the awards editions 2010-2011

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fter Tilda Swinton won the 2007 Best Supporting Actress award for Michael Clayton, she decided to give the Oscar to her Hollywood agent Brian Swardstrom in order to calm him down for every time “I am on the speakerphone telling him I am going to do another art film in Europe.” Once again there is Oscar buzz for Swinton for another art film in Europe, but the odds are longer this time for her small Italian melodrama I Am Love (Io Sono L’Amore) which opened in June. That’s because the film was snubbed for Oscar contention by Italy even though it was one of the year’s higher profile foreign language films grossing nearly $5 million in the U.S. alone. Despite this setback, U.S. distributor Magnolia is aggressively campaigning I Am Love for Best Actress and even Best Picture as well as Art Direction, Cinematography, Costumes, and Music. The Best Actress campaign will remind voters of the challenges the Scottish Swinton, had making a film in Italian with a Russian accent. Other than Robert De Niro playing the Sicilian young Don Corleone in The Godfather Part II (1974), no one has grabbed the gold working in a language not their own. DeaDline: I was cruising the Internet and saw a post that says ‘ Will Oscar love Tilda Swinton?’ Is it important for you to get that kind of attention in order for people to see a movie like I Am Love? TilDa SWinTon: Yes, I was involved in a film once in my 14 deadline.com life that went on a certain treadmill and ended up at a certain Governors Ball. But even then I wasn’t really aware of what was going on because it was all Greek to me. All I can say is, having worked on this film for 11 years and made it in Italy with my best friend, I’ve been astonished that it got any distribution at all let alone widely in the States and very well reviewed in the States. It’s wonderful to us that people are even still talking about the film, let alone still seeing it. DeaDline: You produced the film. Is that becoming increasingly necessary to get these movies made that offer such a great role like this? SWinTon: I’ve always been closely attached to filmmakers in getting films made. I mean Orlando which was re– released this year was something Sally Potter and I pushed up a hill for five years before we were able to shoot it. It’s really good news for women to see that, if they really want to get films made, then they’re going to have to get together with their friends and make them — and not sit around waiting to be asked. DeaDline: You have said the film took you 11 years to get made. You stuck with this. Why? SWinTon: We grew it from scratch. It’s like, why do you stick with your children? And actually, when I think about it, yes, this film took 11 years but I’ve been attached to a number of films and produced them and they’ve taken that long. It’s pretty regular for a personal project. Most films in my experience take a decade at least. A film like this takes a long time to even get the nerve to dream about it, let alone to develop a script and to get a group together to make it. And then, of course, there’s the question of raising the finance. It gets easier and easier if that decade you’re working together also involves some members of the team going out and making reputations for themselves. Which means people are prepared to put money into the project. That helps. DeaDline: Did you think your film would become one of the more indie success stories here? SWinTon: It’s strange because on the one hand “expect” is not really the word. I mean, we dreamed. We were always clear we were making an international film, even though it’s an Italian film made in Italian and Russian. One of the things that I’ve been really gratified to notice is that American and all Anglophile critics have not really been going on about the fact that it’s not in English. And I think that was the real hurdle for us to get it out of the small field that meant it was only going to be a foreign language film. Getting the film into Italy was hard enough. It’s a film that’s probably appreciated less in Italy than anywhere. It was barely shown in Italy. And if your film is not made with a production company title above it, then it can be tricky to get into cinemas. DeaDline: The Italians did not choose this for their entry into the Foreign Language race. SWinTon: In a funny way, we the producers were not surprised. We were disappointed, but we were not surprised. I had no idea what the criteria were that the selection committee were going by. We thought the Oscars is an American affair, and it’s an American prize, and we thought that maybe it would be a good idea to choose a film that had gone well and at least been distributed in America, let alone been well received. Again, another portion of Greek for me. DeaDline: Was it a challenge for you speaking Italian with the Russian accent? SWinTon: That she wasn’t going to speak my language was a relief in many ways. I quite like being outside my own language, particularly someone so silent. But beyond that, no. She just came from so many books we discussed, and she came from films we discussed, and she came from people that we knew, and she came from someone I hadn’t seen for a couple of years. She just felt very easy and that’s the way I like it: to feel you’re going towards something that feels actually very familiar and very comfortable. DeaDline: Did winning the Oscar for Michael Clayton open up new doors for you? SWinTon: It is possible that I Am Love would not have had the distribution it had, and would not have had the welcome that it had, without the imprimatur of that. If it helped, I’m really grateful. It then feels to me like a fantastic use of a prize.
FOR YOUR CONSIDERATION BEST PICTURE BEST DIRECTOR Alejandro González Iñárritu BEST ACTOR Javier Bardem BEST ORIGINAL SCREENPLAY Alejandro González Iñárritu, Armando Bo, Nicolás Giacobone www.roadsideattractionsawards.com “A near perfect fi lm.” -Chris Jones, ESQUIRE WINNER BEST ACTOR JAVIER BARDEM CANNES FILM FESTIVAL BEST FOREIGN LANGUAGE FILM Offi cial Entry – Mexico “AN AMAZING MOVIE. Its beauty can’t be denied. Javier Bardem in one of his best performances yet.” - Sasha Stone, AWARDS DAILY “The best fi lm Iñárritu has ever made.” - Michael Giltz, THE HUFFINGTON POST
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Page 11 and 12: doing The Perfect Storm, portraying
Page 13 and 14: For your consideration Best Animate
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