In fact, I have a few LEGO figurines, including a Batman LEGO that they gave me. We had it as part of the promotion. I had this weird thing where my son was like, ‘There’s my LEGO Batman.’ I said, ‘Actually it’s mine, I need to take it to the junket.’ My son looked at me like, ‘Nope. That’s mine.’ Like, ‘Don’t be insane, dad. You’re a grown-up and that’s my LEGO.’ He wins. He was right. I said, ‘All right, here, you take it.’” — Spoke to Will Arnett about “The LEGO Movie,” his adorable kids and “Arrested Development.”
This is how I react to the internet every day.
Katey Rich and David Ehlrich invited me on Fighting In The War Room. Listen!Played 0 times.
Ran out of time to do this for HuffPost Entertainment, but here are some ridiculous below-the-line snubs from the 2014 Oscar nominations:
Zimmer’s “12 Years A Slave” score had that one cue that sounded like “Inception” (and was thus inappropriate for “12 Years A Slave”), but otherwise his work for Steve McQueen’s film was perfect and heartbreaking. The one he wrote for “Rush” was even better, combining ’70s rock with classic sports themes.
BEST SCORE: Joel West, "Short Term 12"
Add Graham Reynolds for “Before Midnight” here as well. Two of the year’s best indie scores were ignored, which was expected but still disappointing.
BEST SCORE: Alex Ebert, "All Is Lost"
Edward Sharpe won a Golden Globe, but couldn’t even rate with the Academy of Motion Picture Arts & Sciences. Let’s blame Roadside Attractions and Lionsgate for this one as well.
BEST CINEMATOGRAPHY: Sean Bobbitt, “12 Years A Slave”
The year’s most discussed shot was Solomon Northup’s near-hanging in “12 Years A Slave.” To paraphrase the Beastie Boys, Sean Bobbitt fuckin’ shot that. An egregious snub, but maybe …
BEST CINEMATOGRAPHY: Sean Bobbitt, “The Place Beyond The Pines”
… there were just too many Sean Bobbitt movies. He also shot the hell out of “The Place Beyond The Pines” (the tracking shot at the beginning of the film was one of the year’s best) and “Byzantium.”
BEST CINEMATOGRAPHY: Rodrigo Prieto, “The Wolf of Wall Street”
Martin Scorsese’s film about ugly people looks beautiful thanks to Prieto, who also shot “Argo,” “Brokeback Mountain” and “The 25th Hour.”
BEST CINEMATOGRAPHY: Hoyte Van Hoytema, “Her”
Guess Van Hoytema will get a nomination next year for “Interstellar.” We knew him when. “Her” is a knockout.
BEST EDITING: Thelma Schoonmaker, “The Wolf of Wall Street”
Normally it’s Schoonmaker who gets nominated in place of Scorsese. Not this year. Did this snub happen because “The Wolf of Wall Street” is “too long”? Hope not, because that would be really dumb.
BEST MAKEUP & HAIRSTYLING: “American Hustle”
The movie is literally “Explosions at the Wig Factory” (h/t Tina Fey). No idea how this missed.
"All of our films since ‘Goodfellas,’ we are constantly being asked, ‘You know, could you make the last 20 minutes of this film like the last 20 minutes of ‘Goodfellas’?’ Marty and I look at each other and go, ‘We’re going to have to burn that film!’ The Dalai Lama escaping from Communist Chinese troops and going through the Himalayas to India is not on coke! [laughs] You can’t make the last 20 minutes of ‘Kundun’ like the last 20 minutes of ‘Goodfellas.’ Or even ‘The Aviator’ or ‘Hugo’ or ‘Shutter Island.’ It’s not applicable." — Spoke to Thelma Schoonmaker about “The Wolf of Wall Street” and “Goodfellas” and it was the best.
My foolproof/ish Oscar predictions. Get it while they’re lukewarm!
The Golden Globes don’t mean anything, but let’s pretend that they do.