I’m really not trying to drop another grenade on the season here, but I was wondering recently about surprises this year and whether there are more in store. And one undeniable shock would be an upset in the Best Adapted Screenplay race.
Some would point to “True Grit” or “Winter’s Bone” as the likely runner-ups to Aaron Sorkin’s all-but-assured win, but if members are voting with their heart in the Best Picture field, why not in the screenplay races, too? In “Toy Story 3,” I think you’ve got the makings of a real spoiler. It’s a wonderful close to a beloved series and, look at that, it has “story” right there in the title, waiting to be capitalized upon in advertising. (That one’s free, Disney flacks.)
In all likelihood, the Academy will feel comfortable sticking with the Best Animated Feature (and potentially Best Original Song) fields as a way to recognize this film and franchise, but if they wanted to spring for more, this would be the place. And Michael Arndt, an Oscar already in tow, isn’t some unknown newbie making his way through the season. When it comes to screenplays, the Academy at large simply thinks about dialogue before all else. That’s the extent of sweeping understanding of the form. And Sorkin has that in spades, so the smart money, no question, is on “The Social Network.” I’m just saying the smart money was also on David Fincher once upon a time.
Pixar has consistently been heralded for its story process. In 2008, many thought “WALL-E” could actually eke out a win in the Best Original Screenplay race, but it was ultimately leap-frogged by Best Picture nominee “Milk.” There is still some bias there, so maybe an animated film winning a screenplay prize is a long way off. But then again, maybe not.
Anyway, Variety’s Debra Kamin recently spoke to Arndt and director Lee Unkrich about the film. Here’s a taste:
As for his frosh scribe…[Unkrich] was confident. “Everyone was on board with having Michael write this movie even though it was this treasured property,” he said. “We trusted him.”
Arndt was a quick study. “The ‘Little Miss Sunshine,’ process was me sitting in my backyard building a little homemade rocket. And going to Pixar and writing ‘Toy Story 3’ was like going to work at NASA,” he said. “It’s sort of the same thing but not really.”
More at Variety.
UPDATED: Speak of the devil. Disney sent out a press mailer today with a big poster featuring all 12 of the “Not since…” ads that have dotted the campaign landscape this season. On the other side is the already-becoming-iconic Buzz Lightyear standing against a black background with the film’s five Oscar nominations listed at the bottom. Best Picture and Best Animated Feature are accentuated, but I might have dropped animated down a tier and put Best Adapted Screenplay at the top, too.
I asked for a jpeg of the poster rather than taking a crappy photo. Here it is (click for larger versions):
[Photo: Walt Disney Pictures]
Comments
62 responses to “Could there be another ‘Network’ dagger lurking?”
Ugh.
Thankfully I’m not the only one who thinks this could happen.
Not that I want it to.
I do have one serious question though, what exactly is the bias that the academy holds with animated features? Is it just the old-timers who feel the genre is best left as a childrens medium that shouldn’t be taken seriously? Or something else?
Nope, this is a totally constructed impossibility, just another groan-inducing way to make it seem as if one of the most locked categories in the 2010 race has suddenly fallen to vulnerability. I wouldn’t even entertain such a notion.
I think that the amount of nominations Pixar has racked up in that filed in the past decade would seem to imply that if there once was a bias then it is slowly going away. I woudn’t necessarily hold the fact that they are yet to win as an example of them thinking of it as a children’s medium though. I think it might happen but I doubt it will be for this film.
Drew: It’s kind of two-fold. With Best Picture, there is the sense that animated films have their own category, so it’ll always be an uphill battle for an animated film to win there.
As for the screenplays, I think it’s simple ignorance of the sheer fact that an animated script is just as crucial as a live action script. It’s probably some of what you say, too, but I would think Pixar has changed that mentality at least a little in the last few years.
“just another groan-inducing way to make it seem as if one of the most locked categories in the 2010 race has suddenly fallen to vulnerability.”
I take offense to that. It’s an honest question and, let’s face it, similar responses have met a number of notions floated against TSN winning this or that this year.
I don’t know.. I can’t imagine it happening, but then again I said that Fincher was going to win the DGA in a cakewalk too, so what do I know?
But this isn’t The King’s Speech vs. The Social Network either. And even if it is losing steam, you’d imagine the Academy wanting to honor it in some way. It is still the most acclaimed (live-action) film of the year, after all.
And from a purely personal point of view, if I were an Academy member I’d much rather save my Pixar vote for one of their original screenplays. It’d be a shame if their first screenplay win was for a second sequel, no matter how beloved it may be. Less sequels, more original stories, please!
does anyone think that all this doom talk will actually help David Fincher and Aaron Sorkin to win? i.e. if people vote with their hearts at the top but still want to reward these veterans they’ll be sure to do so elsewhere? Tom Hooper has won ONE award that something like 80,000 more people vote on (and most in TV).
Speak of the devil. A Disney mailer just arrived with a massive poster featuring all 12 “not since” ads. I’m trying to track down a jpeg file or something so I can post it up here.
