Film Review: Being the Ricardos (dir by Aaron Sorkin)


Has Aaron Sorkin ever met anyone who doesn’t sound like Aaron Sorkin?

That was the question that I found myself considering as I watched Sorkin’s latest film, Being the RIcardos.  The film may present itself as being a film about Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) but neither Lucy nor Desi ever come across as being actual human beings or even celebrities trying to be human.  Instead, they both come across as Sorkin stock characters.  Lucy is the socially maladjusted genius who demands a lot from the people working for her and who struggles with apologizing.  Desi is irresponsible but a hard worker, a man who makes a lot of mistakes but who should never be underestimated.  They speak in quips and they instinctively understand what the people in their audience want to see.  Who can keep up with Lucy and Desi?  Certainly not the suits from the network!  Trial of the Chicago 7 had Tom Hayden and Abbie Hoffman taking on the military industrical complex.  Being the Ricardos has Lucy and Desi taking on both the entertainment industry and the McCarthy era.

The film claims to tell the story of the week that Lucy and Desi’s show, I Love Lucy, was nearly destroyed.  The week started with columnist Walter Winchell revealing that, when she was in her 20s, Lucy was briefly registered as a member of the Communist Party.  (Lucy explains that she did it as a favor for her grandfather, who “cared about the working man.”)  The day after learning that her subversive past has been exposed, Lucy and Desi tell the show’s writing staff that Lucy is pregnant and they expect the writers to write her pregnancy into the show regardless of what the uptight studio execs declare.  Meanwhile, Lucy has to deal with rumors of Desi’s infidelity while Desi struggles with being overshadowed by his wife.  Lucy’s co-star, Vivian Vance (Nina Arianda), resents having to play a frumpy character while her other co-star, William Frawley (J.K. Simmons), spends most of the movie drunk off his ass.  If anything Frawley and Vance come across as being more interesting than either Lucy or Desi but, just as in real life, this is the Lucy show.  Frawley makes a few drunken comments about a seven year-old communist.  Vance sits in her dressing room and fumes.  In real life, when she learned Lucy was pregnant, she reportedly yelled, “I’d tell you to go fuck yourself but apparently Desi already did that!”  That line isn’t in the film, which is a shame.

The film skips around in time.  There’s an odd framing device, taking place in what I presume is meant to be the 80s and featuring the surviving members of the production staff are being interviewed for a documentary.  Why Sorkin decided to use this documentary device is odd.  It seems like he could have just used real archival footage if he wanted to go for a documentary approach as opposed to staging a fake documentary where older actors playing real people still sound like relentlessly quippy supporting characters in a Sorkin film.  We also get the occasional flashback to the early days of Lucy and Desi’s relationship, none of which are particularly interesting.  One of the people being interviewed for the documentary tells us that, before she met Desi, Lucy was being groomed to become a serious dramatic actress.  “She could have starred in All About Eve and blown the doors off!” we’re told and that’s great but is that the opinion on the fictionalized person being interviewed for the documentary or is that something that Aaron Sorkin came up with to try to create some dramatic tension?  I mean, saying that Lucy would have been the equal of Bette Davis is quite a statement but the film doesn’t show us any scenes of Lucy being a particularly skilled dramatic actress so it just comes across as being kind of overly dramatic thing to say.

We do get several scenes of Lucy explaining why jokes are funny.  Nicole Kidman gets a very serious look on her face while Sorkin shows us what’s happening inside her mind.  Lucy pictures herself, in black-and-white, stepping on grapes in Italy.  Dramatic music swells as we snap back to Lucy declaring what the scene needs to truly be funny.  (“I lose an earring,” she says, as if she’s just figured out how to resolve Gatsby’s obsession with Daisy.)  It’s the sort of thing that makes you wonder if Aaron Sorkin has ever actually told a joke that he didn’t spend a few hours thinking about ahead of time.  The film’s portrayal of what went on behind-the-scenes of I Love Lucy is so portentous and overdramatic that it really only makes sense if you accept the idea of creating television being some sort of religious ritual, with showrunners and producers taking the place of God.  God needed 6 days to create the world but Lucy only needs 5 to create classic television comedy.  Take that, God!

Aaron Sorkin is a writer who desperately needs a cynical collaborator.  With The Social Network and Moneyball, Sorkin was fortunate to be paired with David Fincher and Bennett Miller, two directors with notably dark views of humanity and who served to temper Sorkin’s sanguine excesses.  When Sorkin directs his own material, the audience ends up with scenes like Joseph Gordon-Levitt standing in protest at the end of The Trial of the Chicago 7 or Desi Arnaz calling J. Edgar Hoover from the set of I Love Lucy in Being The Ricardos.  These are deeply silly scenes that did not happen in real life and which, even more importantly, should never have gotten past a first draft.  Sorkin’s need to end everything with a “big hero” moment is his most glaring flaw as both a writer and a director.

For the record, Lucille Ball did register as a communist when she was younger.  And, indeed, it is true that she did it as a favor for her grandfather.  It was briefly a news story but Lucy was quickly cleared.  Before shooting that week’s episode, Desi told the audience that “The only thing red about Lucy is her hair and even that is not legitimate.”  That was a good line and no, Desi didn’t need the help of J. Edgar Hoover to sell it.

Here Are The 2021 Nominations of the American Society of Cinematographers!


The American Society of Cinematographers have announced their nominees for the best cinematography of 2021!

I’d say that the big surprise here is the lack of a nomination for West Side Story as this seems like a place where you would normally expect to see a big Spielberg production nominated.  That could indicate a bit of weakness for West Side Story.  (Though, let’s face it — I think we all know that West Side Story isn’t going to be the big Oscar powerhouse that many initially assumed.)  That said, there’s now ten best picture nominees and I’d still be surprised if one of the slots didn’t go to West Side Story.

Anyway, here’s the nominees:

Feature Film
Bruno Delbonnel (ASC, AFC) for THE TRAGEDY OF MACBETH
Greig Fraser (ASC, ACS) for DUNE
Dan Laustsen (ASC, DFF) for NIGHTMARE ALLEY
Ari Wegner (ACS) for THE POWER OF THE DOG
Haris Zambarloukos (BSC, GSC) for BELFAST

Spotlight
Ruben Impens (SBC) for TITANE
Pat Scola for PIG
Adolpho Veloso (ABC) for JOCKEY

Documentary
Jessica Beshir for FAYA DAYI
Isabel Bethencourt and Parker Hill for CUSP
Daniel Schönauer for THE HIDDEN LIFE OF TREES

The Power of the Dog Wins in Nashville


Today, the Music City Film Critics Association (that’s Nashville) became the latest group to name The Power of the Dog as the best film of 2021!

Here are all the winners from Nashville!

BEST FILM
Belfast
C’mon C’mon
CODA
Dune
Licorice Pizza
The French Dispatch
The Harder They Fall
The Power of the Dog
Tick, Tick…Boom!
West Side Story

BEST DIRECTOR
Denis Villeneuve – Dune
Jane Campion – The Power of the Dog
Kenneth Branagh – Belfast
Paul Thomas Anderson – Licorice Pizza
Steven Spielberg – West Side Story

BEST ACTRESS
Alana Haim – Licorice Pizza
Jessica Chastain – The Eyes of Tammy Faye
Kristen Stewart – Spencer
Lady Gaga – House of Gucci
Olivia Colman – The Lost Daughter

BEST ACTOR
Andrew Garfield – Tick, Tick…Boom!
Benedict Cumberbatch – The Power of the Dog
Denzel Washington – The Tragedy Of Macbeth
Nicolas Cage – Pig
​Simon Rex – Red Rocket
Will Smith – King Richard

BEST SUPPORTING ACTRESS
Ann Dowd – Mass
Ariana DeBose – West Side Story
Caitriona Balfe – Belfast
Kathryn Hunter – The Tragedy Of Macbeth
Kirsten Dunst – The Power of the Dog

BEST SUPPORTING ACTOR
Bradley Cooper – Licorice Pizza
Colman Domingo – Zola
Jason Isaacs – Mass
Kodi Smit-McPhee – The Power of the Dog
Troy Kotsur – CODA

BEST YOUNG ACTRESS
Emilia Jones – CODA
McKenna Grace – Ghostbusters: Afterlife
Millicent Simmonds – A Quiet Place Part II
Rachel Zegler – West Side Story
Saniyya Sidney – King Richard

BEST YOUNG ACTOR
Cooper Hoffman – ​Licorice Pizza
Jude Hill – Belfast
Noah Jupe – A Quiet Place Part II
Reyn Doi – Barb & Star Go To Vista Del Mar
Woody Norman – C’mon C’mon

BEST ACTING ENSEMBLE
Belfast
CODA
Don’t Look Up
Mass
The Harder They Fall

BEST ANIMATED FEATURE
Encanto
Flee
Luca
The Mitchells vs. The Machines
Raya and the Last Dragon

BEST DOCUMENTARY
Flee
Summer Of Soul
The First Wave
The Rescue
Val

BEST FOREIGN LANGUAGE FILM
Drive My Car
Flee
The Hand Of God
Titane
The Worst Person In The World

BEST SCREENPLAY
Belfast
The French Dispatch
​Licorice Pizza
Mass
The Power of the Dog

BEST SONG
“Dos Oruguitas” – Encanto
“Guns Go Bang” – The Harder They Fall
“Just Look Up” – Don’t Look Up
“No Time to Die” – No Time To Die
​”So May We Start” – Annette

BEST SCORE
Germaine Franco – Encanto
Hans Zimmer – Dune
Jonny Greenwood – The Power of the Dog
Jonny Greenwood – Spencer
Nicholas Britell – Don’t Look Up

BEST SOUND
A Quiet Place Part II
Dune
No Time To Die
Spider-Man: No Way Home
The Power of the Dog

BEST CINEMATOGRAPHY
Belfast
Dune
The Power of the Dog
The Tragedy Of Macbeth
West Side Story

BEST PRODUCTION DESIGN
Dune
Last Night In Soho
Nightmare Alley
The French Dispatch
The Tragedy Of Macbeth

BEST EDITING
Belfast
Dune
Last Night In Soho
​Licorice Pizza
The Power of the Dog

BEST MUSIC FILM
In The Heights
Respect
Summer Of Soul
Tick, Tick…Boom!
West Side Story

BEST COMEDY FILM
Barb & Star Go To Vista Del Mar
Don’t Look Up
Free Guy
Licorice Pizza
Red Rocket

BEST HORROR FILM
A Quiet Place Part II
Lamb
Last Night In Soho
Malignant
The Night House

BEST ACTION FILM
Dune
No Time To Die
Nobody
Shang-Chi And The Legend Of The Ten Rings
Spider-Man: No Way Home

Jim Ridley Special Award
Old Henry

Here Are The 2021 Nominations of the Cinema Audio Society!


For all of your Oscar watchers who are currently trying to make your predictions for which films will be nominated for Best Sound, here are the 2021 nominations of the Cinema Audio Society!

(Also, judging from these nominations and the Golden Reel nominations, I would suggest going with Dune, West Side Story, No Time To Die, and two Marvel films.  If you only want to include on Marvel film, then maybe go with Power of the Dog, depending on whether or not you expect that the Academy membership is going to be as crazy about it as the critics.  Maybe Belfast, too, depending on how popular it is with the members of the Academy.  If you want to include at least one shot so you can at least brag if it picks up a nomination, I recommend Summer of Soul.  But definitely, include Dune.)

MOTION PICTURE – LIVE ACTION
Dune
Production Mixer: Mac Ruth CAS
Re-Recording Mixer: Ron Bartlett CAS
Re-Recording Mixer: Douglas Hemphill CAS
Scoring Mixer: Alan Meyerson CAS
ADR Mixer: Tommy O’Connell
Foley Mixer: Don White
No Time To Die
Production Mixer: Simon Hayes CAS
Re-Recording Mixer: Paul Massey CAS
Re-Recording Mixer: Mark Taylor
Scoring Mixer: Stephen Lipson
ADR Mixer: Mark Appleby
Foley Mixer: Adam Mendez CAS
Spider-Man: No Way Home
Production Mixer: Willie Burton CAS
Re-Recording Mixer: Kevin O’Connell CAS
Re-Recording Mixer: Tony Lamberti CAS
Scoring Mixer: Warren Brown
ADR Mixer: Howard London CAS
Foley Mixer: Randy K. Singer CAS
The Power of the Dog 
Production Mixer: Richard Flynn
Re-Recording Mixer: Robert Mackenzie
Re-Recording Mixer: Tara Webb
Scoring Mixer: Graeme Stewart
Foley Mixer: Steve Burgess
West Side Story
Production Mixer: Tod Maitland CAS
Re-Recording Mixer: Andy Nelson CAS
Re-Recording Mixer: Gary Rydstrom CAS
Scoring Mixer: Shawn Murphy
ADR Mixer: Doc Kane CAS
Foley Mixer: Frank Rinella

