SHAME: Awards and Nominations so far

The following was written by CameronCook

Awards season is upon us: and with the sleepless nights of anticipation and celebratory clinking of champagne flutes come our annual Awards Posts. Here you can find all the nominations and awards won by Steve McQueen’s SHAME. Keep checking back for updates!

GOLDEN GLOBE AWARDS
Nominations announced: Dec 15, 2011

Noms
Best Actor in a Leading Role – Drama, Michael Fassbender

BRITISH ACADEMY OF FILM AND TELEVISION ARTS AWARDS
Longlist Nominations announced: Jan 6, 2012
Shortlist Nominations announced: Jan 17, 2012

Shortlist Noms
Outstanding British Film
Leading Actor, Michael Fassbender

Longlist Noms
Outstanding British Film
Leading Actor, Michael Fassbender
Leading Actress, Carey Mulligan
Best Original Screenplay, Steve McQueen and Abi Morgan

BRITISH INDEPENDENT FILM AWARDS

Wins
Best Actor, Michael Fassbender

Noms
Best Independent British Film
Best Director, Steve McQueen
Best Supporting Actress, Carey Mulligan
Best Screenplay, Abi Morgan & Steve McQueen
Best Cinematography, Sean Bobbitt
Best Editing, Joe Walker

SPIRIT AWARDS
Ceremony: Feb 25, 2012

Noms
Best International Film

NATIONAL BOARD OF REVIEW AWARDS

Wins
Top 10 Independent Films
Spotlight Award, Michael Fassbender

CRITICS CHOICE MOVIE AWARDS
Nominations announced: Dec 13, 2011

Noms
Best Actor, Michael Fassbender
Best Supporting Actress, Carey Mulligan

INTERNATIONAL PRESS ACADEMY SATELLITE AWARDS
Ceremony: Dec 18, 2011

Noms
Best Motion Picture
Director, Steve McQueen
Actor in a Motion Picture, Michael Fassbender
Actress in a Supporting Role, Carey Mulligan
Best Original Screenplay, Abi Morgan & Steve McQueen
Film Editing, Joe Walker

AFRICAN AMERICAN FILM CRITICS ASSOCIATION AWARDS
Winners announced: Dec 12, 2011

Wins
Top Ten Films of 2011
Best Director, Steve McQueen

BLACK REEL AWARDS
Nominees announced: Dec 14, 2011

Noms
Outstanding Film
Outstanding Director, Steve McQueen
Outstanding Screenplay, Steve McQueen and Abi Morgan
Outstanding Score, Harry Escott

ALLIANCE OF WOMEN FILM JOURNALISTS EDA AWARDS
Nominations announced: Dec 23, 2011
Winners announced: Jan 10, 2012

Wins
Best Actor, Michael Fassbender
Best Depiction Of Nudity, Sexuality, or Seduction, Subway scene; Brandon and co-worker

Noms
Best Actress in a Supporting Role, Carey Mulligan
Unforgettable Moment Award, Carey Mulligan singing “New York, New York”

ONLINE FILM CRITICS SOCIETY AWARDS
Nominations announced: Dec 26, 2011
Winners announced: Jan 2, 2012

Wins
Best Lead Actor, Michael Fassbender

Noms
Best Supporting Actress, Carey Mulligan

LOS ANGELES FILM CRITICS ASSOCIATION
Winners announced: Dec 11, 2011

Wins
Best Actor, Michael Fassbender

LONDON CRITICS CIRCLE FILM AWARDS
Nominations announced: Dec 20, 2011
Winners announced:

Noms
British Film of the Year
Actor of the Year, Michael Fassbender
British Actor of the Year, Michael Fassbender
Britsh Actress of the Year, Carey Mulligan

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
Winners announced: Dec 5, 2011

Noms
Best Actor, Michael Fassbender

CHICAGO FILM CRITICS ASSOCIATION AWARDS
Noms announced: Dec 16, 2011
Winners announced:

