We got together Ryan, Clarence and me to discuss the nominations. I am in the middle of some kind of cold so I’m not at 100%. But hopefully there will be something here worth listening to.
All This and the Oscars Too Podcast – Post-Nominations Edition
![2025 Oscars: Can a Late-Breaker Still Win Best Picture? [POLL]](https://www.awardsdaily.com/wp-content/uploads/2024/10/gladiator-350x250.jpg)
Also De Niro has now appeared in the most Best Picture nominations with 11.
Yeah, where can I listen to this?
What’s a podcast player? (I always either download the mp3’s or listen on the site. Neither of which works here.) Is it a phone app? I see there are some on Google Play… Do you mean one of those? Can I get the same you use? Do you know the name? (I’ll get it myself, just let me know which one I should get, if you can! Also, how did you use it to listen to the podcast? I’ve never used one of these before, so I have no idea how they work…)
“I would love to see similar breakdowns for the last few years, if you’ve done them?”
My annual breakdowns aren’t enough for you?
Yes, I am excited. I believe I will have around 6 kids going to the regionals, which are in March. The 4th place was out of 21 teams in our area.
I will look sometime very soon and let you know. I think it’s Google Play on my I-pod, and I believe it’s just plain Podcast Player.
Updates and corrections on the stats now that I’m home:
1. Meryl Streep’s films have received more Oscar nominations (118) than any other major actor. She was already well in the lead before this year. With 21 nominations for his films this year, Robert De Niro moves from 10th place to 2nd! In 3rd is Gary Cooper with 100. Leonardo DiCaprio moved up to 8th place with 95, and Tom Hanks 13th with 89.
2. This year Meryl Streep appeared opposite 2 Oscar-nominated performers. As a result, she now ties Jack Nicholson and Robert Duvall as the actors who have appeared in the films with the most Oscar-nominated performances (24). Burt Lancaster has 23, and De Niro is now in 5th with 22.
3. William Wyler has the most Oscar nominations for performances in his films, with 36. Martin Scorsese now moves into second place with 24 nominations, tied with Elia Kazan. FYI, of living directors, Woody Allen is tied for 6th place with 18, Spielberg and now Eastwood have 14.
It is tricky business because on paper Oscar voters can do whatever they want regardless of critical consensus, general audience reaction and profitability but in the past it did seem that these factors had played a big part in their decisions making process.
Having said that while OUATIH isn’t on top from this angle, at the same time it is a film
– about Hollywood
– with massive star power courtesy of the two leads
– from a legendary director who has never won BP or BD before
so in the end those subjective factors could easily trump the objective, number-based ones in the table above.
Edit if anyone can’t get it I just found it is on player . fm if you just google “all this and the Oscars too podcast” it’ll probably be the first link. I think it’s also on iTunes.
Yes. 🙂
Nice table! The chart shows why I have such a hard time predicting OUATIH for BP — its relatively terrible RT ratings score!
In years past, among the BP statistically frontrunners, the one with the highest RT audience score (at the time of the awards season) ends up winning. With the lowest audience score, I don’t see how it can survive. The rating indicates that OUATIH is the movie that is most divisive, not Joker.
CONGRATS!!! I’m not sure why the link above isn’t working. I do see the podcast in Apple podcasts, so it apparently is still available. I hope people can find it!
If she wins then I do think a big chunk of her votes will be the result of a “Poor Ben” situation but at the same time I will say, I would consider her a worthy winner.
Thanks!
I don’t have it for the previous years, I’m afraid.
And yes, Joker had the second weakest critical consensus by far. However it made up for it by being the most profitable of the 9, also by far.
Yes, I sadly went back to Succession. There’s a BB podcast coming soon, a year in review, that I can’t wait to hear.
1917 just opened so that box office comparison isn’t particularly valid, expect it to move up in the next month.
Interested in the low OUATIH audience score, it is quite divisive.
THAT IS THE DAMN TRUTH. All of it. Thank you so much. You have a friend for life on this board.. unless you say something really stupid about something I like next year. LOL.
