Oscars changes allow for double acting nominations while banning AI

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The Academy of Motion Pictures Arts and Sciences has also rewritten rules on international film eligibility The Academy of Motion Picture Arts and Sciences announced a number of major changes for the Oscars on Friday, including a new policy allowing multiple nominations for a single actor in one category, as well as barring acting and writing awards for work done by AI. According to new statutes decreed by the group’s board of governors, only performances “demonstrably performed” by humans with their consent will be eligible for acting Oscars, while only human-authored screenplays can be up for any writing awards. Continue reading... from Film | The Guardian https://ift.tt/wktSfcp via IFTTT
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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