Just to finish off the last of these articles, the Independent Spirit Awards were announced today. They changed the voting so that all the big studio Oscar stuff doesn’t make it on and dominate the competition anymore. So now it’s truly independent stuff, which is both nice but also makes the awards show a bit of an afterthought. Mostly I love that it’s people getting together in a tent on the beach in Santa Monica and getting absolutely day drunk. That’s really why we have this show, isn’t it?
Anyway, here are your winners (which you basically could have called a month ago just by looking at the nominees. But hey, it’s not about the winners, it’s about the day drinking): (more…)
The Visual Effect Society handed out their awards tonight. As a reminder, your Oscar category is:
The Lion King
Star Wars: The Rise of Skywalker
So really, those are the only five we’re paying attention to here.
VES hands out 11 film awards, 4 animated. So it’s seven major categories we’re looking at. For Animated, Missing Link won Best Animated Effects and Best Animated Character, while Toy Story 4 won Best Created Environment for the Antiques Shop and Frozen II won for Best Effects Simulations, for, I guess, the snow and shit. All of that makes total sense to me.
As for the film awards, The Lion King won Best Effects, Best Virtual Cinematography and Best Created Environment. Considering the entire film is created and the creation of the effects was done in this sort of VR space, I’m not surprised it won any of those three awards. Meanwhile, The Irishman won for Supporting Effects and Composting, while Alita: Battle Angel won for Animated Character and Rise of Skywalker won for Effect Simulations. That means 3/5 of the category won an award, with 1917 and Endgame the films that won nothing. 1917 was only nominated for Supporting Effects, so once Irishman won that, it was gonna go home empty-handed. Endgame was nominated in three categories and lost them all.
I will say, I appreciate that all the awards basically went to the films that made the most sense. It’s rare that you feel like people vote for what the best choice is rather than with some sort of agenda.
BAFTA is on Sunday, and we’ll learn a lot based on what wins there (since BFCA already gave out their award to Endgame and I’ve already discounted that as nonsense, which was just backed up by VES), but I’m suspecting that the Oscar winner is probably gonna be The Irishman, with Lion King a contender (but probably overmatched in the ‘class’ game) and 1917 a potential upset pick. Mostly I wanna see if BAFTA goes for 1917. If they do, that’ll make things REALLY interesting. But we know how this goes — Best Picture nominees usually outmuscle everything else in the category. You kinda forget that part, since 2015 was the last time Best Picture nominees were nominated and Ex Machina blew that whole thing up. But before that, Best Picture nominees were automatic in the category (and even since, the ‘classier’ films tended to win — Blade Runner, First Man). So I’m thinking we stick to that, but hey, maybe if BAFTA goes Lion King… maybe not. We’ll see.
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Okay, final award. ASC. Cinematography.
And if you didn’t think they were gonna give it to Roger Deakins for 1917, you’re high. He’s been nominated at the guild 16 times, one more time than he’s been nominated for an Oscar. He’s won four other times, for Shawshank in 1994, The Man Who Wasn’t There in 2001, Skyfall in 2012 and Blade Runner in 2017. His five wins at ASC ties him with Emmanuel Lubezki for most all-time, ahead of Conrad fucking Hall.
And did I mention — it’s Roger fucking Deakins shooting a war movie to look like it was done in a single take. He’s going to win the Oscar.
Remember eight years ago when we couldn’t buy him an Oscar? Now he’s just flexing his muscles and winning these things like it’s nothing. I love it.
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Okay, second awards handed out tonight — CAS. For Sound Mixing.
The winner was Ford v Ferarri. I should point out that 1917 WAS NOT nominated at CAS, so really that was a foregone conclusion that it would probably win. I was only really looking out to see if somehow Once Upon a Time in Hollywood would win. But really the Sound categories are gonna come down to Ford v Ferrari and 1917, and the question is gonna be — as it usually does — will one film win them both or should you commit the cardinal sin and split the Sound categories?
I’m really curious to see what BAFTA does next weekend, because right now, Ford v Ferrari technically has more precursor wins than 1917 does. But BAFTA will really tell us where this is all likely gonna go come Oscar night.
Meanwhile, Toy Story 4 won their Animation award, in case there was any doubt about where that category was headed. That’s won like every single guild there is to win thus far except animation, which is its own weird thing.
Anyway, that’s Sound Mixing. DGA and ASC still to come.
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The Eddie Awards were handed out last night. Here are the winners:
Comedy: Jojo Rabbit
Animated: Toy Story 4
Documentary: Apollo 11
Nothing particularly surprising. Parasite winning Dramatic made the most sense for them. Marriage Story was never gonna win, Joker would have been a big surprise, for everyone including the Joker team. The Irishman would have made some sense, because it’s Thelma, but I haven’t seen real love for that movie out there to this point. Ford v Ferrari would have made sense as a pure ‘editing’ movie, but Parasite is the consensus favorite film out there by a lot of people and feels like it can easily win the Editing category even without winning Picture. 1917 wasn’t nominated because there’s no editing, so if they’re all in on that, then this didn’t matter, did it? And then in Comedy, Jojo was the de facto winner the minute Once Upon a Time in Hollywood wasn’t nominated. If the guild didn’t nominate it, why would they give it their big award? And Jojo’s the only other nominated film in the category. Then, Toy Story in Animated made total sense. It’s gonna win that category. And Apollo 11 is the consensus best documentary of the year (and they didn’t even nominate it, so that’s how you know it’s good), so that’s no surprise either.
It’ll be real interesting to see what BAFTA does with editing, especially given Parasite not being nominated there. This might actually be one of the few categories of the night we actually have to think about. Which is sure setting up for a 2011 scenario, isn’t it?
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Okay, so Oscar nominations are out. The moment we’ve all been waiting for. I posted the list earlier, but by itself and without comment, because I woke up at 5:30 and typed the nominations As they were spoken. This is all from the time between then and now, as I’ve thought about it all and could talk somewhat coherently about it all.
Somehow I thought they started reading the nominations at 5:30. You know, like it said. So I woke up and saw Issa Rae and John Cho had already finished half the nominees. So I went back, hurriedly typed out twelve categories and caught it just as they started round two. At least I didn’t sleep totally through them, which has happened before.
Anyway, the thing I always say now is — we’ve just crossed that Autosave zone. There’s no going back now. No more talk about what can or will be nominated — this is the list. This is what we have now and in perpetuity. We get our ‘shouldn’t have been nominated’ stuff out now, but this is what we got. Now all that matters is what’s going to win. And that’s what we’ll be talking about for the next 24 days. Because literally I have to start category breakdowns TOMORROW due to the truncated schedule. We’re gonna go 24 days from tomorrow through all the categories and that takes us to two days BEFORE the Oscars. That’s how short this time period is.
But anyway, let’s see how it all went down. What the surprises were, where the snubs came, what this means for picking the winners. All that good stuff.
Here are your 92nd Academy Award nominations: (more…)
Ford v Ferrari
Once Upon a Time in Hollywood
Bong Joon Ho, Parasite
Sam Mandes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time in Hollywood (more…)