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For this week’s episode of All This and the Oscars Too, we dive into the Golden Globes and Critics Choice nominations for about an hour and a half. We had a lot to say! Have a listen.
Podcast: Play in new window | Download
For this week’s episode of All This and the Oscars Too, we dive into the Golden Globes and Critics Choice nominations for about an hour and a half. We had a lot to say! Have a listen.
Sasha Stone has been around the Oscar scene since 1999. Almost everything on this website is her fault.
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Love the shout out for Phantom!!! Always filled with lots of knowledge and wisdom and an integral part of the comment section!
Also I am one of those followers who discovered AD as a teenager at 16! Hard to believe I’ve been following for 14 years! AD has given me the chance to find a place and community of film lovers to talk about awards that “normal” give zero cares about—so thank you, Sasha and crew!
Love these podcasts!!! The zoom idea is dope!
What a fun and fascinating podcast! Kudos to you all on sharing your insights and info.
As for Supporting Actor, I know many folks think if there’s a winner from ”Belfast,” it’ll be Ciaran Hinds, the veteran. But Jamie Dornan deserves attention, too. To me, he’s got the movie’s standout moment, singing about his ”Everlasting Love” for his wife. He’s been nominated alongside Hinds at Critics Choice, Hollywood Film Critics, the Satellites and the Golden Globes (which he oughta be credited with on this site’s Oscar Tracker). And Dornan actually won Supporting Actor from the Sunset Film Circle.
Great podcast!
By the way, inspired by the Zoom get-together, I think it would be awesome if you published these podcasts in video chat form as well on Zoom or something. I don’t know if technology allows it, but seeing the people’s faces as they talk always elevates things for me, especially in Covid times.
Florida Film Critics Circle noms are weird. 3 BP nominees: Power of the Dog, Annette and Mass!!
The Power Of The Dog leads with 9.
BEST PICTURE
ANNETTE
MASS
THE POWER OF THE DOG
BEST ACTOR
NICOLAS CAGE – PIG
BENEDICT CUMBERBATCH – THE POWER OF THE DOG
ADAM DRIVER – ANNETTE
ANDREW GARFIELD – TICK, TICK… BOOM
OSCAR ISAAC – THE CARD COUNTER
BEST ACTRESS
JESSICA CHASTAIN – THE EYES OF TAMMY FAYE
LADY GAGA – HOUSE OF GUCCI
ALANA HAIM – LICORICE PIZZA
KRISTEN STEWART – SPENCER
BEST SUPPORTING ACTOR
JAMIE DORNAN – BELFAST
JARED LETO – HOUSE OF GUCCI
VINCENT LINDON – TITANE
J.K. SIMMONS – BEING THE RICARDOS
KODI SMIT-MCPHEE – THE POWER OF THE DOG
BEST SUPPORTING ACTRESS
ARIANA DEBOSE – WEST SIDE STORY
KIRSTEN DUNST – THE POWER OF THE DOG
RUTH NEGGA – PASSING
BEST ENSEMBLE
LICORICE PIZZA
MASS
THE POWER OF THE DOG
WEST SIDE STORY
WHEEL OF FORTUNE AND FANTASY
BEST DIRECTOR
KENNETH BRANAGH – BELFAST
JANE CAMPION – THE POWER OF THE DOG
LEOS CARAX – ANNETTE
RYUSUKE HAMAGUCHI – WHEEL OF FORTUNE AND FANTASY
BEST ORIGINAL SCREENPLAY
PAUL THOMAS ANDERSON – LICORICE PIZZA
WES ANDERSON – THE FRENCH DISPATCH
KENNETH BRANAGH – BELFAST
LEOS CARAX, RON & RUSSELL MAEL – ANNETTE
RYUSUKE HAMAGUCHI – WHEEL OF FORTUNE AND FANTASY
FRAN KRANZ – MASS
KRISTEN WIIG & ANNIE MUMOLO – BARB & STAR GO TO VISTA DEL MAR
BEST ADAPTED SCREENPLAY
JANE CAMPION – THE POWER OF THE DOG
STEVEN LEVENSON – TICK, TICK…BOOM!
TONY KUSHNER – WEST SIDE STORY
FRANÇOIS OZON – SUMMER OF 85
BEST CINEMATOGRAPHY
GREIG FRASER – DUNE
MIKE GIOULAKIS – OLD
JANUSZ KAMIŃSKI – WEST SIDE STORY
CLAIRE MATHON – SPENCER
ARI WEGNER – THE POWER OF THE DOG
BEST VISUAL EFFECTS
ANNETTE
DUNE
SHANG-CHI AND THE LEGEND OF THE TEN RINGS
BEST ART DIRECTION/PRODUCTIOIN
ANNETTE
BARB & STAR GO TO VISTA DEL MAR
DUNE
WEST SIDE STORY
BEST SCORE
ALEXANDRE DESPLAT – THE FRENCH DISPATCH
JONNY GREENWOOD – THE POWER OF THE DOG
RON & RUSSELL MAEL – ANNETTE
HANS ZIMMER – DUNE
BEST DOCUMENTARY
FLEE
PROCESSION
SUMMER OF SOUL
BEST FOREIGN LANGUAGE FILM
DRIVE MY CAR
THE HAND OF GOD
RIDERS OF JUSTICE
TITANE
WHEEL OF FORTUNE AND FANTASY
BEST ANIMATED FILM
BELLE
ENCANTO
EVANGELION 3.0+1.0 THRICE UPON A TIME
FLEE
JOSEP
LUCA
THE MITCHELLS VS. THE MACHINES
BEST FIRST FILM
THE LOST DAUGHTER
MASS
PASSING
PIG
SHIVA BABY
BREAKOUT AWARD
JUDE HILL – BELFAST
COOPER HOFFMAN – LICORICE PIZZA
RACHEL ZEGLER – WEST SIDE STORY
THE GOLDEN ORANGE AWARD
ENZIAN Theater
Keisha Rae Witherspoon
Amy Seimetz
What an irregular group of nominees lol. Anywhere between 3-5 a category!
They couldn’t come up with at least 5 nominees for Picture or Supporting Actress? And yet they selected 7 nominees for Original Screenplay and Animated Film? That’s crazy!
Great to see they also honored the second Hamaguchi with a couple of nominations – Wheel of Fortune and Fantasy, one of the best films of the year. I guess, Hamaguchi is the director of the year for me, two amazing films in one year!
London Film Critics Circle noms.
FILM OF THE YEAR
Belfast
Drive My Car
Dune
Licorice Pizza
The Lost Daughter
Memoria
The Power of the Dog
The Souvenir Part II
Titane
West Side Story
FOREIGN LANGUAGE FILM OF THE YEAR
Drive My Car
The Hand of God
Petite Maman
Titane
The Worst Person in the World
DOCUMENTARY OF THE YEAR
Flee
Gunda
The Most Beautiful Boy in the World
Summer of Soul
The Velvet Underground
The Attenborough Award
BRITISH/IRISH FILM OF THE YEAR
After Love
Belfast
The Green Knight
Limbo
The Souvenir Part II
DIRECTOR OF THE YEAR
Jane Campion – The Power of the Dog
Ryûsuke Hamaguchi – Drive My Car
Joanna Hogg – The Souvenir Part II
Céline Sciamma – Petite Maman
Denis Villeneuve – Dune
SCREENWRITER OF THE YEAR
Paul Thomas Anderson – Licorice Pizza
Wes Anderson – The French Dispatch
Jane Campion – The Power of the Dog
Maggie Gyllenhaal – The Lost Daughter
Ryûsuke Hamaguchi and Takamasa Oe – Drive My Car
ACTRESS OF THE YEAR
Olivia Colman – The Lost Daughter
Penélope Cruz – Parallel Mothers
Renate Reinsve – The Worst Person in the World
Joanna Scanlan – After Love
Kristen Stewart – Spencer
ACTOR OF THE YEAR
Benedict Cumberbatch – The Power of the Dog
Adam Driver – Annette
Andrew Garfield – Tick, Tick… Boom!
