[NE] Nomination Elim Game ('79- OSCARGUY)
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The Original BJ
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Group 1: Replace Brenda Blethyn's shrill performance in Little Voice with Joan Allen's affecting work in Pleasantville, Best Supporting Actress.
Group 2: Replace The Thin Red Line in Adapted Screenplay with Steven Zaillian's artful adaptation of A Civil Action.
Group 3: Replace Saving Private Ryan with Pleasantville in Best Makeup.
Edited By flipp525 on 1222392785
Group 2: Replace The Thin Red Line in Adapted Screenplay with Steven Zaillian's artful adaptation of A Civil Action.
Group 3: Replace Saving Private Ryan with Pleasantville in Best Makeup.
Edited By flipp525 on 1222392785
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
1. Preserving Cate Blanchett in Elizabeth (Best Actress). I know all of you are shocked.
2. Replacing Patch Adams in best original score, music or comedy, with Out of Sight. I love this music. And the very idea of Patch Adams being an oscar nominee is crap.
3. Rescuing Elizabeth in Best Art Direction, replacing Pleasantville.
2. Replacing Patch Adams in best original score, music or comedy, with Out of Sight. I love this music. And the very idea of Patch Adams being an oscar nominee is crap.
3. Rescuing Elizabeth in Best Art Direction, replacing Pleasantville.
Of course, you were there to inform us of the film's accuracy!Big Magilla wrote:It had t go to make way for the 30s and 50s decor of Gods and Monsters, a film much truer to its time and place than Elizabeth.
(Sorry, Magilla, it was there and I couldn't resist! :;): )
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
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Big Magilla
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Ostentatious and showy and not as nearly worthy of a nomination as Pleasantville, another over-rated film but one with great sets and What Ever Dreams May Come, a particularly odious film but one with gorgeous art direction. It had t go to make way for the 30s and 50s decor of Gods and Monsters, a film much truer to its time and place than Elizabeth.OscarGuy wrote:And you can hate Elizabeth all you want, but the Art Direction was phenomenal.
I thought last year's contemporary Michael Clayton was a perfect example of the importance of a costume designer to a non-period film.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
It's dangerous to reduce the costume design element of Beloved to corsets and hoop skirts. If you'd like to talk about a design element complementing and extending the character as written in the script and taking it beyond the page, you can look no further than that film.
Beloved (Thandie Newton), is the physical embodiment of a slave past and she arises from the ether in the form of a scarecrow, slouched in a crucified pose, adorned in a decrepit, black mourning dress with hat, surrounded by flies and fumes, perfectly capturing the 1870's midwestern black woman without a real name. It's perhaps the hardest character to dress because she literally has no history, no qualities, no pre-established habits of dress other than what she arrives with in tow. In that sense, her characterization through clothes is established on the outset as paramount. Demanding more and more lavish fabrics and fanciful wares as she establishes herself in the family from which she was ripped so unceremoniously, the guilt that Beloved exerts over her mother hangs over Sethe (Oprah Winfrey) and the entire house (a character itself in the novel) progressing into a dire crescendo as the film builds to its conclusion.
I don't think a film has to be set during the Elizabethan era in order to be considered for a costume design award (a film set in the modern-day has just as much of a responsibility to its characters' manner of dress). However, its reductive to place Beloved in such a category simply because it employed the dreaded "maidenform" of a bygone era.
Edited By flipp525 on 1222374798
Beloved (Thandie Newton), is the physical embodiment of a slave past and she arises from the ether in the form of a scarecrow, slouched in a crucified pose, adorned in a decrepit, black mourning dress with hat, surrounded by flies and fumes, perfectly capturing the 1870's midwestern black woman without a real name. It's perhaps the hardest character to dress because she literally has no history, no qualities, no pre-established habits of dress other than what she arrives with in tow. In that sense, her characterization through clothes is established on the outset as paramount. Demanding more and more lavish fabrics and fanciful wares as she establishes herself in the family from which she was ripped so unceremoniously, the guilt that Beloved exerts over her mother hangs over Sethe (Oprah Winfrey) and the entire house (a character itself in the novel) progressing into a dire crescendo as the film builds to its conclusion.
I don't think a film has to be set during the Elizabethan era in order to be considered for a costume design award (a film set in the modern-day has just as much of a responsibility to its characters' manner of dress). However, its reductive to place Beloved in such a category simply because it employed the dreaded "maidenform" of a bygone era.
Edited By flipp525 on 1222374798
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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Eric
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If we're talking about clothes as an example of their designers knowledge that Oscars award feathers, lace and corsets, not much. If we're talking about clothes that serve as extensions of their respective characters, much much more than nearly everything that was actually nominated that year.OscarGuy wrote:What in Rushmore was even remotely Costume Design nomination worthy?
Where did my response go? It's like the Board doesn't want me to replace everything w/ 'Rushmore' already...
Group I - 'Saving Private Ryan' and 'Rushmore' are just as influential: the former on video games and the latter on hipster pretenders. 'Rushmore' will never age and replaces 'Saving Private Ryan' in the category of Best Picture.
Group II - 'Rushmore' replaces 'Elizabeth' in the category of Best Cinematography.
Group III - 'Rushmore' replaces 'Beloved' in the category of Costume Design.
Group I - 'Saving Private Ryan' and 'Rushmore' are just as influential: the former on video games and the latter on hipster pretenders. 'Rushmore' will never age and replaces 'Saving Private Ryan' in the category of Best Picture.
Group II - 'Rushmore' replaces 'Elizabeth' in the category of Best Cinematography.
Group III - 'Rushmore' replaces 'Beloved' in the category of Costume Design.
"How's the despair?"
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Big Magilla
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Group 1 - I'm torn between replacing Elizabeth in Best Picture with Gods and Monsters and either Terence Malick or Peter Weir in Best director with Bill Condon, but I'll go for the big one because I think it's the bigger travesty - Gods and Monsters replaces Elizabeth in Best Picture.
Group 2 - Replace Elizabeth in Best Score with Carter Burwell's haunting score for Gods and Monsters.
Group 3 - Replace Elizabeth in Art direction with Gods and Monsters.
Group 2 - Replace Elizabeth in Best Score with Carter Burwell's haunting score for Gods and Monsters.
Group 3 - Replace Elizabeth in Art direction with Gods and Monsters.
As much as I dislike The Thin Red Line, I'll leave it be for now.
Group 1 - replace Roberto Benigni in Best Director with Terry Gilliam for Fear and Loathing in Las Vegas.
Group 2 - replace Life is Beautiful in Original Screenplay with Pleasantville.
Group 3 - preserve Saving Private Ryan Art Direction nomination.
Group 1 - replace Roberto Benigni in Best Director with Terry Gilliam for Fear and Loathing in Las Vegas.
Group 2 - replace Life is Beautiful in Original Screenplay with Pleasantville.
Group 3 - preserve Saving Private Ryan Art Direction nomination.
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Big Magilla
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