Deadline’s Pete Hammond writes, I think, an interesting, well-examined look at Fox Searchlight’s billboard with the message “It’s time” written on it. This has become its own whisper campaign of sorts — Matt Drudge linked to it, very likely sending conservatives into a dizzy tailspin. What a Best Picture win for 12 Years a Slave will mean to the Glenn Becks and Hannitys of the world is “Best Picture by mandate.” They really need better outlets for their rage. This has all circled back to being Obama’s fault. Nothing has contorted the white entitlement in this country like two terms of President Obama. Worse, they feel somehow oppressed by his “fascist” regime. Now, it will extend into the Oscar race.
Something like an ad campaign, or criticisms therein, can sometimes derail an Oscar campaign. Sometimes ad campaigns can be utterly effective, like the “Some movies you feel” slogan for the King’s Speech. You really can’t force large swaths of mostly white voters to do the right thing. They chafe against that almost always. This is how we end up with the lowest common denominator choices for Best Picture. They end up picking Best Picture by the “kitten in a teacup” philosophy: it’s cute, it’s harmless, it has no baggage whatsoever. Give a movie baggage and you can derail its Best Picture campaign. It was easy to take this particular ad and make it a big deal. Know this: Anyone stupid enough to change their vote based on an ad campaign ought not to be put in the position of deciding Best Picture of the year.
But it works. Using a non-issue like this against a movie works — especially a movie that had frontrunner status foisted upon it way too early. It is no longer a cute kitten in a tea cup if the kitten is telling you how cute it is. Voters recoil, perception is everything. Welcome to the Oscar race.
How do you know it’s Oscar voting season? Nasty stuff starts to emerge — it’s the “anything to win” phase of the race — so it doesn’t matter if 12 Years a Slave has won the Golden Globe, the Critics Choice, the Producers Guild, and the BAFTA for Best Picture — it shouldn’t win the Oscar because of an ad campaign. Okay, right, got it.
The best part of Pete’s column, however, are the comments. Watch how whipped up into a frenzy the readers get. If you ask them you will get hundreds of people to say “I don’t know why Citizen Kane is considered the greatest movie of all time — it wasn’t that good.” Or “The third act of Vertigo is a mess. It’s so overrated.” Remember, “best” is almost always the sum total of winning perception. We all want to be on the side that’s winning and very rarely does “Best” really mean best. All you need do is look at the past winners for the award.
“The Oscars never gave best director to a worthy serious french director who made a lasting masterpiece. They’ve had hundreds of chances to do that. No. They waited for a frenchman to come along who could con them for a few weeks with a gimmick, the insignificant easy-to-swallow french movie that Harvey fed them with a spoon.”
Best description of The Artist – ever!
@Ryan Adams: lol! No, I have no trouble sleeping, thank you very much. I’m just all too aware of the political influence out there (I’m from the Washington DC area, after all). In my neck of the woods, whatever political and/or social issue takes center stage, and even on the side, it’s very easily picked up through the grapevine and has a profound impact on the people around you – including yourself, if you feel that it affects you. The reason I made the comment about Jesse Jackson and Al Sharpeton is because I remembered last year when Michelle Obama presented Best Picture to ‘Argo’, and there was some speculation about Washington influencing the outcome of the Oscars. Personally, I thought that was a ridiculous allegation. The First Lady, for me, added a nice little surprise to the festivities and wasn’t out of bounds. In fact, I thought she did a great job on the show.
Yes, I do have quite an imagination and I’m rather proud of that. In this respect, I was simply saying that if Jackson or Sharpeton were to present Best Picture to ’12 Years a Slave’, it would be the biggest political statement, intentional or otherwise, in Oscar history. The Academy tries to avoid such circumstances as much as possible; but sometimes, as with any business, two opposing forces on the same playing field are at cross purposes. I’m sure that the Academy would not invite those two to be guest presenters in light of the situation. My comment was simply an attempt at satire, if you will. For instance, let’s say that ‘Nebraska’ was the front-runner for Best Picture, and the presenter was Larry The Cable Guy. How hilarious would that be? Or Magic Johnson presenting an award for ‘Dallas Buyers Club.’ Such scenarios are not likely to happen. But for me, they can be fun to imagine. One thing I think we can both agree on is that, come Oscar Night, it’s going to be a hell of a show.
“Bryce Forestieri February 21, 2014 at 6:46 am
In this thread is there Passion?
There is Passion in this thread
In this thread there is Passion
Passion is there in this thread”
@Bryce Forestieri and everyone else….
http://www.youtube.com/watch?v=sklwrKjrQYE
I’m so sorry but I just had to do this. LOL. Notice also the second line in the very first verse–the start of the song. “Somebody somewhere….(WAIT FOR IT)…..”
“…if every year in the next 100 years the best movie is directed by a white frenchman, then the next 100 Best Director winners should all be white frenchmen.”
JESUS CHRIST… If that happened, I would find a tall tall building and jum…. Oh, thank goodness, it was only a comment, and not real!! 🙂
“Well good for you. I’m going to name a few titles right now and you tell me what they all have in common:
Argo
The Artist
The King’s Speech
Crash
Chicago
Rocky
Out of Africa
Driving Miss Daisy
How Green was My Valley
Gladiator
Go on, what’s the thing they all have in common?”
JOKE: Um… ugh… I should know this…. um… FUCK!, I think it has something to do with….. SHIT, I just had it…. wait…. nope, it’s gone.
Sasha, you’re the best!! 🙂 Ha ha ha.
BTW, is it just me, or is it getting weird right before the Oscars? Maybe people are going stir crazy. I know I am a little. But, I’ve survived the worst day (yesterday – Thursday). We only got a good 6 to 12 inches of snow, followed by a day of ice covered roads. At least I myself didn’t have to go anywhere.
‘Steve McQueen then made the very BEST USE of this incredible opportunity and made a movie that’s far better than 50 other Best Picture picture winners in Oscar history.’
Well, it’s perhaps better than even more that, but that isn’t the point, is it? It doesn’t have to be better than 50 or 60 or 80 Best Picture winners, it just has to be better than all the other nominees.
And, in my opinion, it isn’t better than all of them, but quite often great movies are screwed due to the competition- Chinatown would have won most years that didn’t had a Godfather Part II in the running, Sunset Boulevard would have won most years, but not when it had an All About Eve in the running, etc.
“The Oscars never gave best director to a worthy serious french director who made a lasting masterpiece. ”
Well, they did give it to Roman Polanski… Although I agree with your point.
I agree with Sasha on this. ‘It’s time’ is the most ridiculous notion to advertise when competing for an award. And some of these people may wonder why others look at them in disgust as they think they’re looking for a ‘handout.’ Giving an award to someone based on their race is just that: a HANDOUT. Artistic expression is the only variable in question when it comes to what’s ‘Best.’ To answer Sasha’s question about the films she listed, the one thing they have in common, I think, is emotional connection with the audience. In ‘Argo’, it was a feel-good ending when the diplomats got out of Iran safely. In ‘Gladiator’, it was satisfying to see Emperor Commodus get his from Maximus, and sad – yet pleasing to see him die and be reunited with his wife and son. That basic emotional connection that makes us human is crucial to winning any audience over…including Academy voters.
