The Society of Composers and Lyricists Honors Soul!


Earlier today, the Society of Composers and Lyricists announced their picks for the best of 2020!  So, for those of you looking for some musical guidance when you’re making your Oscar predictions, here you go:

Outstanding Original Score for a Studio Film
Trent Reznor & Atticus Ross, Jon Batiste – Soul (WINNER)
James Newton Howard – News of the World
Ludwig Göransson – Tenet
Terence Blanchard – Da 5 Bloods
Trent Reznor & Atticus Ross – Mank

Outstanding Original Score for an Independent Film
Lolita Ritmanis – Blizzard of Souls (Dvēseļu Putenis) (WINNER)
Emile Mosseri – Minari
Sherry Chung – The Lost Husband
Steven Price – David Attenborough: A Life on Our Planet
Tamar-Kali Brown – Shirley

Outstanding Original Score for Television or Streaming Production
Carlos Rafael Rivera – The Queen’s Gambit (WINNER)
Blake Neely – The Flight Attendant
Laura Karpman, Raphael Saadiq – Lovecraft Country
Ludwig Göransson – Star Wars: The Mandalorian
Martin Phipps – The Crown

Outstanding Original Song for Visual Media
Savan Kotecha, Fat Max Gsus, Rickard Göransson – “Husavik” – Eurovision Song Contest: The Story of Fire Saga (WINNER)
Diane Warren – “Free” – The One and Only Ivan
Trent Reznor, Atticus Ross – “(If Only You Could) Save Me” – Mank
Laura Karpman, Raphael Saadiq, Sonia Sanchez – “Tulsa, 1921: Catch The Fire” – Lovecraft Country
Erran Baron Cohen, Sasha Baron Cohen, Anthony Hines – “Wuhan Flu” Borat Subsequent Moviefilm

Outstanding Original Score for Interactive Media
Garry Schyman, Mikolai Stroinski – Metamorphosis (WINNER)
Gordy Haab – Star Wars: Squadrons
Ilan Eshkeri, Shigeru Umebayashi – Ghost of Tsushima

4 Shots From 4 Films: Special George Miller Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Today the Shattered Lens wishes a happy birthday to one of our favorite people, George Miller!  The doctor-turned-director began his cinematic career with 1979’s Mad Max and he’s gone on to become one of the most influential and important filmmakers out there.  In honor of George Miller’s birthday, here are….

4 Shots From 4 George Miller Films

Mad Max (1979, dir by George Miller, DP: Dave Eggby)

The Witches of Eastwick (1987, dir by George Miller, DP: Vilmos Zsigmond)

Babe: Pig In The City (1998, dir by George Miller, DP: Andrew Lesnie)

Mad Max: Fury Road (2015, dir by George Miller, DP: John Seale)

The Online Association of Female Film Critics Honors Promising Young Woman


Yesterday, the Online Association of Female Film Critics have announced their picks for the best of 2020!  Congratulations to Promising Young Woman!

Here are all the winners from the OAFFC:

Best Film
First Cow
Minari
Nomadland
One Night In Miami
Promising Young Woman

Best Director
Lee Isaac Chung – Minari
Emerald Fennell – Promising Young Woman
Regina King – One Night In Miami
Kelly Reichardt – First Cow
Chloe Zhao – Nomadland

Best Male Lead
Riz Ahmed – Sound Of Metal
Chadwick Boseman – Ma Rainey’s Black Bottom
Delroy Lindo – Da 5 Bloods
Mads Mikkelsen – Another Round
Steven Yeun – Minari

Best Female Lead
Viola Davis – Ma Rainey’s Black Bottom
Vanessa Kirby – Pieces Of A Woman
Frances McDormand – Nomadland
Elisabeth Moss – The Invisible Man
Carey Mulligan – Promising Young Woman

Best Supporting Male
Sacha Baron Cohen – The Trial Of The Chicago 7
Daniel Kaluuya – Judas And The Black Messiah
Bill Murray – On The Rocks
Leslie Odom Jr. – One Night In Miami
Paul Raci – Sound Of Metal

Best Supporting Female
Maria Bakalova – Borat Subsequent Moviefilm
Ellen Burstyn – Pieces Of A Woman
Dominque Fishback – Judas And The Black Messiah
Amanda Seyfried – Mank
Yuh-jung Youn – Minari

Best Acting Ensemble
Da 5 Bloods
Ma Rainey’s Black Bottom
Minari
One Night In Miami
The Trial Of The Chicago 7

Best Original Screenplay
Lee Isaac Chung – Minari
Emerald Fennell – Promising Young Woman (TIE)
Eliza Hittman – Never Rarely Sometimes Always (TIE)

Miranda July – Kajillionaire
Andy Siara – Palm Springs

Best Adapted Screenplay
Sarah Gubbin – Shirley
Christopher Hampton & Florian Zeller – The Father
Charlie Kaufman – I’m Thinking Of Ending Things
Kemp Powers – One Night In Miami
Chloe Zhao – Nomadland

Best Documentary
Collective
Dick Johnson Is Dead
The Mole Agent
The Painter And The Thief
Time

Best Animated Feature
Onward
Over The Moon
A Shaun The Sheep Movie: Farmageddon
Soul
Wolfwalkers

Best Cinematography
Christopher Blauvelt – First Cow
Stephane Fontaine – Ammonite
Matthew Libatique – Birds Of Prey
Erik Messerschmidt – Mank
Joshua James Richards – Nomadland

Best Breakthrough Filmmaker
Kitty Green – The Assistant
Emerald Fennell – Promising Young Woman
Radha Blank – The Forty-Year-Old Version
Channing Godfrey Peoples – Miss Juneteenth
Natalie Erika James – Relic

Best Breakthrough Performance
Kingsley Ben-Adir – One Night In Miami
Sidney Flanigan – Never Rarely Sometimes Always
Orion Lee – First Cow
Cristin Milioti – Palm Springs
Tahar Rahim – The Mauritanian

THE ROSIE
The OAFFC’s signature award celebrates the film that “best promotes women, their voices, and the female experience through cinema.”
The Assistant
The Forty-Year-Old Version
Never Rarely Sometimes Always
Nomadland
Promising Young Woman

The Phoenix Film Critics Society Honors Nomadland


Well, it’s another day and, for this awards season, that means another victory for Nomadland.  This time, it’s the Phoenix Film Critics Circle who have named Chloe Zhao’s film as being the best of 2020.

Here are all the winners from Phoenix:

PFCS TOP TEN (in alphabetical order)
Judas and The Black Messiah
Minari
News of the World
Nomadland
One Night in Miami
Promising Young Woman
Soul
Sound of Metal
The Dig
The Trial of the Chicago 7

BEST PICTURE
Nomadland

BEST DIRECTOR
Chloe Zhao – Nomadland

BEST ACTOR IN A LEADING ROLE
Chadwick Boseman – Ma Rainey’s Black Bottom

BEST ACTRESS IN A LEADING ROLE
Carey Mulligan – Promising Young Woman

BEST ACTOR IN A SUPPORTING ROLE
Daniel Kaluuya – Judas and The Black Messiah

BEST ACTRESS IN A SUPPORTING ROLE
Yuh-Jung Youn – Minari

BEST ENSEMBLE ACTING
The Trial of the Chicago 7

BEST ORIGINAL SCREENPLAY
The Trial of the Chicago 7

BEST SCREENPLAY ADAPTED FROM OTHER MATERIAL
One Night in Miami

THE OVERLOOKED FILM OF THE YEAR
Palm Springs

BEST ANIMATED FILM
Soul

BEST FOREIGN LANGUAGE FILM
Another Round

BEST DOCUMENTARY
Boys State

BEST ORIGINAL SONG
Speak Now – One Night in Miami

BEST ORIGINAL SCORE
Soul

BEST CINEMATOGRAPHY
Nomadland

BEST FILM EDITING
The Trial of the Chicago 7

BEST PRODUCTION DESIGN
Mank

BEST COSTUME DESIGN
Ma Rainey’s Black Bottom

BEST VISUAL EFFECTS
Tenet

BREAKTHROUGH PERFORMANCE
Maria Bakalova – Borat Subsequent Moviefilm

BEST PERFORMANCE BY A YOUTH
Helena Zengel – News of the World

Here Are The Golden Reel Nominations!


For those of you who are really, really determined to make an informed choice when making your Oscar predictions, here are the Golden Reel nominations!  The Golden Reels are awarded by Motion Picture Sound Editors and, as you can probably guess, it’s meant to honor the best sound editing of the year.

(Of course, this year, the Academy has combined Sound Editing and Sound Mixing into one category.)

The nominations are below!  The winners — which will undoubtedly include Sound of Metal — will be announced on April 18th!

Outstanding Achievement in Sound Editing – Feature Animation
“The Croods: A New Age”
DreamWorks
Supervising Sound Editors: Brian Chumney, Leff Lefferts
Sound Designer: Randy Thom, MPSE
Supervising Music Editor: Dominick Certo, MPSE
Dialogue Editor: Jonathan Greber
Sound Effects Editors: Pascal Garneau, Mac Smith
Foley Editors: Doug Winningham, Dee Selby
Foley Artists: John Roesch, MPSE; Shelley Roden, MPSE; Ronni Brown, Jana Vance
“Onward”
Disney / Pixar
Supervising Sound Editor: Shannon Mills
Sound Designer: Nia Hansen
Sound Effects Editors: Samson Neslund, Kimberly Patrick, David C. Hughes, Josh Gold
Supervising Dialogue Editor: Chris Gridley
Foley Editors: Christopher Flick, Steve Orlando
Foley Artists: John Roesch, MPSE; Shelley Roden, MPSE
Music Editor: Erich Stratmann
“Over the Moon”
Netflix
Supervising Sound Editors: Qianbaihui Yang, MPSE; Jeremy Bowker
Dialogue Editors: James Spencer, Brad Semenoff
Foley Editors: Dee Selby, Chris Frazier, Larry Oatfield, Alyssa Nevarez
Foley Artists: Ronni Brown, Jana Vance
Music Editor: Bradley Farmer
“Soul”
Disney
Supervising Sound Editor: Coya Elliott
Sound Effects Editors: Kimberly Patrick, Steve Orlando, Jonathan Stevens
Supervising Dialogue Editor: Cheryl Nardi
Sound Designer: Ren Klyce
Foley Editor Thom Brennan
Foley Artists: John Roesch, MPSE; Shelley Roden, MPSE; Dee Selby
“Wolfwalkers”
Apple TV Plus
Supervising Sound Editors: Christine Seznec, Sebastien Marquilly, Bruno Seznec
Sound Effects Editors: Baptiste Bouche, Felix Davin, Alexandre Fleurant, Axel Steichen
Dialogue Editor: Anne-Lyse Haddak
Foley Editor: Stéphane Werner
Foley Artist: Florian Fabre