Oscar Isaac – The Card Counter
Daniel Kaluuya – Judas and the Black Messiah
SUPPORTING ACTRESS OF THE YEAR
Jessie Buckley – The Lost Daughter
Ariana DeBose – West Side Story
Kirsten Dunst – The Power of the Dog
Rita Moreno – West Side Story
Ruth Negga – Passing
SUPPORTING ACTOR OF THE YEAR
Richard Ayoade – The Souvenir Part II
Ciarán Hinds – Belfast
Jesse Plemons – The Power of the Dog
Kodi Smit-McPhee – The Power of the Dog
Jeffrey Wright – The French Dispatch
BRITISH/IRISH ACTRESS OF THE YEAR (for body of work)
Jessie Buckley – The Lost Daughter
Olivia Colman – The Lost Daughter/Mothering Sunday/Ron’s Gone Wrong/
The Mitchells vs The Machines/The Electrical Life of Louis Wain
Ruth Negga – Passing/Poly Styrene: I Am a Cliché
Joanna Scanlan – After Love
Tilda Swinton – Memoria/The Souvenir Part II/The French Dispatch
BRITISH/IRISH ACTOR OF THE YEAR (for body of work)
Riz Ahmed – Encounter
Adeel Akhtar – Ali & Ava/The Nest/The Electrical Life of Louis Wain/
Everybody’s Talking About Jamie
Benedict Cumberbatch – The Power of the Dog/
The Electrical Life of Louis Wain/The Courier
Andrew Garfield – Tick, Tick… Boom!/The Eyes of Tammy Faye/Mainstream
Stephen Graham – Boiling Point/Venom: Let There Be Carnage
The Philip French Award
BREAKTHROUGH BRITISH/IRISH FILMMAKER
Prano Bailey-Bond – Censor
Rebecca Hall – Passing
Aleem Khan – After Love
Marley Morrison – Sweetheart
Ben Sharrock – Limbo
YOUNG BRITISH/IRISH PERFORMER
Max Harwood – Everybody’s Talking About Jamie
Jude Hill – Belfast
Emilia Jones – Coda
Daniel Lamont – Nowhere Special
Woody Norman – C’mon C’mon
BRITISH/IRISH SHORT FILM
Diseased and Disorderly – dir. Andrew Kotting
Expensive Shit – dir. Adura Onashile
Know the Grass – dir. Sophie Littman
Play It Safe – dir. Mitch Kalisa
Precious Hair & Beauty – dir. John Ogunmuyiwa
TECHNICAL ACHIEVEMENT AWARD
Cruella – Jenny Beavan, costumes
Dune – Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer, visual effects
Flee – Kenneth Ladekjær, animation
The French Dispatch – Adam Stockhausen, production design
The Green Knight – Andrew Droz Palermo, cinematography
The Invisible Life of Euridice Gusmão – Hélène Louvart, cinematography
Martin Eden – Fabrizio Federico and Aline Hervé, film editing
No Time to Die – Olivier Schneider, stunts
The Power of the Dog – Jonny Greenwood, music
West Side Story – Justin Peck, choreography
Power of the dog leads with nine including two supporting actor noms- good for Plemons to get a mention. Love the citation for Greenwood for music in technical achievement.
Belfast missed Director, Screenplay and only got one acting nod.
After the BIFA snubs, it shows Belfast is vulnerable & the UK vote is not locked in. And I know these are critics awards, but it’s worth noting.
The industry is fully aware of the Golden Globe nominations. The nominations were reported on most major news channels, trended on Twitter, etc.
It will have an impact, ceremony or not.
I enjoyed the podcast very much.
I’m baffled at y’all’s strong prediction for Belfast for BP. If half of the panel here don’t feel the love for it, why do you think it will be the consensus choice? I know that you want to predict what the AMPAS will vote for, but at the end of the day they are people and vote with their feelings too. And it’s safe to say that a lot of them won’t connect with the movie just like this panel as a whole.
I still think a large American voting body will not connect deeply with the Ireland history presented in such a superficially feel-good way. And I still think at 97 minutes (5 of which are clips of old movies), Belfast won’t make that much of an impact. And no movie that short has won BP since Annie Hall.
Belfast was snubbed at the Gothams and missed major noms at BIFA & now LFCC. There’s an overconfidence in Belfast that I don’t get, especially given the MC rating and Oscar’s preferential history.
I think it’s a very weak front runner.
”Belfast” probably got crowned an early front-runner because it won the Audience Award at Toronto and a couple of other film fests. But ”The Power of the Dog” is probably now the front runner with its wins among critics groups. Will the industry follow suit? I can recall when ”Boyhood” swept the critics prizes, but DGA, PGA & Oscars chose ”Birdman.”