MOTION PICTURE—ANIMATED
Encanto
Original Dialogue Mixer: Paul McGrath CAS
Re-Recording Mixer: David E. Fluhr CAS
Re-Recording Mixer: Gabriel Guy CAS
Re-Recording Mixer: David Boucher CAS
Scoring Mixer: Alvin Wee
ADR Mixer: Doc Kane CAS
Foley Mixer: Scott Curtis
Luca
Original Dialogue Mixer: Vince Caro CAS
Re-Recording Mixer: Christopher Scarabosio CAS
Re-Recording Mixer: Tony Villaflor
Scoring Mixer: Greg Hayes
Foley Mixer: Jason Butler
Foley Mixer: Richard Duarte
Raya and the Last Dragon
Original Dialogue Mixer: Paul McGrath CAS
Re-Recording Mixer: David E. Fluhr CAS
Re-Recording Mixer: Gabriel Guy CAS
Scoring Mixer: Alan Meyerson CAS
ADR Mixer: Doc Kane CAS
Foley Mixer: Scott Curtis
Sing 2
Original Dialogue Mixer: Edward Sutton
Re-Recording Mixer: Gary A. Rizzo CAS
Re-Recording Mixer: Juan Peralta
Scoring Mixer: Alan Meyerson CAS
ADR Mixer: Robert Edwards
Foley Mixer: Frank Rinella
The Mitchells vs. The Machines
Original Dialogue Mixer: Howard London CAS
Original Dialogue Mixer: Aaron Hasson
Re-Recording Mixer: Tony Lamberti CAS
Re-Recording Mixer: Michael Semanick CAS
Foley Mixer: Sanacore CAS

MOTION PICTURE—DOCUMENTARY
Becoming Cousteau
Re-Recording Mixer: Tony Volante CAS
Summer of Soul (…Or, When the Revolution Could Not Be Televised)
Re-Recording Mixer: Paul Hsu
Re-Recording Mixer: Roberto Fernandez CAS
Re-Recording Mixer: Paul Massey CAS
The Velvet Underground
Production Mixer:  Juliana Henao Mesa
Re-Recording Mixer: Leslie Shatz
Tina
Production Mixer: Caleb A. Mose
Re-Recording Mixer: Lawrence Everson CAS
Scoring Mixer: Phil McGowan CAS
Val
Production Mixer: Michael Haldin
Re-Recording Mixer: John Bolen
Scoring Mixer: Garth Stevenson
ADR Mixer: Mitch Dorf

The Online Film Critics Society Honors The Power of the Dog!


Yesterday, the Online Film Critics Society announced their picks for the best of 2021!  And here they are:

BEST PICTURE
1. The Power of the Dog
2. Drive My Car
3. Licorice Pizza
4. Dune
5. The Green Knight
6. Pig
7. The Worst Person in the World
8. Titane
9. West Side Story
10. Belfast

BEST ANIMATED FEATURE
Encanto
Flee
Luca
The Mitchells vs. the Machines
Raya and the Last Dragon

BEST DIRECTOR
Paul Thomas Anderson – Licorice Pizza
Jane Campion – The Power of the Dog
Ryusuke Hamaguchi – Drive My Car
Steven Spielberg – West Side Story
Denis Villeneuve – Dune

BEST LEAD ACTOR
Nicolas Cage – Pig
Benedict Cumberbatch – The Power of the Dog
Andrew Garfield – tick, tick…BOOM!
Oscar Isaac – The Card Counter
Hidetoshi Nishijima – Drive My Car

BEST LEAD ACTRESS
Olivia Colman – The Lost Daughter
Alana Haim – Licorice Pizza
Renate Reinsve – The Worst Person in the World
Agathe Rousselle – Titane
Kristen Stewart – Spencer

BEST SUPPORTING ACTOR
Mike Faist – West Side Story
Ciaran Hinds – Belfast
Troy Kotsur – CODA
Kodi Smit-McPhee – The Power of the Dog
Jeffrey Wright – The French Dispatch

BEST SUPPORTING ACTRESS
Ariana DeBose – West Side Story
Ann Dowd – Mass
Kirsten Dunst – The Power of the Dog
Aunjanue Ellis – King Richard
Ruth Negga – Passing

BEST ORIGINAL SCREENPLAY
Belfast
A Hero
Licorice Pizza
Mass
Pig

BEST ADAPTED SCREENPLAY
Drive My Car
Dune
The Lost Daughter
Passing
The Power of the Dog

BEST EDITING
Belfast
Dune
Licorice Pizza
The Power of the Dog
West Side Story

BEST CINEMATOGRAPHY
Dune
The Green Knight
The Power of the Dog
The Tragedy of Macbeth
West Side Story

BEST ORIGINAL SCORE
Dune
Encanto
The French Dispatch
The Power of the Dog
Spencer

BEST PRODUCTION DESIGN
Dune
The French Dispatch
The Green Knight
Nightmare Alley
West Side Story

BEST COSTUME DESIGN
Cruella
Dune
The French Dispatch
Spencer
West Side Story

BEST VISUAL EFFECTS
Dune
The Green Knight
The Matrix Resurrections
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

