Awards Season 2005
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cdnchris
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kieslowski_67
- Joined: Fri Jun 17, 2005 9:39 pm
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Nope. I saw 3 of the 5 nominees (including the winner) and none is close to being impressive in any sense. I guess that you can claim that "paradise now" is at least politically controversial and "Sophie Scholl" features a fantastic female lead performance.cdnchris wrote: I didn't see any of the Foreign Film nominees. Did anybody here? Did the right one win?
Last edited by kieslowski_67 on Wed Mar 08, 2006 2:13 am, edited 1 time in total.
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kieslowski_67
- Joined: Fri Jun 17, 2005 9:39 pm
- Location: Gaithersburg, Maryland
Andre,
I should not have made those posts complaining about the Oscars. In hindsight, my wife and I should have listened to many of our friends, and some on the board that the Oscars is just a low brow award show and not something for cinephines. The AMPASS does not take it seriously and does not take films as kind of sacred art. I have been taking the damn show and AMPASS too seriously for way too long. My bad.
And now a sidenote on this homophobia thing. About 25 friends of Paul Haggis threw in a party for him on the Oscar eve and all they were doing was making silly and filthy jokes on gays and "brokeback mountain". And Tony Curtis and his gang declared they would never screen or vote for "brokeback mountain" where the two cowboys are portrayed as gay lovers.
Now I can understand why Tom Cruise had to jump the sofa. He had to, and has no other choice.
I should not have made those posts complaining about the Oscars. In hindsight, my wife and I should have listened to many of our friends, and some on the board that the Oscars is just a low brow award show and not something for cinephines. The AMPASS does not take it seriously and does not take films as kind of sacred art. I have been taking the damn show and AMPASS too seriously for way too long. My bad.
And now a sidenote on this homophobia thing. About 25 friends of Paul Haggis threw in a party for him on the Oscar eve and all they were doing was making silly and filthy jokes on gays and "brokeback mountain". And Tony Curtis and his gang declared they would never screen or vote for "brokeback mountain" where the two cowboys are portrayed as gay lovers.
Now I can understand why Tom Cruise had to jump the sofa. He had to, and has no other choice.
Last edited by kieslowski_67 on Wed Mar 08, 2006 8:32 pm, edited 2 times in total.
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marty
The Oscars is my guilty pleasure of the year. I enjoy watching it and I even attend a live broadcast of it here in Australia. I never take it seriously but I had fun this year. When Crash was announced as Best Picture winner, I was in a theatre with about another 100 people and I yelled out "Its shit!". I enjoy bitching about the Oscars. You can't possible take it seriously. Look at some of the winners and you just cringe!
In reality, I can barely name one film that has won Best Picture Oscar that I have seen more than once.
In reality, I can barely name one film that has won Best Picture Oscar that I have seen more than once.
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che-etienne
- Joined: Mon Oct 10, 2005 5:18 pm
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Michael
- Joined: Wed Nov 03, 2004 4:09 pm
LA Times "And the Winner is, Homophobia"
http://goldderby.latimes.com/
The Worst Best Picture in History
http://awards.fennec.org/
MSNBC: “Crash and Burnâ€
http://goldderby.latimes.com/
The Worst Best Picture in History
http://awards.fennec.org/
MSNBC: “Crash and Burnâ€
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Fletch F. Fletch
- Joined: Tue Nov 02, 2004 7:54 pm
- Location: Provo, Utah
I agree, but if you think about it, Traffic really didn't say anything groundbreaking about the war on drugs either and it is still an excellent film. I think that Syriana, like Traffic, is a very well-made movie that isn't saying anything new but is keeping the focus on an issue that is so important. In this day and age where people's attention spans seem to be the size of fruit flies I think we need a film like Syriana to pop up occasionally as a reminder of how corrupt and complex the oil industry is.Andre Jurieu wrote:I didn't think Syriana was hard to follow either, but my main problem with the film is that it simply offered information that was already pretty obvious. Everyone associated to this film kept talking about how they were going to provide the awful truth about the Oil Industry, and all I got was the same stuff that has been known for the last 10-20 years. I also didn't enjoy the fact that it was essentially Gagan recycling Soderbergh's efforts in Traffic. It was decent, but not as daring as it seemed to think it was.
