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Viggo at the Hollywood Film Awards Last Evening







Images © Just Jared.

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A Tribute to Viggo


Source: SFFILM.
Found By: Chrissie


Our thanks to Chrissie for bring us the news from the San Francisco Film Society that Viggo will be participating in a special event on 20 November.


Quote:

A Tribute to Viggo Mortensen: Green Book

'Green Book' press conference, Rome Film Festival - 24 October 2018
'Green Book' press conference, Rome Film Festival ...
Image Ernesto S Ruscio.
© Getty Images.
Tuesday, 20 November, 2018
7:00 p.m.
Castro Theatre

Guests Expected
Actor Viggo Mortensen will participate in an onstage conversation prior to the film.

Description
Join SFFILM for a special onstage tribute to acclaimed actor and artist Viggo Mortensen, featuring an advance screening of his latest film Green Book. Mortensen has consistently earned acclaim for his work in a wide range of films, including Captain Fantastic, A Dangerous Method, Eastern Promises, A History of Violence, The Road, Appaloosa, Far from Men, The Two Faces of January, Jauja, Captain Alatriste: The Spanish Musketeer, and The Lord of the Rings trilogy. Mortensen is also a poet, photographer and painter. He is the editor of Perceval Press, an independent publishing house, which he founded in 2002.

You can check out getting tickets HERE.

© SFFILM. Images © Getty.

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'Green Book' to Get Ensemble Honor at Hollywood Film Awards


Source: The Hollywood Reporter.
Found By: Lindi


Thanks to Lindi for the find.


Quote:

The film will also be honored with the Hollywood Screenwriter Award.

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© Universal.
by Gregg Kilday



Green Book, starring Viggo Mortensen, Mahershala Ali and Linda Cardellini, has been selected to receive the Hollywood Ensemble Award at the 22nd annual Hollywood Film Awards, to be held Nov. 4 at the Beverly Hills Hotel. Its screenplay, written by Peter Farrelly, who also directed, along with Nick Vallelonga and Brian Currie, will be recognized with the Hollywood Screenwriter Award.

The film recounts the friendship that developed between musician Don Shirley (Ali) and driver Tony Lip (Mortensen) as they drove through the American South in the early '60s. Winner of the People's Choice Award at this year's Toronto Film Festival, the film was produced by Participant Media and DreamWorks Pictures and will be released by Universal on Nov. 21.

© The Hollywood Reporter. Images © Universal.

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Green Book – One of the Best Films of the Year and a Career High for the Shape Shifter that is Viggo Mortensen


Source: AwardsDaily


Seems Sasha Stone has changed her mind about Viggo since she trashed him a couple of years ago for being an actor with political opinions.


Quote:

"Just like it’s satisfying nonetheless to watch Gene Hackman kick ignorant cracker ass in Mississippi Burning, it is equally satisfying to watch uneducated but tough guy Tony threaten the hillbillies in Green Book."

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© Universal.
by Sasha Stone

Peter Farrelly's Green Book, which surprised everyone when it won in Toronto, is the kind of movie the gives back more than it takes. It's the kind of thing you didn't know you were missing until the credits roll. I've been covering the Oscars from the end of the Bill Clinton era and into the George W. Bush era, through the Obama era, and now into the Trump era. We're living through some dark days, so much so that many of us feel too tender to the touch, as though just waking up to live through another day is a challenge. Going all the way back to its inception, cinema has often been a salve for people in the most desperate of times. Fantasy and superhero franchise films have indeed come to dominate the movie theaters — after all, who can justify spending that kind of money if you don't walk out feeling like you got your money's worth. But there have been times when movies you pay to see give you your money's worth just by telling good stories, stories that can make you feel good.

The plot for Green Book is based loosely on a true story of a Bronx native, raised on racial epithets and segregated cultures of the immigrant working class outside Manhattan (also nicely explored in Spike Lee's Do the Right Thing, only in Brooklyn, but the same basic idea), who is hired to drive around a highly cultured academic who lives in a ritzy apartment above Carnegie Hall. The white guy is Viggo Mortensen as Tony Lip, and the black guy is Mahershala Ali as pianist Don Shirley.