Noms
Best Actor, Michael Fassbender
Best Supporting Actress, Carey Mulligan

HOUSTON FILM CRITICS SOCIETY AWARDS
Noms announced: Dec 10, 2011
Winners announced: Dec 14, 2011

Wins
Best Performance by an Actor in a Leading Role, Michael Fassbender

DETROIT FILM CRITIC SOCIETY AWARDS
Noms announced: Dec 11, 2011
Winners announced: Dec 15, 2011

Wins
Best Actor, Michael Fassbender
Best Supporting Actress, Carey Mulligan

VANCOUVER FILM CRITICS CIRCLE AWARDS
Nominations annouced: Jan 2, 2012

Wins
Best Actor, Michael Fassbender

ST. LOUIS FILM CRITICS AWARDS
Nominations annouced: Dec 12, 2011
Winners announced: Dec 19, 2011

Noms
Best Actor, Michael Fassbender

LAS VEGAS FILM CRITIC SOCIETY AWARDS
Nominations annouced: Dec 12, 2011
Winners announced: Dec 13, 2011

Wins
LVFCS Top Ten Films of 2011

Noms
Best Actor, Michael Fassbender
Best Supporting Actress, Carey Mulligan

PHOENIX FILM CRITICS SOCIETY AWARDS
Nominations announced: Dec 13, 2011

Noms
Best Actor in a Leading Role, Michael Fassbender

CENTRAL OHIO FILM CRITICS AWARDS
Nominations announced: Jan 1, 2012

Noms
Best Actor, Michael Fassbender
Best Supporting Actress, Carey Mulligan
Actor of the Year, Michael Fassbender

Leave Brandi and Gerry Alone!

Gerard Butler at the Golden Globes

Brandi Glanville claims a connection with Gerard Butler

Who Cares If Brandi Glanville and Gerard Butler Helped Each Other Make it Through the Night?

Newsflash! Gerard Butler is NOT a Monk and Brandi Glanville is NOT a nun. Sure you all knew that but by the rants on the Internet it appears that many are commenting on the pair’s connection like the Moral Majority. Listen up people: you are not the voice of morality. Between vilifying Brandi or Gerry it’s obvious that the only real issue is whether Brandi was right to “kiss and tell” on live national television. Personally, this BG-GB rendezvous was a rumor that circulated last summer. Her mentioning it seems a tad dated. Regardless, this is America and Brandi had every right to exercise her right to free speech. What else is peculiar in this “Brandigate” scandal is that fans and anti-fans are swooping down like vultures on various websites hurling verbal written abuse on the two people involved. What is this? Are some people just unable to accept that Gerry Butler will one day be with a woman other than them? Or that Brandi Glanville is being a single Sex and the City LA girl? Is any of this supposed week of fun that Brandi describes really all that wrong?

It is startling to observe the level of character assassination directed at both Brandi and Gerry from some in the general public. Meanwhile, Brandi defends herself on Twitter and Gerry denies knowing her. Either way it is none of our business to find out the truth. Brandi asserts that she is being honest after Gerry asked who she was. So what if it’s true? So what if it isn’t? Both of them are SINGLE. Neither broke some law by committing a heinous crime. We have a right to our own moral code and value system but so do they! Brandi is a former model and still rocks a bikini at 39. Gerry is a handsome hunky highlander who still sets fans swooning at 42. The fact that people are so mad at him or her for their behavior begs a deeper question: do we as the general public feel that celebrities owe it to us to live up to our personal expectations? Newsflash: Gerry Butler is NOT any of his characters that some have fallen “in erotomania” with. Ditto for George Clooney, Brad Pitt, Hugh Jackman, Tom Hardy, or Michael Fassbender. Like a wise woman said to me once: the only thing an actor owes you is a good performance. Nothing else!