Plus, I think the film is a decent primer for people who aren't aware of all of the complexities of the oil trade.
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Napoleon
- Joined: Wed Nov 03, 2004 10:55 am
There have been plenty of great films that have won best picture over the years, although over the last 20-25 years lovable winners are more infrequent.Michael wrote:I assume that you don't care for The Godfather, Annie Hall, All About Eve, and Rebecca.In reality, I can barely name one film that has won Best Picture Oscar that I have seen more than once.
http://www.imdb.com/Sections/Awards/Academy_Awards_USA/
And I'd still take Crash over Gentlemens Agreement any day.
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Andre Jurieu
- Joined: Tue Nov 02, 2004 7:38 pm
- Location: Back in Milan (Ind.)
That's Kool & the Gang. Hey, everyone's allowed to complain about stuff that sticks in their craw, and it's not like I don't understand becoming frustrated over the results of the Oscars. I've been known to get temperamental whenever I've had to watch Scorsese's "Oh, it's so nice that guy won. I completely respect his work." face. I guess it's easier to take once one becomes indifferent to the outcome. It's fairly meaningless in the grand scheme of things, even if it means a lot to Hollywood and its on-lookers.kieslowski_67 wrote:Andre,
I should not have made those posts complaining about the Oscars. In hindsight, my wife and I should have listened to many of our friends, and some on the board that the Oscars is just a low brow award show and not something for cinephines. The AMPASS does it take it seriously and does not take films as kind of sacred art. I have been taking the damn show and AMPASS too seriously for way too long. My bad.
I completely agree that Syriana is a decent primer for people who are ignorant of the oil industry, especially since it delivers it's message in an somewhat entertaining manner (smuggle in the edumacation with the explosions, I guess).Fletch F. Fletch wrote:I agree, but if you think about it, Traffic really didn't say anything groundbreaking about the war on drugs either and it is still an excellent film. I think that Syriana, like Traffic, is a very well-made movie that isn't saying anything new but is keeping the focus on an issue that is so important. In this day and age where people's attention spans seem to be the size of fruit flies I think we need a film like Syriana to pop up occasionally as a reminder of how corrupt and complex the oil industry is.
Plus, I think the film is a decent primer for people who aren't aware of all of the complexities of the oil trade.
The one difference between Traffic and Syriana that makes Soderbergh's film a bit better in my opinion is that makes the distinction between the borders within the drug war through its style. Gagan's direction of Syriana seems to focus more on the connection between all these various parties within the oil industry. Soderbergh's film also displays the connection, but with his changing color schemes he changes the intimacy of the various battlefields within the "war on drugs". You're correct in saying that Traffic doesn't really show us anything new about the "war on drugs". It does however make sure we understand that this "war" is mostly political and that it has begun to become distracted from the actual issue at hand. It also makes sure we understand the borders that create barriers in this war are more than just physical or geographic obstacles. Again, this stuff is nothing new, but Soderbergh conveys a great deal with his style and construction of the film instead of just within the content within a scene.
Gagan doesn't really attempt anything so lofty (or pretentious?), but I found the film suffered a bit because of its constant focus on connection. I also don't see the point of all the father-son conflicts that constantly distract from the central issue and I'm not exactly sure what we are supposed to take from Matt Damon almost getting blown to pieces and then returning to his family. So, wealthy white business-folk will finally understand the cost of our dependence upon oil once they lose a son and nearly get reduced to a Saudi sand-trap? Realistically, couldn't his conscience have been "cleansed" another way? Actually, I'm not even sure he learned anything from the experience.
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toiletduck!
- Joined: Tue Nov 02, 2004 9:43 pm
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skuhn8
- Joined: Tue Dec 14, 2004 8:46 pm
- Location: Chico, CA
Huh, so Crash is shit? And the consensus on this board is that Crash sucks? Happy to be in the minority on this one. Perhaps it flaunted the racism-from-every-corner flag a little much but I thought it was nicely put together with some impressive performances. Let's get back to this in five years after some circumspection and perhaps a second viewing.marty wrote:The Oscars is my guilty pleasure of the year. I enjoy watching it and I even attend a live broadcast of it here in Australia. I never take it seriously but I had fun this year. When Crash was announced as Best Picture winner, I was in a theatre with about another 100 people and I yelled out "Its shit!". I enjoy bitching about the Oscars. You can't possible take it seriously. Look at some of the winners and you just cringe!
