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Premature Oscar Predictions: The 2. Best Picture Academy Award Contenders. You’re weary. You’ve suffered through months of campaigning, backbiting, frustration, joy, tears, and maybe depression. And then, just like that, it’s all finally over.

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The Oscars obviously took place this past Sunday, with investigative thriller “Spotlight” the surprise and well- deserved Best Picture winner. It was a bit of a shock that the Academy would award a film this deserving, but one also as mannered, subdued and a bit unsexy. You’re just relieved the season is over and you’d like to move on and maybe sleep for a few months. READ MORE: 2. 01. Oscars: The Best And Worst Of The 8.

About the award. The Miles Franklin Literary Award was established in 1957 through the will of writer Stella Miles Franklin. The bequest came as a surprise to the. With Johnny Galecki, Jim Parsons, Kaley Cuoco, Simon Helberg. Sheldon's birthday is approaching, and Amy wants to throw him a party despite he not ever having wanted. Banks is a 2013 period drama film directed by John Lee Hancock from a screenplay written by Kelly Marcel and Sue Smith. Centered on the development of the.

Academy Awards. Surprise! We have a great “recovery” feature just for you. Yes, we know it’s ridiculous to be thinking about the next Oscar season just a couple of days after the previous one ended. It’s also a little masochistic and sadomasochistic, but being that it’s become something of a warped tradition here at the Playlist, we always take what should be our switching- off coma week to look forward to the movies we might be talking about over the next twelve months as having awards potential. Yes, we are highly aware these are very early, very premature predictions and that anything can happen.

READ MORE: The 6 Biggest Surprises Of the 2. Oscars. But when you think about it, the 2. As its wont to do in recent years, the Sundance Film Festival has already unveiled some potent titles that could be very viable back in January and which have already began bubbling in the awards- season narrative (like it or not).

READ MORE: Analyze This: Why . Plus, it’s a bit of a nice head cleanser to talk about some different movies for a bit. So with all that mind, below you’ll find our eleven Best Picture picks, mostly sight unseen. And be forewarned: we’ll be making premature predictions all week, though remember, they’re all in loose, good fun, and nothing you should take too seriously.

Let us know your own long- range predictions and stay tuned for more. Best Picture“Birth Of A Nation”A Sundance sensation the likes of which has rarely ever been seen, the directorial debut of actor Nate Parker regarding the slave rebellion of Nat Turner blew the roof off Park City in January and was immediately snapped up by Fox Searchlight for $1. Sundance history (or of any festival). Clearly the Oscars fit into the plan for the studio —which had success with “1. Years A Slave” in 2.

Parker’s film drawing comparisons to both that film and “Braveheart,” and with a prime October release date, the studio is not messing about with it. With the #Oscars.

So. White controversy dominating proceedings this past season, Parker’s film (read our review) seems primed to redress the balance. Expect to see it pop up at other festivals like Cannes and the Toronto International Film Festival to keep its momentum up through the fall, but this is as close to a lock as you can get with 3. His summer releases tend to fare less well —in the last thirty years of his Best Picture nominees, only “Saving Private Ryan” had a summer date— but “The BFG” could well have the right stuff.

This adaptation of Roald Dahl’s beloved classic reunites Spielberg with this year’s Oscar- winner Mark Rylance as the titular Big Friendly Giant, with the director working from a script from Melissa Mathison (who sadly passed away last year) for the first time since “E. T.” It looks to be true Spielberg awe- and- wonder territory, and in a year with few awards- friendly blockbuster prospects, few would bet against it. That said, there is a potential spoiler lurking, with Focus’s similarly- themed “A Monster Calls,” which has a prize- winning, emotionally potent and much- lauded source material, and an Oscar- friendly cast including Felicity Jones and Liam Neeson. Based on Ben Fountain’s award- winning novel, it’s a story about a group of soldiers from the Iraq war set during a salute to the soldiers during a football game, a sort of mix of “The Hurt Locker” and “Flags Of Our Fathers,” but with a lightly satirical tone.

Lee’s pushing things forward technically with the film —shooting in 1. FPS 3. D—and has attracted A- list collaborators with a script from “Slumdog Millionaire” scribe Simon Beaufoy. His usual against- the- grain casting is in full force too: only Lee could bring together Kristen Stewart, Steve Martin, Vin Diesel, Chris Tucker and Garret Hedlund in a cast led by a complete newcomer, Joe Alwyn. Lee’s not above the occasional “Taking Woodstock”- style misfire, but if this works, expect it to be a big player. The film’s a biopic of Ray Kroc, the man responsible for transforming Mc. Donald’s from a handful of California restaurants to a world- beating exponent of American- style capitalism, while screwing over the Mc. Donald brothers in the process.

