While my favorite part of For Your Consideration is Marilyn Hack's plastic surgery, I also love that dreaded morning when the Oscar nominations get announced. Some actors wait anxiously to hear their name announced, while others, thinking they're totally off the Academy's radar, get nods while they're snoozing. Then, to add insult to injury, the losers get tracked down for embarrassing meltdowns and awkwardness on television. It's not quite that bad in real life, but as I read the reactions of those who received Golden Globe nominations, that movie keeps popping up in my head. So, check out these reactions, courtesy of Variety:

Dudes Chewing on Their Nails Hoping to Get Nominations: Jeremy Piven & Focus Features
"I got a call around 5:30, but I was up, believe it or not." -- Piven

"I was sitting here at Focus with about 35 very happy colleagues." -- FF head James Schamus on leading the studio nominations.

Those Who Prepared Speeches: Joe Wright, Atonement & Brad Bird, Ratatouille

"I think we were, as a team, very passionate about the film and story. I don't think we looked up from the little world we created around ourselves." "You need to make all actors feel loved, respected, and supported. That applies to the 12-year-old Saoirse Ronan or a slightly-older Vanessa Redgrave. Acting is an exposing and vulnerable job. You need to make them feel safe." -- Wright -- Extra props given for use of "slightly older."

"One of the messages of the film that most critics understood was that it wasn't anti-critic, but was saying if you're a critic or artist, don't get far away from what you love, and if, as a director, if you're focused on box office or awards and not the film itself, you'll take your eye off the ball." "And most importantly, this nomination shouldn't be taken as an endorsement for rats cooking our meals for us." -- Bird

Lads and Ladies with a Little Bit of Cockiness: Craig Zadan, Hairspray & Julie Taymor, Across the Universe

"It's so interesting that a couple of years ago we were accused of bringing the musical back with Chicago, and now you have this year with Sweeney Todd, Hairspray, and Across the Universe. There was no musical for so many years, and we're so proud of what Chicago has done for the musical." -- Zadan

"It's tremendous as we weren't on the pundits lists and didn't have big ads. I feel, in a way, that we were the engine that could. People vote from their heart, and I feel very gratified." -- Taymor

More About that Damned Strike: Piven, again! & Russ Smith, Juno

"I don't know about whether or not I'll be attending because to be honest with you, I don't know a lot about the rules and limitations of what is happening. I need to look into it. Writers are kind of these unsung heroes... I hope they get what they deserve, and I'll do anything I can to help that." -- Piven

"Our hope is that there's gonna be some sort of dispensation. Every day we're hoping they work something out, but we'll have to see." -- Smith -- In other words: please end the strike, I want my big moment!!

Last week Peter Martin told us about rumors that Ang Lee might be working on a less explicit version of his NC-17-rated Lust, Caution for release in China. Now The Hollywood Reporter confirms it's true: Moviegoers in mainland China will see a version with less lust and more caution.

(With a film called Lust, Caution, and a story about cutting out the naughty parts, the headlines practically write themselves. I apologize.)

Lee's new film, which won the Golden Lion at the Venice Film Festival and is currently showing at Toronto, got its NC-17 rating for the United States a few weeks ago -- a rating he and Focus Features didn't argue with. As Monika Bartyzel reported on Aug. 24, Focus CEO James Schamus said, "When we screened the final cut of this film, we knew we weren't going to change a frame. Every moment up on that screen works and is an integral part of the emotional arc of the characters."

Well, apparently in China, about 30 minutes' worth of moments aren't quite as integral to the characters' emotional arcs. That's how much Lee has cut from the film's 156-minute running time to appease Chinese censors. (There's no rating system in China, so every film has to be generally acceptable for all audiences.) Lee reportedly has done the editing himself to maintain artistic integrity, and he's satisfied with the new version.

Which brings up a question: If the film works just as well when it's 30 minutes shorter and containing less sex and violence, why not release that version in the U.S., too, and avoid the box office death that an NC-17 rating all but ensures? I'm speaking from a purely financial standpoint. Obviously, if cutting stuff out harms the film's message or impact, leave it in and keep the rating. I suspect the film really isn't as good in its shorter form, and that Lee is doing what he has to in order to secure the lucrative Chinese box office. Sometimes you have to make tough decisions like that when art and commerce intersect.

It's no wonder the film is called A Little Game, because it's taken some strategic playing in order to get all the pieces to fit correctly. Only a few months after Focus Features lost control of the then Gabriele Muccino-directed flick -- causing Jim Carrey and Cameron Diaz to abruptly vacate their roles and abandon the project -- Focus co-chair James Schamus has convinced Ang Lee to take over for Muccino and helm the film. According to Variety, Lee will begin production on A Little Game (based on the French play A Little Game of Consequence) as soon as he's finished with Lust, Caution, his directorial follow-up to Brokeback Mountain.

A Little Game originally fell apart after Carrey and Diaz voiced concern over the pic's third act, and when a rewrite wasn't up to par, the two split -- officially squashing all hope of the duo's much talked-about reunion after first pairing up on The Mask. Following the fall out, Schamus was desperate to get this thing made, going so far as to take on the rewrite himself and, now, pulling Lee onboard for his third straight pic with Focus, and 11th collaboration with Schamus.

Plot concerns an engaged Brooklyn couple who, because of a rumor, decide to pretend they've broken up in order to see what their friends and family really think of their relationship. No word yet on whether Carrey and Diaz will return (it's highly doubtful), but I couldn't see them together in the first place. Then again, I have a hard time picturing Diaz in any role that's worth my hard-earned dollars.

Focus Features, the indie specialty unit at Universal Pictures, launched in 2002 at the Cannes Film Festival. It was helmed by James Schamus and David Linde, but now that Linde is Universal's co-chairman, all eyes are on Schamus to keep Focus in its winning streak (they received 16 Academy Award nominations and 4 wins in 2005). Schamus will not only oversee Focus' international financing and distribution channels, but also develop specialized and animated films, as well as manage Focus' genre label, Rogue Pictures.
 
As a fan of the former Good Machine, Schamus' first indie production company, I'm willing to bet that Focus will stay on top of the specialized film division market. It was with Good Machine that Ang Lee and Schamus began their successful collaborations, and that Schamus and Ted Hope set about advancing the art of international financing to fund artistically riskier films at home. Schamus, who holds a Ph.D. in Film Studies from U.C. Berkeley, appears to be a mix of scholar and savvy businessman: he's a widely published film historian and theorist, and he executive-produced several Good Machine features that won the Grand Jury Prize at the Sundance Film Festival, including Edward Burns' The Brothers McMullen, Tom Noonan's What Happened Was . . . , and Todd Haynes' Poison.