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...screenplay for The Hurt Locker; as one of the film's producers, he's up for Best Picture too. Boal spoke with TIME's Radhika Jones in Los Angeles about the genesis of his script, the meaning of the phrase the hurt locker and why it's good to kill off famous people in your movie...

Author: /time Magazine | Title: Oscar Week: Hurt Locker Writer Mark Boal | 3/4/2010 | See Source »

...Pearce scene was there from the beginning. That was actually always designed to be cast by a name. This is not a technique that we invented - Hitchcock is famous for it, in Psycho - but that was always the plan. You kill the famous person and it's very destabilizing. You think the movie is about the first person you see, and then they die, and 10 minutes in, you have the same sense of unpredictability that the other soldiers have. You identify with them, but you're not really sure who's the most valuable to the story, because...

Author: /time Magazine | Title: Oscar Week: Hurt Locker Writer Mark Boal | 3/4/2010 | See Source »

...treatments in the hospital and resorts to robbing the graves of dead Civil War officers in order to make ends meet. In “Lincolnites,” an expectant mother fends for herself on a homestead during the Civil War and is forced to kill and bury a Confederate soldier in order to save herself...

Author: By Chris A. Henderson, CONTRIBUTING WRITER | Title: Rash Reveals Appalachian Roots in 'Burning Bright' | 3/2/2010 | See Source »

...though not necessarily unpredictably—they serve to emphasize the remote helplessness of the victim. In Manchuria, the Japanese cut off the eyelids of one of Sylvie’s companions in order to force him watch her be raped. Years later, in Korea, Hector is commanded to kill a tortured prisoner of war, but cannot bring himself to pull the trigger. The young bugler, legs broken beneath him, grabs a grenade from Hector’s belt, but allows Hector to flee the area before removing the pin. Lee plays on the dichotomy between the sufferer, deprived even...

Author: By Denise J. Xu, CRIMSON STAFF WRITER | Title: Love Prevails in 'Surrendered' | 3/2/2010 | See Source »

Because the protagonist, Malik El Djebena (Tahar Rahim), enters the prison at the age of nineteen after dropping out of school at eleven, the film isn’t as much a gangster picture as it is a bildungsroman. He doesn’t just learn how to kill people, or how to build a drug empire from the inside; El Djebena also learns how to read and write. Through his brief encounters on the outside, he also discovers what there is to live for in the real world...

Author: By Andrew F. Nunnelly, CRIMSON STAFF WRITER | Title: A Prophet | 3/2/2010 | See Source »

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