"So, ladies and gentlemen, if I say I'm an oil man, you got to agree."

Some will argue that There Will Be Blood should have taken home more Oscars; how it was not only a better film than No Country for Old Men, but a more relevant one -- what with its themes of religion and greed. But it's probably best not to think about such things. We're lucky to have received two of this century's greatest films in one year, and each will be remembered for decades to come. With There Will Be Blood, the brilliant Paul Thomas Anderson has given us his American epic, set in California at the turn of the 20th century. Daniel Day-Lewis (who deserves every inch of that Best Actor Oscar) plays a hungry oil prospector who'll stop at nothing (and sacrifice almost everything) to build an empire of his own. He'll soon find out that, while he most certainly has enemies, the greatest evil is not buried deep below the ground -- it's, instead, deep within him.

Bahahahahahaha. Yesterday was chock full of huge, monumental movie news. A disproportionate amount of it involved the geek realm, with casting and sequel bites galore. For example, we reported that Christian Bale and Brandon Routh were headlining the new Justice League movie as Batman and Superman. JoBlo insisted that all the rumors are true and Jake Gyllenhaal is replacing Tobey Maguire in the role of Spider-Man. (On the other hand, maybe it's Nicholas Brendon, or -- dear god no -- Jason Biggs.) From GFR, we learned that the Cloverfield monster was going to be putting in an appearance in Transformers 2. IGN even created an entire fake trailer for The Legend of Zelda movie! In slightly less shocking news, it turned out that Iron Man might get an April release date after all, depending on where you live.

But my favorite piece of news announced yesterday? Slashfilm's bombshell that Daniel Day-Lewis was headlining a Peter Weir remake of Werner Herzog's Fitzcarraldo -- the one about a man who decides to build an opera house in the Peruvian jungle. This version, however, will be set 50 years in the future and feature a soundtrack by Mick Jagger. Weird, subtle, and just plausible enough (at least until you get to the futuristic setting) to make you frown before remembering what day it is. (After reading the first paragraph, I did more than frown: I rushed to start a Cinematical post!) Well-played, gentlemen.

One of the best moments in There Will Be Blood comes when oilman-misanthrope Daniel Plainview first meets preacher Eli Sunday, after having already met and done a business deal with Eli's identical twin brother Paul earlier in the film. The camera lingers on Plainview's face as he examines Eli, trying to ascertain whether this is some kind of scam and if the person he's talking to is really Paul, passing himself off as the new brother for some nefarious reason. Some have speculated that this scene and the whole identical twin device P.T. Anderson uses has a lot of resonance because it shows what a disadvantage Plainview typically finds himself in when trying to know the mind of another person. (It's a problem that he deals with again in the film when a man arrives claiming to be his long-lost brother.) But it seems that we may be reading too much into it -- in a new half-hour Fresh Air interview, Paul Dano, who plays both Eli and Paul, says his casting in the roles of both brothers had a much more mundane genesis -- another actor was originally cast as Eli and then let go.

"Somebody else was cast in that role and replaced with you?" the NPR interviewer asks Dano, to which he replies "Yeah. For what reason I'm not sure. I don't care to know, or I didn't want to know." Dano says that the unknown actor had already been filming for a short while when Anderson approached him about taking over the role and he had less than a week to prepare for the part. "We looked at some scenes and talked about the part a little bit and he said 'I'd like you to do this part' and they'd been filming for a little bit already, so I said 'Okay, that's great. It's a little bit of a shock.' And he said 'And why don't you still play the Paul part and we'll just make them twins?'"

Dano also talks at length about how he views Eli, saying that "he's somebody who I think made himself up. He invented himself. I think he's quite a bit of an actor. He created this persona at a very young age once he saw what religion and his curiosity with religion could do for him." If you want to hear the rest of the interview, and I recommend it, get yourself to NPR and click on the recent Fresh Air programs.

Best Actor (Drama)

Nominees:

George Clooney -- Michael Clayton

Daniel Day-Lewis -- There Will Be Blood

James McAvoy - Atonement

Viggo Mortensen -- Eastern Promises

Denzel Washington --American Gangster

Predicted Winner: Daniel Day-Lewis -- There Will Be Blood

Not much of a race here. The Cinematical staff (indeed much of the film-watching world in general) thinks that Mr. Day-Lewis is a dead-solid lock to win the Globe, the Oscar, and even the vaunted People's Choice. (As if "the people" want to see a three-hour movie about oil.) Even if There Will Be Blood (somehow) leaves you cold, there's no denying that DDL's performance is a thing of thespianic beauty.

Now it's your turn to vote ...

Unlike the film critics in American cities, who this week have been naming their year-end award winners, the folks across the pond are waiting until February 8 to reveal their favorites. But they have at least announced the nominees for their awards, many of which distinguish the importance of British filmmaking. See, the London Film Critics' Circle gives two separate awards each for the categories of best film, best director, actor and actress, so that one award is given to the best British film, director, actor and actress. Sometimes this leads to an overlap, as in the case of last year, when both Helen Mirren and Judi Dench were nominated for best actress and best British actress and The Queen was nominated for best film and best British film.

This year's nominees don't appear to have that overlap problem (see the full list here), which could very well mean the Circle has changed its rules since last year. Either that or there really is no clear enough front-runner this year in any of those categories. Or maybe the Circle just felt there were too many non-British films, directors and performers worthy of notice and didn't need to exclude any of them just to spotlight their own movies more than necessary. The one interesting thing is that while Daniel Day Lewis could be considered a British actor, he is only nominated in the more general Best Actor category. Also, it is interesting that Paul Greengrass is nominated as best British director for The Bourne Ultimatum, a movie nominated only in the more general Best Film category.

The best thing about having the British-only categories is the recognition the LFCC gives to terrific films like Control and This is England, which aren't on the radar enough in America to be given notice here. Also, the British-only directing category allows for the general best director nominees to include other foreign (non-American) directors like Cristian Mungiu (4 Months, 3 weeks, 2 days) and Florian Henckel von Donnersmarck (The Lives of Others).

Christmas time isn't only for Santa and kidlets. In the world of cinema, some filmmakers and actors get notable awards to scatter amongst their presents, while others only get to scatter empty space and the dismal tarnish of broken dreams. As films push to get themselves into the running before the ball drops, critics have started to share their picks. So, while we were all enjoying our weekends, the Los Angeles, Boston, New York, and D.C. critics were picking their best films of the year. B-town was all over a certain country for old folks, while the others were crazy for a little blood. Many of the critics picked the same films, so peruse this list and weigh in on who/what they're all forgetting about.

Here are the lucky winners, all courtesy of Variety:

Los Angeles

Paul Thomas Anderson was victorious in LaLa land, with his most recent film, There Will Be Blood -- the story of a Texan prospector during the early days of the oil business. The film nabbed the best picture slot, best director, best actor for Daniel Day Lewis, best production design for Jack Fisk, and then runner-up slots for screenplay, music, and cinematography.

Julian Schnabel also made a solid showing with The Diving Bell and the Butterfly, the story about French Elle EIC Jean-Dominique Bauby and the stroke that changed his life. The film won only the award for best cinematography for Janusz Kaminski, but it received some runner-up nods as well -- best picture, director, and foreign language film.

Other winners include: La Vie en rose, 4 Months, 3 Weeks, 2 Days, and a tie between Ratatouille and Persepolis for best animated feature.

Oh sure, we've got Paul Thomas Anderson all figured out by now. After four very fine films -- Hard Eight, Boogie Nights, Magnolia and Punch-Drunk Love -- we've surely got the filmmaker's number by now: He makes strangely sweet and slyly witty ensemble pieces, right? So then what's he doing making an adaptation of Upton Sinclair's massive tome Oil!? A straight-faced period piece in which the most recognizable names are Daniel Day-Lewis and Paul Dano? This is not what we've come to expect from good ol' Paul T. Anderson!

And I suppose that's what makes the director's There Will Be Blood such a stunning surprise. It's more than a "departure" for the director; it's a monumental display of "evolution" that'll wow the established fans and impress a helluva lot more new ones. This is a dark, compelling and effortlessly engrossing film, one bolstered by a lead performance that ranks among the very best of Mr. Day-Lewis' impressive career.

The film will most often be compared to Orson Welles' Citizen Kane, so I guess I can get the ball rolling on that particular crutch -- but it's also an apt comparison. Which is not to say that There Will Be Blood will necessarily be dissected and revered 75 years from now, but the stories are certainly similar enough. Anderson's film opens with a long passage of dialog-free footage: A lone man hacks his way through a mine using a pick-ax and some dynamite. The year is 1898, and Daniel Plainview is about to become an oil man. We witness the man's unwavering resolve as he pulls himself from a vertical shaft after breaking his leg in a fall -- and if you think that accomplishment displayed some tenacity ... just wait.

Sometimes you just have a good feeling about a movie, and for me, There Will be Blood is one of those movies. Slashfilm is now hosting the first teaser poster for the period drama. But, that's not all, the P.T. Anderson fan site Red Vines and Cigarettes also has a new theatrical trailer and *news of a preview screening showcasing the first 20 minutes of the film -- and there are plenty of spoilers, so don't say I didn't warn you. Based on Oil!, Upton Sinclair's novel about a father and son in the oil business, There Will be Blood stars Daniel Day Lewis as a heartless oil prospector in turn-of-the-century Texas. Paul Dano (Little Miss Sunshine) stars as a fervent preacher who wins over the townspeople just as Lewis is alienating everyone around him.

If you don't count P.T. Anderson's 'ghost directing' Robert Altman's Prairie Home Companion, Blood will be Anderson's first film since 2002's Punch Drunk Love with Adam Sandler. Back in June, I reported that the first teaser for the film had been released online, and luckily, after watching it, I feel justified in my good feelings about this flick. Sure, it has a Terrence Malick vibe, but I have every faith in Anderson as a director. Especially since the relatively small amount of films he has made rank as some of my favorites of all time. Blood was originally slated to be released in November, but has since been moved back to December 26th. So while fans (myself included) are going to have to wait just a little while longer, it makes perfect sense if you think about it. What better time to release a film about greed and faith than during the Christmas holidays?

*Correction: Spout Blog originally broke the news of the preview screening.

[via Solace in Cinema]

Every year at Telluride, they do three Tributes. In recent years, at least, they've tended to have one film person who's well-known in his or her own country, but not widely known and appreciated, one film person who is well-known pretty much everywhere, and one person who's made a significant contribution to film, even though you may not recognize their name. This year's tributes are Indian filmmaker Shyam Benegal (first category), French composer Michel Legrand, and actor Daniel Day-Lewis, whose tribute was held tonight at the Sheridan Opera House.

Thankfully, I had a Patron Pass to get into it, because the venue only holds 250, and between the patrons and priority line (for the Sheridan, every pass has two numbers shaded in that correspond to the film's program numbers -- a shaded number means you get priority seating there for that particular show) the house was packed. I doubt very much that any passholders who weren't lucky enough to have the number "1" shaded on their passes made it into this event.

Daniel Day-Lewis doesn't do a lot of interviews, so the chance to see him in person and hear him speak was too good to resist. I lucked out and got a perfect seat on the floor, thanks to a fellow journalist who had an extra seat next to him that he very kindly offered to me. The evening kicked off (after an intro by fest co-director Gary Meyer -- who, like all the staff at this fest, is so nice and engaging, you just want to sit down and hang out with him over coffee) with a one-hour compilation of clips from Day-Lewis' impressive filmography, from his uncredited role as a child vandal in Sunday Bloody Sunday (1971) to The Ballad of Jack and Rose (2005), which his wife, Rebecca Miller, wrote and directed. The clips were nicely edited, showing Day-Lewis' range as an actor and the wide variety of roles he's chosen throughout his career.

More on the tribute, plus some pics, after the jump ...

I'll admit that I am a jaded enough movie-goer that very few bits of news manage to make me giddy with anticipation, but the Paul Thomas Anderson fansite Cigarettes and Red Vines has made me giddy as a fanboy on the opening day of ComiCon. The site posted a "spoilerish " photo (it's only fair to warn you) from the set of his latest movie There Will Be Blood -- one of the first photos to emerge since the production was announced. The film is based on the Upton Sinclair book Oil!, and is the story of the early days of the oil business starring Daniel Day-Lewis as a prospector in rural Texas. Anderson wrote the screenplay for the film, and there is talk of release in October of this year, which would put it right in the wheelhouse for Oscar contention, if it's as good as we hope it will be.

Usually whenever Anderson's name is mentioned, it's in connection to the other directors who just don't produce the amount of films they should (other nominees include Wes Anderson, David Fincher, David O. Russell, and Spike Jonze.) Considering the amount of truly awful movies I see, I'm just grateful Anderson's making one at all. The few he has made so far are among my favorites, so I really can't complain. Throw Daniel Day-Lewis into the mix and it's like Christmas in July -- or I guess in this case, October.