“does anyone think that all this doom talk will actually help David Fincher and Aaron Sorkin to win?”
I do think it could help swing the pendulum of the film’s base to a more passionate stance, but certainly it’s not going to outright change opinions.
Brian: Another honest question: Is one award voted on by 80,000 really any more or less relevant than 20 voted on by what ultimately amounts to maybe 150-200 people?
It’s an interesting possibility to think about.
If you look at Pixar as a singular unit, they’ve managed back to back to back TO BACK Screenplay noms without a win (not to menton nods in 95, 03, and 04). Pixar’s brand and unmatched streak as a studio has a lot to do with their screenplays.
If Sorkin weren’t in the race, I’d think Screenplay would be the perfect category to award Pixar outside of the Best Animated/Song ghetto.
Awards season 2011 is pretty much over in my opinion. All categories are locked and I doubt any amount of speculation is going to change that.
I think it’s a legitimate question. Who knows how AMPAS really feels about Sorkin’s script? The dude was never nomianted before and we are essentially applying the same logic to him we applied to Fincher and Social Network before (i.e. these are the frontrunners because they did well with critics).
That said, I still think he’s the one to beat but this almost due to objective ruther than subjective reasons.
Afrika, care to enlighten us why you think categories like Best Editing, Cinematography and Score are locked up?
I also object to Loyal dismissing “Best Song” as category ghetto where’s I think that like any other category it is as strong as it’s entries. This year really isn’t as bad as some make it seem. Not a classic year to be sure but not as terrible as some others, imo.
Maxim, my comment had little to do with this year or quality. Just stating the facts.
Toy Story, Toy Story II, Toy Story III, Monster’s Inc, Cars, WALL-E, all nominated in best song.
I’m sorry ……….. after Reitman didn’t win Screenplay last year … I don’t think ANYTHING is locked.
Seriously, the man had been nominated before, he is well-liked, Up in the Air was nominated for 6 Oscars, eveyrone knew that if Up in the Air were to have won anything – that Screenplay would be it (and a nice way to award Reitman), and he had won nearly every Adapted Screenplay award all season (as Sorkin, a big tv writer, has).
Then he didn’t win.
Nothing is for sure with these 5,700 people. Nothing.
I don’t know if “Up In the Air” actually deserved that win though.
I don’t think Precious did, for what it counts.
Oh come on! The Social Network is this years Up in th-
Oh…
And for anyone criticizing Tapley for writing this column, I much prefer these types of debates than what’s going on with some of the other Oscar bloggers.
I wish there was a thread where I could make predictions for 2012 because wheres some are still smarting over Nolan’s BD snub I think Stephen Daldry is on path to extend his streak with Best Director nomination #4.
I don’t see this happening. Sorkin is a huge name in the industry for The West Wing, and I think that they might want to reward him. Also, The Social Network had a good script.
I would be overjoyed if it happens. The better script would have won in my opinion. Toy Story 3 has a truly spectacular screenplay, one of Pixar’s best and that’s saying quite a lot. And guys it IS original, even if it is categorized as Adapted by the Academy.
Kris all 12 “not since” ads can be found on Disney’s FYC site in the Toy Story 3 section.
One other knock on animation is that actors are negative and they are the single biggest bloc.
Up in the Air most certainly did deserve that win, especially over Precious, which was a painfully terrible film only saved by a handful of good performances.
“Eke” out a win, not “eek.” Sorry, that was bugging me.
I’m more curious to see who wins WGA in Original Screenplay with “King’s Speech” out of the running.
There is simply some sort of bias that the medium has where people think it really is not weighty enough or worthy enough. It is prevalent in the world at large too. A lot of people have asked me what film should win Best Picture this year and when I say Toy Story 3, they roll their eyes and say its animated. They even feel shocked it got nominated for Best Picture.
I believe this is the exact same reaction many Academy members have (excluding those who voted for it to get into the 10). They look at their ballot, go to the Best Picture column, see Toy Story 3’s name and roll their eyes.
red: Yeah, well, these are all on one poster. :p
Collin: Eesh, I never make that mistake. Thanks.
I think True Grit’s screenplay is tighter, funnier, and definitely more authentic. I want that to win.
Precious was atrocious, and should not have won at all. Over Up in The Air? In The Loop? Come on. The scene they chose for the clip – the fried chicken theft – is hilariously ridiculous.
I was wondering the same thing too this weekend, and I’m glad you brought that up. Toy Story 3 for whatever reason seemed like the one for the most potential for an upset win. I wouldn’t necessarily be for this, but its a great screenplay and of course it would be a surprise and an untraditional pick as well.
If Sorkin doesn’t win for “The Social Network” screenplay, the Academy will basically be giving a big symbolic middle finger to everyone who was involved with the film.
kris – valid point about number discrepancy, much like using the Iowa Caucus to try and determine the next president.
