“My Week With Marilyn”
A beleaguered Laurence Olivier looks at his reflection in the dressing room mirror, quoting lines from “Othello,” attempting to curb his frustration over Marilyn’s fragile work habits. When Colin suggests she’s simply scared, Olivier bellows, “We’re all scared! I’ve spent half my professional life in abject bloody terror! It’s what actors do.”
Perturbed that his trade proposal was nixed, Billy finds Peter at his cubicle. Billy badgers him. Peter good-naturedly deflects the questioning, and then it turns a little ugly. Peter is, by turns, wary, confused and a little flattered by Billy’s interest. The conversation continues in the parking garage. A friendship is born.
Tommy asks his father Paddy to train him, but on his terms, insisting it doesn’t mean anything. Paddy agrees, but turns the table on his son, laying out his own requirements — for starters, no pills. “Get this through your skull,” he tells him. “You called me. So don’t go threatening to walk out every five minutes.”
Viewed through shifting memories, 75-year-old Hal tells his son that he’s gay, that he loved his wife but now wants to explore another side of his sexuality. Hal’s emotions shift between relief, joy and determination as he proclaims, “I don’t want to be just theoretically gay. I want to do something about it.”
“Extremely Loud & Incredibly Close”
Oskar unburdens himself of his secret — he and he alone has the answering-machine messages his father left on 9/11. As he plays them for the Renter, the old man’s face registers an array of emotions — recognition, suspense, fear and, ultimately, pain for reasons both obvious and, for the time being, hidden.
Does career achievement matter?
And the nominees are:
Lead Actor | Lead Actress | Supporting Actor | Supporting Actress