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David Poland

By David Poland

BYOB: Oscar 2016


19 Responses to “BYOB: Oscar 2016”

  1. Ryan says:

    It doesn’t seem like the Academy members are doing themselves any favors with the public by filling out these “Brutally Honest” Oscar Ballots for THR. They all seem to vote for everything out of personal biases and show that the awards really have nothing to do with the filmmaking process, but rather the egos involved. Not that this is something new coming to light, but you would think that right now of all times, they would want to be more careful about how they are perceived.

  2. JS Partisan says:

    Ryan, they just don’t get it. The sooner they do. The better off film will be, because these fucking people seem to be the worst.

  3. jepressman says:

    Doesn’t Hollywood have a lonnnnnnnnnnnnnnnnnnnng history of professional jealousy,you know backbiting petty nastiness. Revenge is a dish best served cold type stuff. Nobility and impartiallity,now that is for movie characters.

  4. Hallick says:

    So…is the hashtag now #diversitysoblack?

  5. Hallick says:

    Sigh…I’m just going to go ahead and call it now: The Hot Blog’s time of death is 9:15am PST, February 29, 2016.

  6. JS Partisan says:

    It’s the Oscars, and they were terribly boring. It’s not fun like box office discussion!

  7. brack says:

    Gotta say Rock was good at first, but went overboard, especially with the Compton theater bit, as if most white people ever heard of Spotlight either.

  8. Hallick says:

    “It’s the Oscars, and they were terribly boring. It’s not fun like box office discussion!”

    When you can look at another movie blog and see upwards of 500+ comments on the show, but even the tumbleweeds and crickets aren’t over here, you still gotta say something’s dead.

  9. Hcat says:

    Personally I thought that was the best oscars in quite some time. I clicked away a bit but even with the extra time it didn’t seem to drag like previous years, some genuine surprises in the awards, and while I still would rather have clips than a song during the in memory section, it didn’t seem like a performance first this year ( though to end on Nimoy? I would have gone with Ohara or even Rickman)

    Overall I would say this was the least painful since the first time Steve Martin hosted.

  10. spassky says:

    Where was Rivette… in memoriam is a joke!

  11. Ray Pride says:

    The Academy’s online In Memoriam has 136 figures, including Rivette and Abe Vigoda.

  12. spassky says:

    i’m aware of the online gallery, but this just strikes me as even more of a slap to the face — no snafu, only intentional omission. great.

  13. Ray Pride says:

    Agreed, Spassky. Badly produced, and hard-to-navigate online gallery ain’t a true substitute.

  14. Mark F. says:

    Cut out the stupid song category , and don’t leave people out of the “In Memoriam” section. Geez!

  15. Mike says:

    Since people are ALWAYS upset about the In Memorium, just cut the whole stupid thing.

  16. spassky says:

    OR include legends like Abe Vigoda and Jacques Rivette and leave out billionaire asshats like Kirk Kerkorian. AMPAS is a wonderful institution primarily for its education and preservation efforts, so I think more elements in the oscar show to highlight that would be appropriate.

  17. Glamourboy says:

    Yeah, I need a better movie blog….which other ones do you read?

  18. leahnz says:

    i remember watching the oscars ‘in memorium’ segments growing up, inevitably there would be a few ‘damn this thing is long’ and ‘gee a lot of people died last year’ sighs while watching it on the living room floor, but there was something special about it — the lights would dim in the theatre and the wistful orchestral music played over all the many names, usually with little video clips showing a snippet of what they did, many unknown names but then your personal fave dead person would come up on screen (sounds kind of macabre i know) and your chest hurt a little being reminded they’re gone, and you’d listen for how loud the audience applause for your fave was and then reflexively feel bad if the other dead people didn’t get as big a reaction, or bigger. i think it took up a whole segment of the telecast between ad breaks (or i just remember it that way); yes it was long and exhaustingly thorough and a bit boring, but for somebody watching, everyone on that honour roll was somebody’s fave dearly departed person who’ll be sorely missed. i think because they took the actual time to pause the show and honour the industry’s dead in such a way it seemed to really mean something, as opposed to today’s method where it’s a hurried list of names/faces with a celebrity musician presumably to hold interest, randomly whittled down, leaving people out so there’s time for another dumb segment about cookies or some such nonsense, kind of sad.

  19. leahnz says:

    ‘in memoriam’, derp (tablet’s spellcheck is turned off)

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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