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David Poland

By David Poland

Column Corrections

As sometimes happens, there are some stats that I got wrong this morning

7 Responses to “Column Corrections”

  1. jeffmcm says:

    Annie Hall’s lack of an editing nomination is particularly egregious because it was essentially rewritten in the editing room, and for that Allen and Marshall Brickman won an award for Best Screenplay.
    Just goes to show how impossible it is to judge Best Editing when you don’t can’t see what pieces the editor had to start with.

  2. Joe Leydon says:

    Would Ben Hur qualify as a remake that won the Oscar for Best Picture?

  3. Sam says:

    3. Wings and Grand Hotel also won Best Picture without a Best Director nomination.

  4. The Best Editing category wasn’t introduced until 1934, so Grand Hotel didn’t stand much of a chance there.
    However, since 1934, nine movies have won Best Picture without an Editing nomination:
    It Happened One Night (1934), The Life of Emile Zola (1937), Hamlet (1948), Marty (1955), Tom Jones (1963), A Man for All Seasons (1966), The Godfather: Part II (1974), Annie Hall (1977) and Ordinary People (1980). But that’s it.

  5. Chucky in Jersey says:

    In the year of “Star Wars”, the reactionaries in Oscar Land gave Best Picture to “Annie Hall”. Never forget that.

  6. jeffmcm says:

    Annie Hall is a better movie than Star Wars – and I don’t see how a Jewish New York comedy is in any way ‘reactionary’.

  7. jeffmcm says:

    If you want to talk ‘reactionary’ look at the year prior, when Rocky won best picture over Network, Taxi Driver, All the President’s Men, and Bound for Glory; four politically engaged, aesthetically charged films beaten by a solid but routine boxing movie.

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima