I'm plotting my Oscar-week course of action. I must decide which parties and panels and events to cover, and which stories to write when and how. Last year at the Oscar red carpet bleachers I live-blogged in evening garb from my place on a bench with the likes of A.P., Reuters, LAT, and the London Daily Mail, several rows back from the front, took red carpet photos with my Nikon, scrambled down in high heels to the hedge to shoot flip cam interviews, and managed to get out with all my gear except my little black notebook, which was never found.
This year I'll send BlackBerry text to indieWIRE and they'll post them as blog posts. And then I'll go backstage and live blog from the interview room the way I did the Golden Globes, one ear on the show and another on the winners trooping through. Then to the parties. So far I plan to attend pre-Oscar fetes this week for The Cove and Precious, the Women in Film party at the Peter and Linda Guber manse, the Friday night Independent Spirit Awards (which is throwing everyone into a tizzy regarding appropriate attire for downtown night--as opposed to daytime Santa Monica beach), Saturday's foreign film panel and the Weinstein Co. party Saturday night. On Sunday after the Oscar show I hope to cover the Governor's Ball, and assume that Fox and Searchlight will have enough Avatar and Crazy Heart wins to expand their Oscar night viewing party to a proper post-Oscar fete.
UPDATE: A.P. reports from Hollywood Boulevard on the set-up for the big day. After I collected my credential at Hollywood and Highland today, I ran into last year's Oscar co-producer Bill Condon in the parking lot. Was he providing another set of eyes? He said he was taking a look at the set.
A wrap of the week's best Oscar pieces is on the jump:
I recommend buying EW's fat 20th anniversary issue, complete with Oscar picks and tons of retrospective photos.
EW looks at the Hurt Locker backlash. AOL Moviefone, The Wrap and the LAT report on the latest news of a lawsuit filed by a bomb defuser accusing writer Mark Boal, nominated for best original screenplay, of stealing his identity.
The Oscars go spiritual argues Steve Pond.