Outstanding Achievement in Sound Editing – Feature Documentary
“Bee Gees: How Can You Mend a Broken Heart”
HBO Documentary Films
Supervising Sound Editor: Jonathan Greber
Sound Effects Editor: Pascal Garneau
“Crip Camp”
Netflix
Supervising Sound Editor: Jacob Bloomfield-Misrach
Dialogue Editor: Greg Francis
Sound Designers: Bijan Sharifi, William Sammons, James LeBrecht
“John Lewis: Good Trouble”
Magnolia Pictures
Sound Effects Editor: Richard Gould
Sound Designer: Christopher Barnett
“My Octopus Teacher”
Netflix
Supervising Sound Editor: Barry Donnelly
Foley Artist: Charl Mostert
“The Reason I Jump”
Vulcan Productions
Sound Effects Editors: Laurence Love Greed, Alexej Mungersdorff, Jack Wensley
Dialogue Editor: Jamie McPhee
Foley Editor: Srdjan Kurpjel
“Rebuilding Paradise”
National Geographic
Sound Effects Editors: David Hughes, Richard Gould
Sound Designer: Christopher Barnett
“The Social Dilemma”
Netflix
Supervising Sound Editor: Richard Gould
Dialogue Editor: James Spencer
Foley Artist: Andrea Gard
“Zappa”
Magnolia Pictures
Supervising Sound Editor: Lon Bender, MPSE
Dialogue Editors: Ryan Owens, George Anderson, Nick Pavey
Sound Effects Editors: Alex Nomick, P. Daniel Newman, Chris Kahwaty, MPSE

Outstanding Achievement in Sound Editing – Foreign Language Feature
“Bacurau”
Globo Filmes
Supervising Sound Editor: Ricardo Cutz Gaudenzi
Dialogue Editor: Victor Quintanilha
Sound Effects Editor: Matheus Miguens
Foley Editor: Rafael Faustino
Foley Artist: Pedro Coelho
“The Eight Hundred”
CMC Pictures
Supervising Sound Designer and Editor: Kang Fu
Sound Effects Editor: Steve Miller
Dialogue Editor: Ai Long Tan
Music Editor: Fei Yu
“I’m No Longer Here”
Netflix
Supervising Sound Editor: Javier Umpierrez
Dialogue Editor: Juan Sosa Rosell
Foley Editor: Lía Perez
Foley Artist: Marisela Suárez
Music Editor: Javier Umpierrez
“Jallikattu”
Opus Penta
Supervising Sound Editor: Ranganath Ravee
Sound Effects Editors: Sreejith Sreenivasan, Boney M. Joy, Arun Rama Varma, MPSE
Foley Artists: Amandeep Singh, Mohammad Iqbal Paratwada
“The Life Ahead”
Netflix
Supervising Sound Designer and Editor: Maurizio Argentieri
Dialogue Editor: Riccardo Righini
Foley Artist: Mauro Eusepi

Outstanding Achievement in Sound Editing – Feature Underscore
“The Invisible Man”
Universal Pictures
Supervising Music Editor: Brett “Snacky” Pierce
Music Editor: Devaughn Watts
“The Midnight Sky”
Netflix
Supervising Music Editor: Michael Alexander
Scoring Editor: Peter Clarke, MPSE
“News of the World”
Universal Pictures
Supervising Music Editor: Arabella Winter
Music Editors: David Olson, Jim Weidman
“Sound of Metal”
Amazon
Supervising Music Editor: Carolina Santana
Scoring Editors: Nicolas Becker, Abraham Marder
“Tenet”
Warner Bros.
Supervising Music Editor: Alex Gibson
Music Editor: Nicholas Fitzgerald
“The Trial of the Chicago 7”
Netflix
Music Editor: Allegra de Souza
“Wonder Woman 1984”
Warner Bros.
Supervising Music Editors: Gerard McCann, Ryan Rubin
Music Editors: Timeri Duplat, Michael Connell
Scoring Editors: Chris Barrett, Adam Miller, Alfredo Pasquel

Outstanding Achievement in Sound Editing – Feature Musical
“Eurovision Song Contest: The Story of the Fire Saga”
Netflix
Music Editors: Allegra De Souza, Peter Oso Snell, MPSE; Jon Mooney
“The High Note”
Focus Features
Music Editor: Louis Schultz
“I Am Woman”
Transmission Films
Supervising Music Editor: Stuart Morton, MPSE
Music Editors: Bry Jones, Michael Tan
“The Forty-Year-Old Version”
Netflix
Music Editor: Lightchild
“Ma Rainey’s Black Bottom”
Netflix
Supervising Music Editor: Todd Kasow
Music Editor: Tim Marchiafava
“The Prom”
Netflix
Music Editors: David Klotz, Nick Baxter

Outstanding Achievement in Sound Editing – Feature Dialogue/ADR
“Emperor”
Sobini Films
Supervising Sound Editors: Glenn Morgan, D. Chris Smith
Dialogue Editors: Robert Jackson
“Greyhound”
Apple TV Plus
Supervising Sound Editors: Michael Minkler, Warren Shaw, Will Digby, MPSE
Supervising ADR Editor: Dave McMoyler
Dialogue Editors: Michelle Pazer, David Tichauer, Paul Carden
“Ma Rainey’s Black Bottom”
Netflix
Supervising Sound Editors: Paul Urmson, Skip Lievsay, MPSE
Supervising ADR Editor: Lidia Tamplenizza
Dialogue Editors: Michael Feuser
“Mank”
Netflix
Supervising Sound Editors: Ren Klyce, Jeremy Molod
Supervising ADR Editor: Richard Quinn
Dialogue Editors: Kim Foscato, Lisa Chino, Cameron Barker
“News of the World”
Universal Pictures
Supervising Sound Editor: Oliver Tarney, MPSE
Supervising Dialogue Editor: Rachael Tate, MPSE
Supervising ADR Editor: Anna MacKenzie
“Nomadland”
Searchlight Pictures
Supervising Sound Editors: Sergio Diaz, MPSE; Zach Seivers, MPSE
“Sound of Metal”
Amazon
Supervising Sound Editor: Nicolas Becker
Supervising ADR Editor: Carolina Santana
Dialogue Editor: Michelle Couttolenc
“The Trial of the Chicago 7”
Netflix
Supervising Sound and ADR Editor: Renee Tondelli
Dialogue Editors: Michael Hertlein, MPSE; Jeena Schoenke, Jon Michaels

Outstanding Achievement in Sound Editing – Feature Effects/Foley
“Cherry”
Apple TV Plus
Supervising Sound Editor: Mark Binder, MPSE
Sound Effects Editors: Donald Flick, Michael Gilbert, Matthew Coby
“Greyhound”
Apple TV Plus
Supervising Sound Editors: Warren Shaw, Michael Minkler, Will Digby, MPSE
Sound Designers: Ann Scibelli, Jon Title
Sound Effects Editors: Jeff Sawyer, Richard Kitting, Odin Benitez, MPSE; Jason King
Foley Editor: Luke Gibleon
Foley Artist: Marko Costanzo
“The Midnight Sky”
Netflix
Supervising Sound Editors: Bjørn Schroeder, Randy Thom
Sound Designer: Kyrsten Mate
Sound Effects Editor: Leff Lefferts
Foley Editor: Nicholas Docter
Foley Artists: John Roesch, Shelley Roden
“News of the World”
Universal Pictures
Supervising Sound Editor: Oliver Tarney
Sound Designer: Mike Fentum
Sound Effects Editors: Kevin Penney, Dawn Gough
Foley Editor: Hugo Adams
Foley Artists: Sue Harding, Andrea King, Oliver Ferris
“Sound of Metal”
Amazon
Supervising Sound Editor: Nicolas Becker
Sound Effects Editor: Carolina Santana
Foley Editor: Pietu Korhonen
Foley Artist: Heikke Kossi
“Tenet”
Warner Bros.
Supervising Sound Editor: Richard King
Sound Effects Editors: Michael W. Mitchell, Joseph Fraioli, Mark Larry
Foley Editors: Bruce Tanis, MPSE; Angela Ang
Foley Artists: Catherine Harper, MPSE; John Roesch, MPSE; Katie Rose, Alyson Dee Moore, Chris Moriana, Shelley Roden, MPSE; Dan O’Connell, John Cucci, MPSE
“Wonder Woman 1984”
Warner Bros.
Supervising Sound Editor: Richard King, Jimmy Boyle
Sound Effects Editors: Rowan Watson, Michael Babcock, Jeff Sawyer
Foley Editors: Kevin Penney, Lily Blazewicz
Foley Artists: Peter Burgess, Zoe Freed