Annie Hall; grrrr…aargh! 😉
Have you even seen Annie Hall or are you just mad bc Star Wars didn’t win
So pointelessly negative about everything. Vomiting hatred non-stop. Fleabag.
Omg , I didn’t expect Kristen to be nominated, it’s a good indicator, Will Smith didn’t even see his shadow, just like Gaga( LCCFA nominations)
Do you think this means she has a chance at BAFTA?
probably …? , I hoped that Comer would be nominated, she is the only American that is on the list, being British they are more demanding with the role of Lady Di, let’s say that I am 50% sure that she will have a chance at the BAFTAs, I get the impression that Cruz will be rescued there and will enter the competition
Oh, ok.. I’m just really rooting for Kristen and hope she makes the list, this year she really deserves it. But I totally understand why she may not get a nomination there. I think, Colman can win at BAFTAs. Can’t really see Cruz winning, the buzz is not that strong (don’t know why, critics keep ignoring her).
after London nominations I would say that Cumberbatch has BAFTA in the bag and maybe oscar as well
I don’t see how Cumberbatch DOESN’T win BAFTA
TPOTD got 9 nominations at the 42nd annual London Critics’ Circle Film Awards. Notably King Richard was snubbed
Their picks are generally really good too. Memoria in Picture! Sciamma in Directing!
Very happy for the Titane resurgence, too!
Yes, they march to the beat of their own drum. It’s interesting that while Belfast is in their top 10 list, it’s absent for writer and director. And it’s a British film. Good on them!
The one about being in the top 10 is their only solid stat anyway. 🙂
Go CODA go!
I think, in an ideal world, Villeneuve WINS director in March. Could Campion have directed Dune as terrifically as he did? I believe Villeneuve would do as good a job with POTG>
I liked Dune and did admire the scope but I would not give him BD for telling half the story. If he can match or exceed the first with the second, then by all means, give him a clean sweep … in 2 years.
It would be awkward if they gave Villeneuve BD only for Part 2 to come out and feel closer in quality to Spider-Man 3
I would. Even if I knew ahead of time that the second part would be pure s**t. 🙂 Because that’s got nothing to do with the quality of the achievement of the first part. (Which, in my opinion, is tremendous.) It’s unfair to judge it like that, in my opinion. Besides, most people (myself included) would agree now that The Fellowship of the Ring should have won Best Picture. (Most people agreed with this even back then.) And that was also an incomplete story.
This is a ridiculous standard to apply. That’s like saying Denzel should sweep the Best Actor Award because he can play all the roles contending for Best Actor (except maybe Tick Tick Boom), but Will Smith is incapable of playing anything else especially MacBeth. Come to think of it, that’s actually true, Will Smith doesn’t deserve shit.
I love Villeneuve’s Dune but I would l o v e to see a Campion-directed version, it would be majestic.
By the way, I still think Dune: Part Two and Villeneuve are very very good bets for 2023 if the film can match the first one.
This is not a good measure for awarding people because it implies someone who is solid at everything is automatically better than someone who is great at something specific, in other words this measure prefers unnotable but solid directors to directors with distinct styles. And beyond that, I completely disagree with the assessments on the movies if the other director had made them. Campion’s Dune would have been so great, probably an often bizarre and tense portrait of a sexually frustrated young man attempting to define his relationship to the masculinity that his society expects of him. A bit of The Portrait of a Lady mixed in with The Power of the Dog and maybe something somewhat reminiscent of Holy Smoke! thrown in there as well for some of the stuff that will probably be in the second movie. It would also have texture, emotion, genuinely interesting tension between the characters, an interesting take on the material and all the other things that Villeneuve’s lifeless movie was lacking. On the other hand, Villeneuve’s The Power of the Dog would probably be overly sentimental, have the general mood of Prisoners, the Dunst character would be horribly written and the overall movie would have none of the intelligence, grace and preciseness that Campion’s movie has.