It goes without saying that I'm a white writer writing about watching a film that is, first and foremost, about friendship, but also one about race. I'm only half the story here, and my reaction can only count for half. I can't possibly know what it feels like to watch the film as a non-white person. I can't pretend to. White-guilt culture has a history of movies that make white people look good in films about race, like Mississippi Burning, like Driving Miss Daisy, like The Help. There is always that one good white person to illustrate that not everyone is racist. Green Book might have a little of that, sure, but it also just gives us two beautifully drawn, brilliantly acted portraits of two people who lived and died in real life.

Green Book is drawn from the memory of Nick Vallelonga (also one of the screenwriters), whose father, Tony Vallelonga ("Tony Lip"), once drove Don Shirley (Mahershala Ali) through the Deep South. He was his driver and bodyguard of sorts, keeping the racist jackholes off of him while he went to the places he was invited to play. Playing for rich folks in segregated, still-racist-to-this-day states like Alabama and Mississippi was historically important to Shirley, who knows that just playing there makes a difference, even if they don't allow you to use their restrooms or eat in their dining rooms.

Mortensen is unrecognizable as Tony Lip. As impressed as I've been with his ability to disappear into roles, he's never delivered such a fully realized character as this. There isn't a moment in the entire film where you remember it's an actor playing a part. He IS Tony Lip. Every throwaway glance, every wipe of his mouth, every cigarette smoked, every look, every laugh — all of it readable on his face. For all of Mortensen's gifts in shapeshifting, he has never quite been able to create such an intimate dialogue with the viewer as he does here. If he judged Tony too harshly, he could never have played him with so much innate humanity. Tony means well. He hasn't been taught well, but he means well and where I come from that counts for a lot.

And for everyone who thought Mahershala Ali was "playing himself" in Moonlight can at last see that he too is a versatile shape-shifter who is also unrecognizable as Don Shirley. Where in Moonlight he exuded confidence and sure-handed focus, here Ali is full of self-doubt, despite the careful pretenses he's adopted. His vulnerability peeks through his veneer. The real Don Shirley was raised in Jamaica and thus carried with him a snobbery against classless Americans (I was raised by a Jamaican, so I can attest to this). Ali's Shirley is playing a guy who mostly lives alone, gay in a time when you could not be (even worse, you could be killed for it). And if the movie glides a little too conveniently over Tony Lip's acceptance of Don's sexuality, remember: he worked at the Copacabana — he was used to variety in the sex department.

We're living through the kind of times where you are either good or bad, racist or not racist, homophobic or not, where people dig up decades old tweets as if to uncover, at last, that you really are one of those unforgivables we must purge from our ranks. But there are gray areas, particularly where generational shifts are concerned. We grow up where we grow up. We learn what we learn. But a genuinely good person can learn to open their hearts and their minds. Tony figures out pretty quickly that he really likes Don and Don figures out, a little less quickly, that he really likes Tony. They start there. Through their relationship they grow to be better people by letting the other one in.
Sure, this movie might be a harder sell if these actors weren't so utterly brilliant in their roles. But they are brilliant. They are so good that you end up wishing the movie would never end. From start to finish, Green Book is pleasure to sit through. You can sit almost anyone down in front of it and they will get it if not love it, and you Oscar watchers know what that means. There is always the one movie that comes out in a given year that you can pretty much recommend to just about anyone — and this year, Green Book is that movie. And you know what? We could use a lot more of these films in the film industry and in American culture.

Just like it's satisfying nonetheless to watch Gene Hackman kick ignorant cracker ass in Mississippi Burning, it is equally satisfying to watch uneducated but tough guy Tony threaten the hillbillies in Green Book. Unlike Mississippi Burning, however, the one scolding Tony isn't another white guy — it's Don Shirley, who believes dignity always wins out. Ali's role as Don Shirley is very nearly equal to Mortensen's. Both really are leads. I understand that Ali will "go supporting" because that's the best way to round the bases, Oscar wise, but indeed it's a film about both men: their limitations, their strengths, and how they teach each other a thing a two about a think or two. It is their warmth towards each other, their nimble acting chops, and finally, their ability to reveal the subtle shifts happening internally that makes Green Book such a riveting, moving, and entertaining couple of hours.

