But wait! There might be hope for Gladiator, too.

I'm glad to see Joan Allen and Jeff Bridges nommed. But they shut out my fave (of the recently touted) Nurse Betty and RZ. My Ha, Ha, Ha award for the ones NOT nominated who thought they would be: Michael Douglas and Catherine Zet Jones.... IMO Erin Brockovitch would have been a TV movie except for Julia Roberts. Harvey has those people in his back pocket.

Yeah, I'm real glad Michael Douglas and honey weren't nominated and ditto for Billy Elliot. I knew Sunshine would be ignored, but it is a shock that Almost Famous was not nominated. . I guess I will root for a Miramax shut out for once. :-)) I think they need some Oscar campaign Oscar reform.

Ditto to all comments about Harvey. I haven't seen Chocolat but judging from your collective feedback, it's an average film. It's interesting to see how the Weinsteins position themselves every year--last year it was Cider House, this year, it could have been All the Pretty Horses 'cept for those pesky critics. Ol' Harv just looks for the film the reveiwers hated least and shazzam! It's up for an Oscar!

Karen, thought you'd find this interesting. 'Tiger' surpasses 'Life' as top non-English film "Crouching Tiger, Hidden Dragon" is now the top non-English language film of all time, according to box office figures February 13, 2001 Web posted at: 12:30 PM EST (1730 GMT) HOLLYWOOD, California (Reuters) -- It's official: Sony Pictures Classics' Chinese-language martial arts fantasy "Crouching Tiger, Hidden Dragon" has surpassed Miramax's 1998 Italian Holocaust comedy "Life Is Beautiful" as North America's biggest non-English language release ever. I know how upset this makes you;) Poor Roberto..... ugh...

Was "Life" up for Best Picture and Best Foreign Pic. too? What's the sense in that?

Harvey has those people in his back pocket. Hehe. This Belgian film (sorry to bring that up again, but this is big news for uw) was never seen as a possible Oscar contender. Not until the Berlinale that is, when Miramax bought the distribution rights for the US. Then suddenly everyone started thinking that maybe the people at Miramax knew something we didn't.

Congratulations, Tineke. I hope I get to see "Everybody Famous".Did you enjoy it? Hey, I've got as much chance as seeing it as"Pollock". What happened to Malena? No Italian winners this year. 1-800-LIVIA

(Evelyn) What happened to Malena? Italy submitted a different film called, I think, The One Hundred Steps. I saw the Czech Republic film last year at the FF. Director was there, but he didn't speak any English. A guy from the audience came up to do the translation for Q&A. Congrats, Tineke. Am glad it wasn't La Captive, another Belgian film that was screened here. Perhaps it's just the Proust... ;-)

The NY Times has a terrific page on the Oscars, including links to all the reviews of all the winning films over the years, to all the winners over the years. http://www.nytimes.com/pages/movies/oscars/index.html?0213inside

Can't wait to get these two: *********************** An elaborate two-disc edition of David Lean's "Bridge on the River Kwai," the 1957 winner, comes in at a very Lean-like aspect ratio of 2:55 to 1, as will Lean's "Lawrence of Arabia," which won in 1962. The latter is due on April 3 with a raft of extras including a documentary about the making of the film, a conversation with Steven Spielberg and four original featurettes, one of which is about the real-life Lawrence of Arabia. "Kwai" has a good documentary about the production, much historical background and an appreciation by the director, John Milius.

(Karen) Screenplay adaptation: boo hoo!! No High Fidelity, which I'm pretty sure is nominated by the Writers Guild. You would be right, "High Fidelity" was nominated by the Writers Guild of America in the category of Best Screenplay on Material Previously Produced or Published. A list of the 200 WGA Nominees in the Screen category follows: 53rd Annual Writers Guild Awards Screen Nominees February 7, 2001-The Writers Guild of America, East and west announced nominations for outstanding achievement in writing for the screen during 2000. Best Screenplay Written Directly for the Screen "Almost Famous", Written by Cameron Crowe, DreamWorks Pictures/Columbia Pictures "Best in Show", Written by Christopher Guest & Eugene Levy, Castle Rock Entertainment "Billy Elliot", Written by Lee Hall, Universal Focus "Erin Brockovich", Written by Susannah Grant, Universal Pictures/Columbia Pictures "You Can Count On Me", Written by Kenneth Lonergan, Paramount Classics Best Screenplay Based on Material Previously Produced or Published "Chocolat", Screenplay by Robert Nelson Jacobs, based on the novel by Joanne Harris, Miramax Films "Crouching Tiger, Hidden Dragon", Screenplay by Wang Hui-Ling and James Schamus and Tsai Kuo Jung, based on the book by Wang Du Lu, Sony Pictures Classics "High Fidelity, Screenplay by D.V. DeVincentis & Steve Pink & John Cusack and Scott Rosenberg, based on the book by Nick Hornby, Touchstone Pictures "Traffic", Screenplay by Stephen Gaghan, based on the British series "Traffik" created by Simon Moore, USA Films "Wonder Boys", Screenplay by Steve Kloves, based on the novel by Michael Chabon, Paramount Pictures The films eligible for Writers Guild Awards are those that were released in the year 2000 under the jurisdiction of the Writers Guild of America, west and the Writers Guild of America, East and their affiliates in Australia, Canada, Great Britain and New Zealand. The members of the WGAw and WGAE were eligible to vote for these nominations from among 185 films in the categories of Written Directly for the Screen (127) and Based on Material Previously Produced or Published (58). The 53rd Annual Writers Guild Awards will take place Sunday, March 4, 2001, in New York at the Plaza Hotel and simultaneously in Los Angeles at the Beverly Hilton Hotel.

Just a reminder to anyone interested... Stephen Dillane will be on PBS this Sunday, February 18th in Anna Karenina. Part 2 airs the next week, February 25th.

Congrats Murph...Russell Crowe & Gladiator got lots of well deserved acknowledgements.