Watching ’12 Years a Slave’ put me in a state of mind where I could easily say ‘What if that was me being subjected to that kind of treatment?’ I also did feel empathy for the lead character and was rooting for him throughout the film. That’s just great acting on Chitewel Ejiofor’s part, really. Similarly, while watching ‘Gravity’, I am constantly on the edge of my seat cheering for Sandra Bullock’s character to make it through her perils. Honestly, I think the prospect of dying in space with no one there to comfort you, or help you, is more frightening than being treated like a slave. Reason being: People can overcome slavery much easier than they could trying to get back to Earth on their own while adrift in Space. So, out of the two survival stories, while ’12 Years a Slave’ was the more grounded and familiar, ‘Gravity’ was the more gripping and intense one with the least odds of success. So, once again, it’s all about perception. Producing an ad campaign saying ‘It’s time’ is nothing more than arm-twisting and social/political bullying. While the Academy took it upon themselves to make such a statement in 2002 when both Denzel Washington and Halle Berry won for their respective leading roles (Face it. Other contenders in those categories were more deserving that year), they have stayed true to their calling ever since…for the most part.
I remember back in 2012, I think it was, when Mo’Nique won Best Supporting Actress. During her acceptance speech, she stated how thankful she was to the Academy for ‘foregoing politics and doing the right thing.’ Really? That was just pure stupidity on her part. Humility speaks greater volumes for a person than social/political gloating. I can imagine if Rev. Jesse Jackson or Al Sharpeton were to present Best Picture to ’12 Years a Slave’ this year. Holy moly, we would never hear the end of it! This sense of entitlement in competition is just plain dumb. That’s why it’s ‘COMPETITION.’ May the best picture win! ‘Nough said!
Honestly, I think the prospect of dying in space with no one there to comfort you, or help you, is more frightening than being treated like a slave. Reason being: People can overcome slavery much easier than they could trying to get back to Earth on their own while adrift in Space.
erg… now lets’ imagine 450,000 African Americans adrift in outer space with their tethers dangling — and, plot twist! — there’s only room for ONE of them in the re-entry pod. Now there’s a best picture winner.
I guess you mean well, Marcus Perriello.
I’ll try not to notice how you argue “Giving an award to someone based on their race is just that: a HANDOUT.” at the same time you say Denzel and Halle never deserved to win and then when Mo’nique won she ruined it for you with her “pure stupidity”
I gather she failed to be humble enough to suit you. I remember it rubbed me the wrong way too, when Mo’Nique yelled out, “I’m Queen of the World!”
I can imagine if Rev. Jesse Jackson or Al Sharpeton were to present Best Picture to ’12 Years a Slave’ this year.
You have quite an imagination. With dreams like that, you must be afraid to sleep at night.
RANDOM: Would anyone know whether TRUE DTECTIVE will be considered a “mini-series” or regular “drama series” at the Emmys?
@ Paddy M, the article you are referring to (referencing the passage of time) has been bumped up here on the AD blog page. And it was wonderfully written by our very own Unlikely Hood –
https://www.awardsdaily.com/blog/the-unbearable-stillness-of-being-a-slave/
“If anyone has been reading what I have been saying or listening to what I have been saying on the podcast I have been consistent in how I define Best Picture. I do not think MY FAVORITE should WIN BEST PICTURE. That would make a joke of the process.”
Eh
Well then I guess I prefer the joke
Steve McQueen has made a brilliant movie. Exceeding all expectations, defying all skeptics, enduring all the grotesque insults. In year when so many other movies have been brilliant in their own way, at long last comes a movie like 12 Years a Slave to match or surpass the level of excellence of everything else on the horizon.
To me, “It’s time” means simply this: At long last the planets have finally aligned for a film like this to go the distance.
It’s time” means this: After waiting 100 years, the perfect time has finally come.
It’s time means this: “If not now, then when?”
Everything has fallen into place gorgeously. After waiting 85 years to be given an Oscar-worthy moment that represents the best that movies can be, a black director finally gets the chance to prove what black directors can do with this sort of sophisticated historical literary material of profound depth — the sort of material that white directors have monopolized for a century.
Instead of “It’s time,” the FYC ad should’ve said, “It’s about fucking time.”
What a fuck your a crazies and it not time by Mexican Director win, those arguments are stupid
All this discussion is for dummies, in my opinión 12 years is the best film of the year period. Give the prize that´s ok but is ballshiet say that if the Academy choice another movie because they liked more there are racism, is stupid, In my opinión Sasha has been wrong all this time saying that 12 years has to win for the social importance that´s ballshiet we are talking about movies about enjoy art not about electoral campaigns, in my opinión is a mistake for Fox put the phrase It´s time, If someone chose Gravity or Philomena or Nebraska is racist of course not
I haven’t seen Omar either, Bryce. It’ll be one of probably only two Oscar nominees I won’t have seen by the ceremony next Sunday. Sucks a bit. Last year there was only one.
@ Marcus and Simone both: I can’t remember the exact article, but there was a guest piece published on AD a few weeks ago about the use of time as a filmmaking device in 12 Years a Slave that was extremely enlightening and intelligent. It superbly explicates McQueen and editor Joe Walker’s manipulation of time in their cinematic retelling of Solomon Northup’s story. It was an exceptionally good piece, but I can’t remember its name nor its author. Can anyone help me out?
Whose fault is it that I’ve not seen Oscar-nominee OMAR?
“Looks can be deceiving in Hany Abu-Assad’s Omar. For instance, its protagonist is a baker, but he looks like a model. Actor Adam Bakri’s lithe, sculpted handsomeness is the first thing one probably notices about Abu-Assad’s follow-up to his minor 2005 festival sensation Paradise Now. It’s not beside the point to talk about Omar’s movie-star looks (or his fashionable and great-fitting jeans), because it’s the first indication of the smoothness and conventional aesthetics of this well-structured, compelling thriller”
http://www.reverseshot.com/article/omar
@Marcus – “No onscreen reference as to how many years had gone by at any point in the film.”
The title of the film tells the viewer how long Solomon was a slave, and Steve McQueen has often said that he believes the viewer is smart enough to not have a film spoon fed to them. I didn’t need to have screen caps telling me, ‘Hey, in this scene, it’s 1841’, ‘Oh, in this scene, it’s 1844’, ‘the time now is 1850’. Did you really need a countdown for the 12 years to be over and for him to be free? Perhaps it was Steve’s smart directorial decision to add to the tension of the film by withholding from the viewer, the typical oft used cinematic timeline reference.
In this film, it wasn’t needed. And that’s not a flaw.
‘Steve McQueen then made the very BEST USE of this incredible opportunity and made a movie that’s far better than 50 other Best Picture picture winners in Oscar history.’
Ummmmmm not even. It’s probably better than 80.
