The Art of Seda Saar

 

Seda Saar, 1 Spheres V 20 x 36 in. Mixed Media on Canvas 2019  © 2019, 2021 Seda Saar 

By Moira Cue

I never would have met Seda Saar (the second time) if I hadn’t joined the Los Angeles Art Association. I never would have joined the Los Angeles Art Association if I hadn’t been trying to help a friend, an attorney, find work with an arts-related nonprofit.

I met Peter Mays, executive director of the LAA, at the 2019 LA Art Show VIP Gala. (Peter’s impressive creds include serving as co-chair on the Education Committee for the Board of Directors for the MOCA Contemporaries.)

The lone attorney on their advisory board had just stepped down and they needed occasional help. I wound up on their email list and checked out a couple of events before I decided to join.

What stood out to me at the first LAA event I went to was that the social vibe was totally different. No social climbers or Hollywood shallow types. No one asked me “what do you do?” in a way that immediately read “what can you do for me?” Instead, I met an older gentleman who cradled his “anxiety dog,” and other introverts—people you can count on to be kind. It was truly endearing. So, when I got the call for artists, I thought, what the heck, why not?

I made it to about two LAA art events before the pandemic hit. At one event, the 2019 Open Show, I noticed one woman who caught my eye, Louisa Miller. Tall, lean, angular, with cropped hair, in her seventies, she stood statuesque, hawkishly staring at a painting. She was so immersed in the work; it was as if no one else was in the room. I immediately wanted to talk to her.

Louisa would introduce me to Frederika Roeder, the moderator for the 2020 Pasadena Critique Group. One of the best things about being in LAA is the critique groups where you get to meet with very nice people who are interested in sharing each other’s art. Our group included Louisa, a serious landscape painter; Olyessa Volk and Viktoria Romanova, both Russian immigrants with two totally unique styles; Frederika, a Southern California surfer girl down to her roots; Katherine Murray-Morse, who’d been in banking and had started painting two years prior; and Richard M. Blanchard, who also has a stunning interior finishing portfolio and celebrity clientele list (http://www.atom-zu.com/).

But THIS article is about Seda.

I first met Seda around 2012 or 2013 when she was running the MLY Gallery at the Malibu Lumberyard, which was particularly well known for a star-studded, much talked-about exhibition of a private buyer’s entire Warhol collection.

We met for the second time in Louisa’s spacious, high-ceilinged loft near a trendy Pasadena shopping district for Louisa’s critique (before Covid made in-person meetings unfeasible). Seda carried herself with confidence and authority, declaring certain paintings “successful,” and others “less successful” with an aura of finality. I was lured in by a series of works that amounted to some flirtation that Louisa had made with child-like abstraction. Everyone else was on a different wavelength. During and after the critique, I really connected with Richard and I hoped we’d become good friends.

I didn’t really start to get to know Seda until her one-person show Refractions – a Lens Through Time at the Neutra Museum Gallery (2020). She was gracious enough to make time to give me a personal tour. This was during the autumn wildfires of 2020. My friends in San Francisco and Portland filled their social media feeds with apocalyptic images of a sunless sky, a blood red moon, stories of struggling to breathe in AQI readings that were off the charts. In my own neighborhood, we were under evacuation warning. The entire city of Los Angeles was blanketed in soot and smelled like campfire. The few minutes outdoors between the car and the museum’s front door, even in a KN95, left my eyes stinging, my head pounding, and my throat sore.

 

Seda Saar, Spheres II 20 x 36 in. Mixed Media on Canvas 2019 (Private Collection San Diego) ©2019, 2021, Seda Saar. 

The Nuetra is a Silverlake nonprofit, designed by eponymous architect Richard Nuetra, renowned for his influence on Southern California modernist vis-à-vis crisp, steel and glass geometric forms. I can’t imagine a better fit for Saar’s work, which is informed by her study of interior architecture. (Saar holds a BA from London Metropolitan University.) In one area of the exhibition, near a seating area of mid-century Modern sofas and chairs, earlier, smaller, black-and-white renderings on paper of Nuetra-esque architectural forms in nature seamlessly fused Seda’s work with the museum’s purpose.