I mean this lightheartedly… at least that’s my story, and I’m sticking to it.
Still bored and on bedrest so I compared the BP nominees based on
– critical consensus (Metacritic)
– audience rating (Rottentomatoes)
– profitability (projections for theatrical run only).
The results were quite surprising. Not the #1 though.
https://uploads.disquscdn.com/images/159ee73d585c011c9549bd5025818adc28f9c33efa9766934f8afc3de701aa92.png
I don’t think the voters consider RT ratings score when they cast their ballots. It’s just that I think the RT audience score *matches* the Academy’s taste best. Better than the critics. So I’d look at the RT audience score as a clue (when we can’t determine who’d be the winner via stats).
The “being about Hollywood” was argued for La La Land and it lost to a movie that definitely was not about Hollywood. And Moonlight was rated higher with the audience than LLL (during their awards season).
Thank you so much for writing this, and so lucidly. Obviously I admire Sasha’s work and greatly sympathize with what must be an agonizing experience of having so many people (especially men, like myself, guilty) policing or appearing to police how and what she should think about issues like … feminism and representation on screen. Talk about preaching to the choir.
But, there’s just so many uncomfortable inconsistencies in how she’s treated Little Women – and the time and energy she’s dedicated to searching out the few critiques of the movie which match up with her own assessments, even though she herself is rather dismissive of any and all criticism of OUATIH, critiques she generally dismisses as being “woke” propaganda/idealism (which is again interesting, given, as you pointed out, her own critique of Little Women as “too white” – despite the various pieces written by women of color praising the movie and despite the overbearing whiteness of movies like Irishman and OUATIH – and especially given her defense of what is arguably the most “idealistic” movie of the year, OUATIH, a literal nostalgic reimagining of the late 60s and of Manson’s hatred, which especially whitewashes so many things, from sexism to the enormously important racial aspects of Manson’s cult and their actions). I didn’t like The Irishman – but I don’t think that the world is ending or that people have lost their minds or that our society is collapsing just because that one movie I didn’t like is receiving unanimous praise. (And I’m also currently rewatching it, too, despite my dislike for it and despite its ungodly running time, because I want to give it a second chance, and because I have a relative amount of faith in the opinions of respected writers like Sasha and most critics who did love it – I feel I’m almost obligated to give it a second chance, maybe a third after that. Plus, I hate missing out on hype trains.) And in the end, everyone can keep calm – men STILL got the 5 nominations. Men are safe. The tidal wave of angry wokesters is apparently something more of a ripple, nothing to really dedicate so many resources and so much energy towards belittling.
Had Greta Gerwig gotten the nomination instead of Phillips, it wouldn’t have been an apocalyptic event. “Art” and artistry would not have died because one man was denied a best director nomination. The Academy’s integrity (what integrity it has) would not have been compromised. White male directors would still have been A-Ok. The nomination would have been a reflection of the unanimous praise that movie has received, invariably very specifically for its directing. And if it takes people talking about it and advocating for awards bodies to pay attention to its merits, I can’t see how that’s a bad thing. It’s no different from the support I gave (and which Sasha gave) to Kathryn Bigelow’s Zero Dark Thirty, a movie she certainly should have received the nomination for, or the support which should have been given even MORE vocally to other women this year like Sciamma. That’s the thing – it’s about Gerwig, but it’s not JUST about her, it’s about women period.
That being said, Gerwig *not* receiving the nomination has proven not to be apocalyptic, either. Yes, people are mad. Yeah, I’m sure there’s a few fringe folks saying weird things on twitter whether they know anything about film and the Oscars or not. But no one is burning down houses because of it – even though that’s what you’d think, listening to the backlash to the backlash (same thing during the Three Billboards year, same thing with Green Book, same thing now with Joker, etc.; funny how the controversies tend to settle around the fascinatingly gung-ho defense of generally mediocre movies, but that’s bias on my part – notice that no one is angry about Scorsese’s nominations despite him being old and white; maybe it has to do with … more people thinking his movie was really a masterpiece, which “woke” people are perfectly capable of recognizing). The thing is I don’t care about what some rando on twitter has to say. I care about what SASHA has to say – and it’s disappointing to hear her make the sort of fallacious claims you’ve so lucidly pointed out here. Not that Sasha has to be a perfect saintly emblem of wokeness – but certainly she can’t be surprised about us writing this, given how much she herself has discussed Little Women.
Note: I actually adored OUATIH, I think it’s possibly Tarantino’s best movie, and I love it for many of the reasons Sasha herself does and which she’s articulated beautifully before; I’m also capable of understanding the very real issues others have with the movie. I would agree, I think, with Sasha that these sorts of “woke” analyses shouldn’t invalidate the work as a whole, but I can certainly make space for them.
Exactly what needed saying, every single word.
Hatred is a strong word especially in this context. We are talking about films here, one can hate or dislike a film but I don’t believe that means hate or dislike for the individual behind that film. Ryan is right, just because he and Sasha didn’t like Little Women, doesn’t mean they hate Greta Gerwig. Her favourite themes / directing / writing style may not be their thing but that’s about it.
To be perfectly honest, after Lady Bird, a film I didn’t like, I didn’t think her writing / directing style was for me, either, but she thoroughly impressed me with Little Women, that gutsy approach to an oft-told story and all the little details and visual flourishes she put in this adaptation, convinced me that she has great potential. I think her second film was much better than her first film so I’m looking forward to her third and hoping she will keep up this trajectory. If she does, I can only imagine the level she will be at by film #10.
It’s remarkable how people skew thing into what they think is truth. I liked Lady Bird. I didn’t hate it at all. You do know that one can like a movie yet at the same time not think it’s worthy of any awards right? What I do hate is when asshats like yourself that go from 0-100 in terms of judgment if and when someone doesn’t like a movie as much as you. JFC some of you are idiots.
We remember your Lady Bird hatred quite well. So definitely sure that you “get” the bile being vomited here daily.
It’s 17 years, isn’t it? The Hours in 2002. Interesting that she has appeared in at least 3 BP nominees without being nominated for them.
Well done. The hatred for GG is so tiresome, actually embarrassing.
The Piano and Winter’s Bone.
The Hurt Locker and Zero Dark Thirty had male producers and the same male screenwriter and Lady Bird had male producers.
1917 is my favourite film this season ! Enjoy !
Of course. I know we are seeing 1917 Monday. I plan to see Parasite and Joker on “on demand” before the Oscars.
Let us know if you do see it at some point, I would love to hear your take on it.
Here’s a weird stat. In the first seven years of her movie career, Meryl Streep appeared in four Best Picture nominees, three of which won Best Picture. Then after Out of Africa, she didn’t appear in a BP nominee for 32 years. Is that some kind of record?
Now that the dust has settled, here are some interesting factoids resulting from this year’s nominations (bear with my vagueness below as I am at work and not in front of my notes on my personal computer):
1. Meryl Streep’s films have earned more Oscar nominations than any other major actor, with 118. Previously Jack Nicholson held the record, but De Niro surpassed him this year thanks to 21 nominations for his 2019 films.
2. Meryl Streep and Robert De Niro now tie with Jack Nicholson for appearing in the films with the most Oscar-nominated performances (24).
3. Martin Scorsese now ties for second place on the list of directors whose films have earned the most Oscar nominations for their actors. William Wyler is still firmly in the lead and probably can’t be beaten by Scorsese in his lifetime. I can’t remember who is tied with Scorsese, but it’s a legend like Ford or Wilder or Stevens.