This year I really am only rooting for Fincher, Reznor and Deakins in the scheme of things, and that one win by Hooper came as a shock. I would be shocked (and delighted) if Reznor wins despite this being his first score. It absolutely made and elevated the movie, thanks for the video earlier. Their score actually slowed down the movie which is an amazing feat, and something that was necessary when I read Sorkin’s script (I read it two years ago, and it read like really good, but fast, television; which is why I am so pro-Fincher and Reznor for these awards). I suppose I should just post over there, but am lazy and responding to something here.
It would be unfortunate if Deakins is again Oscarless (though he should have won for The Man Who Wasn’t There years ago); it just seems impossible for Fincher to lose to me, and because everyone thought he had it in the bag, perhaps him losing once actually helped him…
sorry for all the unrelated names in this Sorkin discussion. It would be shocking if he lost, but that element of the movie isn’t what is actually strongest to me. The Social Network needed components to reign in Sorkin.
I think if the Academy were to vote according to sentiment wouldn’t Inception win for Original Screenplay? Nolan was snubbed but a win for his screenplay would be nice.
Another thing, The Social Network is so very much Aaron Sorkin’s. I can’t imagine that film being what it is without his writing, whereas I can imagine it being successfully directed by someone else. Maybe not as well as Fincher did it, but Sorkin feels far more integral to the film’s success than Fincher.
Also, let’s not forget there are four people nominated for Toy Story 3, not just Michael Arndt. True, the others are John Lasseter, Andrew Stanton and Lee Unkrich, so you’d certainly award some real Pixar royalty voting for it.. But it’s still four nominees, and the preference seems to always be the fewer cooks the better. The only ones to win screenplay Oscars with three or more writers in the last 30 years were The Return of the King and Eternal Sunshine of the Spotless Mind. Then again, it’s an animated film too which of itself is probably an even greater hurdle to overcome.
Toy Story 3 is ridiculously overrated. I liked it a lot, it was a fun film but its not The Godfather Part II. Let’s get a grip here people.
Animated films will always be considered “fun” and “kids” films which is simply idiotic but ita a tough wall to demolish.
Sorkin will win the award for the great dialogues, not because the piece in its entirety is a masterpiece or anything.
I will throw up if this happens. True Grit or Winter’s Bone pulling an upset, I could deal with. If they didn’t give it to WALL-E, they should not give it to this.
“I think that the amount of nominations Pixar has racked up in that filed in the past decade would seem to imply that if there once was a bias then it is slowly going away. ”
If the branches voted on the WINNER like they do the nominees then we’d probably have an animated winner in the screenplay category or two, but it’s the old tier of voters that are holding it back, I think. Remember the Old Geezers saying “Ratatouille” shouldn’t win original screenplay because it’s animated?
If Toy Story 3 wins screenplay, it better upset for Picture.
“Not since [title of oscar winning film]….”
What’s the rest of that sentence? Is there a punchline I’m missing?
As I understood it initially, the campaign was mostly about films that were unlikely Best Picture winners. LOTR being a fantasy (and a sequel), SIL and Annie Hall being comedies, Godfather II being a sequel. TS3’s up-hill climb is being an animated film and, not to mention, a sequel.
Not all of the films used really fit that, though.
It’s a legitimate question, certainly. No one is ever really “locked” for anything. There have been upsets in every category stretching back into the entire history of the Academy Awards.
I’ll say this, re: the Up in the Air comparison that some people are invoking. Regardless of one’s opinion of both films, Up in the Air was not an “event movie” last year in the way that The Social Network is this year. It just wasn’t. And Aaron Sorkin himself has become a sort of mini-celebrity because of the movie. I know Aaron Sorkin was well known before, but the last time I can remember a film turning its screenwriter into a pop culture phenomenon was Juno and Diablo Cody and we all know how that turned out on Oscar night.
Yes, the buzz is certainly fading for The Social Network and it’s worth discussing any upsets, but I think the screenplay categories always favor live action and there’s no reason to think they won’t this year when they have a bonafide live action frontrunner. It’s The Social Network’s consolation prize at this point.
Just a sidenote: I’m not sure it’s over for The Social Network. I think the fact that The King’s Speech broke later and reached mainstream consciousness later than The Social Network is helping it a bit. Remember, TKS didn’t go wide until December. I wonder what would be happening if The Social Network had been released later, or if The King’s Speech had come out earlier alongside it in October. Or does it not make a difference? Thoughts?
After Reitman lost best adapted screenplay I wouldn’t put anything by the academy.
Any given Sunday….
Winter’s Bone for the win. Just my two cents.
Funny thing about that Toy Story 3 ad — they really don’t seem interested in winning Best Sound Editing, do they?
So nice of you to post the Toy Story 3 FYCs…
If based on these FYCs alone… Toy Story 3 is the Best Picture…. Very creative and out of the box campaign…
Sorry but I don’t get the “Not since (movie title)” tagline….
@Rizza
From my point of view, it shows the memorable scenes from those past Oscar films and compared it to Toy Story 3 scenes… Maybe to remind voters how memorable Toy Story 3 is.