Cate Blanchett, Kerry Washington, and Eva Longoria were among the stars honoured at Women In Film's Crystal + Lucy Awards on Wednesday (11Jun14). Blanchett was feted with the Crystal Award for ladies who have helped expand the role of women in the entertainment industry while Scandal star Washington was presented with the Lucy Award for Innovation in Television by the show's creator Shonda Rhimes.
The Australian Oscar winner used her acceptance speech to urge her peers to take chances, saying, "A creative career is only as good as the risks you take with it." Washington told the audience, "When we step up for ourselves, we create opportunity, whether it's because we inspire other people or we employ other people" and later took to Twitter.com, writing, "What an inspiring night! THANK U (you) #wif - Women In Film! Was an honor 2 (to) be part of tonights (sic) celebration."
Desperate Housewives star Longoria was presented with Norma Zarky Humanitarian award and Rose Byrne scooped the MAXMARA Face of the Future trophy. Frozen director Jennifer Lee was honoured with the Dorothy Arzner Directors award and was presented with the prize by the film's star, Kristen Bell. The gongs were handed out at a ceremony at Los Angeles' Hyatt Regency Century Plaza Hotel.
Cate Blanchett, Eva Longoria and Frozen director Jennifer Lee are among the women who will be honoured at the 2014 Crystal + Lucy Awards. The trio will be joined by Australian actress Rose Byrne and Kerry Washington at the Women in Film gala in June (14).
The awards are handed to "creative, groundbreaking women who lead by example and excel at their chosen fields in the entertainment industry".
Blanchett will follow her second Oscar win with the Crystal Award for Excellence in Film, while Scandal star Washington will receive the Lucy Award for Excellence in Television.
Byrne will be honoured with the Face of the Future award, Lee has been chosen as the Dorothy Arzner Directors Award recipient and Longoria will be recognised with the Norma Zarky Humanitarian Award.
The event will take place in Los Angeles.
The Rain Man legend was the subject of a Life in Pictures retrospective in London, and he became teary as he recalled struggling through his own marriage breakdown while considering a role in the 1979 divorce drama Kramer vs. Kramer.
He told the audience, "I was getting divorced (from first wife Anne Byrne), I'd been partying with drugs and it depleted me in every way."
Hoffman almost refused to meet producer Stanley Jaffe and director/writer Bob Benton because he didn't like the script - and he only joined the cast after it was rewritten.
He adds, "We finished and I got offered a writing credit and stupidly turned it down, but it was a liberating experience for me to push all the stuff I was going through out there."
The 75 year old was moved to tears once again when he later began discussing the movie's child star Justin Henry, who landed the part with no acting experience.
Hoffman explains, "I later discovered he was coming from a home that was breaking up. There was a moment during a break in the testing when I thought, this is the right kid, he's my son."
However, the mood of the evening lightened as Hoffman spoke about his 1982 cross-dressing comedy Tootsie, in which he played an unemployed actor who auditions as a woman to land a role in a soap opera.
Hoffman recalled meeting Jon Voight in a restaurant and tricking his Midnight Cowboy co-star while he was in character: "I went over to him as Dorothy and had an entire conversation about how much I liked his work and managed to fool him."
Previous honourees of the BAFTA Life In Pictures event include Will Ferrell, Kenneth Branagh, Charlize Theron and Colin Firth.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.