The 24/7 multimedia world we live in allows us to learn about and follow our favorite celebrities all day and all night long. This constant stream of information and images trick some to think they know them. It is an illusion. Celebrities are a 2-D figure that we are very familiar with but they remain a stranger. To take great offense at the actions of a stranger as if one has been personally betrayed is a symptom of not having a life. Sure it is entertaining that Brandi dished on Gerry but it’s been blown way out of proportion. Who are we to scold or personally attack them and make severe accusations that border on character assassination? We are nothing to them and maybe some reality could do some fans a lot of good. Instead of wasting energy dissecting Brandi Glanville or Gerry Butler, why not redirect all that passion for words into say … screenwriting? Trust me; it’s much more productive and a fruitful use of ones times and energy. My two cents: if it did happen it’s between them. If it did not happen then Brandi is lucky she isn’t being sued for slander. After all, Gerry is a lawyer by training.

Young Goethe In Love: Press Reactions

“While Stölzl is clearly borrowing from other historical flights of fancy, such as “Amadeus” and “Cyrano de Bergerac,” along with “Shakespeare in Love,” the helmer and fellow screenwriters Christoph Mueller and Alexander Dydyna expertly mold these elements to fit the characters and situations’ own requirements, and expertly alternate romance, humor and drama without losing their grip on the characters and their dilemmas.” – Boyd Van Hoeij, Variety

Young Goethe In Love: More Producer’s Notes by Christoph Müller

Director and co-writer Philipp Stölzl adds, “I thought the idea to tell the story about the young Goethe was great – about Sturm und Drang, about the period when he still wasn’t the famous privy councilor, minister, and poet laureate. Goethe studies law, he writes poetry, he falls unhappily in love, he fights with his father. This has elements of a young man’s rebellion; this is a Goethe you want to see in the cinema.”

Müller says about the celebrated director of NORTH FACE: “I thought working with Philipp was very inspiring; I like how precisely he handles language, timing, and direction. For me as the producer, working together on the screenplay is the ideal way to do it, because you can adjust extremely well to the director’s work methods before you start shooting the film.” Stölzl adds, “At the same time, financing the film worked out very well and happened very quickly. We only needed about a year, from the moment we started to write the script to the moment we began shooting the film. Goethe as the concept, Christoph as the producer, me as the director – that worked.”

Müller continues, “A historical film is just as elaborate as a science fiction film; you have to create a completely new world, because you can’t find locations that look the way things looked in the 18th century anymore.”

New and familiar faces in front of the camera

“Alexander Fehling had already been in films, but I didn’t know him,” says Stölzl. “He was the first candidate to show up at casting for the role of Goethe, and I knew after a minute that he’s our lead. He was 100% convincing. And then shooting with Alexander confirmed it completely. He’s an absolutely exceptional actor. He can play the comical moments as well as the tragic ones; he has an unbelievable palette – everything you want from an actor. We were extremely lucky to
find him. His precise performance is also the result of our close collaboration, as we worked on and tried many variations together to arrive at what would serve the role the best.”

On casting Miriam Stein as Lotte, Müller explains, “It’s very, very rare that you discover someone like Miriam. With Goethe and also with Lotte, we considered whether we should cast established stars, because with an elaborate costume film, in your mind you automatically see big names on the film poster. But we liked Miriam best for the role of Lotte. Though she he had never been in a feature film before, she rewarded us with her unbelievably intense performance.” Stölzl agrees,

“As Lotte, with her tousled hair, young Miriam Stein is the right contrast to Goethe. Most of all, she’s a convincing actress with a large emotional range, which enraptured me and made me proud.”

Goethe is not the only one who falls in love with Lotte – his superior, court councilor Kestner, does, too. Moritz Bleibtreu plays this role. “Moritz feels at home in every genre, from drama to comedy,” says Müller. “With his very perceptive performance in the difficult role of Kestner he resonates with the audience.” Stölzl adds, “You could have also cast Kestner as grayer and more bureaucratic. But we also wanted to show him as an attractive man; the audience has to believe he wants to marry this girl at any cost. There’s something touching about that. This means the two men trying to win over Lotte’s heart have more or less the same chance. If you wanted to make the accents clear from the start, then over here you would have the young, good-looking wild one, and over there the plain, boring one, who can only offer the girl a long and dismal married life— but then there wouldn’t be any tension. That’s why I’m even happier now about how well the triangle works between the men and Lotte.”