Sound Effects Editor: Lucas MillerOutstanding Achievement in Sound Editing – Non-Theatrical Feature
“Bad Education”
HBO
Supervising Sound Editor: Gene Park
Sound Effects Editor: Ric Schnupp
Dialogue Editor: Craig Kyllonen
ADR Editor: Colin Alexander, MPSE
Music Editor: Shari Johanson, MPSE
“Bliss”
Amazon
Supervising Sound Editors: Steve Boeddeker, Lee Salevan
Dialogue Editor: Michael Feuser
ADR Editor: Lidia Tamplenizza
Foley Editor: Igor Nikolić
Foley Artist: Jay Peck
“Blow the Man Down”
Amazon
Supervising Sound Editor: Chris Foster
Dialogue Editors: Matt Rigby, Michael Flannery
ADR Editors: John Bowen, Nora Linde
Foley Editor: Laura Heinzinger
Music Editor: Brian McOmber
“The Bygone”
Tubi
Supervising Sound Editor: David Barber, MPSE
Sound Effects Editors: Ben Zarai, Roland Thai, MPSE; George Haddad, MPSE; Dave Eichhorn
Foley Editor: Michael Kreple
Foley Artists: Gonzalo “Bino” Espinoza, David Kitchens, MPSE
“Christmas On the Square”
Netflix
Supervising Sound Editor: Trip Brock, MPSE
Supervising ADR Editor: Jacob Ortiz, MPSE
Sound Effects Editor: Raymond Park, MPSE
Dialogue Editors: Jackie Johnson, Bruce Stubblefield
Supervising Music Editors: Marc S. Perlman, MPSE; Michael T. Ryan, MPSE
Music Editor: Tom Ruttledge, Michael Farrow
“Safety”
Disney
Supervising Sound Editors: Christopher S. Aud, MPSE; Byron Wilson
Sound Effects Editors: Phil Barrie, Greg ten Bosch, MPSE; Aaron Glascock
Dialogue Editor: Daniel Saxlid, MPSE
Foley Editor: Terry Rodman, MPSE
Supervising Music Editor: Steve Durkee
“Troop Zero”
Amazon
Supervising Sound Editors: Erin Oakley, Sean McCormick
Sound Effects Editors: Paul Pirola, Andrew Neil, Dylan Barfield
Dialogue Editors: Robert Chen, Will Riley, MPSE
Foley Editor: Troy Mauri
Foley Artist: Adrian Medhurst
“The Ultimate Playlist of Noise”
Hulu
Supervising Sound Editor: Odin Benitez, MPSE
Supervising ADR Editor: Ryan Briley
Sound Designer: Russell Topal, MPSE
Foley Editor: Rustam Gimadlyev
Foley Artists: Bogdan Zavarzin, Natalia Syeryakova
Music Editor: Katerina Tolkishevskaya

The Oscars: Must The Show Go On?


Ever since the COVID lockdowns started roughly 12 months ago ago, there have been people saying that we should cancel all of the big events that usually define the year. Sometimes, the argument has been that it’s just simply gauche to celebrate or indulge in sort of distraction while the world is suffering.   Other times the argument has been that doing anything other than staying inside and feeling miserable will lead to a superspreader event.  Over the past 12 months, there have been efforts to cancel everything from football and baseball to Halloween and Christmas.

My response to these efforts has always been to proudly yell, “No! People need some sort of normalcy, now more than ever!   Traditions are important and we all need something to look forward to. The show must go on!” Even though I’m not into football, I was happy that the regular NFL season went forward as scheduled.  I was happy that, even with everything going on, there was at least a Super Bowl.  Even though I’ve never cared that much about the Emmys, I was still glad that they made it a point to hold some sort of ceremony.   And when it comes to Oscars, I’ve been looking forward to them for a year now. The show must go on, right?

Indeed, ever since the lockdown started, I’ve been saying that the show must go on.  It’s a belief in which my faith was unwavering.

Until last night.

Last night, I watched The Golden Globes and, as I’ve already said on this site, it was an amazingly depressing experience. While I knew that the Globes would be different this year and there would undoubtedly be a few awkward moments, nothing could have prepared for me for just how terrible last night’s show truly was. The entire show felt weird and creepy and vaguely dystopian.  Even the jokes about the HFPA’s lack of diversity and the nominations for stuff like Music and Emily In Paris felt less like speaking truth to power and more like officially sanctioned dissent, delivered in smarmy fashion by officially approved messengers.  It felt like watching a carefully rehearsed roast of a corrupt politician, where all of the jokes are carefully written so that the subject of them can later say, “See, I can laugh at myself!” in between looting the treasury and putting dissidents in prison.  It was depressing not just because it reflected what’s currently going on in the world but also because it seemed to indicate what we had to look forward to in the future.

Awards show have always been vapid, of course. For the most part, the humor has always been smarmy and self-congratulatory.   (There’s a reason why Ricky Gervais will probably never be invited back to host another Golden Globes ceremony.)   The political statements have always lacked self-awareness.  The winners have often been regrettable. But, in the past, we could at least focus on the glamour.  We could distract ourselves with the clothes and the hair and the gossip.  There was no glamour last night.  There was just an overwhelming blandness.

Traditionally, the Golden Globes are the “fun” awards ceremony so, if the Golden Globes were that bad, can you imagine what the Oscars are going to be like?  The Oscars, after all, are the staid and, at times, painfully formal ceremony.  If the Globes represent your shady, self-destructive, but always unpredictable uncle, the Oscars represent the rich uncle who awkwardly shows up at the annual family reunion out of a sense of obligation and who never seems to be having as much fun as he should.  (That said, you’re still always happy to see him and you know you’ll miss him if he ever stops coming.)  If the Globes were that depressing, it’s frightening to imagine the depths of despair to which the Oscars could potentially descend.

It’s enough to make you wonder whether the show must really go on!  I mean, technically, there’s really no need to have a big Oscar ceremony.   The show gets terrible ratings, with less and less people watching each year.  In fact, it’s only a few of us awards fanatics who really care about the ceremony.  One could just as easily post the names of the winners online and then everyone could just upload their acceptance speeches to YouTube, where people like me could watch the speeches we care about and ignore the rest.  At this point, even those of who love the show understand that it’s rare that the best films actually win.  The appeal of the Oscars is not really to be found in the results of the contest.  Instead, the appeal of the Oscars has always been the glamour of the ceremony.  If there’s no glamour, what’s the point?  One could just as easily take the money that’s usually spent on the ceremony and instead donate it to the communities that are still recovering from last month’s winter storm.

It’s a legitimate question.  Must the show go on?

Despite the way that I found my faith wavering last night, I still ultimately think that the show should go on. I still believe that, psychologically, it’s important to have some sort of normalcy.   I think that if the world could survive the lack of good Super Bowl commercials, it should be able to survive the Oscars.  But, seriously, let’s hope that the Oscar producers learned something from last night’s disastrous ceremony. Let’s hope that the producers give some serious thought to what went wrong for the Globes and that they make an effort not to repeat the same mistakes.  Somehow, the Oscars have to keep glamour alive.  They can’t repeat the mistake of the Golden Globes of allowing themselves to just become a tepid zoom conference call.  The Oscars are many things, both good and bad.  But they should never be depressing.

This year, Steven Soderbergh is one of the Oscar producers and, while I’m not really a huge fan of some of his more recent films, I think he does understand the importance of glitz and glamour.  (Let’s hope we get the Ocean’s 11 Soderbergh as opposed to the Soderbergh who makes self-indulgent Meryl Streep films.)  I’m looking to you, Steven Soderbergh, with hope in my eyes.  Don’t let me down.

Because, in the end …. THE SHOW MUST GO ON!

 

The Shattered Lens Live Tweets The Golden Globes


It turns out that Patrick had the right idea.  Jeff, Leonard, Case, and I watched the Golden Globes tonight and it was seriously the most depressing awards show that I can remember.  The tables were largely empty and Amy Poehler and Tina Fey’s attempts at humor felt forced and awkward.  The constant bragging about the amount of money that the show was raising for charity felt like an attempt to deflect from all of the negative publicity that the HFPA has received over the past few weeks.  Nothing about the show felt right.

The winners accepted from home.  I enjoyed seeing Eugene Levy’s house.  It’s a very nice house.  But it still felt, to use that familiar term again, forced and awkward.  Even the surprise winners — and there were more than a few — could do little to alleviate the gloomy feel of the show.  At a time when we could use a little glamour, the Golden Globes were subdued and painful.  One can only imaging how painful the Oscars are going to be.

Here’s a few tweets from tonight:

The Art Directors Guild nominates Palm Springs!!


The Art Directors Guild has announced their nominees for the best of 2020.  The guilds are one of the more reliable precursors when it comes to making your Oscar predictions, if just because the guilds — as opposed to the various regional critics groups — actually include members of the Academy.

My immediate thought, upon looking at these nominees, is that there’s a lot of them and I definitely forgot to take my ADD meds this morning.  That said, I’m glad Palm Springs was nominated.  Palm Springs was one of the best films of 2020 and, while it’ll probably be too strange and comedic to score a best picture nod, it would still be nice to see it score an Oscar nomination or two.

The winners will be announced on April 10th!  Here are the nominees:

PERIOD FEATURE FILM
Mank – Production Designer: Donald Graham Burt
Ma Rainey’s Black Bottom – Production Designer: Mark Ricker
Mulan – Production Designer: Grant Major
News of the World – Production Designer: David Crank
The Trial of the Chicago 7 – Production Designer: Shane Valentino

FANTASY FEATURE FILM
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn – Production Designer: K.K. Barrett
Pinocchio – Production Designer: Dimitri Capuani
Tenet – Production Designer: Nathan Crowley
The Midnight Sky – Production Designer: Jim Bissell
Wonder Woman 1984 – Production Designer: Aline Bonetto

CONTEMPORARY FEATURE FILM
Da 5 Bloods – Production Designer: Wynn Thomas
I’m Thinking of Ending Things – Production Designer: Molly Hughes
Palm Springs – Production Designer: Jason Kisvarday
Promising Young Woman – Production Designer: Michael T. Perry
The Prom – Production Designer: Jamie Walker McCall

ANIMATED FEATURE FILM
A Shawn the Sheep Movie: Farmageddon – Production Designer: Matt Perry
Onward – Production Designer: Noah Klocek
Soul – Production Designer: Steve Pilcher
The Croods: A New Age – Production Designer: Nate Wragg
Wolfwalkers – Production Designers: Ross Stewart, Tomm Moore, Maria Pareja

ONE-HOUR PERIOD OR FANTASY SINGLE-CAMERA SERIES
Lovecraft Country: “I Am” – Production Designer: Kalina Ivanov
Perry Mason: “Chapter Three” – Production Designer: John Perry Goldsmith
The Crown: “War” – Production Designer: Martin Childs
The Mandalorian: “Chapter 13: The Jedi” – Production Designers: Andrew L. Jones, Doug Chiang
Westworld: “Parce Domine” – Production Designer: Howard Cummings

ONE-HOUR CONTEMPORARY SINGLE-CAMERA SERIES
Killing Eve: “Are You from Pinner?” – Production Designer: Laurence Dorman
Ozark: “Wartime” – Production Designer: David Bomba
The Flight Attendant: “After Dark” – Production Designer: Sara K. White
The Twilight Zone: “Among the Untrodden” – Production Designer: Michael Wylie
Utopia: “Just a Fanboy” – Production Designer: Steve Arnold

TELEVISION MOVIE OR LIMITED SERIES
Fargo – Production Designer: Warren Alan Young
Hollywood – Production Designer: Matthew Flood Ferguson
Little Fires Everywhere – Production Designer: Jessica Kender
The Alienist: Angel of Darkness – Production Designer: Ruth Ammon
The Queen’s Gambit – Production Designer: Uli Hanisch

HALF HOUR SINGLE-CAMERA SERIES
Dead to Me: “You Don’t Have to Go,” “It Had to Be You” – Production Designer: L.J. Houdyshell
Emily in Paris: “Emily in Paris” – Production Designer: Anne Seibel
Mythic Quest: Raven’s Banquet: “Pilot” – Production Designer: Mark Worthington
Space Force: “THE LAUNCH” – Production Designer: Susie Mancini
What We Do in the Shadows: “Resurrection,” “Collaboration,” “Witches” – Production Designer: Kate Bunch

MULTI-CAMERA SERIES
Ashley Garcia: Genius in Love: “Unintended Consequences” – Production Designer: Josee F. Lemonnier
Bob Hearts Abishola: “Randy’s a Wrangler,” “Paris is for Lovers, Not Mothers” “Straight Outta Lagos” – Production Designer: John Shaffner
Family Reunion: “Remember When Jade Was Down with the Swirl?” “Remember When Shaka Got Beat Up?” – Production Designer: Aiyana Trotter
The Neighborhood: “Welcome to the New Pastor,” “Welcome to the Hockey Game” – Production Designer: Wendell Johnson
Will & Grace: “Accidentally on Porpoise,” “We Love Lucy,” “It’s Time” – Production Designer: Glenda Rovello

SHORT FORMAT: WEB SERIES, MUSIC VIDEO OR COMMERCIAL
Adidas Originals: “Superstar – Change is a Team Sport” – Production Designer: Ruth De Jong
Apple: “Vertical Cinema” – Production Designer: Shane Valentino
Camila Cabello: “My Oh My” – Production Designer: François Audouy
Harry Styles: “Falling” – Production Designer: François Audouy
Taylor Swift: “Cardigan” – Production Designer: Ethan Tobman

VARIETY, REALITY OR COMPETITION SERIES
Earth to Ned: “Ned: The Musical” – Production Designer: Darcy Prevost
Saturday Night Live: “Host: John Mulaney + Music: David Byrne,” Host: Adele + Music: H.E.R.,” “Host: Dave Chappelle + Music: Foo Fighters” – Production Designers: Keith Raywood, Eugene Lee, Akira Yoshimura, N. Joseph De Tullio
The Masked Singer: “The Season Premiere – The Masks Return” – Production Designer: James Connelly
The Voice: “Live Finale Ep. 18,” “The Blind Auditions, Season Premiere Ep. 1,”The Battles Premiere Ep. 6” – Production Designers: Zeya Maurer, James Connelly, Anton Goss
Wheel of Fortune: “Consumer Cellular Secret Santa,” “Fabulous Food” – Production Designer: Renee Hoss-Johnson

VARIETY SPECIAL
Black Is King – Production Designers: Hannah Beachler, Carlos Laszlo, Susan Linss, Miranda Lorenz, Brandon Mendez, Rika Nakanishi, Ethan Tobman
Democratic National Convention 2020 – Production Designer: Bruce Rodgers
Super Bowl Half Time Show Starring Jennifer Lopez & Shakira – Production Designer: Bruce Rodgers
The Oscars – Production Designer: Jason Sherwood
Yearly Departed – Production Designer: Suzuki Ingerslev

Here Are The Nominations of the Online Association of Female Film Critics!


