Mackenzie Siler: So who’s the lucky rebound skank?
Zach Siler: Rebound skank ?
Mackenzie Siler: Well, there’s gotta be somebody, right ?
Zach Siler: I wouldn’t say somebody. But there is sort of a project.
Mackenzie Siler: Project ?
Zach Siler: Yeah. To tell you the truth, she kind of, uh– she kind of blew me off.
Mackenzie Siler: I like her already.
Zach Siler: Well, the only thing I can figure is it’s gotta be some kind of mistake.
Mackenzie Siler: Zach, I realize it’s a difficult concept for a bitch magnet such as yourself to grasp, but did it ever occur to you to make a little effort ?
Zach Siler: What do you mean ?
Mackenzie Siler: Find out where she hangs out. Find out what she likes.
I saw The Piano for the first time about a year ago after I’d seen Campion’s most recent film Bright Star, which I unabashedly love, and decided I needed to see her “masterpiece.” While I liked Bright Star more, I think it’s mostly because of the sentiments expressed in the latter. I definitely think The Piano is one of the best films I have ever seen and Holly Hunter gives a show-stopping performance. The film won the Palme d’Or and Best Performance prizes at the 1993 Cannes Film Festival. Jane Campion became only the second woman to be nominated for the Academy Award for Best Director. The film was nominated for eight Academy Awards, winning three: Best Costume Design, Best Cinematography, Best Film Editing, Best Original Screenplay (won), Best Supporting Actress Anna Paquin (won), Best Actress Holly Hunter (won), Best Director and Best Picture. It was up against The Fugitive, In The Name of the Father, The Piano, The Remains of the Day and winner Schindler’s List.