The ensemble includes two renowned actors as the fathers: Burghart Klaussner and Henry Hübchen shine with the qualities you want to have in these small yet decisive roles.

Young Goethe In Love: Producer’s Notes by Christoph Müller

Goethe is Germany’s most famous and important poet and philosopher, yet there has never been a relevant feature film about this extraordinary personality.

There’s a reason for this, too: Goethe could do everything and was everything! He was handsome, came from a wealthy family, wrote successful novels, theater plays and poems, was an accomplished horseback rider and fencer, invented roller skates and discovered the pharyngeal bone, and he was a natural scientist, privy councilor, traveler, artist, minister, lawyer, and much, much more – all in all, a universal genius and thus a completely non-dramatic character for a feature film! But there was a time in young Goethe’s life when he was tortured by self-doubt and self-discovery. A time when he almost died due to an unrequited love, and the only thing that rescued him was dealing with the episode by writing about it.

The film YOUNG GOETHE IN LOVE tells the story of this 23-year-old, who achieved his greatest artistic success as a result of his greatest love pangs: The Sorrows of Young Werther. The appeal of the story is that it shows Goethe was not always the mythical figure and all-round genius as portrayed in thousands of books, interpretations and theories, but rather a young man who loved and suffered.
-Christoph Müller

PRODUCTION NOTES
“What’s exciting about the story of how Werther was created is that it was Goethe’s most personal, almost autobiographic novel, a work he was the proudest of, along with ‘Faust’,” says producer and co-writer, Christoph Müller.

“What’s also unusual about the publishing history of Werther is that the exciting story in the epistolary novel has always been, even back then, viewed in connection with the actual events in Goethe’s life. Almost every reader knew Goethe had experienced the love story with Lotte himself,” continues Müller. “The wave of suicides as a result of Werther was the first media phenomenon and had never been seen before. The young men who killed themselves after reading Werther, however, ignored, the fact that Goethe was able to rescue himself from his self destructive mood by writing the book.”

But not only unhappy lovers devoured the famous novel. “Werther was an immense catalyst of sentimental pessimism, yearning, and passion,” says Müller. “At first I developed a cinematic story that dealt with the period after the success of Werther and Goethe’s writer’s block afterwards – until my brother Markus came up with the idea that it would be much more exciting to develop the story of the ‘blissful and dangerous summer of 1772 in Wetzlar,’ which led to the creation of Werther. We then worked on different constellations of this story for a long time, but it wasn’t until Philipp Stölzl and our young co-author, Alexander Dydyna, came along that we finally managed to hit on the right concept for the script.”

Preview: Young Goethe In Love

First we had young William Shakespeare in Love back in 1998. Now we have German poet Johann Goethe and his epic love that propelled him to greatness. This German language film promises to be a rich and intense look at the biography of Goethe. For those unfamiliar with the German philosopher, this film with make you want to read his works which have been translated into English. Writing comes from the heart and many great literary giants who belong to history were born out of heartbreak. Like England’s Keats, Goethe is no exception. His love lives on in the many ways he expressed to his beloved: Ich Lieben Die (I Love You).

Young Goethe In Love

Germany 1772 – the young and tumultuous Johann Goethe (Alexander Fehling) aspires to be a poet but after failing his law exams, is sent by his father (Henry Huebchen) to a sleepy provincial court to mend his ways. Unsure of his talent and eager to prove himself, Goethe soon wins the praise and friendship of his superior Kestner (Moritz Bleibtreu). But then Lotte (Miriam Stein) enters his life and nothing is the same as before. However, the young lovers are unaware that her father has already promised Lotte’s hand to another man.

Germany 1772 – the young and tumultuous Johann Goethe (Alexander Fehling) aspires to be a poet; but after failing his law exams, he is sent by his father (Henry Huebchen) to a sleepy provincial court to mend his ways. Unsure of his talent and eager to prove himself, Goethe soon wins the praise and friendship of his superior Kestner (Moritz Bleibtreu). But then Lotte (Miriam Stein) enters his life and nothing is the same as before. However, the young lovers are unaware that her father has already promised Lotte’s hand to another man.