Yes. Steve McQueen scratched and clawed his way to have the opportunity that he made the ‘BEST’ of. But then again, so did every other director who was nominated; even those who weren’t nominated (i.e. Paul Greengrass). Hell, guys! The best directed film of last year’s Oscars, in my opinion, didn’t even get a directing nomination (Ben Affleck – Argo). Life isn’t always fair. That’s just the plain and simple truth. Sometimes, filmmakers win Oscars who don’t deserve it as much as one of their competitors. But in other cases, the winners are receiving their just desserts. It doesn’t do any good to sit and complain about political nonsense when it comes to judging the ‘Best’ of any art form.
I, too, think Steve McQueen made a fantastic film. The acting was top-notch from everyone involved. The sets, the costumes, the narrative, the mood, everything was terrific. The only flaw I could see was the director’s handling of the 12-year timeline. The progression of the film could have easily spanned one year from the way it was edited. No onscreen reference as to how many years had gone by at any point in the film. That would have made Steve McQueen’s direction nothing short of flawless and he would be an even stronger contender against Alfonso Cauron. But if ’12 Years a Slave’ does win for Best Picture, Steve McQueen will be an Oscar winner as one of the producers of the film. So to all those who say ‘It’s time’, I say ‘Stop your bellyaching and just enjoy the ride!’
“Steve McQueen then made the very BEST USE of this incredible opportunity and made a movie that’s far better than 50 other Best Picture picture winners in Oscar history.”
Woah Woah Woah You just hold on one minute, sir!
Ohh “Best Picture winners”…never mind
Oh wait, no
Yeah?
Let me get back to you, but…yes?
In this thread is there Passion?
There is Passion in this thread
In this thread there is Passion
Passion is there in this thread
@Ryan – “It’s time. It is time. In 100 years of movie history, a black director has never been given an opportunity to get this close to an Oscar. Experience with Hollywood tells us it might be another 100 years before another opportunity this monumental will present itself again.
Not only did Steve McQueen strive to create his own opportunity and then seize the opportunity when that rare opportunity came to fruition — Steve McQueen then made the very BEST USE of this incredible opportunity and made a movie that’s far better than 50 other Best Picture picture winners in Oscar history.”
And keep in mind that if it were not for BRAD PITT, Steve McQueen would not have had the financial support to have been able to make this film. So with that, if McQueen loses big at the Oscars, it could be more than a decade before him and someone like him can win the film industry’s highest honor. For people to so coldly dismiss this is sad and pathetic.
@Ryan – “What’s bizarre to me is how two simple words can annoy so many people and enrage so many others. An FYC ad delicately says “It’s time,” — and then we watch the lunatics fling themselves into a frenzy, claiming “ridiculous propaganda” is being “spewed.” ”
Ryan, it’s because they too know that “it’s time”. The truth is a bitch and it upsets people who enjoy the status quo of life.
I have always avoided mainstream media websites that does not specialize in continuous Oscar/award season speculation. The comment sections are filled with the most ignorant and narrow-minded ‘lowest common denominator’ type folks and they offer nothing of value to me. This season alone, I have been lured by links via twitter to such sites when the reviews were outstanding for 12YAS, however, the comments from the commoners have been especially disheartening, atrocious, and anti-American, among other ‘anti’s’.
I’m prepared for major fuckery Oscar night, but it would be nice for a well-made, well-directed, well-acted, well-written, extremely-well reviewed film like 12YAS to win big that evening. Only those with issues with 12YAS have issues with the simple “It’s time” slogan. Because you know what, it is fucking time!
at dinner a couple of days ago a friend up and said slavery wasn’t so bad because slave owners would take care of their assets. Moreover, lots of people would want to be slaves because they would like being taken care of by their owners and that he would like to have slaves.
he was serious. this guy is a professional from a professional family. he’s a federal employee and his sister is CFO of a hospital campaign… parents college educated Episcopalians.
it would be great to say that this sort of talk is rare, but, as a southern white male, it’s not unusual for me to hear such things….. people assume because of my skin color, age, gender and class, that I agree with such them.
McQueen was right in his BAFTA acceptance… 12 years is about slavery and its not about the past… it’s about the present and the future. The will to enslave other people for economic gain will never disappear, and from this time forward it is as likely as not to become more common.
Thanks for taking to task the Drudge Trolls, Sasha. I find them annoying and someone needed to bring them up. You mention excellent points about conservatives circling back to Obama regarding a 12 YEARS A SLAVE backlash. I remember when I was younger, I watched many TV programs about the Civil War and slavery with my conservative father. He told me how awful this time was in American history from the division to lack of freedoms. He said the Confederate Flag was something to remember but never to be “celebrated.” Now when I mentioned 12 YEARS A SLAVE, he said, “Thats a movie for liberals to bring up sympathy for Obama.” WTF!?!? I was saddened and blamed the right wing pundits for altering his now warped, pathetic perspective. Reflecting on all aspects of history makes society better. Reliving old prejudices is the opposite.
“I was gloomy and demoralized for weeks, even though I ALWAYS KNEW that THERE WAS NO CHANCE Inside Llweyn Davis could win Best Picture.”
Amen to that, Ryan. Watching how the campaigning gets meaner every year, I’m thankful now that that film has been spared the shit-throwing. I would have popped a vein going to the mat for it, but not having the chance to do that because it was left out of the game did, in fact, cast a pall over this year’s race for me.
“Instead of “It’s time,” the FYC ad should’ve said, “It’s about fucking time.”
Let’s expand the meaning of this. What it’s time for is the Academy to grow up and eat their spinach. Acknowledge the beautifully made film challenges us, confronts us, and allows no means of escape from its message. One that doesn’t play fast and loose (or outright lie) with historical facts, sweeten the story with quippy dialog, or perpetuate some archaic romantic memory of the way things were.
I believe I’ve read in this website, as an advice to voters, that you should vote in the film you think is the best, regardless of any ad campaigns. Or something to that effect.
I don’t know why campaigning for the film that one doesn’t think is the best is all that different.
Also, for the record, we had this conversation before, and I remain firmly with my original opinion (as do you, of course): mine being that I’ll always judge art first and foremost by what’s onscreen (or onpage, or oncanvas etc etc) and, all things being equal, by what’s offscreen. Your mileage will vary, and that’s perfectly fine.
Incidentally, that’s nowhere near the biggest travesty. But your mileage may vary there as well.
“The Oscars never gave best director to a worthy serious french director who made a lasting masterpiece. They’ve had hundreds of chances to do that. No. They waited for a frenchman to come along who could con them for a few weeks with a gimmick, the insignificant easy-to-swallow french movie that Harvey fed them with a spoon.”
You’re on fire today. Amen!
“When the Oscars only care about the corny loudmouth clowns “they see onscreen,” that’s when Roberto Begnini beats Ian McKellan.”
Benigni beating McKellen (and Norton and Nolte): The biggest single travesty of Academy history?
Let me tell you why I don’t want 12 Years a Salve to win Pect Picture: I simply don’t think it was the best movie of 2013.
Sasha doesn’t think it was the best movie of 2013 either yet she is still campaigning for it instead of her favoutire (TWOWS). That tells me that for her movies are more about political and social implications that artistic merit.
She doesn’t want 12 Years a Salve to win beacuse it was the best movie of the year in her opinion but because she want’s the academy to “atone for their past” and wants the movie to help open doors.
