OSCARS 10' - Week 2.0

Tuning out: Believe it or not, there was once a time when a hit song from a movie became even bigger on the Billboard Hot 100 chart, creating a certain buzz around the Best Original Song category at the Oscars. Well, I don’t have to tell you the last time any of the songs nominated were that big of hit on radio stations was over 20 years ago, so those days are clearly behind us. Just in how the average music lover gets their music now has changed, helping to create a huge debate on the validity of this category as a whole. Just last summer, the Academy of Motion Picture Arts and Sciences (AMPAS) suggested they would eliminate the category for years where the eligible songs weren’t as prevalent, meaning not good enough. Problem is, how is that determined and when? Too often people, including the academy members, forget what a song can mean to a film, the true essence of the nomination. Occasionally, a song or overall soundtrack does in fact set a film apart from others, helping make that film more enjoyable. And those critical decisions around this category are still lingering, as just this week, a rumor has surfaced that the current slot of songs nominated this year would not be performed live during the ceremony, an unexpected and now highly ridiculed change. Maybe all this is good or maybe this is the beginning to the end of this category, but either way the tide is changing.

The reality is, more and more studies or going away from music being so prevalent in movies, but that doesn’t mean that out of the roughly 500 or more films that get released each year, there wouldn’t be at least five songs that made a difference in the individual film they were written for? I think we all can agree there could potentially be more than five given those odds, which is why this category should stay put. If anything, maybe the selection or rules around the eligibility of these songs should change, so that there is no doubt why this or that song is being nominated for that year. Either way, it’s hard to argue that a song can’t mean something to the film as ONCE proved a few years back with “Falling Slowly” winning. Not many had ever heard of that song or film before the ceremony that year, but if you were among the small population that happened to see it at a local film festival, you weren’t surprised.

But, that’s not the only way a song or musical score can help a film. A great song played during the trailer and/or preview can drive people to or away from the theater as well, so it’s very important for the producers of that film to choose their musical talent wisely. It starts with the main title track for the soundtrack, which will become the film’s energy and feeling. When I think of Best Original Song, I think of a song that reminds me of the film so much, that I want to watch it again. However, the trick is finding out which of the nominated songs each year does that. Maybe they should change the category to Best Soundtrack, since that’s what most people will want, to get the one song you can;t get out of your head. Doing this might solve a lot, actually, as it would eliminate the multiple nominations for one film and offer up more opportunities for films, not among the remaining nominated categories to be a part of the Oscars. Films like 500 DAYS OF SUMMER, for instance, which had great transitions of music in and out of places within the story. Just a thought, but one I would love to see come to fruition one day, given how many good soundtracks get forgotten about as quickly as they come out.

The songs lucky enough to be nominated: It’s always interesting when a film receives multiple nominations for songs played and if trust me, if it’s deserving I have no issue with it. Back in 2007 when DREAMGIRLS had not two, but three songs nominated, I was a bit surprised, but knowing the songs involved, I couldn’t argue too much then or now. All three were huge in that film, given its genre, so to see them nominated only made sense to me. Problem with this year and THE PRINCESS AND THE FROG is only one song should have made it, not two. I can get on board with “Down in New Orleans,” as a nominee, for a lot of reasons, including its source and how it was sung. But, to back that up with a second nomination for “Almost There” was too much in my opinion. The reality is they might cancel each other out as potential winners, leaving the final three to win. But to me, the only song out of the final three worthy of winning this year was “The Weary Kind.” Here’s a perfect example of what a song can mean to the story as this one did with CRAZY HEART, but it also shows the Academy voters can still get one right when it matters most. Of course, maybe I should hold off judgment until the envelope is read in a few weeks, but I have a feeling this one is already decided, and rightfully so. The remaining two nominees include “Loin de Paname” from the little-known foreign indie PARIS 36 and “Take It All” from the musical NINE. But, there can only be one, as my pick below suggests:


Achievement in music written for motion pictures (Original Song)

- “Almost There” from THE PRINCESS AND THE FROG, Music and Lyric by Randy Newman
- “Down In New Orleans” from THE PRINCESS AND THE FROG, Music and Lyric by Randy Newman
- “Loin de Paname” from PARIS 36, Music by Reinhardt Wagner; Lyric by Frank Thomas
- “Take it All” from NINE, Music and Lyric by Maury Yeston
* “The Weary Heart” from CRAZY HEART, Music and Lyric by Ryan Bingham and T Bone Burnett



Scoring is more important than you think: Ah the forgotten art of movie-making, the one aspect people don’t appreciate enough, and yet nearly every film includes one. Choosing a song is easy compared to selecting an overall score for a film. And for those that don’t know, the score is usually the music that accompanies the entire film offering little to no vocals. Unlike Best Original Song, the score can truly set a film up for success if the music is carefully intertwined within the story. Being a classical music fan, I guess I get into this category a little more than others, but so many times I’ve watched a film and thought, “I have to get this score.” And there are even some films that have both a score and a regular soundtrack intertwined. So, it’s the best of both worlds, if you don’t care about the gentle touches of instruments as the invisible backdrop. Just think of a film in which music is playing while the camera pans across an extravagant landscape or background. That entire setting can be quite the dynamic feature to experience on the big screen. That’s the essence of a score and why this category should deserve more exposure than it gets, for it truly depicts the vision of a film in a whole different light.

The ‘Jekyll & Hyde’ list of nominees: This year we find a host of films nominated, many of which deserving of the nomination, but it seems every year there is one or two snubbed. I know, only five are lucky enough to be nominated, but when one of them is not STAR TREK, something is terribly wrong. Anyone who saw the J.J. Abrams’ revamp of the movie franchise knows how powerful the music was, mixing the old with the new so well. But, I guess when the composer is already nominated for his work with UP, it’s silly to put him in there twice, right? Well, to me, Michael Giacchino was just nominated for the wrong movie, so if he wins, at least his talents will be recognized. It’s just a shame it comes down to that, but that’s just one example of how politics rule this ceremony each year. In the end, however, it probably won’t matter as the other nominees are simply stronger.

AVATAR alone, composed by James Horner is most likely the front runner, given how the entire film seemed to be almost flawless. But, be aware of Hans Zimmer and his work for SHERLOCK HOLMES, a film that did quite well at the box office here and abroad, despite being released just before AVATAR. Its eclectic and dark movements of sound were uncanny to the story, making it the perfect dark horse in this category. And don’t forget about the final two nominees, FANTASTIC MR. FOX and THE HURT LOCKER. Funny thing is, I don’t even remember the music in THE HURT LOCKER, considering how intense the story was, so maybe that’s the same reason why the academy will bypass it as well. As for FANTASTIC MR. FOX, well, this is just a case where the theme was rewarded, but honestly, for two animated films to even be in this category is a tad bit ridiculous if you ask me. So, I would be shocked if it won, but I have seen crazier things before, so I guess we’ll just have to wait and see what happens. For now, this is how I see the award being handed out:


Achievement in music written for motion pictures (Original Score)

* AVATAR, James Horner
- FANTASTIC MR. FOX, Alexandre Desplat
- THE HURT LOCKER, Marco Beltrami and Buck Sanders
- SHERLOCK HOLMES, Hans Zimmer
- UP, Michael Giacchino



Friday: (Best Adapted Screenplay, Best Original Screenplay, Best Film Editing)

OSCARS 10' - Week 1

The skinny:

February to some is just another month. It follows January and precedes March, so no surprises there, but February is bigger than people give it credit for. It not only is the host month for both the Super Bowl of football and racing, it is the month we find out who is among the best in film from the previous year. And although the ceremony itself has been pushed out into the first week of March, Oscar coverage begins and ends in February as far as I’m concerned. The nominations have been released and are once again in prime position to be debated and ridiculed ten-times over by prognosticators like myself. It may be the second month of 2010, but 2009, in regards to film, is far from over. That’s what the Academy Awards bring, an extension to last year and a time to watch some of the best Hollywood had to offer for the first time or again. So, while some may still be reeling from the ride James Cameron recently took them on with AVATAR, I will turn my attention to this year’s nominees, a list that includes the new box office ‘king of the world’ nine times. I do this with an entirely new look to my Oscar column, so sit back and get set, for my own Oscar push begins now.

The history:

Sticking with what works, I will continue to give my thoughts and predictions on everything pertaining to the Oscars, and this week I have no choice but to journey into the topic on everyone’s mind, which is the Best Picture category. My predictions will of course come later, but how many of you were as surprised as I was this past June when you heard the category was moving from 5 to 10 nominees? This was a complete shock for me, given this category hasn’t changed since 1944. That’s right, for the past 66 years, we have seen only five total films eligible for this award, so make no mistake about it, this is a huge change for this ceremony. With less than stellar TV Ratings over the past several years, producers have been looking for something to spice it up and this change by The Academy of Motion Pictures Arts and Sciences (AMPAS) might just do it. Considering anywhere from 8 to 12 films were nominated for this award back in the 30’s and early 40’s, this change isn’t as crazy as it seems.

Question is, why didn’t they do it sooner, given how many years offered up at least 10 or more quality films? Too bad this past year wasn’t one of them, but maybe that’s a good thing given the nominees that did make it into the famed category. Fact is, everyone has their own definition of what was “best” from last year, so with five more choices, it allows the Academy voters to include those films that in past years would have been snubbed. Its often these same excluded films would show up in the lesser categories, so why not give them a shot at the top prize? Seems to make sense, but I just hope all 10 nominated films actually have a chance at winning and it’s not some lame notion that a simple nomination is good enough. Although I don’t disagree with Tom Cruise when he once said that just being nominated is like a win, there is still a pretty big difference there; and easy to say for a guy who has yet to win. Holding up that 8.5 pound statuette on stage in front of all your peers is a lot different than sitting with your all your peers, clapping for someone else who won. So, let’s be real and call it what it is, which is a token nomination.