From Jeffrey Wells' column: Nominations For Sale! Ten nominations for Crouching Tiger, Hidden Dragon? Amazing. Great. Astounding. But what's with the 12 nominations for Gladiator? And let's scratch our heads and toast once again those amazing Miramax schmooze-hounds, who managed a Best Picture nomination for their likeable but second-tier film, Lasse Halstr�m's Chocolat. Otherwise, what was the basic lesson provided by this morning's announcement of Oscar nominations? When it came to Chocolat and Gladiator, it was this: Spend the money and "work" the Academy with a passion, and if your movie is perceived as modestly qualified, you won't go away hungry. This was clearly the import after co-announcers Robert Rehme and Oscar-winner Kathy Bates announced in effect that mighty Miramax had once again schmoozed and massaged the Academy into giving them a Best Picture nomination for Chocolat, a pleasant but unremarkable fantasy from director Lasse Halstr�m, whose Cider House Rules was also shoehorned by Miramax into becoming an Oscar finalist last year. The effectiveness of Miramax's campaign (as well as the political skills of their Academy PR rep Tony Angelotti) was further reflected by the Best Actress and a Best Supporting Actress nomination for Chocolat's leading co-stars, Juliette Binoche and Judi Dench. Both women gave fine performances, but were they really Oscar caliber? Doesn't matter. What counts at this moment is that Miramax's pitch has gone over. The 12 nominations handed to Gladiator were obviously a result of the amply funded pull-out-all-stops campaign that DreamWorks kicked off last fall. Does Ridley Scott's epic-sized, beautifully composed action drama � a first-rate effort in so many departments � really deserve consideration as one of the year's finest and most profound films? Nope. No one I know genuinely feels that Gladiator is a film for the ages, but DreamWorks was determined to muscle it through, and, with the help of a huge ad budget and a hunger second to no one's, they did. The other big story this morning was the double-nomination of Steven Soderbergh as Best Director for Traffic and Erin Brockovich, and the very real possibility that the votes for him will cancel each other out, and that either Ridley Scott or Crouching Tiger's Ang Lee will win the Oscar. The time has obviously come for Soderbergh to decide on a strategy that will persuade Academy members to vote for his work on one film or the other. L.A. Times columnist Patrick Goldstein has suggested that Brockovich star Julia Roberts � a sure bet to win the Best Actress Oscar � could start things off by suggesting that Academy voters should support his work on Traffic, knowing full well that his direction of Brockovich would also be driving their vote. Traffic is obviously the better and more ambitious film. C'mon, Julia � be a sport! This is it, Steven. A time of decision, USA Films. Either make the moves and strategize your way out of this split-vote situation, or the Best Director Oscar � which most people in town believe has been fully earned by Soderbergh � will go to Lee or Scott. ~~~~~ Then he goes through the list with comments. http://www.reel.com/reel.asp?node=movienews/confidential

(Karen) Nominations For Sale! Roger Ebert was on MSNBC tonight and basically said the same thing about Miramax and Chocolat. He was pretty much disgusted. He was also not crazy about Erin Brokovich and Gladiator being considered for best pic.

Interesting articles, thanks! But we knew, didn't we? ;-)

I have no problems with Gladiator getting a nomination. EB would have been a TV movie if not for Julia Roberts; same with Castaway. NB should have taken that slot;-)

(Moon) But we knew, didn't we? ;-) IMO the fault lies with the folks who allow Harvey, Bob and Tony to get away with this every year. All the other studios are mimicing the strategy now (perhaps this sort of thing has happened every year and I'm just becoming attuned to it). Miramax is just shooting itself in the foot--the next time they have a truly deserving film, watch it get shut out because the Academy will have had it with 'em by then. (Evelyn) I have no problems with Gladiator getting a nomination. I'm with Roger on this one. Notwithstanding terrific performances by Crowe and Phoenix, take away the people getting cut in half and what do you have? I thought the story draaaaaagggeeedddd.

(Eileen)I'm with Roger on this one. Notwithstanding terrific performances by Crowe and Phoenix, take away the people getting cut in half and what do you have? I thought the story draaaaaagggeeedddd. I agree. IMO, other than RC and JP, the film is very overrated. Special effects and computer generated images were cheesy. At no time did I feel I was in ancient Rome. CGI was so poor that you keep seeing the same 20 or so "spectators" in the crowd. Lighting is sooo dark, and cuts were way too fast to really get the thrill of the fights, or to even follow them. Of the ones nommed, I think only Traffic is truly worthy. Haven't seen CTHD yet. Erin B.--good, enjoyable movie, but not best film caliber. Chocolat--I think I've said enough already.;-) But ultimately the voters are responsible. You can't be manipulated by a big bucks ad campaign unless you allow it. And it is their responsibility to get out and see the films. I think (hope) we will see a backlash and some sort of reform. Perhaps a blue ribbon panel to whittle nominees down to a half dozen or so in each category, then let everyone vote--after they have proven that they've attended a screening of the film and the nommed performances. I can't help but think that if Miramax (who is notoriously good at getting voters to attend screenings) had distributed Sunshine, they'd have almost swept the board--film, direction, screenplay, actor, supporting actress, cinematography, etc.

Miramax is just shooting itself in the foot--the next time they have a truly deserving film, watch it get shut out because the Academy will have had it with 'em by then. You are so right, Eileen! Of the ones nommed, I think only Traffic is truly worthy. Haven't seen CTHD yet. I loved CTHD and I hope it sweeps. Go and see it on the big screen before it goes, Mari. Traffic would be second choice in that list. Sunshine and Dancer in the Dark are a big miss. I was not crazy about Nurse Betty.

The Academy has always been political. It is far less "rigged" (for lack of a better term) now than it was in the past. "Gone With the Wind" is one of the most famous cases in point. Selznick was extaordinarily miffed that he couldn't manage to finesse a win for Clark Gable as Best Actor. That prize went to Robert Donat. Besides, the Academy recently has awarded several dogs with Best Picture, most notably "Titanic" and "Dances With Wolves". If you want to find a laughable and lame choice for Best Picture, go back over 20 years and consider "Rocky". Sometimes the Academy gets it right, sometimes they don't. Also, regardless of what anybody says; it is an honor to be nominated. Those who say it isn't have never been nominated.

I agree with you, Cheryl, that lame choices are nothing new. And, in fairness, the Academy has made some good unconventional choices in the acting categories this year, going outside the mainsteam in several instances. Any contest such as this is, as you say, bound to be subject to politicking. I guess it's just the sheer amount of money that Miramax and Dreamworks put into their politicking is what bugs me. But again, it all comes down to the voters. I think a fair number of these folks are old-timers who like the gentle little fable or the old-fashioned Hollywood epic. Also, regardless of what anybody says; it is an honor to be nominated. Those who say it isn't have never been nominated. Agreed!

(Mari) And, in fairness, the Academy has made some good unconventional choices in the acting categories this year And in other years too. Last year, I didn't think that Hilary Swank would get it, despite all the critical awards) as Boys Don't Cry is not their kind of movie and they would go all conventional and vote for the *establishment* Annette Bening. Given the possibility of voting for one conventional and one unconventional, you could make a case for: Julia Roberts and Javier Bardem. ;-)

According to Dark Horizons, shooting is about to start on About a Boy, "with Hugh Grant and the just signed Emma Thompson - Emily Watson is being chased for the other major female role. "American Pie" filmmaking brothers Chris and Paul Weitz will direct this film currently going through a rapid pre-production period." Isn't Emily Watson going to be working on the Altman film?