Seda’s work fits into two-dimensional and three-dimensional categories that enhance each other. For example, Saar recently won a Juror’s Award of Excellence for her sculpture, Prismatic, 2019, as part of the California Sculpture SLAM at the San Luis Obispo Museum of Art in 2020. The piece is created with acrylic plastic and mirror in a pyramid shape refracting various jewel-toned colors of light, like a prism.

 

These sculptural works dealing with geometry, color, and light refraction are plastic, three-dimensional versions of paintings and mixed media two-dimensional work that addresses the same formal concerns of space, light, and color. In both cases, one could argue that more is more, and be right; the moreness of three-dimensional objects in space versus the moreness, the meta-ness of a cosmic, or planetary schemata seen in pieces like Genesis.

But what made me excited enough to write about Seda’s work was the added insight that I gained through this private touring.

Seda Saar, Prismatic 12 x 12 x 18 in. Acrylic and Mirror Sculpture, ©2021, Seda Saar

Here’s where I disclose my biases: I not only write about art, but I make art too. And while I have gone through phases like any artist who has been working several decades, my own work never relies on draftsman’s tools or clean lines. I love work that is childlike, expressionistic, and primitive. Typically, or historically, I’ve found work that was very crisp less interesting. The first exception to this generalization was Agnes Martin; had I not seen the work in person at LACMA, however, its delicacy would have escaped me. The work of Donald Judd’s and Carl Andres of this world still leaves me cold, while the work of the Cy Twomblys and Howard Hodgkins makes my heart sing.

As with Martin and other women working in an oeuvre descended from minimalism or post-minimalism, post-identity, and masculinity, a closer inspection of Saar’s lines and glyphs reveals their fail to establish a machine-like detachment. Her lush, indulgent use of color breaks all the rules of “seriousness” more generally associated with East Coast, rather than West Coast, artists.

And yet I had to get over my own bias of–oh this is geometry, so this is not about nature. And when we talked about the fires, global warming, and cycles of nature, and she insisted that the work was in fact, about nature, my first reaction was dismissive–that she just didn’t know how to talk about her work.

And that’s when the interesting thing happened. As I mentioned, during this discussion the whole city was blanketed in smoke. I’ve lived through fire seasons before, but nothing like 2020. The fires of 2020 taught me how primordial our fear of fire is. Because my reaction was physical and ancient: the one thing we fear as animals is fire, and the one thing that makes us human is that we tamed fire. But the animal fear is deep inside of us, ready to hatch, ready to return us to our instincts: RUN! And a few days later, I would; albeit on an airplane, rather than with my two legs.

When Seda started to talk about chakras, my chakra energy was off, I was in fear mode (well duh, we were worried our house was going to burn down). Honestly, I forget which chakra was the culprit. But she told me that she studied shamanism in Peru, and she decided to walk me through a series of breaths, orations, and gestures intended to rebalance my chakras. I’m not sure I “believe” in chakras, but I’m pretty accommodating, so I went along with it. I don’t know if it changed my chakras or not. I know that something transformed in Seda while she was acting as a shamanic leader. Her voice changed, her presence changed, and we addressed the directions and certain elements of nature. At one point I closed my eyes.

And when it was over, and I opened my eyes, for a second her work came to life. It was no longer just formalism, or what I initially saw as a confused hodgepodge of various movements and thoughts that didn’t “line up” with the finished product. (Why does she keep talking about nature when these are so—quasi hard edge?) She had had a hard time explaining the work. (And why should artists be expected to write their own jingoistic marketing blurbs is beyond me.) But experiencing the work was totally different. I realized that Nature—the nature that I see as wild, as expressionistic, as opposed to geometric forms and straight lines—that Nature at the macro level (galaxies) and micro level (cells) can be very precise, very linear, very geometric.