BEST DEBUT FEATURE
Maggie Gyllenhaal – The Lost Daughter
Rebecca Hall – Passing
Fran Kranz – Mass
Michael Sarnoski – Pig
Emma Seligman – Shiva Baby

BEST FILM NOT IN THE ENGLISH LANGUAGE
Drive My Car
Flee
A Hero
Titane
The Worst Person in the World

BEST DOCUMENTARY
Flee
Procession
The Rescue
Summer of Soul (…Or, When the Revolution Could Not Be Televised)
The Velvet Underground

TECHNICAL ACHIEVEMENT AWARDS:
“Dune” for Sound Design
“In the Heights for Choreography
“Memoria” for Sound Design
“No Time to Die”  for Stunt Coordination
“West Side Story” for Choreography

BEST NON-US RELEASE:
“1970” – Poland
“Bank Job” – United Kingdom
“Benediction” – United Kingdom
“The Girl and the Spider” – Switzerland
“The Medium” – Thailand
“Ninjababy” – Norway
“Petite Maman” – France
“Pleasure” – Sweden
“The Tsugua Diaries” – Portugal
“Vengeance Is Mine, All Others Pay Cash” – Indonesia

LIFETIME ACHIEVEMENT AWARDS:
John Carpenter
Tony Leung Chiu-Wai
Sheila Nevins
Paul Schrader
John Williams

SPECIAL ACHIEVEMENT AWARDS:
IATSE Workers, for bringing attention to labor issues in the film industry and fighting for better standards.
Turner Classic Movies (TCM) for providing worldwide access to classic films, including silent movies.
The Association of Moving Image Archivists (AMIA) is an important non-profit organization devoted to the preservation of film.

Here Are The 2021 Golden Reel Nominations!


For those of your making out your Oscar predictions, here’s some help for predicting the Best Sound nominees.  The Motion Picture Sound Editors have announced their 2021 Golden Reel nominations!

And here they are:

Outstanding Achievement in Sound Editing – Feature Effects / Foley
Belfast
Focus Features
Sound Designer: James Mather
Sound Editor: Tomas Blazukas
Foley Editor: Arthur Grayley
Foley Artists: Sue Harding, Oliver Ferris
Dune
Warner Bros.
Supervising Sound Editors: Theo Green, Mark Mangini MPSE
Sound Designer: Dave Whitehead
Sound Effects Editors: Phil Barrie, Lee Gilmore MPSE, Greg Ten Bosch MPSE, Robert Kellough MPSE, Piero Mura
Foley Editor: Christopher Bonis
Foley Artists: Andy Malcolm, Goro Koyama, Sandra Fox
The Matrix Resurrections
Warner Bros.
Supervising Sound Editors: Dane A. Davis MPSE, Stephanie Flack
Sound Effects Editors: Bryan O. Watkins, Jeremy Peirson, Markus Stemler, Michael Schapiro, Eric Lindemann, Albert Gasser MPSE, Laurent Kossayan MPSE, Caron Weidner
Foley Editors: Frank Kruse, Kuen Il Song
Foley Artist: Daniel Weiss
Nightmare Alley
Searchlight Pictures
Supervising Sound Editor: Nathan Robitaille MPSE
Sound Effects Editor: Dashen Naidoo
Foley Editor: Chelsea Body
Foley Artists: Goro Koyama, Andy Malcolm
No Time to Die
Universal Pictures
Supervising Sound Editors: Oliver Tarney MPSE, James Harrison
Sound Designers: Bryan Bowen, Eilam Hoffman
Sound Effects Editor: Dawn Gough
Foley Editor: Hugo Adams
Foley Artists: Sue Harding, Andrea King
A Quiet Place Part II
Paramount
Supervising Sound Editors: Ethan Van der Ryn, Erik Aadahl MPSE
Sound Designers: Malte Bieler, Brandon Jones
Sound Effects Editors: Chris Diebold, Matt Cavanaugh MPSE
Foley Editor: Jonathan Klein
Foley Artists: Steve Baine, Peter Persaud
Spider-Man: No Way Home
Sony Pictures
Supervising Sound Editor: Steven Ticknor MPSE
Sound Designer: Anthony Lamberti

​Outstanding Achievement in Sound Editing – Feature Dialogue / ADR
Dune
Warner Bros.
Dialogue Editor: David Bach
Last Night in Soho
Universal Pictures
Supervising Sound Editors: Dan Morgan, Julian Slater MPSE
Supervising ADR Editor: Dan Morgan
The Matrix Resurrections
Warner Bros.
Supervising Sound Editors: Stephanie Flack, Dane A Davis MPSE
Dialogue Editors: Marek Forreiter, Benjamin Hörbe, Dominik Schleier, Immo Trümpelmann
Nightmare Alley
Searchlight Pictures
Supervising Sound Editor: Jill Purdy MPSE
Supervising Dialogue Editor: Jill Purdy MPSE
Supervising ADR Editor: Jill Purdy MPSE
Dialogue Editor: Nelson Ferreira MPSE
No Time to Die
Universal Pictures
Supervising Dialogue & ADR Editors: Becki Ponting, Michael Maroussas
Dialogue Editors: Rachael Tate MPSE, Adele Fletcher
Supervising Sound Editor: Oliver Tarney MPSE
The Power of the Dog
Netflix
Supervising Dialogue & ADR Editor: Leah Katz
A Quiet Place Part II
Paramount Pictures
Supervising Sound Editor: Ethan Van der Ryn
Supervising Dialogue & ADR Editors: Vanessa Lapato, Nancy Nugent
Dialogue Editor: Matt Cavanaugh MPSE
The Tragedy of Macbeth
Apple TV+
Supervising Sound Editor: Skip Lievsay
Supervising Dialogue Editor: Michael Feuser

Outstanding Achievement in Sound Editing – Feature Music
Dune
Warner Bros.
Supervising Music Editors: Clint Bennett, Ryan Rubin
Music Editor: Peter Myles
Ghostbusters: Afterlife
Sony Pictures
Supervising Music Editor: Curt Sobel
In the Heights
Warner Bros.
Music Editors: Jim Bruening, Jennifer Dunnington, Ben Holiday
The Matrix Resurrections
Warner Bros.
Supervising Music Editor: Gabriel Isaac Mounsey
Music Editors: Hans Hafner, Jonathan Levi Shanes
Nightmare Alley
Searchlight Pictures
Music Editors: Clint Bennett, Kevin Banks MPSE
Scoring Editor: Cecile Tournesac
A Quiet Place Part II
Paramount
Music Editors: Jim Schultz, Nancy Allen MPSE, Del Spiva MPSE, Ramiro Belgardt
tick tick…BOOM!
Netflix
Music Editors: Nancy Allen MPSE, John Davis, Bri Holland
West Side Story
20th Century Studios
Music Editors: Joe E. Rand, Ramiro Belgardt
Scoring Editor: David Channing

Outstanding Achievement in Sound Editing – Feature Animation
Encanto
Walt Disney Animation Studios
Supervising Sound Editor: Shannon Mills
Supervising Dialogue Editor: Brad Semenoff MPSE
Sound Designer: Nia Hansen
Sound Effects Editors: Samson Neslund, Justin Doyle, Cameron Barker, Qianbaihui Yang MPSE
Dialogue Editor: Richard Quinn
Foley Editor: Alyssa Nevarez
Foley Artists: John Roesch MPSE, Shelley Roden MPSE
Supervising Music Editor: Earl Ghaffari
Music Editors: Angie Rubin, Kendall Demarest MPSE
Luca
Pixar Animation Studios
Supervising Sound Editors: Chris Scarabosio, André Fenley
Supervising Dialogue Editor: Rich Quinn
Supervising Foley Editor: Ronni Brown
Sound Effects Editors: Justin Doyle, Pascal Garneau
Foley Editor: E. Larry Oatfield
Foley Artists: Jana Vance, Ronni Brown
Music Editor: Lodge Worster
The Mitchells vs. the Machines
Sony Pictures Animation
Supervising Sound Editor: Geoffrey G. Rubay
Supervising ADR Editor: James Morioka
Sound Designer: John Pospisil
Sound Effects Editors: Kip Smedley, Andy Sisul MPSE, Alec G. Rubay, Dan Kenyon, Greg Ten Bosch MPSE
ADR Editor: Curt Schulkey
Foley Artist: Gregg Barbanell MPSE
Foley Artist: Rick Owens MPSE
Music Editors: Dominick Certo MPSE, Barbara McDermott
Raya and the Last Dragon
Walt Disney Animation Studios
Supervising Sound Editor: Shannon Mills
Supervising Dialogue Editor: Brad Semenoff MPSE
Sound Designer: Nia Hansen
Sound Effects Editors: Samson Neslund, David C. Hughes, Cameron Barker
Foley Editors: Chris Frazier, Steve Orlando
Foley Artists: John Roesch MPSE, Shelley Roden MPSE
Supervising Music Editor: Jim Weidman
Music Editor: David Olson
Sing 2
Illumination / Universal Pictures
Supervising Sound Editor: Dennis Leonard
Supervising Dialogue Editor: Jonathan Greber
Supervising ADR Editor: Daniel Laurie
Sound Designer: Josh Gold
Sound Effects Editors: Lucas Miller, Benjamin A. Burtt
Foley Editors: Shaun Farley MPSE, Jonathon Stevens
Music Editors: Michael Connell, Charles Inouye