Probably more reliable, an exclusvie from Popcorn: Emma Thompson Considers 'About A Boy' 'American Pie' creator Chris Weitz has been talking to Popcorn about his latest project 'About A Boy'. The actor-director is set to work with his brother Paul and turn the Nick Hornby ('High Fidelity') novel into a movie starring Hugh Grant. He reveals to Popcorn that they are hoping to bring Emma Thompson on board. "We've been talking to her, that would be great." He goes on to say they should know whether she will commit to the project "in about a month, I don't even know if that's what I'm meant to say, but that's what we want to do." Grant is confirmed to star as a guy in his late 30's who befriends a "weird, slightly depressive" 12-year-old boy. Weitz says they are still deciding who to cast as the boy. It's the third novel Nick Hornby has seen transferred to the big screen. Last year saw John Cusack star in the successful Americanised version of 'High Fidelity'. Not so successful though was Colin Firth's turn in 'Fever Pitch', which was released in 1997. Paul and Chris Weitz are hoping to keep 'Boy' as English as possible though, and are due to arrive in the UK next week to begin pre-production. Shooting is set to begin on April 9.

Not so successful though was Colin Firth's turn in 'Fever Pitch', which was released in 1997. What????I thought you guys told me it was a big hit in UK.... Somebody's lying.... I haven't read the book...but is Emma Thompson going to play opposite HG[love interest] like in S&S? Or his mother... Isn't she a little "long in the tooth" for him?

I think Emma will play the boy's mother. Late 30's woman, divorced. I forgot her name, begins with an L I believe.

Fiona, you mean? Marcus' mom, the Joni Mitchell lover? ;-) Evelyn: in the book, she wasn't a love interest, except maybe in Marcus' mind. The HG character was interested in another single mom.

So they won't be doing a modern version of their S/S roles then?!! I don't see our Hughie in this role at all. He will need a change of hairstyle once and for all for this one. I wonder if he will therefore be too busy filming to attend the BJD premiere ? OK OK Pigs might fly and Londinium get released.

(Lizza) I don't see our Hughie in this role at all. He will need a change of hairstyle LOL! OK OK Pigs might fly and Londinium get released. Those piggies still haven't landed since SLOW came out.

Fiona! I was thinking Liane... (don't ask!); But Emma Thompson seems like the likely choice to play Marcus' mom... Emily Watson could be the friend or the one that Will hooks up with at end (but she's not it in much).

Screen Daily review of Wit, the HBO movie: by Derek Malcolm Screened at Berlin (Competition) Dir. Mike Nichols. US. 2000. 99mins. Made in England by Mike Nichols and adapted from the Pulitzer Prize-winning play by Margaret Edson into a cable TV original for HBO in the US, Wit is in no sense a film that will travel far in the cinema. It is, however, an extraordinary effort by all concerned and, in particular, by Emma Thompson, who takes the leading part of an well-known but hardly well-loved academic who finds herself stricken with advanced ovarian cancer. Thompson has seldom been better as this highly intelligent woman, a renowned expert on the metaphysical poetry of John Donne, who elects to face the severest chemotherapy course without much serious hope of recovery. As an actress, she has to progress from a doughty and disciplined academic who suffers fools, especially recalcitrant students, less than gladly to a virtually defenceless woman needing the final, almost childishly expressed comfort of the veteran teacher (Atkins) who started her on her route to success. Thompson does not achieve this effortlessly but with extreme honesty, helped by the fact that the woman she plays has an ironic sense of humour and an acute awareness of what is happening to her. Nichols' camera seldom leaves her so that the film, which usually manages not to betray its origins as a play, becomes a tour de force for the actress. But this is not so much a star performance as a fearsomely felt one. It deserves the awards that will surely come its way. The film, like the play, suggests that the literary scholar's fate is somehow bound up to her previous existence as a stern fighter for truth and knowledge. Now she has to fight a last long battle, as much against the medical profession as the disease. And it is one which can give her small victories along the way, against the specialist (Lloyd) who is very much her medical equivalent and the young clinical researcher (Woodward), his research-oriented assistant. To them she is simply another patient who may or may not further the cause of research. They seem to think that kindness is the equivalent of an emotional involvement that would make their jobs impossible. She is aided in her fight against the dying light and the medics' extraordinarily comfortless attention by a private nurse (McDonald) whose performance in an admittedly easier role matches Thompson's. Nobody lets this chamber piece down and its power is such that the hardiest cynic couldn't fail to be moved. Even the highly theatrical device of the leading character talking to the audience works on this occasion. The film may have its commercial limits - it's the opposite of a feelgood movie - but those who do see it may never quite forget the experience.

From This is London: Tennis needs a Hugh Grant by Clare Balding ...The other film, which we shall call 'Wimbledon' is a fictional love story being developed by Working Title and is seen as the next vehicle for the foppish, frightfully English talent that is Hugh Grant. I have to admit that when thinking of the fit, athletic, dedicated and, frankly, rather boring individuals who play professional tennis, Grant is not the first name that springs to mind. In long trousers, fringe falling over his forehead and a wooden tennis racket in his hands: yes. As a lycra-clad, bicep-rippling rival to Pete Sampras and Andre Agassi: no. Mark Levin, the scriptwriter for 'Wimbledon', said: "We want to do it while Hugh's still young enough to be comfortable with the athleticism of the role." Grant will be 41 this summer, twice the age of most of the leading players (except Agassi) on the circuit, so prepare for a considerable suspension of disbelief. For the romantic side of the story, there may be more going on behind the scenes in tennis than the scriptwriters anticipate. In that instance it will be a case of toning down reality rather than glossing it up. Working Title, who have worked with Grant in their productions of Four Weddings and a Funeral, Notting Hill and the soon to be released Bridget Jones's Diaries, may not have to look very far for extras to support their cast of 'real' actors. Steffi Graf has plenty of time on her hands when she is not watching her boyfriend Agassi win Grand Slams, Brooke Shields has plenty of experience of the tennis world having been Mr Agassi's ex-wife, Anna Kournikova would jump at the chance to expand her finances and her fans (and she might be free by the start of the first week in July) and Pete Sampras's wife Bridgette is very comfortable with camera close-ups. Venus and Serena Williams would jump even higher than they do in victory for the chance to extend their post-tennis career options and Martina Hingis would stomp, pout and smile (although not as much as she used to) to order. If they are looking for menacing villains, Boris Becker would no doubt welcome the chance to emulate Vinnie Jones. He could at least pull off a convincing diving volley before fixing the camera with his pale blue eyes in an intense stare that is sure to have Grant quaking in his Green Flash plimsolls. John McEnroe is never one to shun the chance to verbally abuse someone, so a tirade of bad tempered abuse from him is bound to be included, but sadly Agassi is likely to keep his acting to the court where it is working very well. Unlike American football, motor racing, boxing and horse racing, tennis has not been a popular choice for movie-makers. With any sports theme, the danger is that the film can turn out to be a pale imitation of the real event. The memorable ones like Raging Bull, Heaven Can Wait, Chariots of Fire, Phar Lap and National Velvet are far outweighed by the dire efforts of the studios to glamorise the sweaty, frequently tedious world of professional sport. JUST imagine if you were sentenced to sitting through Kevin Costner's three baseball films followed by the golf-dominated Tin Cup and the Legend of Beggar Vance, then the star-studded Escape to Victory (which is so bad that at least it may make you laugh), and finally the eminently forgettable Pentathlon with Dolph Lundgren. Sticking your head in a bucket of ammonia might strike you as the less painful option. Tennis has not yet been the central theme of anything other than coaching videos, although it has been a popular setting in C grade TV mini-series for wild romances between unsatisfied wives and tall, handsome, foreign-accented coaches, or for aggressive confrontations between business rivals who exchange badly edited serves and volleys until one of them suffers a painful injury and is forced to concede the match. Thanks to Agassi, Marat Safin, the Williams sisters, Jennifer Capriati and even a bit of Tim n' Greg, tennis is sexy again. Whether Grant can turn it into a box office hit remains to be seen, but it's the right time to be having a go.

Karen, thanks for posting that. It gave me more than a lunchtime chuckle!! Whoops got to go, choking on my pastrami!

LOL, Karen! Isn't it great that HG has someone writing scripts for him. (sic)

Two interesting bits from Dan Cox's column in Variety today: SODERBERGH SOLUTION: I have an answer for any Steven Soderbergh fans who think he might get shafted in the best director category by voters who can't choose between his two films. The Academy of Motion Picture Arts & Sciences should allow the votes in the director category for "Traffic" and for "Erin Brockovich" to be lumped together and counted as a single Soderbergh vote. The helmer shouldn't be shortchanged simply because he was talented enough to direct two films that are Oscar-worthy in the same year. And he shouldn't be forced into the demeaning role of asking voters to choose one or the other. Michael Curtiz was nominated in 1939 for both "Angels With Dirty Faces" and "Four Daughters." He didn't win for either; Frank Capra took the best helmer nod for "You Can't Take It With You." Soderbergh has smartly steered clear of comment on the situation. SWEET 'CHOCOLAT': Harvey Weinstein has done it yet again with "Chocolat," which stunned Hollywood with five Oscar nominations. The media -- including the Wall Street Journal, USA Today and the Los Angeles Times -- have dedicated digging pieces to Harvey's handiwork and marketing. Wednesday night's "Charlie Rose Show" had four major film critics -- David Denby, Richard Corliss, Janet Maslin and Owen Gleiberman -- decrying the Miramax co-chair for his alleged ability to manipulate the Oscar race. How does he do it? Weinstein shared his insight with Daily Variety. "I'll give you the secret once and for all," he said. "You just have to get people to see the movie. Six thousand Academy members are flooded with 50 movies each. At the end of the day, no Academy member that I know is ever influenced by the marketing in their decision. They're only influenced in seeing the movie." Weinstein has chalked up 10 best pic noms in the last nine years. And that nomination works wonders at the box office. Last year Miramax cleaned up on "The Cider House Rules" at the B.O. after it got the best pic nod, among others. "The word of mouth was always really strong," Miramax spokeswoman Marci Granata says of "Chocolat." The Oscar voters "responded very strongly to the film." Weinstein explains that "Chocolat" was "a beloved movie" at its very first Academy screening in early December. "We knew it then. We knew that's where we'd turn our focus," he said. ~~~~~~~~~ Wish I'd seen the Charlie Rose show or that it had been Thursday's, so I could catch a repeat today.

Harvey is like HF, he has an answer for everything and you know there is more to the story. a single Soderbergh vote. The helmer shouldn't be shortchanged simply because he was talented enough to direct two films that are Oscar-worthy in the same year. Correction only Traffic is Oscar worthy.

The Academy of Motion Picture Arts & Sciences should allow the votes in the director category for "Traffic" and for "Erin Brockovich" to be lumped together and counted as a single Soderbergh vote. Nope. A rule's, a rule. "It's never been done it before"...isn't that the mantra?? evelyn*who remembers....;-)

(Harvey Liarlips) "I'll give you the secret once and for all," he said. "You just have to get people to see the movie. Sure, sure. *rolling my eyes*

Article on Juliette Binoche in the NY Times today, beginning and ending with her relationship with Harvey: TWO years ago, Juliette Binoche came to New York with the script for "Chocolat" in hand, and the starring role for herself in mind. She sat down with Harvey Weinstein, the larger-than-life power behind Miramax Films, whom she already knew was planning to produce the film, and told him how much she loved the part. "I was kind of astonished by his reaction," Ms. Binoche recalled recently. "He said, `Well, Juliette, if you really want to do it, then you have to ask for it.' So I said, `Harvey, may I do this film?' And it's funny, but it was a very good experience for me, because making a demand is very clarifying. I think in life you have to ask for things to happen. They don't just pop out of a box." [then at the end] Soon she'll be off to promote "Chocolat" in Europe for Mr. Weinstein, who has produced most of the films she has made in English and who is the main reason she keeps working in America. "If it wasn't for Harvey," she says, "I wouldn't be here." (Her next Miramax project is Walter Salles's "Assumption," based on an Anthony Minghella script about the 15th-century Florentine painter Fra Filippo Lippi, a friar who had a love affair with a nun.) After her final performance in "Betrayal," on Feb. 4, Ms. Binoche called Mr. Weinstein to talk about a French film project she is developing. "We talked for two hours," Mr. Weinstein recalls, "and then finally I said, `O.K., Juliette, this time I have to ask, Can we do this film together?' And she said, `Yes.' So I told her, `See, we've come full circle.' " While they don't always see eye to eye, Ms. Binoche says, she and Mr. Weinstein have found a way to work together. "I don't know if he understands me, but he lets me be me," she says with an endearing bark of laughter. "Anyway, he has no choice." http://www.nytimes.com/2001/02/18/oscars/18CONA.html?pagewanted=all

Just looked at the cast for Anna Karenina on PBS Masterpiece Theater tonight - Wow! Helen McCrory , Kevin McKidd, Stephen Dillane, Jackson Leach, Sara Kestelman, Mark Strong, Amanda Root, Douglas Henshall, Paloma Baeza, Gillian Barge, Anna Farnworth, Malcolm Sinclair, Rachel Power, Paul Rhys.

Murph, honest to God, I don't know who half of those people are! Thanks to my local PBS station which seems to schedule stuff whenever they feel like it, I'll have to wait a bit as it's not showing tonight. But will eventually, I'm sure. I've only read two reviews--one from the Wall Street Journal, which was awful, and one from the LA Times, which was pretty good--but interestingly, both criticized the posh British accents used to represent Russians. Maybe there's a bit of a sea change going on re: critics noting lack of realism in accents. I bring it up only because it's something we've discussed here. Will be interested to hear what you all think of the show. Thanks for the Wit review, Karen. I saw the original play off-Broadway with Kathleen Chalfant--what a powerful show and performance. Was a bit perturbed when they didn't cast her in this, but now I see they're looking for theatrical distribution abroad, so it makes sense I guess to cast a bigger name, and Emma is a good choice. I can really picture her in this. Yo, Emma, line forms here for Gwendolen auditions.;-) ;-) Two years ago, Juliette Binoche came to New York with the script for "Chocolat" in hand, and the starring role for herself in mind. She sat down with Harvey Weinstein, the larger-than-life power behind Miramax Films, whom she already knew was planning to produce the film, and told him how much she loved the part. Attagirl. Shy and retiring gets you nowhere in that business.

The Stephen Dillane topic #132 has the URL of Donna's comprehensive Anna Karenina pages....pics, articles, trailers. Check it out.

From the a story on the Money & Business page of the NY Times: My favorite lines from the Binoche article are: I think in life you have to ask for things to happen. They don't just pop out of a box." From her mouth to... Maybe I should post this on 143. ;-D

Thanks Karen...only six weeks til I get to see that four- stories -high advert in living color...mit lights! Previews started last night. A sell-out , we hear.

Very impressive, thanks Karen.

Thanks, Karen! I think in life you have to ask for things to happen. Ask and you will receive, seek and you shall find. God said it first. Is there a Catholic church in Islington? ;-)

Very interesting article in today's NT Times by Neal Gabler on the similarities between Traffic and Gladiator. I have it here, if you want to read it: http://www.murphsplace.com/crowe/gabler.html

(Juliette Binoche) " I think in life you have to ask for things to happen." (Moon)Ask and you will receive, seek and you shall find. God said it first.. Also..."God helps those who help themselves"... You know.."The harder you work, the luckier you get;-) LOL. Aren't we subtle?...!

Just FYI, the NY Times article was about corporate names on anything and everything, i.e., the "American Airlines" Roundabout Theater...but I know you'll take'em anyway you can get'em. ;-D (Juliette Binoche) " I think in life you have to ask for things to happen." (Moon)Ask and you will receive, seek and you shall find. God said it first.. (Evelyn) "God helps those who help themselves"... To which ODB might respond: "Too many cooks spoil the broth" or "a watched pot never boils." ;-D For proper effect, I think Juliette's wise words need to be discussed on 143.

(Juliette Binoche) " I think in life you have to ask for things to happen." (Moon)Ask and you will receive, seek and you shall find. God said it first.. (Evelyn) "God helps those who help themselves"... And let's not forget "The laborer is worthy of his hire.":-) Now, now, let's be fair. For all we know, CF may also have had lunch with Harve, copy of TIOBE in hand, and said, "you don't know Jack." ;-)

(Mari) and said, "you don't know Jack." ;-) LOL! Now what were those things called...Tom Swifties or something? Minor editing in order: he said earnestly, "you don't know Jack." ;-D

(Mary) Just looked at the cast for Anna Karenina on PBS Masterpiece Theater tonight Watched last night. Unbelieveably, PBS cut about 8 scenes :-(

I liked Ann Karenina . Never read the book, so I don't know which scenes were cut. The nudies? Too much for the chaste Masterpiece Theatre viewers? SD was the standout; what a voice. Doug Henshall v. g.(JE's boyfriend in This Year's Love). But what's with his Scottish accent? Thought he was Russian ;-) Weak links: Kevin Mc Kidd .I kept thinking of him as Jennifer's boyfriend in Bedrooms & Hallways.(Moon's fave: the guy who couldn't decide if he was gay or straight;-) Also Mark Strong.Always plays the same character IMO regardless of the role. Anybody pick up on Nickolai (Paul Rhys) he was Robert Lawrence's friend in Tumbledown).Hope you guys get to see him...don't know if he'll be around next week;-)

(Evelyn) I don't know which scenes were cut. The nudies? LOL, just a few nudie shots. And of course Vronsky's and Anna's first rendezvous was cut short. But there were entire scenes (fully clothed) that were cut, I presume to shorten the story to fit into a 2-hour timeslot and to accomodate Masterpiece's previews and introduction. It sort of reminds me of the difference between The Advocate and HOT Pig. Those cut scenes sort of makes the story flow better. I thought The Advocate was good, but when I saw HOT Pig, I thought it was even better. The entire beginning of the movie was cut, which originally showed Levin gathering up his courage to travel to Moscow so that he could propose to Kitty. Then there is a lovely scene of his carriage riding through the snow with the credits rolling. This PBS version started abrubtly with Anna getting on the train. No visual or stylistic beginning to set the mood. There were short scenes cut of Vronsky returning to his apartment after meeting Anna. It showed his "old" life of debauchery, which he is about to give up now that he is in love (I think there was a second scene cut prior to the horse race). There's a whole story line that was cut (I think in 3 places throughout the film, including the opening scene) where the UK version centered on Levin's sexual frustrations. One scene he is with a prostitute, and natch, that was cut. There's a scene that may or may not be cut, in which Levin has Kitty read his diary. If they show that in part 2, then that scene by itself will not be fully appreciated by the audience. I thought Henshall was wonderful in the role, LOL, despite his Scottish brogue! I was floored when I originally found out he was the same guy in Angels and Insects. I thought he was very appealing as Levin, and very repugnant in A&E. I think there might have been a scene added, the one where SD goes to his attorney and shows Anna's letters, in preparation for divorcing her. I'm not sure, I'll have to check, but I don't recall that scene in the UK version. One of my favorite moments was when Karenin meets Anna at the train. Vronsky wants to call on them and Karenin says in a most irritated voice, "We're home on Mondays." :-)

I saw part one last night. I have to say that SD also has a problem with his shirt's collars! He is wonderful to watch though. Wonderful actor. I am disappointed in the casting of Count V and Anna. I do not find them very attractive. He's not handsome at all and she is not beautiful. My favourite is Levin. Why do I find him so very handsome?

(Moon) My favourite is Levin. Why do I find him so very handsome? 'Cause he's cute. I liked him in Orphans.

Yes. He's a very bear-like man and yet sweet, manly and sexy. DH watched a bit with me but left soon. "She's the Russian Mme Bovary." ;-)

I'm going to bookmark this one...next time there's criticism of US awards. *hee hee* Vinnie crowned Best Actor Soccer hardman Vinnie Jones was all smiles after picking up an award for his performance in the hit movie Snatch at the Empire Film Awards. The former Wimbledon FC player beat off competition from Sir Michael Caine, Jude Law and Robert Carlyle to scoop the award, voted for by Empire readers.

E - I think you said a while back that you didn't know what Ed Harris looked like. Pic below. He's in Pollack, in the new Jude Law flick, and in The Hours:

This is surprising, given the gazillion stories that have already run on Corelli, correction: on Penelope Cruz. 'Mandolin' to play later date By Brian Fuson LOS ANGELES (The Hollywood Reporter) --- Universal has pushed back the release date of the Nicolas Cage starrer "Captain Corelli's Mandolin" from April 27 to sometime in August. The studio said the move owes to a combination of factors, primarily that postproduction could not meet the original release date. "We wanted to give the filmmakers as much time as they needed to complete it and deliver the best cut of the film -- that's our first and foremost priority," Universal Pictures Distribution president Nikki Rocco said. Rocco said marketing also was a consideration, given the theme and subject matter of "Mandolin," the screenplay of which is based on a romantic novel by Louis de Bernieres. "Our experience indicates that adult films that are more serious and literate take more time to build awareness," Rocco said. "We wanted to give our marketing team ample time to screen it for the press and opinion-makers." The romantic drama, which also stars Penelope Cruz, is an epic love story set on a Greek island occupied by the Italian Army during World War II. John Madden -- who directed 1999's best picture Oscar winner, "Shakespeare in Love" -- helmed "Mandolin." In its April slot, "Mandolin" would have opened opposite Warner Bros.' "Driven," an actioner set in the world of race-car driving that stars Sylvester Stallone; "Forsaken," a horror in wide release from Sony; and two films from Miramax -- "Wakin' Up in Reno," a romantic comedy starring Billy Bob Thornton and Charlize Theron, and "O" (Othello).

Evelyn, you might recall Ed Harris from The Truman Show (he was Christof, the beret-wearing mastermind behind the show) and Apollo 13, in which he played Gene Kranz, the NASA Mission Control Director ("failure is not an option!"). I think he was Oscar nommed for both roles, but not sure if he won. BTW, I met the real Gene Kranz last year. Fascinating guy. The part in the film about the vests that his wife would make him on launch day was true. He told me that each vest would reflect how pleased or unpleased he was with the staff's performance during training. A very decorated vest (sequins, the whole bit) would reflect approval; a plain vanilla vest--not so hot! Just a little trivia there for you.;-) Ed is also signed to do Buffalo Soldiers with Joaquin Phoenix, and will co-star with Russell Crowe in A Beautiful Mind, which films here in Princeton starting late March. Maybe Murph can fill us in on what role he plays. Can you tell I think he's terrific?:-)

In its April slot, "Mandolin" would have opened opposite Warner Bros.' "Driven," an actioner set in the world of race-car driving that stars Sylvester Stallone; "Forsaken," a horror in wide release from Sony; and two films from Miramax -- "Wakin' Up in Reno," a romantic comedy starring Billy Bob Thornton and Charlize Theron, and "O" (Othello). Yeah, I can see how Mandolin's target audience would have a hard time choosing amongst this group...and how the press and opinion-makers could be divided with all the other good ones out there at the same time. ;-D (Mari) I think he was Oscar nommed for both roles, but not sure if he won. He was nominated for both, but only won a GG for the Truman Show. I do think he is a real dark horse to take Best Actor this year. While his performance is your typical nutso artist, the Academy members will want to reward him for having made the movie too. BTW, Marcia Gay Harden's role is NOT supporting. She's on screen about the same amount of time that he is.

I saw the item yesterday in THR, but it didn't make the cut (a romantic comedy) for something I'd propose for CF (although Englishman in Chicago scored high marks!!). But liked what the Guardian wrote on the same subject today: Last year's Oscar winner for Best Actress Hilary Swank has signed on to play the title role in The Chambermaid, to be directed by Brat Pack guru John Hughes in his first stint behind the camera since 1991's Curly Sue. The film sounds pure popcorny Hughes fare, with Swank playing a wrong-side-of-the-tracks Chicago domestic who falls bonnet over heels for an English aristocrat. What's the betting they're currently trying to secure Hugh Grant to play the aristo?

Thanks for Ed Harris'pic. I have seen him...and can't wait for Pollock. Looks like they want to make sure Corelli makes the top of the weekend BO charts.I'm glad. Summer is a dullo month for good films. What will BJD be up against? That's Easter weekend.

I can see how Mandolin's target audience would have a hard time choosing amongst this group LOL! It sounded like a crock to me, too--unless it's really just not ready. Will be interesting to see if they postpone the UK's May date as well. (although Englishman in Chicago scored high marks!!) Yes, let's not be too quick to toss this one aside.;-) Didn't John Hughes write and direct Ferris Bueller? So he has it in him. And CF has said he's very fond of the Windy City. But I don't think the Tube stops there.;-)

(Mari) Will be interesting to see if they postpone the UK's May date as well. I think it may have been...Popcorn that mentioned the move possibly being related to future Oscar consideration, i.e., fresher in everyone's mind. That makes more sense to me, but then why float the postproduction difficulties??? Makes it sound like the film is flawed. Anyway, Popcorn also said the film would be delayed in the UK too, probably September.

And CF has said he's very fond of the Windy City. But I don't think the Tube stops there.;-) You mean... he has travelled? ;-) I missed this remark.

(Moon) I missed this remark. Where are our citationists? It would've come from an interview where he talked about ATA and how he and another castmember (probably Kevin Anderson) went into Chicago for the blues clubs and theater.

There's a club or a bar somewhere in the area where some members of the ATA cast signed their names on the wall. I wonder if the wall has survived. I believe that some lurkers here might know the name of that place.

Yes, haunting the blues clubs, that was one of the articles I was referring to, Karen. In another, he talked about visiting a Chicago theater company backstage and discovering one of the actors was an Arsenal fan. Echo, you get partial credit.;-) It was at a bowling alley in Rochelle where they signed their names on the wall, at the cast wrap party. I don't know the name of the place--something like Bowl-a-rama, no doubt.;-) I saw a pic of *the* signature at one time . . .

Stars set to turn out for Baftas Oscar nominees Tom Hanks, Juliette Binoche and Kate Hudson are among the stars who will be at the British Academy Film awards this weekend. Russell Crowe, in London for the premiere of his film Proof of Life, will also be at the event on Sunday, as will his Gladiator co-star Joaquin Phoenix. Stars due to present awards at the event in the Odeon Leicester Square include Hudson's mother Goldie Hawn, Dame Maggie Smith and Hugh Grant. Hanks, Binoche and Hudson are all in the running for prizes at the awards ceremony.

From Screendaily: Mandolin to play first in UK Universal has moved Captain Corelli's Mandolin from its April release date in the US back to August. The romantic drama, starring Nicolas Cage, was scheduled to open on April 27 in North America, before commencing its international roll-out in the UK on May 4. According to Universal's London office and UK distributor Buena Vista International, there are no plans to alter the UK release date. If the UK release does remain unchanged, the film will premiere in the territory three months prior to the US. As well as placing the film in the more Academy award-friendly second half of the year, the US move would also allow Corelli to screen at Cannes in May - a non-home-territory release would preclude its eligilibity. However, Universal insists that the film is definitely not now being pushed towards Cannes and that the move of the US release date will make it less likely to be shown at the festival. Sources at Universal believe the film will benefit from good reviews and strong word of mouth. This will be of particular benefit to the US marketing campaign, where the book is not as well known as in the UK and the audience is, therefore, not as eagerly primed for the bestseller adaptation. Arguably, a strong UK reception for Corelli will boost takings in the US as well as other territories. Captain Corelli's Mandolin is produced by the UK's Working Title, responsible for films including Billy Elliot and the upcoming Bridget Jones' Diary. Based on the novel by British author Louis de Bernieres and directed by Shakespeare In Love's John Madden, the film features an international cast including Penelope Cruz, Christian Bale and John Hurt.An epic love story set on the Greek island of Cephalonia, the story takes place in the early days of the second world war, revolving around the affair between a woman (Cruz) and an Italian army captain (Cage). Hurt plays Cruz's doctor father and Bale a young fisherman to whom she is engaged.

Playbill.com reports that Olivier -winner Simon Russell Beale is bringing HAMLET to the US this spring. Boston, Minneapolis, Tucson and Phoenix.. "Prior to that run,[National Theatre , London] the production ran a week at the Hamlet Summer Festival in Elsinore, Denmark, on Aug. 14. There, it was performed in the open-air courtyard of Kronborg Castle, the very place where Shakespeare chose to set the play. By performing Hamlet at Elsinore, Beale followed in the footsteps of John Gielgud and Laurence Olivier (who played the role there in 1937)." RF is getting the William Shakespeare award next Friday at the Library of Congress in Wash. DC Wanna bet SRB gets it next year?

Just as we thought, the Corelli postponement is an Oscar ploy. Remember the article stating that Harve tried to push the producers into rushing it out for the current Oscar season? Speaking of which, this is from Ted C's E! Online column: Accolades just ain't what they used to be. Perhaps that classy Briddish pro Judi Dench isn't as upper-crust as we all might like to think. I hear from those she has been complaining to that J.D. is none too pleased with Chocolat, the Miramax flick that just got the talented thespian another Academy Award nom. "She hates the movie, as well as her performance in it," said a chum of the 66-year-old actress, who won an Oscar for her quirky queeny stint in Shakespeare in Love. "She thinks it's absurd that she was nominated for Chocolat." No transatlantic return call from J.D.'s London rep so far. Oh, come on, Dame. J., you expect sense from an organization that awards you its highest honor for an eight-minute performance? Should you win, at least we know the tears will be real.

I'm not sure it would have been "upper-crust" to praise one's own performance, or to welcome its nomination for an award. Quite the opposite. She's a classy bird, JD.

I completely agree, Ben, she is classy. When you see Chocolat, however, you'll find it easy to believe how she might feel that the film--and therefore the performances by association--are not up to par. Sensing what a forthright person she is, I'm surmising that she may feel a bit embarrassed over Miramax's shameless award-mongering. When I first read the above story, I thought, there's the real winner--an honest woman!:-)

"She hates the movie, as well as her performance in it," said a chum of the 66-year-old actress, who won an Oscar for her quirky queeny stint in Shakespeare in Love. "She thinks it's absurd that she was nominated for Chocolat." (Ben)I'm not sure it would have been "upper-crust" to praise one's own performance, or to welcome its nomination for an award IMO it would have been "upper crust" if she had said nothing. A courteous smile would have been enough.

But the movie is such a clich�e, Evelyn. I am happy to see that she sees is for what it really is. When one is used to working "quality" it only becomes too obvious when it is not. And as for Corelli's M. The previews were awful, such overacting. The scenery will not carry this one, I'm afraid.

Mari says: Ed is also signed to do Buffalo Soldiers with Joaquin Phoenix, and will co-star with Russell Crowe in A Beautiful Mind, which films here in Princeton starting late March. Maybe Murph can fill us in on what role he plays. ************* Harris will be playing a fictional character - a think tank government official who hires John Nash (Russell) to work at the Rand Institute at MIT to break Russian codes. In reality Nash did work for a summer or two at the institute, but he never broke any codes, and was dismissed after a homosexual incident in a men's room in San Diego. Harris and Jennifer Connolly will be reunited (they were both in Pollack) in a Beautiful Mind. She will play Nash's wife. I wish I had the energy and the courage to go to Princeton in March to watch some filming, but the place will be loaded with sighing women walking hired dogs, washing windows, or just plain loitering at corners. I don't have a great desire to be one of them. They had an extra casting call last week, and some fans went. They are looking for university types.

(Moon)But the movie is such a clich�e, Evelyn. I am happy to see that she sees is for what it really is I, unfortunately, sat through 'Chocolat' last Friday in an attempt to catch up on all the Oscar nominated buzz. As a friend put it, this was "2 1/2 hour version of a Taster's Choice International House Coffee commercial." (The reference may be a bit too obscure). But in any event--too cliche... too romanticized and just plain horrible.

"She thinks it's absurd that she was nominated for Chocolat." Probably thinks it will ruin her chances for being nominated next year for Lady Bracknell. ;-D

New project announced for RF. Is light-years from TIOBE *banging head against wall* http://www.spring.net/yapp-bin/restricted/read/drool/40.81

I liked Chocolat...but that's why they make Scotch and Bourbon;-)

Okay, can I just tell you how excited I am.... I mean this is just the biggest thing for me...... I WILL MEET AS BYATT TONIGHT!!!!!!! She is at the Arthur M. Sackler Musuem reading from her new book and something about Histories and such.... Should I ask any questions??? (Karen, I definitely want to know if and when she's writing the fourth Frederica Potter book!)

She is in Miami on Monday and I plan on going! So do give lots of questions. I will just have to tape part two of Anna K.

Miller, Sondheim Dominate Olivier Awards By MATT WOLF (AP) Stephen Sondheim and Arthur Miller were big winners Friday at the Olivier Awards, dominating the honors with shows that have been around for decades. "Merrily We Roll Along," a 20-year-old Sondheim musical only now receiving its professional London debut, won three top Oliviers, including best musical, while a revival of Arthur Miller's 1947 play, "All My Sons," took four prizes in all. A third multiple winner was the Broadway-bound comedy, "Stones in His Pockets." With two actors playing 15 characters, the show won best comedy for Northern Irish playwright Marie Jones and a surprise best actor prize for Conleth Hill, who beat favorites Michael Gambon ("The Caretaker") and Simon Russell Beale ("Hamlet"). Hill's win was one of numerous surprises at the 25th annual Olivier Awards for achievement in theater, opera, and dance during 2000. The awards, named after the late Laurence Olivier, are the English equivalent of the American Tonys. Hill accepted the prize from Toronto, where "Stones" was finishing a successful pre-Broadway tryout. The play opens April 1 at Broadway's Golden Theater. The trophy was presented on camera by co-star and fellow nominee Sean Campion. "Merrily" has a limited run in a studio-sized theater. It beat out two sizable commercial shows _ Andrew Lloyd Webber's "The Beautiful Game" and the latest Cameron Mackintosh venture, "The Witches of Eastwick" _ both of which went home empty-handed. "Merrily" took the top prize as well as best musical actor and actress for Daniel Evans and Samantha Spiro, two of the show's three leads. Best actress in a play went to Julie Walters, the anguished matriarch from last summer's Royal National Theater revival of "All My Sons," who won over Jessica Lange in Eugene O'Neill's "Long Day's Journey Into Night." The Miller revival won three additional awards for best director (Howard Davies), best set design (William Dudley) and best supporting actor (Ben Daniels). The BBC Award for best new play went, as expected, to Joe Penhall's "Blue/Orange," which transfers in April to the West End. Best musical production _ an award distinct from best new musical _ went to a stage version of the film classic, "Singin' in the Rain," which had two separate engagements at the Royal National Theater. The state-funded National was the day's big winner, taking nine of the 22 awards for which the theater complex was nominated. Other winners included Ann Reinking and the late Bob Fosse for choreography in the musical "Fosse," and Miles Western for best supporting performance in a musical for his performance, in drag, in the London version of the off-Broadway show "Pageant."

(Moon) She is in Miami on Monday and I plan on going! Remember, 'the hair, Louisa, the hair!' ;-D "Merrily" has a limited run in a studio-sized theater. The Donmar, which shall remain nameless.

Actually, her hair was fine (she reminds me of Judi Dench...) She was funny in her reading. Karen, I asked her about her earlier works particularly "the Game" asking her if there were any resemblence to her and her sister. She said that now she could and would finally answer the question. She does not and she stressed write about people she knows because it becomes too sticky of a situation. However, it's was a composite of several people she knew one of whom had just died her name was Penelope (can't remember the last name) and everytime this woman was published, she'd attempt suicide. She also stressed that when she wrote "The Game" her sister had yet to write one word and be published. The second part of my question.... When will the fourth Potter (not to confuse with Harry Potter) book be written.... She already has about 292 pages written and is tentatively titled "The Whistling Woman". I did managed to tell her that I adored her writing, that I had read everything she has written, and she found it odd, that being so young, I would be into her writing. (The audience was of an older sort...) She is definitely more into Fairytales now, and getting away from the emotional, psychological writings of her younger days. On item of note, John Updike writes a great article on AS. Byatt in this week's/month's "New Yorker". Definitely a must read....

She also stressed that when she wrote "The Game" her sister had yet to write one word and be published. When did she publish Sugar and Other Stories? Margaret's first, A Summer Bird-Cage, was published in 1962, while Shadow of a Sun was in 1964. The 'hair' reference was to Christabel's red hair in the movie. Thanks for all the info, Laura. v. interesting

Thanks Laura. Glad you finally got to meet AS Byatt. Moon pl. ask her about "Possession".Is the Cristabel/Randolph story in the film the same length as in the book. Or is it cameo-style. Re: The Oliviers " surprise best actor prize for Conleth Hill, who beat favorites Michael Gambon ("The Caretaker") and Simon Russell Beale ("Hamlet"). " Yeay!!SRB thought he had it in the bag!At least ODB doesn't have to compete with an Olivier winner for his Hamlet. Big year for Julie Walters. Olivier and a good shot at the Oscars for Billy Elliot.(Besides she beat Jessica Lange who also thought she was a sure winner)

(Evelyn) Big year for Julie Walters. Olivier and a good shot at the Oscars for Billy Elliot According to whom? Race is between Kate Hudson and Judi Dench (or Frances McDormand, especially if JD's comments about her own performance become widespread).

Perhaps, and I'm just speculating here, she wrote "The Game" before her sister was published... But didn't have it published until a few years after it was written. Like I said, I'm speculating. Oh, sorry, I didn't get the hair reference;) (it was early when I read it!) One other item of note, she didn't mention "Possession: A Love Story" at all. Even though it is what catapulted her into stardom. And Evelyn, Big-mouth Lynn was with me, but kept mouth shut (I even tried to get her to ask question, but she refused!). The one question I really wanted to ask (of course AFTER it hit me!), is how does she feel being referred to as "Post-modernist Queen of literature!" She made some remarks about literary theory and the change it is going through especially with younger, brilliant authors on the horizon. She made reference to a British author that she particularly likes, but again, I can't remember the name! Lawrence somethingorother.... She made reference to University literary theory and mainstream critical theory.... Wanted to ask her about the Harry Potter books.... I jest.... :)