If every year in the next 100 years the best movie is directed by an African American, then the next 100 Best Director winners should all be African Americans.
…if every year in the next 100 years the best movie is directed by a white frenchman, then the next 100 Best Director winners should all be white frenchmen.
…and if every year in the next 100 years the best movie is directed by a Chinese woman, then the next 100 Best Director winners should all be chinese women.
People like me are the least racist people you can find on these Oscar blogs. People like me only care about what’s on the screen. Nothing else should matter.
What it should tell you is that Sasha knows THERE IS NO CHANCE that The Wolf of Wall Street can possibly win BP. She’s never retracted her opinion that The Wolf of Wall Street is her personal favorite. But she knows the difference between personal favorite and potential winner.
That’s why smart people don’t waste their time on “favorite” candidates like Ralph Nader. Because smart people know if you don’t help a candidate who has an actual chance to win, then you can end up with president who’s the most embarrassing “winner” in American history.
What Sasha’s support for 12 Years should tell you is that Sasha is pragmatic and realistic and Sasha is not going to be like me — me, who was sad for a month because Inside Llewyn Davis wasn’t even nominated.
I was gloomy and demoralized for weeks, even though I ALWAYS KNEW that THERE WAS NO CHANCE Inside Llweyn Davis could win Best Picture.
But I’m not an idiot. I’m not going to waste my time crying about how my “favorite” can’t win. Instead I’m looking at the bigger picture to see what else left for me to care about, what else can I do to salvage the year from being a total 100% disappointment.
It’s great that you “only care about what’s onscreen.”
Some of us find ways to care about what’s onscreen and simultaneously care about tons of other important things to.
When the Oscars only care about the sappy emotions and big thrills “they see onscreen,” that’s when Rocky beats All the President’s Men, Network and Taxi Driver. That’s when John G Avildsen gets an Oscar and Sidney Lumet dies without one.
When the Oscars only care about the corny loudmouth clowns “they see onscreen,” that’s when Roberto Begnini beats Ian McKellan.
Caring about what’s onscreen is only the starting place for me. First I care about what’s onscreen. And then I see what else there is to care about — and I find plenty of things.
What it should tell you is that Sasha knows THERE IS NO CHANCE that The Wolf of Wall Street can possibly win BP.
If anyone has been reading what I have been saying or listening to what I have been saying on the podcast I have been consistent in how I define Best Picture. I do not think MY FAVORITE should WIN BEST PICTURE. That would make a joke of the process. It should be about more than that. 12 Years a Slave is — A MORE DESERVING FILM to win Best Picture than Wolf of Wall Street, Gravity, American Hustle or any other film this year – why, because what it says, how it says it far surpasses the other films, which mostly say nothing. Do we like films that say nothing? Yes, we do. Over and over and over again. Boring, pointless. Make the Oscars count for something. Wolf of Wall Street, like Taxi Driver, doesn’t need a flabby consensus to pronounce it best of the year. But that flabby consensus needs to make the choice that the most brilliant, visionary, original — YES original film should win.
…if every year in the next 100 years the best movie is directed by a white frenchman, then the next 100 Best Director winners should all be white frenchmen.
Instead, the way the Oscars actually do it — they completely ignore 200 brilliant French movies with French directors for decades, and they wait for the french movie by a french director that strokes their nostalgia egos, and that’s the movie they throw Oscars at.
The Oscars ignore 50 genius French directors for 85 years and finally they give Best Picture to a featherweight french movie made of fluff by a french director that would not even be on the list of the best 500 French movies of all time.
The Oscars never gave best director to a worthy serious french director who made a lasting masterpiece. They’ve had hundreds of chances to do that. No. They waited for a frenchman to come along who could con them for a few weeks with a gimmick, the insignificant easy-to-swallow french movie that Harvey fed them with a spoon.
Instead, the way the Oscars actually do it — they completely ignore 200 brilliant French movies with French directors for decades, and they wait for the french movie by a french director that strokes their nostalgia egos, and that’s the movie they throw Oscars at.
Make a movie like we wish our more visionary and daring American directors would – in short, stop being visionary and make something traditional.
Let me tell you why I don’t want 12 Years a Salve to win Pect Picture: I simply don’t think it was the best movie of 2013.
Well good for you. I’m going to name a few titles right now and you tell me what they all have in common:
Argo
The Artist
The King’s Speech
Crash
Chicago
Rocky
Out of Africa
Driving Miss Daisy
How Green was My Valley
Gladiator
Go on, what’s the thing they all have in common?
If ’12 Years a Slave’ wins Best Picture on March 2, it deserves it. But nevertheless, because of the ridiculous propaganda spewed out there by those who say ‘It’s time’, if it does win, it will be a tainted win. I have no problem with it winning any awards of any category. I’m not the one voting. I might choose differently if I were, but I enjoy seeing how the Academy perceives these works and which one they feel is the best. This year’s Oscars will be interesting, I’m sure.
Jeez, Ryan – You beat me to the punch like 3 times on responding to comments. 🙂
I saw Pete Hammond’s article earlier today and dropped a comment (no, it doesn’t show up here). One point I made is that Harvey Weinstein used an “It’s Time”-like campaign to help snare Meryl Streep’s 3rd Oscar. I don’t recall anyone crying foul over it, either. They could’ve said things like (to paraphrase Max above), “I want the best [actress] and any [actress] be judged by [her] artistic merits, not because [she hasn’t won in 28 years].”
But oh – wait a minute – 12 YAS is about race, so anything good we say about it, including an innocent ad campaign, is now a devious plot.
Sounds to me like a few people haven’t yet worked out some issues about race and slavery. . . .
Piere de Plume, I’m never sure when you might be arriving but I try to keep things ready for you by clearing a path with the machete.
What’s bizarre to me is how two simple words can annoy so many people and enrage so many others.
An FYC ad delicately says “It’s time,” — and then we watch the lunatics fling themselves into a frenzy, claiming “ridiculous propaganda” is being “spewed.”
Holy shit.
It’s time. It is time. In 100 years of movie history, a black director has never been given an opportunity to get this close to an Oscar. Experience with Hollywood tells us it might be another 100 years before another opportunity this monumental will present itself again.
Not only did Steve McQueen strive to create his own opportunity and then seize the opportunity when that rare opportunity came to fruition — Steve McQueen then made the very BEST USE of this incredible opportunity and made a movie that’s far better than 50 other Best Picture picture winners in Oscar history.
It’s time because the timing feels so right. A brilliant team of black filmmakers was able to make this movie soar above so many others, in a year like no other, when several black filmmakers were finally given a decent shot to become part of predominantly white movie history — and they’ve wowed us since Cannes, making the very BEST of their own exceeding rare opportunities.
Steve McQueen has made a brilliant movie. Exceeding all expectations, defying all skeptics, enduring all the grotesque insults. In year when so many other movies have been brilliant in their own way, at long last comes a movie like 12 Years a Slave to match or surpass the level of excellence of everything else on the horizon.
To me, “It’s time” means simply this: At long last the planets have finally aligned for a film like this to go the distance.