Looking forward to the podcast above. I thought the site was lacking for not having one before the nominations. If most of the time is spent bashing Little Women, though, then I will not find it enjoyable. Little Women is one of the best films of the year and works better for me than Irishman or OUATIH. I agree that this hive mind that we HAVE to have a woman director nominated every year is frustrating. I also think people are wrong to criticize Stephen King over Twitter for tweeting that he votes for merit over politics. People are genuinely advocating for affirmative action in awards shows! That’s disgusting to me. The real world should allow for more artistic opportunities for diversity, no question. And people are entitled to vote however they want behind closed doors. But if we are equating this to affirmative action in college admissions, then greenlighting projects by POC is equivalent to filling quotas in admissions. You don’t then also (have to) award less deserving films and filmmakers simply because they fill underrepresented quotas. Little Women is a worthy film, as was The Farewell, but I don’t feel strongly that at least LW’s snub was due to sexism. It does a disservice to Little Women to argue that it should have been nominated because a woman directed it rather than because it’s a legitimately terrific, superior film. But I don’t get why the film itself would receive that much vitriol from Sasha, who I daresay is constantly pushing minority-based films (Dolemite, anyone?) that I personally believe are less deserving on a purely meritocratic basis. And if there’s going to be a pro-woman agenda, and I’m sure there always will be, no one could be blamed for rallying behind Little Women, as it was always going to be the most palatable woman-directed film in the race. Sasha is always pushing for women and minorities to be nominated but suddenly felt that the best female contenders this year were not worthy of consideration. She also constantly ignored The Farewell and downplayed its chances in her prediction polls. Perhaps she wasn’t wrong, but there’s a movie that should’ve checked all the boxes for at least greater consideration on this site and that had its heart in the right place.
I can listen to it on my podcast. It is so interesting. It should play if you have a podcast player.
I have not seen it yet. A girlfriend and I may have gone together, but she has been busy.
I share your admiration for Little Women but couldn’t have expressed it nearly as artfully or as rigorously as you do here. This is a very bracing, thoughtful and educational post. .
Co-sign every single word of this. Sasha’s “take” on LW and its awards season/critical reception has been the most frustrating, disappointing thing to follow of any awards season topic that I’ve experienced on this amazing website for many, many years.
I don’t always agree with Sasha. But I do more times than not. And in rare times when I don’t agree with her, I almost always “understand” her take on a particular movie or filmmaker or actor. I get it. I may even find it humorous. I’ll always visit this site; love it all.
But Phantom, all of your points are valid. Anyone can love or hate any film they’d like. But the reasons presented by Sasha and the critical/awards fall-out from that is mind-blowing, to me. I mentioned in another thread this past week how measured Sasha’s take of LW (this season) was in a different article of hers — it was a breath of fresh air to read. But sadly, it was the one & only.
I don’t know how often Sasha reads all the comments here, but I know Ryan does very often. I’m sorry Ryan if you think Phantom or my thoughts on this come on harsh, but I just feel so strongly on this topic and needed to vent. We all do. Please, please don’t hate me, Ryan. I adore you, Sasha and this site {runs whimpering away to hide in a corner!} ):-(
Thanks, Julie, that’s the AD spirit : discussion. Sometimes we agree, sometimes we don’t.
Oh I am not using its current BO gross, I used a projected final gross with its production budget + estimated marketing costs factored in.
This is well-written, though I disagree with some of your points. Excellent job.
Exactly. It’s been very frustrating, not being able to listen to the podcasts this year…
I hope Irishman wins. I liked the movie and enjoyed reading the book as well. I was thinking it’d be the clear win and am now sad to see that it will not be. “Poor Ben” Oscar part two?
Didn’t you like the scene with “Crash into Me?” That was my favorite scene in the movie.
Hope you feel better soon! I would love to see similar breakdowns for the last few years, if you’ve done them? Thanks for this! Also – is Joker’s MC score REALLY 59?? Based on the current discourse, one would think fans were demanding Gerwig dethrone God themself …
I am so sad that I can’t listen to this because it sounds like a wonderful podcast. I turned off Succession for this and am now outraged, simply outraged, that I can’t revel in the delight that is Sasha//Ryan/Clarence. (Clarence, if you ever see this, my writing team took fourth place!)
It’s not bile.
The podcast appears to have disappeared, can someone fix that? Otherwise does it get posted anywhere else?
I was going to watch Succession, then listen to the podcast. Since this is what it is, well, Succession will have to go on the back burner. 🙂
Oh and for the record if we are talking about women getting unfairly snubbed by the Academy, then Gerwig should be only one part of that conversation. Her film still got a BP nod and she still got a nomination for writing, her third Oscar nod in three years, so I am considerably more upset about Claire Mathon (Cinematography – Portrait of a Lady on Fire), Mary Steenburgen (Song – Wild Rose), Lulu Wang (Original Screenplay – The Farewell) and Celine Sciamma (Director – Portrait of a Lady on Fire) who all really would have deserved to be included, as well.
jojo is coming. it hit all guilds. it’s gonna win some.
The LW hatred it so weird. Having to tolerance the incessant championing of the wildly overrated Ladybird it’s weird to see the opposite here for the much better film, LW.
Sasha’s personal preferences overtaking her predictions coverage is nothing new here, but I don’t see what she’s getting at by being so over the top. I guess she doesn’t want to be seen as just championing a film because it’s by a woman, though she does this every time she really likes a film by a woman. Is she doing it for click bait? Makes no sense.
1. That Rian / Karina story was hilarious, don’t worry, Clarence, we’ve all been there, it may not have been a famous couple on the receiving end of my clumsiness but there were “ohmyGODs” and certain other choice words flying everywhere then, too 🙂
2. Kudos to Sasha on the Todd Phillips theory, I didn’t see his BD nod happening but that theory does make sense so I probably should have. I personally would have preferred anyone from the Waititi-Mangold-Almodovar-Sciamma-Gerwig quintet who in my opinion all delivered much better films thus would have been more deserving of that 5th slot but if Phillips got it, oh well. Now he is a 4-time Oscar nominee. Same as David Lynch. Fincher only has 2. DuVernay only has 1. Lynne Ramsay and David Cronenberg have none. In case anyone wants to know where my frustration here is coming from.
3. Agreed with Ryan on the Joker costumes. I keep saying that I have no problem with 9 of its 11 nominations and only have an issue with the writing / directing nods but if I’m completely honest, I still would only have nominated this film in lead actor, cinematography and score and that would have been already a solid result.
4. Lupita Nyong’O most definitely delivered a better performance than Erivo and Ronan but clearly missed out to those two due to the combination of an early release date, genre bias and lack of love for the film in any other category meanwhile the duo were in Oscar-friendly films with Oscar-friendly release dates playing Oscar-friendly roles. The writing has been on the wall about the three of them for quite a while.
5. Marmee and Renata Klein are similar ? Huh ? Polar opposites and so were Dern’s performances. One was essentially the embodiment of warmth, kindness, patience and generosity; the other one was a stone-cold businesswoman with a hilariously short temper.
6. As for the lengthy Little Women section in the podcast, I have some things to say.
First of all I didn’t like Lady Bird, I am only vaguely familiar with the Little Women property (read the book in high-school 15 years ago, saw the 1994 film once two decades ago) and I’m not a hardcore fan of anyone from the cast even though I do love and have great respect for the body of work of many of them. So when I argue FOR the film, it isn’t a take blinded by some sort of a fanatic love for either the source material or anyone involved with the adaptation, I just take issue with unfair arguments against any film and Sasha, you had a lot of those and repeated them constantly without ever owning the flaws in them.
I never once did nor would ever question your take on the quality of a film, that is subjective, but the arguments against the awards chances of it are not. And these arguments were problematic. VERY problematic.
a) The film can’t be deserving because it is an umpteenth adaptation (only the second notable film adaptation in the last 70 years while Joker got a pass for being the 4th notable take on the character in the last 30 years, having been played by not one, not two but three Oscar winners, two of them in the last 12 years).
b) It is from and about white women so it is only for white women (diversity didn’t seem to be an issue for you when it came to films from and about white men like OUATIH, The Irishman, 1917, Ford v Ferrari, Joker).
c) The film has a mixed audience reception (A- Cinemascore, 92 % RT Audience Rating, as in better than Joker, 1917, The Irishman, OUATIH).
d) 50 % of the audience was confused by the chronology (that number is made up).
e) Critics lied because they could have only possibly praised this film because they wanted to support an agenda they have never seemed to bother with ever before (I’m sure we can trust that if the likes of A.O. Scott, Kenneth Turan and Pete Travers post raves for a film, they do mean it and aren’t lying).
Even before I saw the film, these arguments rubbed me the wrong way because they were just wildly problematic and borderline insulting. It had absolutely nothing to do with your take on the quality of the film, if you hated it that’s perfectly fine with me, but the problematic arguments against its Oscar campaign were not.
And for the record I have finally caught up with it and watched it on Sunday and I was expecting a total mess because much more often than not, I agree with your take on films but this has to be the one big fat exception because after you kept repeating your issue with the chronology I was expecting a convoluted af narrative and it was anything but : there were two timelines (past and present) running simultaneously, both in chronological order; the transitions were incredibly clear (“7 years earlier”, “New York Hardware” sign, Dreaming of the Past on a Train in the Present; Jo’s short hair in the past timeline and long hair in the present one; different colour palettes for both timelines; a more vibrant one for the past and a distinctively greyer one for the present) and the editing was on point, as well. So I genuinely don’t know what you found confusing, awkward and clumsy about it when the execution of the narrative, to me at least, was none of those things. I’m not the type to tell anyone what to do or what to like but if you have the time, I would recommend you give it a second viewing.
To me this was one of the boldest literary adaptations I have ever seen. The restructuring of the plot as a thematic montage, while risky, thanks to the very clear transitions and superb editing, worked beautifully. Critics weren’t criticising this aspect, not because all of a sudden they felt a sudden urge to positively discriminate against white female directors, but because they got the concept and obvious transitions that Gerwig was going for. And with all due respect Sasha considering how brilliant and knowledgeable you are about film in general, clearly you would have gotten it, too, if you had given the film a fair shot. I find the notion ridiculous that people accuse you with having some sort of a personal vendetta against Gerwig, however your bias against anything she does especially a Little Women adaptation is well-documented, mainly because you were the one documenting it. You are on record saying this film is the only top contender this season you refused to see more than once and you are also on record about your disdain for both the source material and Gerwig’s previous work, not just Lady Bird (fair enough, that was overpraised af) but also anything she has done since Frances Ha (overpraised again). And all this is fine, I have properties and directors I don’t particularly like nor would appreciate a marriage between them but if something like that showed up in a future awards season – like an Art of the Deal adaptation by David O. Russell for example – I wouldn’t go out of my way to belittle it at every turn, I would just say “you know what, it’s not for me, bye”.
These are the reasons why I disagreed with your LW take greatly, because you kept diminishing and belittling it based on non-creative reasons (“a” to “e”) while being very honest about your obvious disdain both for the source material and the writer / director. The combination of all this is what made me question your entire LW take a lot.
Also, the film is out of serious Oscar consideration, the nominations it received were all sort of expected and deserved and it is also not winning anything except maybe Adapted so could we just move on from this “Little Women is not very good, you guys” thing already ? Because there is no great conspiracy here, MC critics AND Rottentomatoes users AND the moviegoing audience AND the Oscar voters are not all conspiring to support a bad film just because it is directed by a woman, they are just all supporting a film they liked / loved. Just because you didn’t, doesn’t make their opinion any less legit. Nor theirs yours.
P.S. And for the record Little Women is only the third Best Picture nominee in Oscar history to be produced, directed and written by women. Third. Out of 563 in 91 years. So I’m not saying go out and watch it and love it goddamit because the industry sucks and you owe women your support, but I am saying it would be nice to talk about these barely acknowledged aspects of the film and its performance instead of all the bullshit we have been going on and back and forth about for months now.
Greta Gerwig stole it!
