oscar bait. In the March 2002 issue of Movieline, Moore announced that she was taking a break from work to give birth to her second child. Michael Fleming asked Moore about her eclectic career and what it was like to be a New Yorker in the days following 9/11.
Oscar-winner Julianne Moore is celebrating her 56th birthday today. After graduating from Boston University, she was active in the 1980s both in off-Broadway theater and on television, winning a Daytime Emmy for her role on As the World Turns. She began to get supporting roles in films, most notably as part of the ensemble cast in Robert Altman’s Short Cuts, and then moved to lead roles, starring opposite Hugh Grant in Nine Months.
From about 1997 to 2002 Moore had a lot of success. It began with starring in The Lost World: Jurassic Park, the biggest commercial success of her career. She followed that up with Boogie Nights, for which she received a Best Supporting Actress nomination, and in 2000 she was nominated for Best Actress for The End of the Affair. In 2002 she was nominated for two Oscars in the same year, for Far From Heaven (Best Actress) and The Hours (Best Supporting Actress). She also had roles in The Big Lebowski and Magnolia during this period.
Daffy and I are back with new episodes of our podcast, Le Show. As we did last year, we’re tackling the Academy Awards. Rather than ramble on for an hour about all the major categories, we decided to split things up. So instead of one long show, we’ll be putting out several shorter installments. In the third episode, we run through the five Best Actress nominees, who we think will win and who we think should win.
Anyone who spends much time talking with me about the yearly Academy Awards will likely label me an apologist for them. As I’ve discussed here previously, I generally think that even if the winners aren’t the absolute best choices, they tend to be pretty good choices anyway. The same certainly cannot be said for the Grammys. Every year we hear quite a lot about “snubs” when the nominations are announced. But what is a “snub?” Well, the truth is that there is no real definition for that overused term. Generally it means that at least one person (the one speaking or writing) thinks a film or performance should have been nominated or won when it didn’t. I am very leery of labeling any particular result as a snub, though, for a few reasons.
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