Laura Dern, Patrick Wilson and Nick Offerman also star in the film, and though it comes from “The Blind Side” helmer John Lee Hancock, expect something a little more “The Social Network” than “Saving Mr. Banks,” if reports of the script from Onion veteran and “The Wrestler” writer Robert D. Siegel are anything to go by. After a couple of disappointing years and with rumors of difficulties, The Weinstein Company will be looking to make a splash in the coming year, and “The Founder” definitely looks like their best prospect, especially with Keaton as its lucky charm .“Jackie” The busiest filmmaker around right now might be the Chilean helmer Pablo Larrain, who has three movies due for release in 2. The project, which follows Jackie Kennedy (Natalie Portman) in the days following the assassination of John F. Kennedy, has been kicking around for a few years, with names like Steven Spielberg and Darren Aronofsky attached, but it’s Larrain who got it over the line, and he’s a perfect fit for the material. We looked at the script by Noah Oppenheim way back in the day, and it was a very strong piece of work even then, and Larrain’s cast it with ringers like Portman, Greta Gerwig, Billy Crudup, Peter Sarsgaard and John Hurt.

The movie wraps shortly, and should be ready for the fall festivals: it doesn’t have a distributor yet, but assuming this lives up to expectations, it’ll be a contender.“La La Land”Damien Chazelle’s “Whiplash” was the little film that could: a brilliantly executed yet modest little drama about a jazz drummer and his teacher that swept Sundance and Cannes before resonating at the Oscars, at which it won three awards, more than heavy hitters like “American Sniper,” “Boyhood,” “The Imitation Game” and “The Theory Of Everything.” Chazelle is back this year with an ambitious third feature: an original Hollywood- set musical about the romance between a jazz pianist and an aspiring actress, with Ryan Gosling and Emma Stone in lead roles. It could turn out to be an enormous folly in the tradition of “At Long Last Love” or “One From The Heart,” but Chazelle has talent to burn, and the cast he’s assembled (with Oscar winner J. K. Simmons reuniting with him, and Rosemarie De. Witt and “The Big Short” breakout Finn Wittrock as well) suggests he’s got something here.

The film’s currently set for a summer release, which won’t help its Oscar chances, but if it turns out to be a successful Hollywood- set musical, it could go the distance. That doesn’t always necessarily lead to Oscar glory, but reaction to the film, which involves Casey Affleck as a man who returns to his hometown after his brother’s death to take care of his nephew, suggests that it packs the kind of serious emotional punch that should make it an awards favorite. Lonergan’s a critic’s favorite, but he’s also not a complete stranger to the Oscars —“You Can Count On Me” earned two nominations a decade ago— and should get some additional star power thanks to producer Matt Damon.

Perhaps this film will prove to be too modest and actor- driven to register for Best Picture, but this is looking good for now.

Banks - Wikipedia. Saving Mr. Banks is a 2. John Lee Hancock from a screenplay written by Kelly Marcel and Sue Smith. Centered on the development of the 1.

Mary Poppins, the film stars Emma Thompson as author P. Travers and Tom Hanks as filmmaker Walt Disney, with supporting performances by Paul Giamatti, Jason Schwartzman, Bradley Whitford, and Colin Farrell. Deriving its title from the father in Travers' story, Saving Mr. Banks depicts the author's fortnight- long meetings during 1. Los Angeles, during which Disney attempts to obtain the screen rights to her novels. Banks as an independent production until 2. Alison Owen approached Walt Disney Pictures for permission to use copyrighted elements.

The film's subject matter piqued Disney's interest, leading the studio to acquire the screenplay and produce the film. Banks premiered at the London Film Festival on October 2. United Kingdom on November 2. United States on December 1. Upon release, the film received positive reviews, with praise directed towards the acting, screenplay, and musical score. Thompson's performance garnered a BAFTA Award, Golden Globe Award, Screen Actors Guild Award, and Critic's Choice Award nominations for Best Actress, while composer Thomas Newman earned an Academy Award nomination for Best Original Score.

The film was also commercially successful, grossing $1. In 1. 96. 1, the financially strapped author Pamela .

Disney has pursued the film rights to her Mary Poppins stories for twenty years, having promised his daughters that he would produce a film based on them. Travers has steadfastly resisted Disney's efforts because she fears what he would do to her character. However, she has not written anything in a while and her book royalties have dwindled to nothing, so she risks losing her house. Still, Russell has to remind her that Disney has agreed to two major stipulations—no animation and unprecedented script approval—before she agrees to go. Travers' difficult childhood in Allora, Queensland, Australia, is depicted through flashbacks, and is the inspiration for much of Mary Poppins. Travers idolized her loving, imaginative father, Travers Robert Goff, but his chronic alcoholism resulted in his repeated firings, strained her parents' marriage, and caused her distressed mother to attempt suicide.

Goff died at an early age from tuberculosis when Travers was seven years old. In Los Angeles, Travers is irritated by what she perceives as the city's unreality and the inhabitants' intrusive friendliness, personified by her limousine driver, Ralph.

At the Walt Disney Studios in Burbank, Travers meets the creative team that are developing Mary Poppins for the screen: screenwriter. Don Da. Gradi, and music composers Richard and Robert Sherman. She finds their presumptions and casual manners highly improper, a view she also holds of the jocular Disney. Travers' working relationship with Disney and his team is difficult from the outset, with her insistence that Mary Poppins is the enemy of sentiment and whimsy. Disney and his people are puzzled by Travers' disdain for fantasy, given the nature of the Mary Poppins story, as well as Travers' own rich imagination.

She particularly objects to how the character George Banks, the estranged father of the children in Mary Poppins' charge, is depicted, insisting that he is neither cold nor cruel. Gradually, they grasp how deeply personal the Mary Poppins stories are to her and how many of the characters were inspired by her past. The team realize Travers has valid criticisms and make changes, though she becomes increasingly disengaged as painful childhood memories resurface. Seeking to understand what troubles her, Disney invites Travers to Disneyland, which, along with her developing friendship with Ralph, the creative team's revisions to the George Banks character, and the addition of a new song and a different ending, help dissolve Travers' opposition. Her creativity reawakens, and she begins working with the team; however, when Travers discovers that there is to be an animation sequence, she confronts Disney over his broken promise and returns home.

Disney learns that Travers is actually her pen name, taken from her father's given name. Her real name is Helen Goff, and she's actually Australian, not British. This gives Disney new insight into Travers, and he follows her to London.

Arriving unexpectedly at her door, Disney tells her that he also had a less- than- ideal childhood, but stresses the healing value of his art. He urges Travers to not let deeply- rooted past disappointments dictate the present.

Travers relents and grants Disney the film rights. Three years later, in 1. Mary Poppins is to have its world premiere at Grauman's Chinese Theatre in Hollywood. Disney has not invited Travers, fearing how she might react with the press watching.

Prompted by Russell, Travers shows up unannounced at Disney's office; he reluctantly issues her an invitation. Initially, she watches Mary Poppins with a lack of enthusiasm, particularly during the animated sequences. She gradually warms to the rest of the film, however, becoming deeply moved by the depiction of George Banks' personal crisis and redemption.

Emma Thompson as Pamela . Novak as Robert B. Sherman, composer and lyricist who co- wrote the film's songs with his brother Richard.

Jason Schwartzman as Richard M. Sherman, composer and lyricist. Kathy Baker as Tommie, Disney's executive assistant. Melanie Paxson as Dolly, Disney's secretary. Rachel Griffiths as Ellie, Helen's aunt, who serves as the model for Mary Poppins. Ronan Vibert as Diarmuid Russell. Kristopher Kyer as Dick Van Dyke.

Victoria Summer as Julie Andrews. Credits adapted from The New York Times.

Travers titled The Shadow of . During the documentary's production, Collie noticed that there was . Watch Online Free Smurfs The Lost Village (2017) more.

We knew we'd eventually have to show Disney. Sherman provided producer Alison Owen with an advance copy of a salient chapter from his then upcoming book release, Moose: Chapters From My Life. The chapter entitled, . With executive approval, the studio acquired the screenplay in February 2. Owen, Collie and Philip Steuer as producers, and Christine Langan, Troy Lum, Andrew Mason, and Paul Trijbits serving as executive producers.

Travers, after the studio was unable to secure Meryl Streep for the part. She'd had a very rough childhood, the alcoholism of her father being part of it and the attempted suicide of her mother being another part of it. I think that she spent her whole life in a state of fundamental inconsolability and hence got a lot done.

Novak, and Ruth Wilson were cast in July 2. But I still had concerns that it could be whittled away. I don't think this script could have been developed within the walls of Disney—it had to be developed outside..

I'm not going to say there weren't discussions, but the movie we ended up with is the one that was on the page. Sherman also worked on the film as a music supervisor and shared his side of his experiences working with Travers on Mary Poppins. It’s just the hardest work that is to be done. There’s a billion hours of video, of Walt performing as Walt Disney, being a great guy. But I found enough actual footage of him in interviews when he'd really like to be done with the subject..

When I could find him showing any legitimate kind of consternation, that was worth its weight in gold. Novak worked closely with Richard M. Sherman during pre- production and filming. Sherman described the actors as . And that was fun, but also musically challenging.” For the score's instrumentation, Newman primarily employed a string orchestra with some woodwinds and brass, as well as including piano and hammered instruments that were .

Banks depicts several events that differ from recorded accounts. Travers to hand over the film rights, including the scene when he finally persuades her—is fictionalized, as Disney had already secured the film rights (subject to Travers' approval of the script) when Travers arrived to consult with the Disney staff.