Outstanding Achievement in Sound Editing – Feature Documentary
Billie Eilish: The World’s a Little Blurry
Apple TV+
Supervising Sound Editor: Richard Yawn MPSE
Music Editor: Michael Brake MPSE
Dialogue Editor: Rob Getty MPSE
Sound Effects Editor: Steven Avila MPSE
Foley Editor: Shawn Kennelly
Foley Artists: Melissa Kennelly, Vince Nicastro
Flee
NEON
Supervising Sound Editor: Edward Björner
Dialogue Editor: Jens Johansson
Sound Designer: Fredrik Jonsäter
Foley Artists: Rune Van Deurs, Bengt Öberg
The Rescue
Disney+
Supervising Sound Editor: Deborah Wallach
Sound Effects Editor: Roland Vajs
Foley Artist: Nuno Bentro
Music Editor: Ben Smithers
Summer of Soul (or, when the Revolution Could Not Be Televised)
Searchlight Pictures
Supervising Sound Editor: Joshua L. Pearson
Supervising Music Editor: Jimmy Douglass
VAL
Amazon Prime
Supervising Sound Editor: John Bolen
Dialogue Editor: John Bolen
Sound Effects Editor: John Bolen
Foley Editor: John Bolen
The Velvet Underground
Apple TV+
Supervising Sound Editor: Leslie Shatz
Music Editor: Jahn Sood

Outstanding Achievement in Sound Editing – Foreign Language Feature
Cliff Walkers
Viki
Supervising Sound Editors: Yang Jiang MPSE, Zhao Nan MPSE
ADR Editor: Li Xinghui
Foley Artist: Han Junsheng
Sound Editors: Ann Scibelli, Xiao’ou Olivia Zhang MPSE, Iain Pattison
The Hand of God
Netflix
Supervising Sound Editor: Silvia Moraes
A Hero
Amazon Prime
Supervising Sound Editor: Mohammadreza Delpak
Dialogue Editor: Mohammadreza Delpak
Sound Effects Editor: Mohammadreza Delpak
Titane
Amazon Prime
Sound Editor: Séverin Favriau
Foley Artist: Céline Bernard
A Writer’s Oddyssey
Netflix
Supervising Sound Editor: Xiao Sha Liu
Supervising ADR Editor: Xiao Sha Liu
Sound Designer: Gang Wang
Sound Effects Editors: Shuang Shuang Wang, Hong Rui Ji, Gang Wang, Ruo Qi Mo, Tobias Poppe, Zi Jian Jiang
Dialogue Editor: Zi Jin
Foley Editor: Pei Ya Zhang
Foley Artists: Zi Wei Wang, Yin Miao
Music Editor: Fei Yu

Here Are The 2021 Nominations of the Art Directors Guild


The Art Directors Guild, yesterday, announced their nominations for the best of 2021! The winners will be announced on March 5th!

PERIOD FEATURE FILM  
“The French Dispatch”
Production Designer: Adam Stockhausen
“Licorice Pizza”
Production Designer: Florencia Martin
“Nightmare Alley”
Production Designer: Tamara Deverell
“The Tragedy of Macbeth”
Production Designer: Stefan Dechant
“West Side Story”
Production Designer: Adam Stockhausen

FANTASY FEATURE FILM
“Cruella”
Production Designer: Fiona Crombie
“Dune”
Production Designer: Patrice Vermette
“Ghostbusters: Afterlife”
Production Designer: François Audouy
“The Green Knight”
Production Designer: Jade Healy
“Shang-Chi and the Legend of the Ten Rings”
Production Designer: Sue Chan

CONTEMPORARY FEATURE FILM
“Candyman”
Production Designer: Cara Brower
“Don’t Look Up”
Production Designer: Clayton Hartley
“In the Heights”
Production Designer: Nelson Coates
“The Lost Daughter”
Production Designer: Inbal Weinberg
“No Time to Die”
Production Designer: Mark Tildesley