It isn't that the job of cinema is to make us feel good. The best films I've seen so far this year do what cinema is meant to do: take you places you've never been, take you into the minds and hearts of good people who do bad things — or make you uncomfortable, weird you out, shift your perspective on the ugly underside of humanity. And they can do the one thing that can sometimes be the difference between living and dying: send you out the door with a smile on your face and a little bit of hope for a better kind of life. That's what Green Book does, not because it's the job of cinema but because it's one thing cinema CAN do.

© AwardsDaily. Images © Universal.

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TIFF People's Choice Award launches Green Book into the Oscar race


Source: EW

More good news!!


Quote:

With the People’s Choice Award in hand, Green Book now occupies pole position ...

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© Universal.
Peter Farrelly's 1960s-set biographical drama Green Book has cleared a major hurdle in this year's awards race, emerging from the Toronto International Film Festival with the prestigious People's Choice Award — an accolade that often precedes placement among the Academy Awards' Best Picture nominees.

The film, which follows classical pianist Don Shirley (Mahershala Ali) and his New York City-born driver Tony Lip (Viggo Mortensen) as they tour the American South, beat out competition for the otherwise non-competitive festival's attendee-driven prize from critically lauded titles including Alfonso Cuarón's Roma, Bradley Cooper's A Star Is Born, and Barry Jenkins' If Beale Street Could Talk.

2018 marks the first year in TIFF history that voting for the the People's Choice Award took place entirely online, with the festival also opening the contest to everyone with access to its website — including non-patrons. This could have skewed voting totals in favor of celebrity-driven projects like the Lady Gaga-starring A Star Is Born (which is also seen as a major Oscar contender thanks to enthusiastic reception on the festival circuit thus far), though Green Book's victory speaks to its crowd-pleasing potential ahead of what's shaping up to be a contentious awards battle.

With the People's Choice Award in hand, Green Book now occupies pole position as the three-pronged, Oscar-priming arm of the fall festival circuit — Telluride, Venice, and Toronto — concludes. Since 2008, nine of the last 10 People's Choice Award winners, including 12 Years a Slave and Slumdog Millionaire, have gone on to win or be nominated for the Academy's Best Picture statuette, the only exception being Nadine Labaki's 2011's drama Where Do We Go Now?

Last year, Martin McDonagh's Three Billboards Outside Ebbing, Missouri began its Oscar bid with a TIFF People's Choice Award victory before scoring seven total Academy Award nominations. It would go on to win two: for lead actress Frances McDormand and supporting actor Sam Rockwell. Reigning Best Picture The Shape of Water did not place among the top three finalists for the People's Choice Award.

For now, Green Book will have to translate its support out of Toronto into further precursor affection as it faces the next round of nationwide critics in anticipation of its Nov. 21 theatrical bow. With near-universal acclaim from festival press, it's likely that year-end critics' groups and guilds already have their eyes on the project for their upcoming awards ceremonies. Mortensen and Ali received particular praise from film journalists following Green Book's Sept. 11 world premiere at TIFF, meaning acting nominations could be on the horizon for the onscreen pair.

In addition to Green Book, A Star Is Born, Beale Street, and Roma, titles that made significant strides on the Oscar circuit at TIFF include the gay conversion drama Boy Erased, Melissa McCarthy's Marielle Heller-directed Can You Ever Forgive Me?, Viola Davis' Widows, Timothée Chalamet's drug addiction drama Beautiful Boy, Nicole Kidman's transformative slow-burn crime story Destroyer, and Ryan Gosling's Neil Armstrong biopic First Man

© EW. Images © Universal.


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Last edited: 17 November 2018 21:25:44