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David Poland

By David Poland poland@moviecitynews.com

Oddball Anti-BBM Winning Stat Of The Day

This is the kind of stat that I don’t really believe in, but…
When was the last time a film won Best Picture without being nominated for Best Editing?
25 years ago, Ordinary People did it.
Yes, every film that won Best Picture, even Driving Miss Daisy, got an editing nomination since then

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30 Responses to “Oddball Anti-BBM Winning Stat Of The Day”

  1. Melquiades says:

    It would appear only Crash and Munich have a shot at the prize if this stat is to be taken seriously.

  2. palmtree says:

    I’d like to also mention BM was snubbed in the technical categories. Anne Hathaway’s hair alone should get a nomination in its own category.
    Seriously though, thanks for the stat. Strangely the phenomenon is “recent.” In 1975 and 1978, Godfather II and Annie Hall won respectively without getting an editing nod (and who could say they didn’t deserve them!).

  3. Bruce says:

    Oh no. You’re going to make the BBM’ers even more nervous now. Here it comes.

  4. waterbucket says:

    omg, I’m so scared. barf.

  5. Josh says:

    You can’t just take stats that support your position seriously. It doesn’t work like that. Instead of talking down the hard and firm facts why not just say “BBM will break the mold”?

  6. ArchiveGuy says:

    As long as we’re throwing out stats, Dave…
    (1) When was the last time a film with only 5 nominations won Best Picture? (hint: even farther back than 1980)
    (2) How many times has the Best Picture with the fewest nominations gone on to win the Oscar? (hint: even less often those Pics that won without an Editing nod)
    Dream on, Dear Dave…

  7. Richard Nash says:

    Driving Miss Daisy is the worst Oscar winner of the past 35 years.
    I really think someone read the wrong card.

  8. Tcolors says:

    David Poland said “(quote)When people start trying to rationalize how some

  9. bipedalist says:

    Please. What is he trying to say? Jesus, Munich getting a nod is like when they nominated Godfather III out of politeness. Godfather III incidentally was nominated for SEVEN Oscars! Won none of course. Now only a footnote in Sofia Coppola’s career.

  10. eoguy says:

    Since David opened the BBM discussion, I thought I’d point you over to an article in the Toronto Star today that was rather interestings, and counters David’s claims of a no-prejudice modern society.
    The Article

  11. Sanchez says:

    What’s with the low blows at Godfather 3?

  12. EDouglas says:

    Maybe it’s not too late for Brokeback to reedit… I hope to God that Munich didn’t get an editing nomination… it wouldn’t deserve it unless they edited out about a half hour from the movie

  13. jeffmcm says:

    It did.
    The other 4 were Cinderella Man Constant Gardener, Crash, Walk the Line.

  14. David Poland says:

    It’s an interesting piece.
    But I have NEVER made an argument that society is without bias OR that it is easy to be gay in today’s society or in the 70s OR that it has ever been easy to come out.
    It seems that people who want to spin my ideas just keep claimming it though… no matter what I actually say.

  15. Angelus21 says:

    No prejudice society? Where is this utopia? Fantasy land?

  16. Wayman_Wong says:

    If you want to prove something, you can usually find a stat to prove it. Wanna hear another ”oddball” statistic? Apparently, no Best Picture nominee that’s set in L.A., the home of many Oscar voters, has ever won Best Picture. Examples: ”Sunset Blvd.,” ”Chinatown,” ”L.A. Confidential,” ”The Aviator.” Now does that mean that ”Crash” won’t win? Who knows?
    Here’s another one that a little more substantive: Eight movies that have won the PGA, the DGA and the Best Picture Golden Globe (for Drama or Comedy/Musical) have gone on to win the Oscar for Best Picture: ”Dances With Wolves,” ” Schindler’s List,” ”Forrest Gump,” ”The English Patient,” ”Titanic,” ”American Beauty,” ”Chicago” and ”Lord of the Rings.” And what’s the latest movie to win the PGA, the DGA and its Golden Globe? ”Brokeback Mountain.”
    Does that mean it’s a shoo-in? No. But I’ll take ”Brokeback’s” odds over any other film.