In reality, I can barely name one film that has won Best Picture Oscar that I have seen more than once.
On a side note, I think it's great that anything less than a sweep for a film depicting homosexuality right away brings out the call of homophobia. That's just great. Bring out the next bandwagon, please.
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toiletduck!
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Jem
- Joined: Mon May 02, 2005 3:03 am
- Location: Potts Point
Very angry Annie
March 14, 2006
Brokeback Mountain author Annie Proulx recalls a bitter night at the Oscars.
ON THE sidewalk stood hordes of the righteous, some leaning forward like wind-bent grasses, the better to deliver their imprecations against gays and fags to the open windows of the limos - the windows open by order of the security people - creeping towards the Kodak Theatre for the 78th Academy Awards. Others held up sturdy, professionally crafted signs expressing the same hatred.
The red carpet in front of the theatre was larger than the Red Sea. Inside, we climbed grand staircases designed for showing off dresses. The circular levels filled with men in black and women mostly in pale, frothy gowns. Sequins, diamonds, glass beads, trade beads sparkled like the interior of a salt mine. More exquisite dresses appeared every moment, some made from six metres of taffeta and many with sweeping trains that demanded vigilance from strolling attendees lest they step on a mermaid's tail. There was one man in a kilt - there is always one at award ceremonies - perhaps a professional roving Scot hired to give colour to the otherwise monotone showing of clustered males. Larry McMurtry, Brokeback's screenwriter, defied the dress code by wearing his usual jeans and cowboy boots.
The people connected with Brokeback Mountain, including me, hoped that, having been nominated for eight Academy Awards, it would get best picture, as it had at the funny, lively Independent Spirit awards the day before. (If you are looking for smart judging based on merit, skip the Academy Awards next year and pay attention to the Independent Spirit choices.) We should have known conservative heffalump academy voters would have rather different ideas of what was stirring contemporary culture. Roughly 6000 film industry voters, most in the Los Angeles area, many living cloistered lives behind wrought-iron gates or in deluxe rest homes, out of touch not only with the shifting larger culture and the yeasty ferment that is America these days, but also out of touch with their own segregated city, decide which films are good. And rumour has it that Lions Gate inundated the academy voters with DVD copies of Trash - excuse me - Crash a few weeks before the ballot deadline. Next year we can look to the awards for controversial themes on the punishment of adulterers with a branding iron in the shape of the letter A, runaway slaves, and the debate over free silver.
After a good deal of standing around admiring dresses and sucking up champagne, people obeyed the stentorian countdown commands to get in their seats as "the show" was about to begin. There were orders to clap and the audience obediently clapped. From the first there was an atmosphere of insufferable self-importance emanating from "the show" which, as the audience was reminded several times, was televised and being watched by billions of people all over the world. Those lucky watchers could get up any time they wished and do something worthwhile, like go to the bathroom. As in everything related to public extravaganzas, a certain soda pop figured prominently. There were montages, artfully meshed clips of films of yesteryear, live acts by Famous Talent, smart-ass jokes by Jon Stewart who was witty and quick, too witty, too quick, too eastern perhaps for the somewhat dim LA crowd. Both beautiful and household-name movie stars announced various prizes. None of the acting awards came Brokeback Mountain's way, you betcha.
The prize, as expected, went to Philip Seymour Hoffman for his brilliant portrayal of Truman Capote, but in the months preceding the awards thing, there had been little discussion of acting styles and various approaches to character development by this year's nominees. Hollywood loves mimicry, the conversion of a film actor into the spittin' image of a once-living celeb. But which takes more skill, acting a person who strolled the boulevard a few decades ago and who left behind tapes, film, photographs, voice recordings and friends with strong memories, or the construction of characters from imagination and a few cold words on the page? I don't know. The subject never comes up. Cheers to David Strathairn, Joaquin Phoenix and Hoffman, but what about actors who start in the dark?
Everyone thanked their dear old mums, scout troop leaders, kids and consorts. More commercials, more quick wit, more clapping, beads of sweat, Stewart maybe wondering what evil star had lighted his way to this labour.
Despite the technical expertise and flawlessly sleek set evocative of 1930s musicals, despite Dolly Parton whooping it up and Itzhak Perlman blending all the theme music into a single performance (he represented "culchah"), there was a kind of provincial flavour to the proceedings reminiscent of a small-town talent-show night. Clapping wildly for bad stuff enhances this.
There came an atrocious act from Hustle & Flow, Three 6 Mafia's violent rendition of It's Hard Out Here for a Pimp, a favourite with the audience who knew what it knew and liked. This was a big winner, a bushel of the magic gold-coated gelded godlings going to the rap group.
The hours sped by on wings of boiler plate. Brokeback Mountain's first award was to Argentinean Gustavo Santaolalla for the film's plangent and evocative score. Later came the expected award for screenplay adaptation to Diana Ossana and Larry McMurtry, and then the director's award to Ang Lee. And that was it, three awards, putting it on equal footing with King Kong. When Jack Nicholson said best picture went to Crash, there was a gasp of shock and then applause from many - the choice was a hit with the home team since the film is set in Los Angeles. It was a safe pick of "controversial film" for the heffalumps.
After 3½ hours of butt-numbing sitting we stumbled away, down the magnificent staircases, and across the red carpet. In the distance men were shouting out limousine numbers, "406 … 27 … 921 … 62" and it seemed someone should yell "bingo!" It was now dark, or as dark as it gets in the City of Angels. As we waited for our number to be called we could see the enormous lighted marquee across the street announcing that the "2006 Academy Award for Best Picture had gone to Crash". The red carpet now had taken on a different hue, a purple tinge.
The source of the colour was not far away. Down the street, spreading its baleful light everywhere, hung a gigantic, vertical, electric-blue neon sign spelling out S-C-I-E-N-T-O-L-O-G-Y.
"Seven oh six," bawled the limo announcer's voice. Bingo.
For those who call this little piece a sour grapes rant, play it as it lays.
http://www.smh.com.au/articles/2006/03/ ... 04811.html
March 14, 2006
Brokeback Mountain author Annie Proulx recalls a bitter night at the Oscars.
ON THE sidewalk stood hordes of the righteous, some leaning forward like wind-bent grasses, the better to deliver their imprecations against gays and fags to the open windows of the limos - the windows open by order of the security people - creeping towards the Kodak Theatre for the 78th Academy Awards. Others held up sturdy, professionally crafted signs expressing the same hatred.
The red carpet in front of the theatre was larger than the Red Sea. Inside, we climbed grand staircases designed for showing off dresses. The circular levels filled with men in black and women mostly in pale, frothy gowns. Sequins, diamonds, glass beads, trade beads sparkled like the interior of a salt mine. More exquisite dresses appeared every moment, some made from six metres of taffeta and many with sweeping trains that demanded vigilance from strolling attendees lest they step on a mermaid's tail. There was one man in a kilt - there is always one at award ceremonies - perhaps a professional roving Scot hired to give colour to the otherwise monotone showing of clustered males. Larry McMurtry, Brokeback's screenwriter, defied the dress code by wearing his usual jeans and cowboy boots.
The people connected with Brokeback Mountain, including me, hoped that, having been nominated for eight Academy Awards, it would get best picture, as it had at the funny, lively Independent Spirit awards the day before. (If you are looking for smart judging based on merit, skip the Academy Awards next year and pay attention to the Independent Spirit choices.) We should have known conservative heffalump academy voters would have rather different ideas of what was stirring contemporary culture. Roughly 6000 film industry voters, most in the Los Angeles area, many living cloistered lives behind wrought-iron gates or in deluxe rest homes, out of touch not only with the shifting larger culture and the yeasty ferment that is America these days, but also out of touch with their own segregated city, decide which films are good. And rumour has it that Lions Gate inundated the academy voters with DVD copies of Trash - excuse me - Crash a few weeks before the ballot deadline. Next year we can look to the awards for controversial themes on the punishment of adulterers with a branding iron in the shape of the letter A, runaway slaves, and the debate over free silver.