It’s time” means this: After waiting 100 years, the perfect time has finally come.
It’s time means this: “If not now, then when?”
Everything has fallen into place gorgeously. After waiting 85 years to be given an Oscar-worthy moment that represents the best that movies can be, a black director finally gets the chance to prove what black directors can do with this sort of sophisticated historical literary material of profound depth — the sort of material that white directors have monopolized for a century.
Instead of “It’s time,” the FYC ad should’ve said, “It’s about fucking time.”
And now for some laughs: Cute kids re-enact scenes from Oscar nominees.
https://www.youtube.com/watch?v=1w–HHuBKH4
Seattle,
12YAS reopened widely after the nominations were announced. It cut back to 380 screens from over a thousand. It costs money to have films shown in theaters if b.o. is not justifying it. I suspect that the film will open wide again if it wins BP on 3/2. But the film is now made available on iTunes. It’s ranked #2 behind DBC and above Captain Phillips.
“What a Best Picture win for 12 Years a Slave will mean to the Glenn Becks and Hannitys of the world is “Best Picture by mandate.” They really need better outlets for their rage. This has all circled back to being Obama’s fault. Nothing has contorted the white entitlement in this country like two terms of President Obama. Worse, they feel somehow oppressed by his “fascist” regime. Now, it will extend into the Oscar race.”
Don’t take this the wrong way Sasha, but you don’t know many Conservatives do you. I’m what you could consider “Right Wing” and I loved 12 Years A Slave. Steve McQueen is three for three in my book. Personally, I think it should win Picture/Director/Actor/Supporting Actress/Adapted Screenplay/Costume Design/Editing. It was the best film I saw last year, and I saw damn near all of those nominated. I guess this is an aspect of Oscar coverage that I find annoying; entering politics into everything. Granted, it does exist in film campaigning but I don’t think it is necessarily fair to pigeon whole everyone on the Right like this.
In my opinion, the issue about the race of the director of any movie must be irrelevant to judge the quality of the film. I think that trying to convince that 12 Years a Slave must be the best film of this year because it is directed by a black director and it depicts how terrible slavery was in the XIX Century should not be the subject of any discussion. I feel tired of reading comments like these. I want the best movie and any movie be judged by Its artistic merits, not because the race of their directors.
trying to convince that 12 Years a Slave must be the best film of this year because it is directed by a black director
Nobody is saying that. How dumb would it be to say that? How dumb would it be to think anyone is saying that? Dumb. Very dumb.
In my opinion, the issue about the race of the director of any movie must be irrelevant to judge the quality of the film.
You remind me of all of those people in 2009 who said the same thing about Bigelow. When you have almost 100 years of solely white directors who get the opportunities to direct the kinds of films that win – the kinds of films that white consensus will vote for yes, you have to start talking about sexy and race. Idiotic to think otherwise.
“The end product would not be the same. David O Russell is incapable of directing 12 Years a Slave the same way Jennifer Lawrence is incapable of playing Patsey.”
“Yes, but you can say the opposite too. McQueen would be able to direct American Hustle? Lupita Nyong’o would be able to play Rosalyn? In both cases the answer is no. Everyone has their own style.”
Put it this way….If you told me that Russell was directing a remake of 12 Years A Slave, I’d cringe. If you told me that McQueen was directing a remake of American Hustle, I’d be seeing that one on opening night. Also, we don’t really know anything about Nyong’o as an actress since 12YAS is basically her first major role (which she hit out of the park). Who’s to say she won’t show her range in future roles and show she’s easily capable of playing a Rosalyn-type character?
a lot has been written lately about the lack of enthusiasm box-office-wise with this years’ nominees (see today’s NYT). the release patterns are very puzzling. presently, PHILOMENA is the best grossing of all the best picture candidates as the WEINSTEIN company wisely increased it’s number of screens last weekend. that makes sense…to cash in on it’s 5 nominations. but others have reduced numbers–inexplicably. advertising is down. 12 YEARS A SLAVE (which is in the height of its notoriety and visibility) gets knocked for not making much money but it’s only on 380 friggin’ screens! VAMPIRE ACADEMY is on 2,700. what the hell? this is the time to increase and the studios cut screens. it’s depressing.
I think that ad was bad, but nothing to be angry about.
12 Years isn’t my favorite of the nominees (I’d prefer either Gravity or Her winning) but it wouldn’t be a bad choice- certainly a lot better than the last 3 winners anyway.
Sorry, Sasha. But I just don’t think 12 Years a Slave is the best film of the year and I have to join in with the people that say that a Best Picture win should be based on artistic merits and not any of this “lets make history” bullsh*t. Now, are you going to take a screen cap of this post and try to put me to shame on your blog like you did with these other commenters for not agreeing with you? Sick…
Your comment is right here in the comments so there’s no reason to screen cap. You’re right here, saying whatever you want.
Your comment speaks for itself. You think making history is “bullshit.” Fine. Duly noted.
Be proud of yourself for speaking your mind — and then consider being ashamed of yourself for saying Sasha is “sick.”
Nobody is attacking you, but you couldn’t resist getting pissed, lashing out, and slinging insults.
Worst. English Class. Ever.
If that’s what this guy learned in school then he went to the weirdest school in America. More likely though, he has simply convinced himself that there are people who think every white person in America did horrible things to black people.
It takes a really scary sort of paranoid wacko to worry about being seen this way: “All white people are guilty of horrible thing against black people because they are white.”
Even allowing for misconceptions that might be a result of English being his second language, this guy has some very crazy ideas cooking in his head.
He did not get those crazy ideas from America. Because all he has to do is look around and see the hundreds of millions of white people in America who are not racist. So all this crazy defensiveness has been stewing in his own head.
Just about all of these crackpot Drudge comments can be deconstructed the same way. It’s painfully easy to see the simmering anger and outrage seething just below the surface.
Not surprising to see some of the same type of comments flare up in the comments here. Some people feel perfectly justified in saying making history is bullshit. Some people somehow feel they’re being brave by sticking up for crude comments on Drudge.
People think they’re making an important statement about their own objective integrity by scolding us for seeing some of the underlying ugliness typical at Drudge — looking down their noses at us while they call us “sick” for caring.
No, it’s not always about being a racist. Not at all. Sometimes it’s only about being a smug, self-satisfied snot.
Sorry, Sasha. But I just don’t think 12 Years a Slave is the best film of the year
I refer you to the comment I made above. What do all of those films I listed have in common? Think about it hard.
And I should point out that Steve McQueen has been asked to speak at the U.N. and there will be a screening there of “12 Years a Slave”! The U.N.! And afterwards a discussion of international slavery that is still taking place. It’s next Wednesday. When does the U. N. ever get involved in the Oscar Race? I just think of this event as something worthy and joyous. The joy in “12 Years a Slave” is the superb artistry evinced by all involved.
When does the U.N. get involved? The day after Oscar ballots are due. The day when all the national news reports will be a day late to make any difference.