Director Phillip Stölzl (“Northface”) returns to the very wellspring of Romanticism – Goethe’s autobiographical masterpiece “The Sorrows of Young Werther” – and conjures up a beguiling and refreshingly innocent period romance.

Crazy About Like Crazy

Remember what it was like to be young and in love? Hollywood does but it gives us trivia and formula like young love romances by the bundle. If Glee is the highlight of teen romance then one has to wonder if its just one big adolescent hormone running the show. Until a movie such as Like Crazy comes around and reminds you that young love is just as real and potent as older adult love. Like Crazy examines just how much the soul can tug you to another. Its like a magnetic force. You can be thousands of miles away but that other person is still inside you. As you get older you may forget what that dizzy emotion of love and passion once was. Your mind may become so rational that it disowns any thoughts of bliss. Like Crazy serves as a reminder of how deep a bond can be. We all need to remember just how much we too once loved someone. Love is what makes us human. Watching Like Crazy is as much about knowing how sad we are when love leaves us and how lucky we were to have found it.

Photo courtesy of Fred Hayes/Paramount Pictures

Muse and Musings of the Week: Michael Fassbender and Shame

He smokes, he’s wild, he’s a heart-breaker lady killer without apology, he inspires ramblings that would make Anais Nin blush, and has an eye for something dangerous in his method. He is Michael Fassbender. Perfectly imperfect in so many ways. Never was admiring a bad boy this good because his acting is out of this world. Do I really have to wait another month for his next two movies? Hugh Jackman is my favorite but he seems so perfect that sometimes I wonder if he is real? I know he is but in being so good Hugh Jackman feels like he exists in another plane of existence. Why? Because Hugh is too good to be true but he is. And life is gritty, and stark, and even dark at times. So when Michael Fassbender appears he is just as exceptionally handsome but you can believe him as real. He just feels real to me.

Someone else in the tumblr universe mentioned this in respect to Fassbender the Ginger’s post about the oversexed fans and their ramblings. I totally agree. Sensuality is not about sex. It is defined by an awakening of the senses: sight, hearing, touch, sound, scent. Perfume and fragrances that awake you are sensual. Beautifully prepared food is also sensual. The notion of sensuality in an actor is the degree of believability in their more passionate scenes and the level of comfort in their own skin. A person who is comfortable in their sexuality in a quiet confident way is sensual. It is not about sex. It is about being able to rest within oneself and acknowledge that sexuality is the opposite side of the coin to spirituality. To me, Michael Fassbender is sensual in many ways because he brings his whole self to a role – his voice, his eyes, his movements, etc.

Sexuality is what it is. It is sex, attraction, physical connection, and hormones.Anyone can be a sex symbol. Not everyone can be sensual. People who are not comfortable in their own bodies may react to a person who is in tune with their sensuality in an intense way. They can’t give themselves permission to own it and so they go haywire and project their repression onto someone who doesn’t repress that side of them. What makes the fantasy postings so disrespectful is that they reduce a person to a body part. That’s not cool. Shame is bringing out fangs in the fandom. Maybe its the latent puritanical streak in some places. I don’t have an answer. All I will say is that consider this: Channing Tatum was a male stripper. He can’t act to the level that a Tom Hardy or Michael Fassbender can. Why not redirect fantasies to someone like him? Consider this also – Kim Kardashian is famous for a sex tape. Projecting fantasies on to her are understandable. To mix someone like Fassbender into that mix is insulting, disgusting, and sickening.

Sure I may get hate mail for this one. But I am standing my ground. He does not have sex in Shame. He plays a role about the destructive journey of a sex addict. Kim Kardashian DID have sex on film and Channing Tatum WAS a male stripper. The later two delved in that seedy place. Michael Fassbender and Tom Hardy are actors and artists and for what they bring to the screen, deserve the acknowledgment of that.

So I’m with Fassbender the Ginger on her thoughts about the overtly libidinous ramblings that some Fassy fans have been participating in. While I agree that Michael Fassbender has had some steamy roles to reduce him to just that is disrespectful and diminishes his talent. I am not just saying this for him but if the Hugh Jackman fandom were posting relentless lustful fantasies about him I would be equally dismayed. It would be nice if people would look past Shame and actually see the harrowing story underneath.

There are many discussions about Michael Fassbender on his acting ability and the level of discipline he brings to a role. This is not only professional but it is above and beyond what most movie stars are willing to go through.

Reality TV has taken over and people like Snooki and The Situation think they are actors! Its too much. Even movie stars don’t always act. Where are the Meryl Streeps or the Marlon Brandos? Few and far between. The best talent in people’s minds seem to be what they see on Glee. Unfortunately, that’s not the best it can get. Now that Michael Fassbender is quickly ascending to the A-list its a chance for American audiences to be reminded what acting is all about. Most of the great actors are older or belong to another generation. With his youth and good looks, someone like Michael Fassbender brings back what the young Marlon Brando brought – ability, sex appeal, good looks, and a presence that lights up the screen like nothing else. Another fan on IMDB said that Michael Fassbender could play a cafeteria worker for 5 minutes on Glee and outshine Matthew Morrison without trying. That’s why America needs to see someone like Michael Fassbender and Tom Hardy. So they realize that they have been fed a diet of entertainment that is anemic and empty. If more people demand quality then we will get quality.

The Shame of it all. It sometimes takes an extensive foreign film festival ticket collection to find rare movie gems that actually display the art and soul of cinematography. For those of you who loved the X-Men and Jane Eyre there is the new Steve McQueen movie Shame that hits American theaters on December 2, 2011. Its star is the talented Irish-German actor Michael Fassbender who played Magneto. Fassbender has been described as the new Marlon Brando and his range is impressive. What is a Shame is that many believe the dark voyeuristic story of a passion addicted Manhatten yuppie will be too much for American audiences. That’s a shame because if it is a social critique it is a compelling tale of the loss of connection in a harried busy world and the meaningless tryst that only deepen the void. Fassbender was brilliant as Irish MP Bobby Sands in 2008’s Hunger which was also a film by Steve McQueen. What is the biggest shame of all is the rumor that the powers that be are pushing Clooney in the Oscar race for his role in Descendants. Clooney is also a fine actor but Shame goes beyond the obvious R rating scenes to reveal the despair of loneliness and how meaningless random hook-ups can get. Addiction is no joke and one thing about Fassbender’s character is that he is in a chronic misery that he tries to find relief for through the strange encounters all over New York.

Its inevitable that people are going to go all Anais Nin on their blogs about how attractive Fassy is. While its understandable in younger fans this is not an age issue. Michael Fassbender possesses the kind of geometric symmetry and gait that increases a person’s attractive quotient. The truth is there is more to him that his looks. I stress this because I’m one of those people who has seen good looks fade and expose nothing underneath. Fassbender seems different and in my opinion too much focus on his physical state could lead to the double edge sword of sex symbol status. For me that means that people don’t take you so seriously and you are lumped in the same category as the pretty boys of the moment. Maybe I am too conservative for wanting people to discuss his method instead of how his leather jacket looks makes them feel dizzy. Perhaps being in awe of the way he sacrificed to be Bobby Sands in self starvation of his art is what attracts me to him. Not so much the photogenic pictures that are blogged daily on the Internet.

On a side note – Michael Fassbender has become a muse. No matter what is assigned to me at the MFA level I can write and imagine him playing my character in the narrative. That chameleon ability makes it so easy. When I tumblr for the Fassy the words tumble out of my pen as I describe his work. The funny thing is I can’t review his commercial films. I’ve tried to do X-Men: First Class but the words stall and the muse goes away. The only way I can generate any literary statements about Fassy is when I write only on his Indie work. So once Prometheus is out there won’t be a review on this site and ditto for RoboCop. The actor provokes the wordsmith muse. The movie star cannot.

Photo courtesy of X-Men: First Class

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