I keep forgetting to post this on Wednesdays. Sorry about that. We’re recording in a matter of hours so if you have any questions you’d like us to address, fire them off here. PLEASE STICK TO ONE QUESTION. We do this every week, after all.
I keep forgetting to post this on Wednesdays. Sorry about that. We’re recording in a matter of hours so if you have any questions you’d like us to address, fire them off here. PLEASE STICK TO ONE QUESTION. We do this every week, after all.
Comments
50 responses to “Taking questions for Oscar Talk”
Yes, my question is why are so many Oscar bloggers clueless? No names (Guy Lodge)
If The Social Network and The King’s Speech didn’t exist, what film do you think would be the frontrunner right now?
Take it away, Guy.
I am wondering how much of Jim Carrey is still in this for actor in I Love You Phillip Morris. I have seen the film and his performance is amazing, and he is a very talented actor. The subject matter seems a little risky though. Thoughts?
Also, since this is Oscar Talk, I doubt you all care about Golden Globes. But I was wondering if these films would enter as comedies or dramas:
Love and Other Drugs
Somewhere
Get Low
Made in Dagenham
Another Year
Whats everyone assumption on Paul Rudd making it in. i’ve had a sneaking suspicion that he might crawl in somehow
After seeing 127 Hours and Black Swan, what makes one an Oscar film, but not the other? 127 Hours is intense, sexual (albeit it in a very different way), and gory? Is it the horror elements?
Also, do you think the fact that Natalie Portman had to learn to do ballet puts her at an advantage with the Academy?
Why is Blue Valentine not in the awards equation beyond the NC-17 controversy? Does Anne also consider this film as one of the “little films that can’t?”
Jeez Billy. That’s kind of harsh, isn’t it? His is yet another opinion which some might not agree with, but it probably represents the same beliefs of a certain group of people.
As for my question, what do you two think about the original score race right now? There’s been talk about how great Rachel Portman’s (Never Let Me Go) and Michael Giacchino’s (Let Me In) scores are perhaps on their own, but in the context of their films they don’t work. I don’t really think Giacchino has a chance because the film didn’t do too well. As for Portman, I just never really liked her score that much. It just felt too strange and cold.
More supplementary questions: Do you think Randy Newman is still present in the race for “Toy Story 3”? Is “The King’s Speech” really the best score from Alexandre Desplat this year? I worked for that film, but it didn’t seem to go above and beyond in the way his score for “The Ghost Writer” did. We haven’t even heard his full score for “Harry Potter and the Deathly Hallows: Part 1”, but the short samples that have been released sound pretty great.
Which films do you think will be overlooked in this year’s Oscar race which deserve recognition? And which films from the past are the most egregious oversights by the Academy?
Great podcast guys!
Any chance The Fighter and True Grit could be The Lovely Bones/Nine in terms of films not yet seen, but are critically attacked and make no impression on the oscars? Both Paramount films I believe so I’m very curious what their up too along with Shutter Island.
Also do you think within a few months, Inception will really be one of the heavier contenders for top prize?
Okay, you have to tell us what you thought of Morning Glory, Kris. I just saw that hilarious little flame war you had with Wells.
I just read this article (http://blogs.indiewire.com/thompsononhollywood/2010/10/28/oscar_rear-view_youngest_best_actress_nominees/?utm_source=twitterfeed&utm_medium=twitter) on ToH and Sasha Stone’s comments kinda shocked me. How important is it for a character to be likable/redeemable for an Oscar win? Anthony Hopkins certainly comes to mind.
@Matthew: While not having seen them, I think it’s that 127 Hours, is an inspiring film with a happy ending that the Academy would usually go for, while Black Swan is not inspiring or positive in any way.
Have there been any early screenings for True Grit or The Fighter yet? Have you heard about any early word on those films?
*IT worked for that film…
Is there a most consisent category for a slam dunk prediction; is there a category that’s always an utter shit to crack (discounting short doc subjects, naturally)?
Has Inception really faded this quickly? The reviews, the box office, all the attention, but now all anyone is talking about is Social Network and King’s Speech. Does Inception have a chance to win?
Harrison Ford in ‘Morning Glory’.
Jack Nicholson in ‘How Do You Know’.
Do you think either of them have a chance to be in contention for supporting?
I know I would love it.
I have been waiting for William Monahan’s “London Boulevard” for a long time…
Do you have any news on its release dates? Or will the film play will have limited run soon, in time for the awards season…
I’m really excited for the film, since this will be a follow up for Monahan after his work in The Departed…. I believe the film will be released this November in the UK, but how about in the US?
Why does the academy recognize a very young actress for their first significant role (Ellen Page – Juno, Saoirse Ronan – Atonement and probably now Jennifer Lawrence – Winter’s Bone) but it usually requires an actor several successful roles before they are nominated. The average age for actors receiving first time nominations is much older than actresses.
At this moment, what are Jacki Weaver’s chances of slipping into Best Supporting Actress? You’ve got ads all over your site, I’ve heard conversations about the film in the industry, but where do you and Anne think she stands right now, before more screeners flood voters’ homes?
In terms of editing, do voters take into account that the structure of the film sometimes more often comes from the script, and not just the editing? I keep thinking that when a film is applauded for its structure, or, as with Inception, its bouncing back and forth between stories and worlds, it is often the editor who is hailed. Why is that, as, often, it begins with the script? I’m just confused is all.
Will Inception do well with critics since that will likely be necessary to have a win be possible?
I know it’s very early, but if you had to pick the one category(including tech) besides Animated Feature, that you were most sure of the winner, what would it be
Fingers crossed that this is the Chad Hartigan edition.
What is your favorite movie out of the current Best Picture contenders? Not your favorite movie of the year so far, but out of the accepted contenders.
Also, what are do you consider the most underrated and overrated movies of 2010?
Sorry for repeating the same question weekly, but:
How do think the other major voting bodies will vote (e.g. BAFTA, DGA, WGA, SAG, Globes, Critics Choice) and how may they differ from the academy?
Not yet, James. We should send you an “I HEART Chad Hartigan” shirt, by the way.
Whoops, I didn’t see the one question rule in the article. Sorry.
Do you think there is a chance that ‘Social Network’ will go the way of ‘Up in the Air’s’ loss to Geoffrey Fletcher’s ‘Precious’ when all is said and done on Oscar night?
Which performance did you prefer, Colin Firth in The King’s Speech or James Franco in 127 Hours? And who do you think will win?
Sorry Tapley, those shirts are sold out
What inspired you to get into the business of reporting about awards season?
I realize this one doesn’t exactly fall under “Oscar Talk”, but seeing that Alice in Wonderland FYC made me think of the Golden Globes, and the comedy section in particular (as Depp could be a Best Actor in a Comedy contender).. So it’d just be interesting with some talk about the comedic side of things since I personally haven’t given much thought to it who and what might be looking at comedy nominations.. And what (if any) contenders might be considered comedy. Could The King’s Speech fall under comedy, for example? The trailer certainly has it’s fair share of humour.
what are some of the things that get on your nerves about the oscar season?
I second the question from poster #37.
Please answer LC’s question, very interesting observation
What do you think the chances are that something smaller will take over and win like last year? Obviously right now it is The Social Network and The King’s Speech, with True Grit and The Fighter being potential ones that could take over in the late going. Could something like The Kids Are All Right, Winter’s Bone, Blue Valentine or Another Year have a legitimate chance? I realize it is a hard question to answer because even last year at this time I don’t remember The Hurt Locker being seriously considered as a possible winner, but it would be interesting for you two to speculate.
Everyone keeps saying that Black Swan is dividing critics, when this simply doesn’t seem to be true. It is in the 90s on rottentomatoes with a high average rating and several reviews and doesn’t seem to be slowing down. Is it a case that Academy members are very different than critics being the reason that everyone keeps saying it has minimal chance in most categories or is it because people haven’t actually looked at the consensus and realized that most are loving the film?
I, too, would like to hear more about your Black Swan thoughts. That said, it may be difficult to talk extensively about without spoilers, huh?
Regarding the movie, it looks like Portman is a strong possibility. Is it odd to ponder the chance that Black Swan could get the Blind Side 1-2 combo (Best Pic, Best Actress), but nothing else?
I don’t always have time to listen to the OscarTalk stuff, so maybe you’ve already touched this subject, but:
What would your predictions for Best Picture be if the category were still only limited to five films?
Guy mentioned what he felt the five would be in an earlier thread and I was honestly a little shocked. It hadn’t occurred to me how different this year’s race would be if all of the top contenders’ chances to get nominated were reduced by half…
Boxers or briefs? lol
Why does everybody (you don’t have to answer for everybody :p) think Bridges has that much of a chance? He just won and no one has seen the film.
I get that this might be a great film and Bridges’s role and performance might be baity/great but still, won’t they think: Well, I’m glad he won last year but let’s take a break. ?
Who do you think should win best actor between Colin Firth and James Franco?
Why does the majority think Julianne Moore isn’t going to get nominated for Best Actress in The Kids Are All Right? It’s sad when you think about it. Makes me wanna cry :'(
What film or films to you think will be the “critic’s darling” this award season? Is there anything out there that people aren’t discussing but could make it in on critical support alone?
Earlier this week on twitter, Guy and (I think it was) Scott Feinberg agreed that Jennifer Lawrence might very well take Actress. WHAT?! I understand the factors that can lead to this happening, but having seen Black Swan and Another Year, and with Annette very much the frontrunner, I can’t see how Lawrence can beat Bening, Portman and Manville. She should be considered the Castle-Huges/Sandino Moreno/Leo of this year and be happy to be nominated. Thoughts??
PS I’m from London, please hook me up with Guy. Thanks
Hi, long time listener and admirer here. I’m a movie journalist from Brazil and decided to drop a question this week. I’ve been reading and following most of the fall madness around the “potential ones” (Network, 127, king’s…), and although they’ve been largely lauded and praised, I don’t remember reading anything special or that really stood out about their editing. All I can come up with is the talk about Social Network’s great rhythm and crazy dialog pacing, but even that has been more credited to Aaron Sorkin’s screenplay and Fincher’s direction. So, considering all that, and riding on Gerard’s column this week (I’d thought about that before reading his text), is Inception’s Lee Smith already a lock for a win in this category? I mean, I know it’s too early to call and everything, but there’s hardly gonna be a work that’s showier and more fundamental to a film’s narrative than his. And we know that such things count when a lot of Academy members are not specialists in such a technical field. Lee’s work yells (in a good way) in Inception’s most fundamental sequence – and it would’ve been a complete disaster if he couldn’t pull it off. And, I guess, everybody who saw the film realizes that. Anyways… I haven’t seen most of the contenders coming out this fall (they’re usually released in Brazil from January on), so just trying to provoke here a little bit. Hope you and Anne get to adress my question. Writing here is a really big admirer of your competence and the quality of both of your blogs. Yours are a big info source I access mostly everyday. And can’t wait for the podcast every friday. You guys have no idea how much I lmao with it sometimes. Keep on with the great work.
Thanks again guys. Cutting it off there.