Oh my God. Can we have one Oscar race without linking it to Obama. Please remember that half the country did not vote for him for re-election. And now, according to the latest polls, 70 per cent regret having voted for him, and that includes 35 per cent of African American voters. I know this is a Leftist site but not all of us who obsess about Oscar obsess about the current occupant in the White House. I don’t come to this site for your political views. I want to read about the Oscar race.
They end up picking Best Picture by the “kitten in a teacup” philosophy: it’s cute, it’s harmless, it has no baggage whatsoever.
When are people going to stop making this ridiculous (and reasonably untrue) statement? The Academy has gone for the “safe” choice plenty of times (The King’s Speech, The Artist, Argo, A Beautiful Mind) but they have picked plenty of “edgier” films as well (The Silence of the Lambs, Unforgiven, Schindler’s List, American Beauty, The Lord of the Rings, Million Dollar Baby, The Departed, No Country for Old Men, Slumdog Millionaire, The Hurt Locker). And I (and many others) would argue that those “safe” choices do have substance and are not as simplistic as you would suggest. Saying this unnecessarily disparages some fine movies that have won in the past.
Perfect example of baggage, Bryce – The Battle of Algiers! One of the best films ever made and one of the most mishandled, esp by Oscar rules.
Filmed in ’65, released (sort of) in ’66, nominated for Oscars in both ’66 (FLF submitted by Italy) & then again in 69 (!) (best director and screenplay), all the while being banned in France until early ’70s.
Yet it sits in the upper quarter of the Sight & Sound all time greatest list.
I would like to see 12 Years a Slave win Best Picture this year. It’s such a fantastic movie and it evokes a lot of feelings – dread, pity, and love among them.
And the characters! I could have left Solomon’s journey to join up with Patsy, Edwin Epps or even Mrs. Epps. Alfre Woodard’s mistress was fascinating and it was such a brief appearance. The world they inhabited was mysterious and dangerous and it exacted a terrible toll on them. The movie is riveting.
12YAS will stand up for decades to come and end up a classic movie because it is so good. The shock of the brutality will wear off for most repeat viewers and the production and acting and directing will earn greater appreciation.
It’s hard to understand where these people, these film lovers and Oscar watchers, are coming from when they pan the movie because 12YAS is so expertly constructed. I get the feeling that the vitriol is mostly due to what Sasha noted in an earlier post: “There is buried resentment in anything that smells remotely like affirmative action.”
I read posts or hear people say “I wasn’t born back then, I didn’t own any slaves.” What’s left unsaid is: “I have no responsibility for what happened back then” and “They weren’t born back then either, so why do they need help?” One hopes that any children these people might have will ignore their shortsighted parents.
12YAS is so above all that rubbish. As if awarding it would be a hand out of some kind. It may make history for all the “firsts” that an Oscar would bring, but this movie will probably stand up better over time more so than any of the other films nominated alongside it because so much more.
Sasha I wouldn’t stress myself out if I were you, 12 Years A Slave is going to win Best Picture, no doubt about it. Best Director Cuaron, Best Actor Matthew, Best Actress Cate, and supp. JLaw and Leto.
Was THE BATTLE OF ALGIERS still banned in France at the time that it could have been nominated (wasn’t) and won Best Picture? Other than that I can’t really think of anything.
“it has no baggage whatsoever.”
No Best Picture nominee from this year has baggage whatsoever. OK, maybe WOLF OF WALL STREET, but even that would die down in 2-3 weeks. What would normal people (i.e., non awards watchers i.e., most everyone) come up if asked “What’s something weird/bothersome the Oscars have ever done?” Answer would probably be BROKEBACK not winning if they’re gay, or AVATAR not winning if they’re straight. They just vote for what they like given the different circumstances of each year. Sometimes that happens to be timeless, important, deserving works of art (THE HURT LOCKER, NO COUNTRY FOR OLD MEN, GRAVITY) and sometimes not (OUT OF AFRICA). Someone said this already though.
“It’s time” is a dumb slogan and I suspect Fox is not going to push it after Drudge put in on blast. No one wants to be told how to vote based on moral blackmail.
My takeaway from all of this is simply steve50’s:
“Is there any time of year I dislike more than the 10 day period before the Oscars? It’s that time when the celebration of film turns into a colonoscopy.”
Blazing Saddles is one of my favorite comedies and it still makes me laugh out loud no matter how many times I see it ; it was revolutionary for it’s time , an antidote to some of the syrupy , ridiculous Westerns that Hollywood had turned out in the 60s-70s…Cleavon Little was THE MAN….it was Liberal Hollywood poking fun and laughing out loud at some of the absurdities of the Westerns and America’s founding myths in a conservative era
”The Sheriff’s near ?…NO , the Sheriff’s a N@*$$*R ! ”
The most hilarious part was when Gene Wilder gives Cleavon Little a pep talk on how to deal with the ignorant towns folk HAHAHAHAHA
In actual fact , Blazing Saddles was to Rednecks what ”Springtime for Hitler ” was to NAZIS …HUMILIATION …bully boys really do take themselves very serious and cannot stand being laughed at
Antoinette: LOL!
“They end up picking Best Picture by the “kitten in a teacup” philosophy: it’s cute, it’s harmless, it has no baggage whatsoever.”
You can’t drink kittens though. I found that out the hard way. Damn false advertising.
Anyway, “It’s time” is stupid. Coupled with the image of him running it makes you think he’s late for something. Or that his wife’s water broke and he’s trying to get to the hospital. I think the movie was doing fine on it’s own and a slogan like that is only going to provoke people who are against the film. Why do that at this late stage?
Anyway, “It’s time” is stupid.
More stupid: not voting for a film because of it thus admitting the Oscar race is indeed like a political election and is a sham.
When du you update the statsgams odds btw? They are not remotely reflecting the “true” odds as of right now…
It is time. It is time for a movie like 12 years and especially its 3 main proponents McQueen, Ridley and Ejiofor to be honored by AMPAS.
If it does and they do prevail, and there are criticisms thrown at AMPAS for bowing to pressure or guilt or whatever is thrown at them, that’s Oscar’s problem. 12 years a slave is a masterpiece of storytelling. It is beautifully shot, eloquently/searingly written, powerfully acted and most importantly sublimely realised by Steve McQueen.
As has been said many times, the awards race is about perception. But the real achievement here is the movie itself. It will be an enduring legacy, regardless of what happens the week after next!
History of Oscar tells us that Gravity will win BD, and therefore it also stands an excellent chance of also being BP. Perception being the word again, 12 years has already firmed its place in cinematic history. Should it lose BP, it will sit in a fabulous group of ‘non winners’ (non nominees too for that matter). If it wins, it will be a page turner for the iconic academy.
Up to you, grand poobahs 6000.
I think the J Law bashing is getting tiresome real fast. Yes, she was an undeserved winner of last years’ best actress Oscar (that should have been Riva’s in a cakewalk), but that doesn’t mean she isn’t a talented actress. Who’s deserving of the ultimate accolade anyway? They have to give it to someone every damn year, might as well be J Law, right?
’12 Years a Slave’ could be this year’s ‘Brokeback Mountain’, and ‘Gravity’ could be this year’s ‘Crash.’ As Sasha pointed out, Academy voters despise being told what to vote for – especially on the basis of entitlement. Just because a filmmaker, or a group of filmmakers are Black doesn’t ‘entitle’ them to anything. If that were true, movies like ‘Friday’, ‘Barbershop’, ‘Ride Along’, or some other ‘Black movie’ would be winning Best Picture as a political obligation. That just defeats the purpose of voting for a ‘Best Picture.’ ‘Best’ is indeed a matter of perspective. An ad campaign that tells Academy voters that they’re racist if they don’t vote for ’12 Years a Slave’ could stop the film’s momentum dead in its tracks, and in the process, propel ‘Gravity’ to a Best Picture win. And what about the actors? Could Chitewel Ejiofor and Lupita Nyong’o lose their momentum as a result of this kind of campaign? It’s possible. Jennifer Lawrence did upset Lupita with her BAFTA win. Could that be a sign of things to come for ’12 Years a Slave?’ Only time will tell. Personally, I do love surprises at the Oscars. Some upsets I wouldn’t mind seeing are Bruce Dern winning Best Actor, June Squibb winning Best Supporting Actress, and ‘Gravity’ winning Best Picture (this could very well happen).
Another irony is that this is almost an inverse of what happened in 1996 when ‘Braveheart’ upset ‘Apollo 13’ for Best Picture, after ‘Apollo 13’ had claimed the DGA, PGA, and a number of critics Best Picture (and Best Director) awards. It seems that every once in a while, there is that situation where the Academy goes completely in left field from the rest of the circuit. But honestly, those are the choices that intrigue me the most and make me want to see the films more.
‘Lupita Nyong’o would be able to play Rosalyn?’
Maybe not. But nor was Jennifer Lawrence.
“The end product would not be the same. David O Russell is incapable of directing 12 Years a Slave the same way Jennifer Lawrence is incapable of playing Patsey.”
Yes, but you can say the opposite too. McQueen would be able to direct American Hustle? Lupita Nyong’o would be able to play Rosalyn? In both cases the answer is no. Everyone has their own style.
Apart from this, as I always said it’s politics vs. cinema. Every single year. Sometimes I agree with the political view of the winner, sometimes not. That’s not the point. I think a film should win on its own artistic merit. If you claim to win because your win would have “social impact” you’re not playing fair.
simple. 12YAS is just a no-bad film that people have to say it’s good for the RIGHT REASON even they knew what they did and that’s unfair!
I just found this ugly truth, and it’s so sad, the RIGHT REASON is not the right one for choosing the best picture, that’s a political blackmail for sure.
pls vote for Gravity.
“Sort of like I feel about John Landis.”
Whatever the heck did Landis do? Oh wait, I don’t really want to know. #favoritewoodyallenfilm
First and foremost, a film should win Best Picture because of it’s excellence. 12YAS has obtained this level of excellence, or it wouldn’t have the MC score it does or be collecting all of the accolades it has up till now. And in a perfect world, the race factor should not even enter into the equation. It does because of the film’s subject matter, and people can none the less be put off by it. One can just hope voters will vote as they see fit and not be influenced by these disturbances.
I guess you all missed my point. Not once did I dismiss McQueen. My point had more to do with had the film been made by someone not so revered, and the end product was the same, would people be as passionate about it winning.
Forgot to mention, Sasha: I LOVE the title of this post!
LOL! Ryan, perhaps if you used the example of a director who isn’t such an A-hole it’d be a fairer question. I’m sure there are people who never want Russell to win another award as long as he lives no matter what film he makes. Sort of like I feel about John Landis.
Is there any time of year I dislike more than the 10 day period before the Oscars? It’s that time when the celebration of film turns into a colonoscopy.
Beat me to it Ryan (re: Russell directing 12 Years). Would the end result be the same if Andy Warhol painted The Last Supper? Unfortunately, to some people, the answer is, “yeah, I guess it looks pretty much the same. Colors seem a lot brighter in this one, but did they have Campbell’s Soup back then?.”
The ugly thing about contests is that both the entries and the judges get punished.
Yes, Harmonica, i read Hammond’s entire article. Did you? If you did then you missed its main point: that the film’s makers were telling people that it was time to give an Oscar to this movie because it was about slavery.
That is a huge assumption to make. It’s a hugely negative and insulting assumption make – both toward voters and toward the filmmakers of 12 Years. Of course people including AMPAS voters would take umbrage at anyone trying to be so blatantly manipulative.
I find it hard to believe Hammond could be so obtuse as not to get how his article and his huge assumption would be taken. I certainly didn’t think Hammond was supporting the Oscar campaign tactic he assumed the filmmakers were utilizing.
Hammond’s assumption is not at all what I took from the ad and that phrase. I took it to mean that it’s about time this story was told. NOT it’s about time to give an award based on a film’s topic alone.
Again all this article did was create an atmosphere of resentment and invite faux racist outrage courtesy of Drudge et al. Hammond should be apologizing to the filmmakers of 12 Years for accusing them of such manipulative Oscar tactics when it seems to me they have scrupulously avoided even going there.
So now we get all these people thinking they have been placed in a position where they have to proclaim they are not a racist because they like another movie or non-12 Years performance. Well, it’s never been the filmmakers who put people in that position.
“I mean, I know a few people in the industry who saw 12YAS back in November and said it was going to win Best Picture. And then the “it has to win because it’ll make history” comments started and those same people started to move their support elsewhere. They didn’t care about the history making; they cared about the quality of the film and telling them to vote this way because “they have to” just doesn’t sit right with creative folks. Tell them to did it this way and they’ll do it another way out of spite. They want to celebrate the achievements of a film, not celebrate it because others think it winning will somehow change everything in Hollywood.”
Man, if this is the case, then creative people are pretty dumb, which bums me out because I’m a writer and didn’t think I was that dumb. Did you look at what you wrote, Zach? If people you know in the industry started to “move their support elsewhere” (away from 12 Years) after the “it will make history comments,” then obviously these voters you know are not voting on “the quality of the film,” which you state is what they care about, nor are they celebrating “the achievements of the film.” If they were supporting 12 Years a Slave until they started hearing the “it will make history comments,” and then they’re now switching their votes “out of spite” and because they don’t want to be told what to do, those voters sounds pretty peevish, immature, and worthless to me, sort of the equivalent of a child stomping his/her foot and crying, “You can’t make me!” while shaking a little petulant fist at his/her parents.
They’re not voting out of deep commitment to the quality of a film. They’re voting against the quality of a film because they’re babies.
Please tell me “creative folks” aren’t this…stupidly reactionary? Then again, maybe I don’t want to know the answer to this.
12 years was the last screener I put in and have been putting it off for sometime. I found the movie buckled under my over expectations of it. I was expecting an emotional punch Schindlers List like epic quality that never translated to the screen.The film isn’t bad. It’s acting is wonderful. Ejiofor is better than Mcconaghey but not as challenging as DiCaprio. Same goes for Lupita. Lawrence is just flat out better. There is just hands down better cinema that deserves my vote this year. I pay little attention to campaigns and think the Academy should ban this practice and let the art speak for itself. I understand The political side of this business all to well. I have many times voted for African American filmmakers that were, in my opinion, the best of the year, only to see them cruely passed over for less than achievements. I’ve done the same for all other filmmakers of different race, religion, ethnicity,gender, political affiliation, and sexual orientation. The best is who gets my vote. And it doesn’t matter what I read on campaigns or see on Fox news, I vote by what I see on screen. That does NOT make me a racist!!!!