After a good deal of standing around admiring dresses and sucking up champagne, people obeyed the stentorian countdown commands to get in their seats as "the show" was about to begin. There were orders to clap and the audience obediently clapped. From the first there was an atmosphere of insufferable self-importance emanating from "the show" which, as the audience was reminded several times, was televised and being watched by billions of people all over the world. Those lucky watchers could get up any time they wished and do something worthwhile, like go to the bathroom. As in everything related to public extravaganzas, a certain soda pop figured prominently. There were montages, artfully meshed clips of films of yesteryear, live acts by Famous Talent, smart-ass jokes by Jon Stewart who was witty and quick, too witty, too quick, too eastern perhaps for the somewhat dim LA crowd. Both beautiful and household-name movie stars announced various prizes. None of the acting awards came Brokeback Mountain's way, you betcha.
The prize, as expected, went to Philip Seymour Hoffman for his brilliant portrayal of Truman Capote, but in the months preceding the awards thing, there had been little discussion of acting styles and various approaches to character development by this year's nominees. Hollywood loves mimicry, the conversion of a film actor into the spittin' image of a once-living celeb. But which takes more skill, acting a person who strolled the boulevard a few decades ago and who left behind tapes, film, photographs, voice recordings and friends with strong memories, or the construction of characters from imagination and a few cold words on the page? I don't know. The subject never comes up. Cheers to David Strathairn, Joaquin Phoenix and Hoffman, but what about actors who start in the dark?
Everyone thanked their dear old mums, scout troop leaders, kids and consorts. More commercials, more quick wit, more clapping, beads of sweat, Stewart maybe wondering what evil star had lighted his way to this labour.
Despite the technical expertise and flawlessly sleek set evocative of 1930s musicals, despite Dolly Parton whooping it up and Itzhak Perlman blending all the theme music into a single performance (he represented "culchah"), there was a kind of provincial flavour to the proceedings reminiscent of a small-town talent-show night. Clapping wildly for bad stuff enhances this.
There came an atrocious act from Hustle & Flow, Three 6 Mafia's violent rendition of It's Hard Out Here for a Pimp, a favourite with the audience who knew what it knew and liked. This was a big winner, a bushel of the magic gold-coated gelded godlings going to the rap group.
The hours sped by on wings of boiler plate. Brokeback Mountain's first award was to Argentinean Gustavo Santaolalla for the film's plangent and evocative score. Later came the expected award for screenplay adaptation to Diana Ossana and Larry McMurtry, and then the director's award to Ang Lee. And that was it, three awards, putting it on equal footing with King Kong. When Jack Nicholson said best picture went to Crash, there was a gasp of shock and then applause from many - the choice was a hit with the home team since the film is set in Los Angeles. It was a safe pick of "controversial film" for the heffalumps.
After 3½ hours of butt-numbing sitting we stumbled away, down the magnificent staircases, and across the red carpet. In the distance men were shouting out limousine numbers, "406 … 27 … 921 … 62" and it seemed someone should yell "bingo!" It was now dark, or as dark as it gets in the City of Angels. As we waited for our number to be called we could see the enormous lighted marquee across the street announcing that the "2006 Academy Award for Best Picture had gone to Crash". The red carpet now had taken on a different hue, a purple tinge.
The source of the colour was not far away. Down the street, spreading its baleful light everywhere, hung a gigantic, vertical, electric-blue neon sign spelling out S-C-I-E-N-T-O-L-O-G-Y.
"Seven oh six," bawled the limo announcer's voice. Bingo.
For those who call this little piece a sour grapes rant, play it as it lays.
http://www.smh.com.au/articles/2006/03/ ... 04811.html
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toiletduck!
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Jem
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Andre Jurieu
- Joined: Tue Nov 02, 2004 7:38 pm
- Location: Back in Milan (Ind.)
I'm puzzled as to why she gets so upset over not winning more awards at an awards show that she clearly has a deep contempt for. Yeah, Larry McMurtry is such a rebel for looking like a clueless old man. I also really respect her opinion on rap. She seems to have an in depth knowledge of hip-hop culture. If all else fails, blame Scientology.
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Dylan
- Joined: Wed Nov 03, 2004 1:28 am
Ang Lee was reportedly 'saddened' as well. I'm sure there was a lot of pressure and anticipation from the millions predicting it would win, but didn't they ever consider the possibility that their 'daring' film might've disappeared after a few weeks and that audiences wouldn't have noticed? When I heard of the film back in 2004 when it was shooting, I thought nothing of it, nor did I think it would cause such a ruckus...I thought it would come and go, it sure didn't sound like anything that would cause a sensation. But it did, a huge critical and public sensation, and I think the filmmakers should be happy that the film got such audacious attention rather than complaining about 'only' winning Oscars for Director, Adapted Screenplay, and Score. This is probably the first time I've read about people who won Oscars disappointed they didn't win in other categories. As I said they were probably under a lot of pressure, but frankly, don't you think they're acting a bit spoiled? How many other awards did it win?
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franco
- Joined: Wed Nov 03, 2004 11:32 pm
- Location: Vancouver
Dylan, I doubt there is a way Lee Ang can be saddened. He weeps in joy and gratitude for the simplest thing he is given. There was a time he wandered around the streets of Hong Kong for half an hour trying to decide whether he should purchase a shirt at the price of 14 US dollars.
Even though he is now immersed in fame and praise, his modesty does not falter.
At least these facts are what I have read and heard from his friends. I wonder what Grimfarrow's impression of Lee Ang is like.
Even though he is now immersed in fame and praise, his modesty does not falter.
At least these facts are what I have read and heard from his friends. I wonder what Grimfarrow's impression of Lee Ang is like.
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Dylan
- Joined: Wed Nov 03, 2004 1:28 am
I read a news article online that said he was deeply saddened from it not winning, but I don't have a link. Yes, I read about the t-shirt once, and didn't he also say (either at the Oscars or at the globes) that when he first came to the US he slept on floors at friend's apartments? Like many filmmakers, he started at the bottom, and has done very well for himself. I haven't seen "Brokeback" yet, but I did like "Sense and Sensibility" and "The Ice Storm." I'll probably see "Brokeback" eventually, though I'm not in any real hurry to.
The bottom line is that I'm basically surprised that people who are winning so many awards can be picky about not getting best picture, but as I said, there was probably a ton of pressure on them to get ready to win.
This is beside the point, but yes, Ang Lee does seem like a very nice person, and it wasn't exactly him I was directing this to, though I was surprised to hear that he was down over it not winning best picture. Probably just a case where insane expectations blew up, even though there was a ton of good as well. I guess we'd only truly understand if we saw our names on the noms list. Anyway...
The bottom line is that I'm basically surprised that people who are winning so many awards can be picky about not getting best picture, but as I said, there was probably a ton of pressure on them to get ready to win.
This is beside the point, but yes, Ang Lee does seem like a very nice person, and it wasn't exactly him I was directing this to, though I was surprised to hear that he was down over it not winning best picture. Probably just a case where insane expectations blew up, even though there was a ton of good as well. I guess we'd only truly understand if we saw our names on the noms list. Anyway...
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franco
- Joined: Wed Nov 03, 2004 11:32 pm
- Location: Vancouver
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hearthesilence
- Joined: Fri Mar 04, 2005 8:22 am
- Location: NYC
Here's the Colbert Report making the predictions using "Da Colbert Code":
http://www.youtube.com/watch?v=wIot4A2f ... 18%2B%2522
Here's the victory lap:
http://youtube.com/watch?v=wFu%2012yOULA4
http://www.youtube.com/watch?v=wIot4A2f ... 18%2B%2522
Here's the victory lap:
http://youtube.com/watch?v=wFu%2012yOULA4
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tavernier
- Joined: Sat Apr 02, 2005 11:18 pm
Classic stuff!hearthesilence wrote:Here's the Colbert Report making the predictions using "Da Colbert Code":
http://www.youtube.com/watch?v=wIot4A2f ... 18%2B%2522
Here's the victory lap:
http://youtube.com/watch?v=wFu%2012yOULA4