Seda Saar, Genesis 36 x 48 in. Mixed Media on Canvas 2020 ©2020, 2021, Seda Saar 

And so, I had a shamanic experience of opening myself to another vision, another version, of reality. While it required the physical presence of the artist to pull it off, it is, undoubtedly, the highest and rarest achievement in art to break through unseen preconceptions and pull the viewer into the world of the artist.

Moira Cue is an award winning multi-media artist and art critic for The Hollywood Sentinel.  She attended the Masters Program of the School of the Art Institute of Chicago.  Learn more about her and contact the author at www.MoiraCue.com 

Textual content is  © 2021, Hollywood Sentinel. Images provided courtesy of the artist.  All world rights reserved.

Success In Hollywood

Success in any endeavor, including Hollywood, entails 4 things.

1, Knowing what you want

2, Knowing why you want it

3, Knowing how to get it, and

4, Knowing where you are now

This seems simple enough, but remarkably, most people don’t follow this simple formula or know it. Having seen over ten thousand models and actors in-person, and spoken with over fifty thousand by phone over the years, we have learned some things about artists goals. Most artists say they want to be an actor or model or band, singer, producer, writer, etc., but don’t know the steps involved.

Let’s break them down one by one.

1, Knowing what you want includes knowing what you do not want. What could you know you do not want? You may want to be an actor or actress. OK, what is wrong with that? The first problem is WANTING it. When you want something, you keep it far away from you. Don’t want to be something you are not. Just BE it. In other words, stop saying that you want to be a director, just direct. Shoot something—anything—even on your phone, and then start CALLING yourself a director. Be what you want to be. In present time. When you refer to yourself as that which you want to be, then you are no longer searching in future tense. You now ARE, in the present. And when you treat yourself as you want to be, then others will start to as well. And, we generally behave ourselves in the manner in which others treat us.

Now that we have the covered, what KIND of actor, director, artist, or person do you want to be? A poor one? One who no one knows outside of your close friends and family? Or a world famous one? Do you want to be famous and then die broke and poor and miserable? Winning no awards, and everyone forgets your name? Do you want to be famous for anything? Even robbing a bank? Or do you want to a top, respected, award winning star, respected and admired widely around the world, forever?

The problem with most people, including artists when it comes to reaching their goals, is that they don’t have clearly defined goals.

You MUST clearly define your goal.

And by realizing what you do NOT want, you will better focus on what you DO want. So, write out your goal. Do it NOW. What do you want? Write down your goals and review them daily, before bed, and when you wake up and throughout the day.

2, WHY do you want it?

Do you want to be a famous singer because you want to be rich? That’s the wrong reason if that is the ONLY reason. Why, is because there are far easier ways to get rich than being an entertainer. Do you want to a famous director because you love a film that changed your life and you think it looks easy and fun? This also may not be the right reason. Find the reason WHY you want what you want, and make sure that it is stronger than anything you can imagine doing. You must be hugely passionate about it.

3, Now, how do you get it?

One simple method to get what you want, is to observe the paths of others in your chosen field, and see how they got what it is YOU want. Certainly, not all people are the same and thus not all paths are the same, but you may find some similarities—some clues of direction that you too can workably follow. This means—study the successful, and also get a mentor. Get someone that will teach and guide you, and hold you accountable to your goals. It has never been easier to get free or low cost education, training, or mentorship from the biggest, richest, most famous, and most talent people in entertainment than now.

If you are seeking to prosper in any area of the arts to a higher position than you are now, and you have not signed up for Master Class, what are you waiting for? You would be kind of crazy not to in my opinion. Natalie Portman teaching acting?! Martin Scorsese, Jody Foster, and Spike Lee teaching filmmaking?! Alicia Keys and St. Vincent teaching music?! Seriously?! Master Class is a GOLD MINE of information from the top of the top. And it’s inexpensive. And no, they are NOT paying me!

4, Know where you are now.

This is important to note, because most people aspiring to be great in Hollywood do not know where they are now. They are either stuck in the past, as in past mistakes and hang ups, or they are stuck in the future, as in—they think they are a star NOW, when they are nothing of the sort. They may be good at dreaming and playing make-believe of what they want and where they want to be, but they get confused and start believing that they really ARE as great as they want to be. And then when Hollywood—meaning the agents, managers, casting directors, or others don’t agree that they are not yet ready to be a star, or not talented enough—they go ballistic and become verbally abusive, or start slandering or libeling those in the industry that don’t share their opinion of their greatness. Or they have meltdown and crawl back to wherever it is they came from, forever scarred and dejected. I’ve seen this all play out, again and again. Don’t let this be you.

Know WHERE you are now. Be brutally honest with yourself. But then—forgive yourself for whatever it is you think you did wrong. And move on to make yourself better and better day by day.

A good idea is to at times, operate just a few minutes in the future.

In other words, instead of being in your head stuck in the past or stuck in your future idea of yourself a year from now, operate with your mindset just a few minutes ahead, so that you are envisioning what you want minutes from now, just ahead of present time. In this manner, you will be generally in the here and now when it comes to your goals, but will be operating slightly ahead of the curve, so that your vision helps to manifest your present reality. With intention, and without delusion.

For example, lets say you are calling up a top manager whose phone number you just discovered, and you want to ask them to represent yourself. You have read all about them, got the name of the CEO written down, researched him or her, and are now reading to call. Instead of worrying about whether or not they will take your call or reject you, you are instead “predicting” seconds into each moment of the future, exactly what will happen. Your thoughts therefore should be something like this, “They are going to answer and take my call now. They are going to put me right through to the CEO. They are taking my call. They like me. We are getting along so well. I made them laugh. They are interested in me. They are going to look at my reel and meet me. They are signing me!” Your talk to your self should be like this ALL the time. Words and thoughts are the precursor to actions, and therefore they are POWERFUL. Use your words and your thoughts wisely! Bless yourself, don’t curse yourself! PREDICT the future you want to create, and speak of it happening in the present tense. What we think and expect is often what we create into existence.

Remember, you are your greatest enemy in Hollywood, and the greatest enemy to your success—or—your best friend and your best helper.

Are you going to be your best friend, or your best enemy? You know what you need to choose. So do it now.

I’m not talking about sports games, or only one position that is open and only decided by one person. But generally speaking, in terms of the overall goals for yourself, no one has the power to make you win or lose, to succeed or fail. Only YOU do. There are enough people on planet Earth to help you reach the highest goals you have envisioned for yourself. You do not need a million people to help you. You do not even need a thousand, or a hundred people to help you. You only need one. It’s not a matter of CAN you succeed, it is a matter of WHEN. And that when is up to you. When YOU are ready, then you will.

I hope this has helped you.

For answers to specific questions you may have, contact us here at the front of this site, or below, and your question may be answered and published here in our next or future issue, for the world to see.

Note: The offices of Bruce Edwin and his affiliated companies do NOT accept unsolicited queries for screenplays or stories.

The Office of Bruce Edwin: Tel: 310-226-7176

This content is ©2021, Bruce Edwin Productions, Hollywood Sentinel, all world rights reserved.

 

 

 

93rd Oscars® Nominations Announced

 Actor-producer Priyanka Chopra Jonas and singer, songwriter and actor Nick Jonas announced the 93rd Oscars® nominations today (March 15), live from London.

Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and International Feature Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

Active members of the Academy are eligible to vote for the winners in all 23 categories beginning Thursday, April 15, through Tuesday, April 20.

The 93rd Oscars will be held on Sunday, April 25, 2021, at Union Station Los Angeles and the Dolby® Theatre at Hollywood & Highland Center® in Hollywood, and will be televised live on ABC at 8 p.m. ET/5 p.m. PT.  The Oscars also will be televised live in more than 225 countries and territories worldwide.

Nominations for the 93rd Academy Awards

Best motion picture of the year

  • “The Father” David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers
  • “Judas and the Black Messiah” Shaka King, Charles D. King and Ryan Coogler, Producers
  • “Mank” Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers
  • “Minari” Christina Oh, Producer
  • “Nomadland” Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers
  • “Promising Young Woman” Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
  • “Sound of Metal” Bert Hamelinck and Sacha Ben Harroche, Producers
  • “The Trial of the Chicago 7” Marc Platt and Stuart Besser, Producers

Best Motion Picture of the Year–Nomination Facts:

The Father (Sony Pictures Classics) – David Parfitt, Jean-Louis Livi and Philippe Carcassonne, producers – This is the second Best
Picture nomination for David Parfitt. He won an Oscar for Shakespeare in Love (1998).
This is the first nomination for both Jean-Louis Livi and Philippe Carcassonne.
Judas and the Black Messiah (Warner Bros.) – Shaka King, Charles D. King and Ryan Coogler, producers – This is the first Best
Picture nomination for all three.
Mank (Netflix) – Ceán Chaffin, Eric Roth and Douglas Urbanski, producers – This is the third Best Picture nomination for Ceán
Chaffin. Her other nominations were for The Curious Case of Benjamin Button (2008) and The Social Network (2010).
This is the first Best Picture nomination for Eric Roth.
This is the second Best Picture nomination for Douglas Urbanski. His other nomination was for Darkest Hour (2017).
Minari (A24) – Christina Oh, producer – This is her first nomination.
Nomadland (Searchlight) – Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, producers – This is the
first Best Picture nomination for Frances McDormand, Mollye Asher and Chloé Zhao.
This is the second Best Picture nomination for Peter Spears. His other nomination was for Call Me by Your Name (2017).
This is the second Best Picture nomination for Dan Janvey. His other nomination was for Beasts of the Southern Wild (2012).
Promising Young Woman (Focus Features) – Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, producers – This is
the first Best Picture nomination for all four.
Sound of Metal (Amazon Studios) – Bert Hamelinck and Sacha Ben Harroche, producers – This is the first nomination for both.
The Trial of the Chicago 7 (Netflix) – Marc Platt and Stuart Besser, producers – This is the third Best Picture nomination for Marc
Platt. His other nominations were for Bridge of Spies (2015) and La La Land (2016).
This is the first nomination for Stuart Besser.

Performance by an actor in a leading role

  • Riz Ahmed in “Sound of Metal”
  • Chadwick Boseman in “Ma Rainey’s Black Bottom”
  • Anthony Hopkins in “The Father”
  • Gary Oldman in “Mank”
  • Steven Yeun in “Minari”

Performance by an actor in a supporting role

  • Sacha Baron Cohen in “The Trial of the Chicago 7”
  • Daniel Kaluuya in “Judas and the Black Messiah”
  • Leslie Odom, Jr. in “One Night in Miami…”
  • Paul Raci in “Sound of Metal”
  • Lakeith Stanfield in “Judas and the Black Messiah”

Performance by an actress in a leading role

  • Viola Davis in “Ma Rainey’s Black Bottom”
  • Andra Day in “The United States vs. Billie Holiday”
  • Vanessa Kirby in “Pieces of a Woman”
  • Frances McDormand in “Nomadland”
  • Carey Mulligan in “Promising Young Woman”

Performance by an actress in a supporting role

  • Maria Bakalova in “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan”
  • Glenn Close in “Hillbilly Elegy”
  • Olivia Colman in “The Father”
  • Amanda Seyfried in “Mank”
  • Yuh-Jung Youn in “Minari”

Best animated feature film of the year

  • “Onward” Dan Scanlon and Kori Rae
  • “Over the Moon” Glen Keane, Gennie Rim and Peilin Chou
  • “A Shaun the Sheep Movie: Farmageddon” Richard Phelan, Will Becher and Paul Kewley
  • “Soul” Pete Docter and Dana Murray
  • “Wolfwalkers” Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants

Achievement in cinematography

  • “Judas and the Black Messiah” Sean Bobbitt
  • “Mank” Erik Messerschmidt
  • “News of the World” Dariusz Wolski
  • “Nomadland” Joshua James Richards
  • “The Trial of the Chicago 7” Phedon Papamichael

Achievement in costume design

  • “Emma” Alexandra Byrne
  • “Ma Rainey’s Black Bottom” Ann Roth
  • “Mank” Trish Summerville
  • “Mulan” Bina Daigeler
  • “Pinocchio” Massimo Cantini Parrini

Achievement in directing

  • “Another Round” Thomas Vinterberg
  • “Mank” David Fincher
  • “Minari” Lee Isaac Chung
  • “Nomadland” Chloé Zhao
  • “Promising Young Woman” Emerald Fennell

Best documentary feature

  • “Collective” Alexander Nanau and Bianca Oana
  • “Crip Camp” Nicole Newnham, Jim LeBrecht and Sara Bolder
  • “The Mole Agent” Maite Alberdi and Marcela Santibáñez
  • “My Octopus Teacher” Pippa Ehrlich, James Reed and Craig Foster
  • “Time” Garrett Bradley, Lauren Domino and Kellen Quinn

Best documentary short subject

  • “Colette” Anthony Giacchino and Alice Doyard
  • “A Concerto Is a Conversation” Ben Proudfoot and Kris Bowers
  • “Do Not Split” Anders Hammer and Charlotte Cook
  • “Hunger Ward” Skye Fitzgerald and Michael Scheuerman
  • “A Love Song for Latasha” Sophia Nahli Allison and Janice Duncan

Achievement in film editing

  • “The Father” Yorgos Lamprinos
  • “Nomadland” Chloé Zhao
  • “Promising Young Woman” Frédéric Thoraval
  • “Sound of Metal” Mikkel E. G. Nielsen
  • “The Trial of the Chicago 7” Alan Baumgarten

Best international feature film of the year

  • “Another Round” Denmark
  • “Better Days” Hong Kong
  • “Collective” Romania
  • “The Man Who Sold His Skin” Tunisia
  • “Quo Vadis, Aida?” Bosnia and Herzegovina

Achievement in makeup and hairstyling

  • “Emma” Marese Langan, Laura Allen and Claudia Stolze
  • “Hillbilly Elegy” Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
  • “Ma Rainey’s Black Bottom” Sergio Lopez-Rivera, Mia Neal and Jamika Wilson
  • “Mank” Gigi Williams, Kimberley Spiteri and Colleen LaBaff
  • “Pinocchio” Mark Coulier, Dalia Colli and Francesco Pegoretti

Achievement in music written for motion pictures (Original score)

  • “Da 5 Bloods” Terence Blanchard
  • “Mank” Trent Reznor and Atticus Ross
  • “Minari” Emile Mosseri
  • “News of the World” James Newton Howard
  • “Soul” Trent Reznor, Atticus Ross and Jon Batiste

Achievement in music written for motion pictures (Original song)

  • “Fight For You” from “Judas and the Black Messiah”
    Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
  • “Hear My Voice” from “The Trial of the Chicago 7”
    Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
  • “Husavik” from “Eurovision Song Contest: The Story of Fire Saga”
    Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
  • “Io Sì (Seen)” from “The Life Ahead (La Vita Davanti a Se)”
    Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
  • “Speak Now” from “One Night in Miami…”
    Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

Achievement in production design

  • “The Father” Production Design: Peter Francis; Set Decoration: Cathy Featherstone
  • “Ma Rainey’s Black Bottom” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
  • “Mank” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
  • “News of the World” Production Design: David Crank; Set Decoration: Elizabeth Keenan
  • “Tenet” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

Best animated short film

  • “Burrow” Madeline Sharafian and Michael Capbarat
  • “Genius Loci” Adrien Mérigeau and Amaury Ovise
  • “If Anything Happens I Love You” Will McCormack and Michael Govier
  • “Opera” Erick Oh
  • “Yes-People” Gísli Darri Halldórsson and Arnar Gunnarsson

Best live action short film

  • “Feeling Through” Doug Roland and Susan Ruzenski
  • “The Letter Room” Elvira Lind and Sofia Sondervan
  • “The Present” Farah Nabulsi
  • “Two Distant Strangers” Travon Free and Martin Desmond Roe
  • “White Eye” Tomer Shushan and Shira Hochman

Achievement in sound

  • “Greyhound” Warren Shaw, Michael Minkler, Beau Borders and David Wyman
  • “Mank” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
  • “News of the World” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
  • “Soul” Ren Klyce, Coya Elliott and David Parker
  • “Sound of Metal” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh

Achievement in visual effects

  • “Love and Monsters” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
  • “The Midnight Sky” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
  • “Mulan” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
  • “The One and Only Ivan” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
  • “Tenet” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher

Adapted screenplay

  • “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan” Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
  • “The Father” Screenplay by Christopher Hampton and Florian Zeller
  • “Nomadland” Written for the screen by Chloé Zhao
  • “One Night in Miami…” Screenplay by Kemp Powers
  • “The White Tigers” Written for the screen by Ramin Bahrani

Original screenplay

  • “Judas and the Black Messiah” Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
  • “Minari” Written by Lee Isaac Chung
  • “Promising Young Woman” Written by Emerald Fennell
  • “Sound of Metal” Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance
  • “The Trial of the Chicago 7” Written by Aaron Sorkin

ABOUT THE ACADEMY

The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures.

For a complete list of nominees, visit the official Oscars website, www.oscar.com.

The artwork for the Oscars® this year comprises a selection of 6 graphic artists whose work appear on the key art.  We will be featuring each artist here in upcoming issues of the Hollywood Sentinel.

This content provided with kind courtesy of The Academy of Motion Picture Arts and Sciences® ©2021 AMPAS, all rights reserved.

 

     

Chick Corea Film Tribute Out Now

Tribute Special Honoring Jazz Legend Chick Corea Out Now: Watch Below

Celebrating the life and incomparable musical genius of Chick Corea, Scientology Network presents a 3-hour tribute special, including two full-length documentaries, chronicling his legacy with highlights of his storied career and a never-before-seen performance.

The Chick Corea Tribute Special is streaming now on Scientology Network, seen here below.

Chick Corea, the iconic instrumentalist, composer and bandleader, won 23 Grammy Awards and was known for his awe-inspiring command of the piano. Having pioneered the category of jazz fusion, Chick was an astonishingly prolific composer whose ingeniousness influenced a wide range of top musicians across all genres, from Herbie Hancock and Gary Burton to Bobby McFerrin.

My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly—this has been the richness of my life.” —Chick Corea

The 3-hour tribute special features:

Chick Corea: In the Mind of a MasterA one-of-a-kind experience documenting the creative process of Chick Corea as he writes, arranges and records Antidote, the album that earned him his 23rd Grammy Award.

The Musician—A feature-length documentary exploring Chick Corea’s legendary month-long set of performances in the epicenter of the jazz universe, the Blue Note Jazz Club in New York City. The film captures the essence of the maestro and Chick’s profound influence on some of the musical giants who join him onstage.

“Future Sweet”—Chick Corea teams up with instrumental virtuosos Béla Fleck on banjo, Vinnie Colaiuta on drums and Carlitos Del Puerto on bass on his never-before-released song, “Future Sweet.” In his inimitable style, Chick takes us on a musical journey where the final destination is impossible to predict but always a delightful adventure to experience when the maestro leads the way. Watch it here:

Both Chick’s approach to creating music and how he handled life left an indelible mark on his friends and fellow musicians he performed with.

Spanish jazz musician Jorge Pardo says in The Musician, “He’s always eliminated barriers. I think he’s a little bit like Miles [Davis] in that regard, that, you know, it’s just music. His energy is amazing. And it’s like this momentum.”

“The thing that I like, working with Chick, probably the most is how music unfolds before our eyes and before our ears, you know? We’re all experiencing this music at the same time, simultaneously. Everyone, whether you’re participating in the music, if you’re just a passive listener and listening to it, we’re all discovering this music at the same time,” said Bobby McFerrin in the documentary.

Grammy Award winner Rubén Blades thanked Chick Corea in an interview after recording and collaborating on Antidote, “Thank you for allowing me the opportunity to learn and to leave my comfort zone and come to a different area of music. Thank you for the respect and for all your kindness, actually.”

Watch the Chick Corea Tribute Special at chickcoreatribute.tv

Broadcast from Scientology Media Productions, the Church’s global media center in Los Angeles, the Scientology Network is available on DIRECTV Channel 320 and can be streamed at scientology.tv, on mobile apps and via the Roku, Amazon Fire and Apple TV platforms.

Photographic, motion picture, and textual contents on this page are © 2021, Church of Scientology International. All rights reserved.  Used with kind courtesy of the Scientology Network and the Church of Scientology International.

Chick Corea: Tribute by Jim Meskimen

Chick Corea, Jim Meskimen, and Gayle Moran Corea backstage in Clearwater, Florida. (image used with kind courtesy of J. Meskimen)

In reading some of the innumerable tributes this weekend to my friend Chick Corea, I see that my own experiences with him were far from singular; like many who knew him, I was always a little surprised that he cared enough to maintain the friendship, that this legend, this artist for the ages, would benefit from spending any time with me.

We met in the late eighties, at a benefit concert we were both involved in.  He was the headliner, my friends in Interplay and I were the improv group that was also on the bill. For one unforgettable number, my friends Christopher and Sisu improvised a song accompanied by Chick.

Years later he extended an invitation for Tamra and I to see him perform at the Blue Note in New York where we were living.  We had a wonderful time there and solidified the friendship even more.

Over the years I would encounter Chick in various performing venues, where we were on the same bill for charity events and palled around backstage.  His easy and playful friendship, as well as his willingness to exchange points of view about art, about comedy and performing were always a gift to me that I treasured.

I many times had the good fortune of sitting with Chick and sharing deep conversations about art and life, the memories of which I will always cherish. Again, the idea that he would be interested in my opinions about anything was always a surprise.

I consider Chick to be the ultimate performing artist. I will marvel forever at the creativity, deliberateness and delicacy of his playing, but also at the intention; he never did anything in his art without a purpose, one statement of which was “to ease the effect of time on the audience.”

Chick could travel to any far-flung place on earth and have a wonderful effect on an audience, whether they spoke English or not. That, I realize, is a tremendous skill, born of a deep and honest desire to better the lives of strangers.

He was also a generous collaborator with other musicians, creating ensembles, bands and groups which he managed brilliantly as a leader and ensemble member.

On a night in 2013 when I was on TV performing impressions at Radio City Music Hall, immediately afterward the broadcast I looked with surprise at my phone and saw that Chick was calling me.  He congratulated me– “Man, you were really blowin’!  I was so surprised that Chick Corea even existed in the same universe as America’s Got Talent. His considerateness was very moving.

When he passed last week, it was another surprise. Like many, I only saw Chick as the immortal artist he is, not the Earth-bound physical form that he used to interact with his keyboard and bring happiness to the planet.

The great men and women we encounter in a lifetime change us forever. Often, as in the case of Chick Corea, they do it by not changing us at all, but by validating who we really are, by speaking to us as fellow artists and lending to our lives a richness that cannot be quantified.

Bon voyage, my friend.  I know the tears of loss of today will be the tears of delight in future times.

To find out more about Chick and to order some of his phenomenal recordings, please visit www.chickcorea.com

Jim Meskimen  is an award winning American actor, voice artist, impressionist, fine-artist, and comedian. Visit: https://www.JimMeskimen.com 

This content is © 2021 Jim Meskimen, all rights reserved.

Hollywood Sentinel, 2021