^ Sorry I didn’t finish.
And I am a bit confused. I read the article and wasn’t Hammond actually supporting the campaign? He basically kind of shrugged it off by the end of the column. I guess unless some feel what he did was somehow calculated, I didn’t take it negatively. And the comments, well not shocking. I’m actually surprised there wasn’t more venom than what was there.
My goodness I thought the point of annointing 12YAS was to make another first for Hollywood,a black director win and you do that by reminding everyone, whites,blacks that we,ie; whites are the culprits,totally forgetting that slavery has been around for thousands of years and all humanity indulged in its vileness.Those posted comments were good ones and all of it needed to be said .Those opinions are not of course politically correct for this time period. It is pretty easy to get labled a racist in this country for just saying ,well almost anything. The about time thing has to do with OSCAR win expediency,win any way you can and use whatever you must to achieve that goal.
I don’t want to sound like I am insulting anyone, so if it comes across that way please forgive me.
But I have to ask a question. If 12 Years a Slave was directed by David O. Russell, would those who support the film still be as passionate about it winning. And lets just pretend the end product and cast is exactly the same?
I don’t think a man like Steve McQueen, who’s actually directed films with diverse casts, would want to be rewarded for being the lone black anymore than I think Ang Lee would want to be rewarded because he was the lone Asian. I believe both of these men would want to be recognized for the work that they delivered period. Maybe I am naïve, but I think both of these men care less about the awards than any of us do.
That said, I am torn between 3 films, 12YAS, Gravity, and Her. Each film is brilliant in it’s own way and would be a credit to the academy if won.
If 12 Years a Slave was directed by David O. Russell, would those who support the film still be as passionate about it winning. And lets just pretend the end product and cast is exactly the same?
The end product would not be the same. David O Russell is incapable of directing 12 Years a Slave the same way Jennifer Lawrence is incapable of playing Patsey.
No insult taken, Valerie. Except it’s a bit dismissive toward the role of a director’s unique attitude, style, intention, sensibility and worldview to think they could be interchangeable and the movies would all turn out exactly the same.
I really couldn’t care less about what wins Best Picture this year — my pick, THE WOLF OF WALL STREET, has little to no shot, so whatever wins wins.
More on topic, I just don’t get how embedded people get in their support of a particular film. This year’s slate of BP nominees is one of the best in years and any the films would be deserving of nabbing the top prize. But nevertheless (and this, unfortunately, is a yearly occurrence), if you espouse one film most folks go on the offensive about why/how you could like that film over this film. Just look back at the comments on practically any article on this site: Nine times out of ten, when someone says they’re picking GRAVITY or 12 YEARS A SLAVE or AMERICAN HUSTLE, there’ll be numerous replies expounding on each film’s flaws and why you’re wrong for backing it.
Perhaps that’s the crux of the issue: How can anyone be wrong in what movie we want to win Best Picture? And maybe it’s more apparent this year because if anyone says they don’t think 12 YEARS A SLAVE should win BP, it seems the go-to attack is that they’re racist. That accusation may or may not be true, but it’s hardly an intelligent way to discuss someone’s opinion. That is if there is an intelligent way to discuss a contest about which movie is most popular with 6,000 people.
I mean, I know a few people in the industry who saw 12YAS back in November and said it was going to win Best Picture. And then the “it has to win because it’ll make history” comments started and those same people started to move their support elsewhere. They didn’t care about the history making; they cared about the quality of the film and telling them to vote this way because “they have to” just doesn’t sit right with creative folks. Tell them to did it this way and they’ll do it another way out of spite. They want to celebrate the achievements of a film, not celebrate it because others think it winning will somehow change everything in Hollywood.
I think 12 YEARS A SLAVE is an important film, akin to SCHINDLER’S LIST, that should be seen by as many people as possible. If it wins Best Picture, that’ll help. If it doesn’t, well, people still see movies that didn’t win Best Picture. And 12YAS will probably win; GRAVITY is too much of an outlier (genre, cast size), AMERICAN HUSTLE isn’t near Russell’s best (not that’s stopped the AMPAS before), and the other nominees really haven’t shown they’re capable of being a true dark horse.
Deadline has been very cozy with Drudge and their comment thread suffers for it. At least we are spared Nikki’s “alienating half of America” red meat she always threw to those people.
Anyone noticing how aggressively Hammond has been pushing Philomena lately as a BP dark horse winner?
Oh, in case it wasn’t clear, my comment was a response to Mary B.
Except Hammond’s article was actually him standing up for this campaign and this movie. Did you even read it? What do you suggest he should’ve done instead, not voiced his support for it so that he wouldn’t “invite” negative comments? That would be running away from the issue, turning away from being able to speak your mind. Suggesting he is contributing to an atmosphere or racism and smear is frankly appalling and indicates me that, indeed, you haven’t even taken the time to read the entire article. We should be praising what Hammond did, which was adressing this campaign for what it is, and not giving a sh-t about what naysayers might say.
These people are idiots.
‘You really can’t force large swaths of mostly white voters to do the right thing’
I’m such a fool for hoping that they ever might. I mean, I’m white. And I guess I base my expectations of other voters’ decisions and opinions on that. We can’t all be bad, can we? Or maybe I’m rly one among few genuinely decent-minded white guys out there.
That first Deadline comment has no idea how right it actually is, in trying so hard to be wrong. You know what, we’re all members of the human race. And it is the human race that is guilty of all of these abhorrent crimes against out own kind.
‘I wonder if the film covers the 3,000 Black slave owners?’
I wonder if Solomon Northup knew all 3,000 of them? How dare he only write about his own personal experiences, and thus indict the horrible white people whose laws and prejudices made his life such an ordeal for so long? And how dare anyone think that those very personal experiences might be worthy of being adapted into film? Racist against white people, the lot of them!
Why does anyone assume the phrase “it’s time” refers to winning an Oscar? the dialogue about 12 Years has been about the fact that this is a subject matter – a realistic film about US slavery – that has not been properly dealt with in cinema yet. So people were discussing how it is about time we had a movie like this.
Very, very disappointed in Pete Hammond that would contribute to this atmosphere of racism and smear. I always felt he was above that. There is no way Hammond and Deadline did not anticipate the kind of comments they received. Especially since the article was linked at Drudge.
So Hammond writes an article with a negative assumption about the filmmakers and their Oscar campaign and it invites barely veiled racist snark. What a shock.
Shame on them.
Typical of rabid right-wingers who want to label Obama a Fascist. They reveal their ignorance. It’s the Tea Party who all the real purveyors of American Fascism.
Does that sound like Obama or Democrats? Of course not.
We see these traits and tendencies in the Tea Party and sadly we see these warning signs promoted among “moderate” Republican politicians too.