ANIMATED FEATURE FILM
“Encanto”
Production Designers: Ian Gooding, Lorelay Bové
“Luca”
Production Designer: Daniela Strijleva
“The Mitchells vs. the Machines”
Production Designer: Lindsey Olivares
“Raya and the Last Dragon”
Production Designers: Paul Felix, Mingjue Helen Chen, Cory Loftis
“Sing 2”
Art Director: Olivier Adam

Cleaning out the DVR: The Boy In The Plastic Bubble (dir by Randal Kleiser)


This made-for-television film from 1976 tells the story of Tod Lubitch (played by a pre-Saturday Night Fever John Travolta).  Tod was born without an immune system and, as a result, he’s had to spend his entire life in a germ-free, plastic bubble.  When Tod was a child, it wasn’t such a big deal not being able to leave his house without getting in a plastic ark beforehand.  But now, he’s in his teens and he wants to do teenager stuff.  His parents (Robert Reed and Diana Hyland) are overprotective.  His doctor (Ralph Bellamy) says that there’s little chance that Tod’s condition will ever improve.  But the girl next door, Gina (Glynnis O’Connor), finds herself falling in love with Tod and she wants to help him live a normal life.  Gina loves to ride horses and Tod wants to ride one with her.  As we all know, horses are totally germ-free.

The Boy In The Plastic Bubble is one of those movies that has a reputation.  It’s usually cited as being the epitome of 70s schmaltz and, indeed, it is very 70s and it is very schmaltzy.  It’s one of those films where the big dramatic moments are so overdone that they instead often become kind of comedic.  When Tod finally convinces his parents to allow him to attend school, he does so while wearing a special protective outfit that makes him look like a cross between an old school astronaut and a demented teddy bear.  When it looks like his suit might be malfunctioning, he runs into the plastic cell that’s been set up in the back of the classroom and strips it off while all of his classmates watch.  Everyone’s truly impressed by both Tod’s positivity and the sight of a 22 year-old John Travolta rolling around in gym shorts.

Indeed, while watching the film, it’s impossible not to ask certain questions.  In what world, for instance, could Robert Reed, best known for playing the patriarch on The Brady Bunch, be John Travolta’s father?  Why is there such a weird tension between Tod and his mother?  (It may have had something to do with the fact that Travolta was dating Diana Hyland at the time.)  How does Tod keep his hair so perfect while living in a plastic bubble?  Did anyone think that the scene where Tod is carried onto the beach inside a plastic box would be so odd to watch?  Reportedly, The Boy In The Plastic Bubble was based on the lives of two young men who has the same condition as Tod.  According to Wikipedia, one of them was very amused by the idea the Todd’s protective outfit would keep him safe at school.  And, then of course, there’s the film’s ending, which tries to offer a ray of hope but instead leaves you convinced that Tod is going to die at any minute.

And yet, for all the obvious flaws, The Boy In The Plastic Bubble is slightly redeemed by the sincerity that Travolta and O’Connor bring to their roles.  In particular, Travolta brings a smoldering anger to his role, which may not have been present in the script but which feels appropriate for the character.  As played by Travolta, Tod may understand why he’s in the bubble but he’s still pissed off about it.  O’Connor has an even more difficult role to play because Gina’s actions often don’t make a lot of sense.  But O’Connor makes you believe that she’s sincere in her desire to give the Bubble Boy the high school experience that he deserves.  It’s a schmaltzy film but Travolta and O’Connor bring a few moments of emotional honesty to it.

Director Randal Kleiser later worked with John Travolta on Grease.  I don’t think Danny Zuko would have been a good influence on the Boy in the Plastic Bubble.

Here Are The 2021 Nominations of the Set Decorators Society!


For those struggling to fill out your predictions for Best Production Design on your imaginary Oscar ballot, here are the 2021 nominations of The Set Decorators Society!

The winners will be announced on February 22nd.

BEST ACHIEVEMENT IN DECOR/DESIGN OF A FEATURE FILM – PERIOD
Being the Ricardos
House of Gucci
Licorice Pizza
Nightmare Alley
The Power of the Dog

BEST ACHIEVEMENT IN DECOR/DESIGN OF A FEATURE FILM — FANTASY OR SCIENCE FICTION
Dune
The King’s Man
The Matrix Resurrections
Spider–Man: No Way Home
The Tragedy of Macbeth

BEST ACHIEVEMENT IN DECOR/DESIGN OF A FEATURE FILM — CONTEMPORARY
CODA
Don’t Look Up
The Hand of God
The Lost Daughter
No Time To Die

BEST ACHIEVEMENT IN DECOR/DESIGN OF A FEATURE FILM — MUSICAL OR COMEDY
Cruella
Cyrano
The French Dispatch
tick, tick…BOOM!
West Side Story