The reality:
I’ve never steered away from the politics that surround this ceremony, so I won’t now; but by adding more slots to the category, in my mind, lets some of the Academy voters get away with nominating a film despite another. So, essentially, some integrity might get lost in the mix here with this change; but I hope the voters realize with more choices, they can truly pick the best and not just go with the flow. The result should be a more balanced turnout of votes, across the board, which in the end should truly produce the best from that year. But, there are drawbacks to that theory as well, as voters might just go with the one that earned the most money, given they didn’t see all 10 nominated films. I know that’s crazy to suggest, but think about the new audience that will tune in this year to hopefully see AVATAR win. Many probably haven’t watched the ceremony in years, if at all, but knowing AVATAR is among the leading nominees, they will watch. So, sorry to burst you bubble, Alec Baldwin and Steve Martin, but no one will tune in solely based on the fact you are co-hosting the event. History tells us otherwise, as the year TITANTIC won was one of the highest rated Academy Awards ceremonies and we all know how long that film stood atop the box office. Throw in the fact that part of the reason why the AMPAS changed this category was to be able to include films like AVATAR or the animated feature UP, so the writing may already be on the wall. And that’s just one common point of contention, but in the end, this could very well shake up the voting in a big way, making it somewhat of a popularity contest, which I doubt any of us want.

The trivia:

For those new to this column, each year I pick one aspect of the Oscars that tends to get left out from all the hype that you see on TV and online. And this year, I figured I would let you into some of the more interesting trivia/milestones from the coveted Best Picture category. So, whether you know it or not, it’s still a lot of fun to see it in writing.

And starting way back when this category looked, well, how it will look this year with at least 10 nominees, in 1939, the race for top prize was about as tight as it could be. Many might think a classic such as THE WIZARD OF OZ would be undoubtedly a best picture winner, but it lost this famed year to GONE WITH THE WIND. For those that don’t know, GONE WITH THE WIND was not only the first winner in this category to be filmed in full color, but it holds the record for selling the most tickets in history at the box office. Consider the adjustment for inflation and it’s not even close as this film would eclipse its next closest competitor, AVATAR, two-times over. So, as we move back into an age of at least 10 nominees for this category, let’s not forget the past, as it truly led us to this point.

Moving on into some unusual milestones in this category find us looking at acting and one that caught my eye was a Best Picture nominee, also having nominations in all four acting categories. Only twice in the now 82 years of this ceremony, has that happened, as the film’s FROM HERE TO ETERNITY (1953) and REDS (1981) did it. That sure is hard to believe, when you think of all the amazing cast ensembles over the years to grace this ceremony. The flipside to that coin finds THE SILENCE OF THE LAMBS, which is the last Best Picture winner to win both Best Actor and Best Actress awards. Again, hard to believe through all these years, we haven’t seen a sweep like that, but that’s the reality. The most recent sweep for any acting category was done by AS GOOD AS IT GETS, winning for Best Actor and Best Actress, but falling short in the Best Picture category. However, maybe the one that takes the cake is just last year when SLUMDOG MILLIONAIRE won for Best Picture without having a single acting nomination, a first in an extremely long time, so long in fact, that I can’t seem to find the other time it happened, if at all. So, I guess no matter which way you go when it comes to the acting and best picture categories, they find themselves intertwined in some manner.

Now, keeping with the Best Picture theme, only twice has a trilogy been nominated for Best Picture for all three installments; with THE GODFATHER series doing it first, followed by Peter Jackson’s LORD OF THE RINGS trilogy a decade or so later. Now, out of all six films between both trilogies, only half claimed the coveted statuette, with THE GODFATHER, THE GODFATHER II and LORD OF THE RINGS: THE RETURN OF THE KING all winning respectively. Sort of hard to fathom how THE GODFATHER III didn’t win in 1990, considering its pedigree, but it had been over 15 years since its predecessor, THE GODFATHER II, won. And when you look at the other nominees that year like GOODFELLAS, GHOST, AWAKENINGS and the eventual winner, DANCES WITH WOLVES, it’s easy to understand why. But, I still think the Academy got it wrong, as Martin Scorsese’s GOODFELLAS was by far the best movie that year and one that has helped define that genre for the future.

The breakdown:

So anyway, now that you have been privy to some of the unknown history and trivia to these awards, let me educate you on what will come over the next few weeks. And to mix it up this year, I am throwing in a few new categories, not as well known, but full of intrigue. My predictions for the 82nd Annual Academy Awards, beginning next week, are as follows:

Week 2:

Best Original Score
Best Original Song
Best Adapted Screenplay
Best Original Screenplay
Best Film Editing

Week 3:

Best Actor
Best Actress
Best Supporting Actor
Best Supporting Actress

Week 4:

Best Director
Best Picture