“it implies someone who is solid at everything is automatically better than someone who is great at something specific”
I don’t think so, because he said “Villeneuve would do as good a job” with TPOTD and, if we’re saying Campion did do a great job (haven’t seen it yet, no opinion – I imagine she did), then, under his assumption, Villeneuve would also be proving he was great at what she did there. Not just solid. He’s also been way better than solid (and very much notable) at everything else he’s done, in my opinion. 🙂
As for whether he would have done a great job and whether Campion would have done a great job with Dune, nobody knows, clearly, it’s all speculation. (Which is a better reason for why his argument isn’t great.) Personally, I think Villeneuve would stand better chances of making a great TPOTD than Campion a great Dune, perhaps also because Dune is known to be a very hard thing to make work in film form (and we actually already have the Chloe Zhao example with Eternals, which very few people are saying is great – I’ve not seen it, so no opinion there yet), but who knows?!
“It would also have texture, emotion, genuinely interesting tension between the characters, an interesting take on the material and all the other things that Villeneuve’s lifeless movie was lacking.”
Again a matter of opinion, of course. For me it had all of that. I also don’t think his movies are overly sentimental at all (Dune most definitely isn’t, Sicario isn’t, etc.), I think he strikes an excellent balance. And so on – I disagree with most of your opinions about his style. 🙂 Which is what I’m saying. This is why we shouldn’t judge awards this way. (The real reason the OP’s method is probably flawed.) It’s much better to judge based on what was actually done. Far less subjective. I know you always say everything is subjective in judging art, but if that’s the case you can easily argue Escape Room: Tournament of Champions should win Best Picture and not be wrong at all. But no, I think that would be a bit too subjective, so to speak. There are and should be degrees here.
And in terms of Escape Room: Tournament of Champions, I think that Old getting a best picture nomination would be an inspired and worthy nomination which many people would probably consider even worse
I will likely watch that one (Old) at some point, mostly because I read in an earlier comment of yours that you liked it a great deal. 🙂 I was very much on the fence about whether to go for it, but knowing that it’s possible to like it a lot (especially by somebody as knowledgeable as you), coupled with the fact that I’ve liked most MNS movies I’ve seen, even some of those considered not that great, means it’s worth watching. Doesn’t mean I necessarily expect to like it, but it’s worth a try. Anyway, that one’s more divisive than demonstrably bad, of course. My example probably isn’t great either, but I couldn’t think of anything less artistically accomplished from the last two years. 🙂 I didn’t even dislike it. It’s solid, for what it is. It’s hard to think of better examples, though, because I don’t really watch universally-panned movies. My most disliked movie of the last 4-5 years is Black Christmas (2019), but I know some people actually liked that one. I don’t know why – I thought it was absolutely ghastly and unbearable, in undeniable ways. But they did, so that’s also not the best example… (And I didn’t want to go cliche and say Transformers. Which I haven’t seen, anyway.)
Is the new Black Christmas really that bad? I think of Sophia Takal as a very promising director based on Always Shine which is very good and felt bad about not getting around to it but maybe I should at least lower my expectations if I ever get around to watching it
I guess visually there was nothing wrong with it (I don’t remember much but I don’t think I had issues with that) – the screenplay was just atrocious, though. Completely insufferable, obvious, preachy, cliched, etc. – for me, at least.
I meant the emphasizing “solid at everything” comment less in relation to the specific claim of Villeneuve being able to do The Power of the Dog “as well” as Campion but more in relation to praising someone for being able to do another movie rather than assessing whether they did a great job with the movie they actually made (and also in relation to the specifics of the Villeneuve/Campion comparison the idea that Campion would be less worthy if they couldn’t make Dune). For example, I would have doubts about Terrence Malick being able to direct a sensible version of most mainstream movies of 2011 and I think at least some of the directors of those movies could make solid childhood recollections with a lot of the same plotpoints as The Tree of Life. However, The Tree of Life is the best movie of the 2010s and Terrence Malick deserved every directing award for that movie. The idea that Malick’s style wouldn’t fit those other movies doesn’t matter because he didn’t make those movies. He made The Tree of Life and his style fits that movie perfectly and made a masterpiece.
Yeah, I thought you meant something like that, but it wasn’t 100% clear. 🙂
“The idea that Malick’s style wouldn’t fit those other movies doesn’t matter because he didn’t make those movies.”
Exactly. We 100% agree on this point.
Yes but it’s the award for Best Director, not the Best Director for Dune
Sasha – your opening speech was spot on. You nailed it on the head.
Listening to your podcasts always helps me to improve my English, thank you!
By the way, I’m kind of relieved that even you guys had problems to follow some dialogues in Belfast, I mean it was pretty tough. But apart from that the film is all but difficult to get thus it probably didn’t matter… Looking forward to your zoom meeting!