Uh….. it says there’s no file to download.
Don’t be an asshole, Michael.
I like Gerwig. She’s always charming. I adore Pugh. She’s usually brilliant. I said so on the podcast and I’ve said it many times before.
This movie doesn’t work for me. Does that mean I hate everyone associated with it?
Only an asshole would think that. Only a worse asshole would write it down.
Thank you.
Gerwig outrage brigade made me a Jojo convert. Now I’m rooting for Waititi to take Adapted so that LW goes empty handed at least in major categories (I guess Costume will throw it a pity bone). No knock on Gerwig herself who I’m sure is delightful. But that’s what over-zealous fans and PC police do, turn you against the objects of their unsolicited defense.
In my opinion Joker is not necessarily an anti-Trump movie. To me, it’s more of an anti-Establishment movie – that includes both the Democratic and the Republican establishment. That is why it probably has the support of both Bernie and Trump supporters.
Anyway..
What are the first two movies by women? I guess 2 of Piano, Hurt Locker, ZDT, and Lady Bird…guessing Piano and LB.
Does anyone know where you can find Documentary Short nominee “St. Louis Superman”? The other 4 nominees can easily be found online.
That trashing of Little Women for half the podcast though, haha, totally savage, loved it!
If Jo jo Rabbit wins Adapted screen play it would be a disgrace .The Irishman and Little women are great screenplays something Jo jo is not.
Gravity, Mad Max Fury Road were genre films (sci fi) that the AMPAS always shun. Both won 6 Oscars, in the case of Gravity, Directing too.
The Revenant was bleak and dark to win BP. Won director.
1917 is almost warrant then, a Director win. Picture come also come as it is from a Best Picture friendly genre and isn’t as grim as The Revenant, but with doses of light and kindness throughout the film. But it is not a film to be seen on an iPad or an average TV screen for the first time
I see two scenarios happening, depending of the AMPAS members watching 1917 on the big screen or at home.
They see it on the big screen…
Picture – 1917
Director – Sam Mendes, 1917
Actor – Joaquin Phoenix, Joker
Actress – Reneé Zellweger, Judy
S. Actor – Brad Pitt, Once upon a Time in Hollywood
S. Actress – Laura Dern, Marriage Story
Adapted Screenplay – Jojo Rabbit
Original Screenplay – Once upon a Time in Hollywood
Cinematography – 1917
Film Editing – Ford v Ferrari
Score – 1917
Song – I’m gonna love me again, Rocketman
Costume – Little Women
Production Design – 1917
Sound Mixing – 1917
Sound Editing – 1917
Visual Effects – 1917
Make up and Hairstyling – 1917
Animated – Toy Story 4
International – Parasite
Documentary – Apollo 11
If they hold to screeners…
Picture – Once upon a Time in Hollywood or Jojo Rabbit
Director – Sam Mendes, 1917
Acting – same
Screenplays – same
Cinematography – 1917
Film Editing – Ford v Ferrari
Score – Joker
Song – Rocketman
Production Design – Once upon a Time in Hollywood
Costume – Little Women
Sound Mixing – Ford v Ferrari
Sound Editing – Ford v Ferrari
VFX – The Lion King
Make up – Judy
the change… the inmersive characteristics of 1917 watched on a screen as big as possible, launch it into Gravity, The Revenant, Mad Max Fury Road territory…
the insights on the parties was nice!
aahhh the Almost Famous reference at the end!! to this day STILL my favorite live action film of all tme.
I think Once Upon is the #1 or nothing. 1917, Joker, maybe The Irishman and Parasite will fight for the 2’s and 3’s
I wish all those that don’t get Sasha’s thoughts about LW would listen to this. Maybe it would help lower their blood pressure. Probably not but one can hope.
Good stuff!
so many years here and only now listening to a podcast. loving it so far. totally agree… Joker resonates so much because it has that feeling of what today is. And will be looked back as a testament of society in its time. Let’s just hope the world lives through all this crap going on (I don’t think it will)