Well, it’s a new day during awards season and that means it’s time for a new group to announce their nominees for the best of 2020 and the first two months of 2021.  Today, the Online Association of Female Film Critics chimes in with their nominees.

Again, it’s the usual suspects.  It is nice to see First Cow getting mentioned, though.  I was a bit worried that people were starting to forget about the film.

Here the nominees.  The winners will be announced on March 1st!

Best Film
First Cow
Minari
Nomadland
One Night In Miami
Promising Young Woman

Best Director
Lee Isaac Chung – Minari
Emerald Fennell – Promising Young Woman
Regina King – One Night In Miami
Kelly Reichardt – First Cow
Chloe Zhao – Nomadland

Best Male Lead
Riz Ahmed – Sound Of Metal
Chadwick Boseman – Ma Rainey’s Black Bottom
Delroy Lindo – Da 5 Bloods
Mads Mikkelsen – Another Round
Steven Yeun – Minari

Best Female Lead
Viola Davis – Ma Rainey’s Black Bottom
Vanessa Kirby – Pieces Of A Woman
Frances McDormand – Nomadland
Elisabeth Moss – The Invisible Man
Carey Mulligan – Promising Young Woman

Best Supporting Male
Sacha Baron Cohen – The Trial Of The Chicago 7
Daniel Kaluuya – Judas And The Black Messiah
Bill Murray – On The Rocks
Leslie Odom Jr. – One Night In Miami
Paul Raci – Sound Of Metal

Best Supporting Female
Maria Bakalova – Borat Subsequent Moviefilm
Ellen Burstyn – Pieces Of A Woman
Dominque Fishback – Judas And The Black Messiah
Amanda Seyfried – Mank
Yuh-jung Youn – Minari

Best Acting Ensemble
Da 5 Bloods
Ma Rainey’s Black Bottom
Minari
One Night In Miami
The Trial Of The Chicago 7

Best Original Screenplay
Lee Isaac Chung – Minari
Emerald Fennell – Promising Young Woman
Eliza Hittman – Never Rarely Sometimes Always
Miranda July – Kajillionaire
Andy Siara – Palm Springs

Best Adapted Screenplay
Sarah Gubbin – Shirley
Christopher Hampton & Florian Zeller – The Father
Charlie Kaufman – I’m Thinking Of Ending Things
Kemp Powers – One Night In Miami
Chloe Zhao – Nomadland

Best Documentary
Collective
Dick Johnson Is Dead
The Mole Agent
The Painter And The Thief
Time

Best Animated Feature
Onward
Over The Moon
A Shaun The Sheep Movie: Farmageddon
Soul
Wolfwalkers

Best Cinematography
Christopher Blauvelt – First Cow
Stephane Fontaine – Ammonite
Matthew Libatique – Birds Of Prey
Erik Messerschmidt – Mank
Joshua James Richards – Nomadland

Best Breakthrough Filmmaker
Kitty Green – The Assistant
Emerald Fennell – Promising Young Woman
Radha Blank – The Forty-Year-Old Version
Channing Godfrey Peoples – Miss Juneteenth
Natalie Erika James – Relic

Best Breakthrough Performance
Kingsley Ben-Adir – One Night In Miami
Sidney Flanigan – Never Rarely Sometimes Always
Orion Lee – First Cow
Cristin Milioti – Palm Springs
Tahar Rahim – The Mauritanian

THE ROSIE
The OAFFC’s signature award celebrates the film that “best promotes women, their voices, and the female experience through cinema.”
The Assistant
The Forty-Year-Old Version
Never Rarely Sometimes Always
Nomadland
Promising Young Woman

Nomadland wins in Vancouver!


Love you, Canada!

The Vancouver Film Critics Circle announced their winners for the best of 2020 yesterday.  And here they are:

Best Picture
Mank
Nomadland
Promising Young Woman

Best Director
Thomas Vinterberg – Another Round
David Fincher – Mank
Chloe Zhao – Nomadland

Best Screenplay
Jack Fincher – Mank
Emerald Fennell – Promising Young Woman
Aaron Sorkin – The Trial of the Chicago 7

Best Actor
Anthony Hopkins – The Father
Gary Oldman – Mank
Chadwick Boseman – Ma Rainey’s Black Bottom
Riz Ahmed – Sound of Metal

Best Actress
Viola Davis – Ma Rainey’s Black Bottom
Frances McDormand – Nomadland
Carey Mulligan – Promising Young Woman

Best Supporting Actor
Daniel Kaluuya – Judas and the Black Messiah
Leslie Odom Jr. – One Night in Miami
Sacha Baron Cohen – The Trial of the Chicago 7

Best Supporting Actress
Maria Bakalova – Borat Subsequent Moviefilm
Amanda Seyfried – Mank
Yuh-jung Youn – Minari

Best Documentary
Athlete A
Collective
Totally Under Control

Best Foreign Language Film
Another Round
Dear Comrades
Minari