TPOTD has swept Chicago Film Critics with 7 including Film, Director, Actor, Supporting Actor, Adapted Screenplay, Cinematography! & Score!
Glad to see Chicago recognize Cumberbatch’s Daniel Plainview impression and McPhee’s Norman Bates impression !
Except Phil Vernon is a far more complex character than Daniel Plainview and Cumberbatch suggests a deep, sad emotional life under the veneer; it’s a deconstruction and a deep one and very disarming.
Day Lewis bellowed and gesticulated about milkshakes.
So yeah, exactly the same.
Oh Yeah Day Lewis bellowed and gesticulated about milkshakes and he didn’t have a deep sad emotional life ! My Bad !
Using big words to disguise absurd opinions doesn’t suddenly make one sound like they know what they’re talking about
Must you make a smart arse comment to every positive TPOTD post? We get you don’t like it. Give it a rest.
So happy for Kodi and Benedict. Hoping this sweep goes on also with London Critics Circle (the nominations today)
The Power of the Dog is doing very well with critics. No surprise there. It did so well with the HFPA (and I gotta admit I was concerned).
Yes, and the London Critics Circle Awards recognized Campion’s movie with another sweep. I think Cumberbatch and Kodi are our frontrunners now.
Not sure about Cumberbatch yet, but definitely feel like that for Kodi. Ever since I stood up from my first screening I thought he has to win for this.
Aw, thanks for the shout out at the end, that caught me off guard.
As for this week’s developments, I think there is a perception consensus for sure, I am curious to see if the industry consensus (Guilds+Bafta) will match or not.
For now I think these contenders could pop up (relatively) out of nowhere in this next stage :
PGA / Spider-Man : No Way Home (solid reviews + epic BO + Oscar friendly release date)
DGA / Sian Heder,Lin-Manuel Miranda (they always go for the crowdpleaser the Academy won’t)
WGA / In original C’mon C’mon, Mass / In adapted The Last Duel, Passing
SAG / At least two from this list : Jennifer Hudson, Halle Berry, Cate Blanchett, Nina Arianda, Olga Merediz, Mike Faist, Robin De Jesus, David Alvarez
Bafta / At least two from this list : Joe Wright, Jodie Comer, Frances McDormand, Daniel Craig, Judi Dench, Jessie Buckley, Diana Rigg, Haley Bennett, Kathryn Hunter
P.S. I don’t expect Almodovar nor Hamaguchi to register with the guilds but I could easily see either to make the cut in directing and / or screenplay at the Oscars. Larrain in BD also wouldn’t shock me although the film would need some currently rather unexpected Bafta love first. As for Being the Ricardos, I could easily see it not get a single BP mention throughout the season and still score a filler BP nod in the end with nothing but a SAG Ensemble nod as a hint, although if it continues to cement its status in acting (Kidman, maybe even another nod) and writing (Sorkin scored GG+CC), that filler BP nod may not be even be that from there even without a SAG Ensemble nod.
Honestly, I think the Netflix hostility that definitely affected the last few Oscar seasons is about to kick into overdrive. If Dog wants to seal the deal, it will be interesting to see how their people navigate this.
They should send out autographed selfies of the bull castration scene ! Which ranks right up there with Francis McDormand taking a dump in a bucket scene from Nomadland !
Always with the bull castration scene
I also gave Francis McDormand equal time for taking a dump in a bucket !
You’re a very clever boy
Thank You . I alswo loved Fitzcarraldo and Aguirre which I think are your best films and saving Joaquin Phoenix was amazing !
It’s the perfect Freudian trauma…
If TPOTD loses, it won’t be because of hostility towards Netflix. It’d be because, like Roma, it doesn’t quite have the likability, accessibility and mass appeal of some of the other frontrunners. If Belfast was produced by Netflix, it will still be in the same frontrunner position as it stands today.
How is the hostility about to kick overdrive? What is about to happen? Hit pieces on Netflix?
I think The Netflix bias would dissipate. Is it this year? Not sure. In the pandemic era where serious movies don’t make it in the theater, viewers have accepted to relegate watching them on home TV. And this is the trend of the industry for the future. They’ve partnered with HBO, Showtimes and Hulu to get their products to the masses. So the home screening stigma has to lessen.
In three years, Netflix has provided five BP contenders. What other studios have done better? Voters will have to give in eventually.
If Power of Dog loses, it would be because it’s content-wise not an Academy BP material. The anti-Netflix thing would play a very small part in it I believe.
I agree eventually it will happen, but after a year of thinkpieces about theatrical vs. streaming AND the ugly ScarJo business with Disney, I wonder if Netflix might be the recipient of pent up anger towards streamers. During the Roma “controversy” Spielberg I believe openly opined that Netflix should be eligible for Emmys not Oscars. It IS a good question, that’s the difference between a MOVIE and a TV MOVIE? Because if we blur the lines too much, can HBO only movies compete for Oscar?
I remember the Spielberg’s shpiel. The difference is the movie has to have a theatrical release for at least two weeks. But the bigger difference is the cachet of the filmmakers. These can’t be perceived as “TV Movie” that usually made by behind the scenes, nameless writers/directors.
You can’t get more prestige and quality marquee than a movie written and directed by Jane Campion. And after three years of the participation of auteurs and major Hollywood players like Cuaron, Scorsese, Fincher and Sorkins, it can no longer be regarded as niche or an experiment. It’s the new normal.
So all theaters will be is wall to wall superhero movies and Streaming Services booking two week runs to qualify for Oscar?
Personally I don’t see how some of the streamers can sustain the amount of money they are dropping for these movies on a subscription only model. I can only imagine the howls of outrage when the streamers adopt a tiered system or charge a large one time fee to view an “Oscar contender”.
So all theaters will be is wall to wall superhero movies and Streaming Services booking two week runs to qualify for Oscar?
I can understand the distaste from the old conservatives, but yeah, pretty much. Also, it’s a pretty dubious thing for serious filmmakers too. While all probably want to have their films experienced in a theater, they also want the films to be seen as many people as possible and a Netflix provides that.
As for costs, I think Netflix wouldn’t invest all this money if they didn’t think it can sustain them. They want world domination in distribution and these types of cachet projects will keep them competitive. They have deep pockets. A Squid Game made them nearly a billion dollars.
Filmmaking is a business (obviously) and this is the new paradigm. Even Spielberg would probably only recoup his money when WSS airs on Disney+. So the voters who are artists and not heads of studios are aware of this. Their future depends on them letting go of their streamers prejudice.
If it’s a close vote, even a small degree of influence on voters (from the Netflix thing) might prove decisive…
I probably shouldn’t even say this again – I always make this point. It’s maybe a cliche by now. 🙂
If it’s close, then *anything* can be decisive. Belfast being B&W, unpleasant scene in TPOTD, Ansel Elgor’s checkered past, etc.
The Netflix rationale is probably over-thinking at this point.
“If it’s close, then *anything* can be decisive.”
Exactly – so anything can be a factor. 🙂 (Including the Netflix thing.) That’s how I look at it… (Of course, we don’t yet know whether it will be close.)
In any case, I don’t think the Netflix thing should be ignored until there’s overwhelming evidence it’s about to not be a thing anymore. (Which is definitely not yet the case.) That’s more or less the only way these things break. Not in close races, but when there’s a clear stats favorite and it’s the one that would break one of them. (Which Parasite kinda’ was. Pretty clear stats favorite. Even more so, The Hurt Locker, The Artist, The Return of the King – I guess Moonlight would perhaps be an exception. I don’t think a movie about being gay had won before and there was definitely no clear favorite that year. Is there any other even semi-recent counter-example, though?)
This was an interesting look at the race.
Another lively, informative podcast. Looking forward to the Zoom chat.
I would love to know what everyone besides Sasha thinks of Licorice Pizza. Is it bad or good? They are all slent.
I haven’t seen it, and I don’t believe Ryan has either. Mark was a fan.
Good to know thank you
Before Dune 2, Denis V. has a little side project with the studio that brought us the classic sci-fi show The Expanse. He’ll direct the film adaptation of one of Arthur C. Clarke’s seminal books, Rendezvous with Rama:
https :// deadline. com /2021 /12 /denis-villeneuve-rendezvous-with-ram-alcon-entertainment-1234891735/
He’s directing Dune 2 first. This comes after.
OK, sorry about that 🙂
It just gets better and better with this guy… 🙂