So the Screen Actors Guild Awards happened (I forgot, honestly, but thankfully some of us did not).

Robert Elswit rightly won the American Society of Cinematographers' feature film award for "There Will Be Blood."

And, oh my word: "Crash" has threatened to become a real-live TV series. On Starz (the network's first drama). The press release credits a bunch of producers, who presumably won't be fighting in court for credit. One of those producers is also the movie's writer and director, Paul Haggis. He says he wanted the thing to be on TV in the first place. ?Ironically, my initial impulse was to present the material in a format for television. I am thrilled it's coming full circle and can't wait to see how it expands and transforms.? Cable show or Sea-Monkey? You decide.

Here's Don Cheadle, one of the producers, enthusing in the press release. "This series will present an opportunity to delve into many subjects, not just race relations in LA,? said Cheadle. ?I don't think you can do 13 episodes on that subject and keep people interested. The challenge will be to craft the series characters in such a way as to get beneath the skin that supposedly differentiates them and create entertaining story lines that show the hurdles and obstacles we all struggle to overcome day to day."

Filed under: Celebrities and Controversy, Fandom

It's been just about a week since the world was hit with news of Heath Ledger's untimely death. While folks still try to come to terms with how and why he died, those who last worked with him are starting to share their thoughts. Though he wasn't the last man to direct Ledger (that was Terry Gilliam), Christopher Nolan is the director of the last feature film Ledger will ever appear in ... The Dark Knight. As he notes in an article for Newsweek, Nolan is still in the editing room, piecing together the last bits of his film with the face of a young star who died too young staring back at him each and every single day.

Nolan says, "Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren't many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them."

Nolan also shared that Heath had been working on two short films at the time of his death; that, while shooting The Dark Knight, he would bring his laptop to the set and show Nolan what he was working on. Nolan continues: "When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we'd have to show him the finished film-sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we'd done with all that he'd given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly."

Head over to Newsweek to read the entire tribute.

Saturday and Sunday I saw some pretty amazing things and the festival finally seems to hit me (besides serious lack of sleep). One of the films I saw, No Country for Old Men, by the Coen brothers was already reviewed by my colleague Denise a little while ago. I throroughly enjoyed it even though I am not a huge Coens aficionado. For me Saturday started with the French animated compilation Fear(s) of the Dark, followed by the much anticipated Iranian/French animated film Persepolis. Sunday began with the new Wes Anderson film, The Darjeeling Limited, followed by the experimental rubbish of Lucky 7 (not reviewed in this report - it was really that bad). The weekend ended with a documentary about David Lynch, simply called LYNCH (more…)

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