  17. Wayman_Wong says:

    Thanks to a TriviaChamp at Oscarwatch.com, here’s a list of NINE movies that have won the Best Picture Oscar without a Best Editing nomination:
    ”It Happened One Night”
    ”Life of Emile Zola”
    ”Hamlet”
    ”Marty”
    ”Tom Jones”
    ”A Man for All Seasons”
    ”The Godfather II”
    ”Annie Hall”
    ”Ordinary People”
    Come to think of it, isn’t anyone else surprised that ”Good Night, and Good Luck” didn’t score an Editing nod either? It must’ve taken skill to cut back and forth between the new footage and the archival stuff, and make it look seamless.

  18. KamikazeCamelV2.0 says:

    You’d THINK that wouldn’t you? I’m glad The Constant Gardener got in for Editing though – particially makes up for missing Ralph Feinnes and Cinematography. grrr.
    The reason that the editing snub was curious to me was because it was a duel job with the late Peroni. Usually they go for posthumus techs. However, it really is a silly stat (of which i understand Dave is agreeing with – how come others don’t see that?) because the editors branch aren’t the largest one of AMPAS.
    Can I please put it out there that I was one of the first to be predicting Crash for Best Picture and Director? Cause I was.

  19. Wayman_Wong says:

    By the way, the American Cinema Editors, which give out the Eddies, DID nominate ”Brokeback” in its guild awards. ACE divides movies into dramatic features and comedies/musicals. In the drama category, ACE nominated: ”Brokeback,” ”The Constant Gardener,” ”Crash,” ”Good Night, and Good Luck” and ”Munich.” ”Walk the Line,” which is up for an ACE for comedies/musicals, made the final 5 at the Oscars, and so did ”Cinderella Man.” And they wound up displacing ”Brokeback” and ”Good Night, and Good Luck.”

  20. jeffmcm says:

    In GN&GL, it probably was not very hard at all to cut the archival footage with the newly-shot footage, for the simple fact that they probably shot the new stuff around the old stuff, and had every tool at their hands to make things match.
    Editing is editing.

  21. BluStealer says:

    But isn’t that a sign of “good” editing? What jeff is saying is that anyone can be an editor and it shouldn’t even be a category for awards. “Good Night, Good Luck” is looks seamless because of how well it is done. Everything done well looks easy.

  22. ArchiveGuy says:

    Wayman_Wong: “Million $ Baby” was set in L.A.

  23. Wayman_Wong says:

    ArchiveGuy, could’ve fooled me. There’s nothing about that movie that read L.A. to me. The funny thing is that I first heard that L.A. statistic quoted last year as a reason why ”The Aviator” wouldn’t win. Saw it mentioned on various film chat boards and never saw anyone say that ”Million $ Baby” is set in L.A. You’re the first!

  24. jeffmcm says:

    Blustealer, you didn’t understand what I said. It was said above that GN&GL’s editing was made even more difficult by the process of matching archival footage to new footage. I said that the movie was almost certainly designed – shot, costumed, edited, to fit around the previously existing footage. So while any good movie is well-edited, the editors of that film didn’t really have a hurdle to work around but rather were being accomodated by other aspects of production.

  25. joefitz84 says:

    I don’t think settings play that much into what wins and what doesn’t.

  26. KamikazeCamelV2.0 says:

    But some people like to use that as a way of justifying the fact their their favourite movies did not win.

  27. SaveFarris says:

    M$B was unmistakably set in L.A.
    At least one scene outside the gym shows the Library Tower in the background, and there is discussion about the proximity to Vegas (the fight where Maggie gets ***SPOILER***ed).

  28. jeffmcm says:

    It’s in L.A. but the location is not primary to the plot, as it is in Crash, Short Cuts, Magnolia, etc.

  29. peterv says:

    The editing stat is interesting, but somewhat silly. Another silly historical stat is looking at the number of nominations among best picture winners. In the past 60 years, only three best pics had less than 7 nominations:
    1. Ordinary People (1980)
    2. Annie Hall (1977)
    3. Greatest Show on Earth (1952)

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“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt