My first predictions of the year (pre-fall festivals)

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rolotomasi99
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Re: My first predictions of the year (pre-fall festivals)

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danfrank wrote:
rolotomasi99 wrote: I do not buy into the idea Academy members pick winners based on who is overdue -- just look at Peter O'Toole and Glenn Close. However, I think Sabin is correct that Branagh is a well-liked actor and director, which could help him in a tight race.


Sure, there are a few examples of folks who have been nominated a bunch of times and never won, but there are also lots of examples of “career” Oscars. Al Pacino, Paul Newman, Leonardo DiCaprio, Gary Oldman, Martin Scorsese, and John Wayne come immediately to mind. Of course they also sometimes choose fresh faces. All I’m saying is that all things being relatively equal there is a tendency to reward those who have a storied career.
Of the five examples you gave, the only one I would say is a "career" win is Paul Newman for a perfectly serviceable performance in THE COLOR OF MONEY. There was also the factor that he was reprising his greatest performance from 25 years ago so the symmetry was just too perfect.

Scorsese's Director victory was for a movie that also won Best Picture so clearly it was generally well loved just beyond Scorsese being due.

Pacino, DiCaprio, and Oldman all won in Best Picture nominees, and they were giving capital P performances that would have been hard to ignore even if these were not their first Oscar victories.

Wayne perhaps had career sentiment behind him, but he was also playing a pretty great character who earned another actor a nomination as well, 40 years later. I think anyone who had played Rooster Cogburn in 1969 could have won because the character is just that much fun.

However, to both our larger points, I think if Branagh wins it will be because audiences just truly love BELFAST, not because anyone thinks they owe him a win. After all, many folks are predicting Jane Campion will be nominated for Director, and she has never won despite her long career. Interestingly, both Campion and Branagh debuted as film directors in 1989.
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Re: My first predictions of the year (pre-fall festivals)

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rolotomasi99 wrote
All of this is to say that I think there is plenty of room for two nostalgia pieces from auteur directors. Perhaps I was too quick in my dismissal of LICORICE PIZZA's Oscar chances. I had assumed this was a love letter to the L.A. music scene, which I thought many older Academy voters could relate to. However, the trailer makes it look more like a quirky love story of awkward young adults. Obviously, that kind of film can be successful with voters, as LADY BIRD certainly proved. I guess I just find it hard to believe PT Anderson will be able to bring the sweetness necessary to make audiences relate to the central romance in the film. PUNCH-DRUNK LOVE is the closest he has ever come to a rom-com, and it is one of only two of his films to be completely ignored by the Oscars (the other one being his debut).
Considering that this film stars Bradley Cooper as Jon Peters and Benny Safdie as a rising politician, this movie seems like it has a few things on its mind, probably closer in spirit to Boogie Nights than Lady Bird, but still a love story. I'd imagine it'll get nominated. There's certainly room for two nostalgia pieces. But you raise a good point: can he bring the necessary sweetness to make audiences relate to the central romance. That's something he's never been able to do. He's always standing in the way of it. John C. Reilly and Melora Walters (whatever happened to her? I feel like I haven't seen her in anything) have a moving little romance, albeit a sad one. Honestly, the least neurotic, weird romantic moment in any of his films is probably between when Burt Reynolds tells Heather Graham to have sex with Mark Wahlberg in Boogie Nights and she's just like "Sure!"

rolotomasi99 wrote
As for BELFAST, it should certainly be considered a much stronger contender across the board. The TIFF win is an undeniably strong indicator it will be beloved by a certain cohort of voters. From what I have read, it pulls at the heartstrings without being cloying, and Branagh's sharp direction allows cineastes to take it seriously. I do not buy into the idea Academy members pick winners based on who is overdue -- just look at Peter O'Toole and Glenn Close. However, I think Sabin is correct that Branagh is a well-liked actor and director, which could help him in a tight race. Folks still have to truly love his film, but it could make the difference with enough voters for him to secure a win in the three categories he would probably be nominated in.
A side note: I'm increasingly intrigued by the number of wins that Best Picture winners have been picking up over the last decade. We all remember the days of movies picking up five, six, seven wins. Those days are pretty much gone. Generally, they pick up three or four. In my Oscar-watching life, this has not been the norm. In the 2000s, that happened five times. In the 1990s, it happened once. But this past decade, the most a Best Picture winner won, period, was five (The Artist). There's a lot of reasons for this trend that I've written about elsewhere, but the fact is we've seen less overlap between a movie winning Best Picture and awards for craft. Over the last ten years, only four movies won Best Picture and a craft award: The Artist (music, costume), Argo (editing), Birdman (cinematography), and The Shape of Water (music, production design).

Anyway, all of this at least makes Belfast look like a Best Picture winner. It looks like the kind of movie that will take home three or four Oscars and not more. In the past, that was a reason why a movie like Belfast wouldn't win.
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Re: My first predictions of the year (pre-fall festivals)

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rolotomasi99 wrote: I do not buy into the idea Academy members pick winners based on who is overdue -- just look at Peter O'Toole and Glenn Close. However, I think Sabin is correct that Branagh is a well-liked actor and director, which could help him in a tight race.


Sure, there are a few examples of folks who have been nominated a bunch of times and never won, but there are also lots of examples of “career” Oscars. Al Pacino, Paul Newman, Leonardo DiCaprio, Gary Oldman, Martin Scorsese, and John Wayne come immediately to mind. Of course they also sometimes choose fresh faces. All I’m saying is that all things being relatively equal there is a tendency to reward those who have a storied career.
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Re: My first predictions of the year (pre-fall festivals)

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Sabin wrote:
dankfrank wrote
Good point. Belfast thus far has strong but not universally rave reviews. If—big if—Licorice Pizza gets similar or stronger reviews, which of these two filmmakers do voters see as more due for an Oscar? For me if would be PTA by a long stretch. The box office factor seems less relevant now that far fewer people are going out to movies. Whichever one is more relatable and beloved seems a bigger factor.
I don't think they think that way. Or if they do, it's only on rare occasion. Generally speaking, I really do think they just vote for whatever film they liked the most. Sometimes it takes the form of whatever moves them the most, sometimes it takes the shape of whatever gives them the most entertaining experience.

But something else to consider with Kenneth Branagh: he might not be the most "due" filmmaker in the world, but he is an actor/director and how many of them have worked with him over the years? I'm guessing quite a few. He doesn't strike me as someone who shows up at all the industry parties but he's probably fairly well liked.
I agree Sabin that Academy voters unlikely to make a conscious decision about not nominating films that are too similar. After all, sci-fi films are pretty rare as Best Picture nominees, but in 2009 we had both AVATAR and DISTRICT 9. I think it is fair to assume it was the same folks who were nominating these two films. Similar with BOHEMIAN RHAPSODY and A STAR IS BORN in 2018 or THE DARKEST HOUR and DUNKIRK in 2017. In 2016, we had three films (HIDDEN FIGURES, FENCES, and MOONLIGHT) focusing on the lives of African Americans, and one of those films was able to win Best Picture.

All of this is to say that I think there is plenty of room for two nostalgia pieces from auteur directors. Perhaps I was too quick in my dismissal of LICORICE PIZZA's Oscar chances. I had assumed this was a love letter to the L.A. music scene, which I thought many older Academy voters could relate to. However, the trailer makes it look more like a quirky love story of awkward young adults. Obviously, that kind of film can be successful with voters, as LADY BIRD certainly proved. I guess I just find it hard to believe PT Anderson will be able to bring the sweetness necessary to make audiences relate to the central romance in the film. PUNCH-DRUNK LOVE is the closest he has ever come to a rom-com, and it is one of only two of his films to be completely ignored by the Oscars (the other one being his debut).

As for BELFAST, it should certainly be considered a much stronger contender across the board. The TIFF win is an undeniably strong indicator it will be beloved by a certain cohort of voters. From what I have read, it pulls at the heartstrings without being cloying, and Branagh's sharp direction allows cineastes to take it seriously. I do not buy into the idea Academy members pick winners based on who is overdue -- just look at Peter O'Toole and Glenn Close. However, I think Sabin is correct that Branagh is a well-liked actor and director, which could help him in a tight race. Folks still have to truly love his film, but it could make the difference with enough voters for him to secure a win in the three categories he would probably be nominated in.
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Re: My first predictions of the year (pre-fall festivals)

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dankfrank wrote
Good point. Belfast thus far has strong but not universally rave reviews. If—big if—Licorice Pizza gets similar or stronger reviews, which of these two filmmakers do voters see as more due for an Oscar? For me if would be PTA by a long stretch. The box office factor seems less relevant now that far fewer people are going out to movies. Whichever one is more relatable and beloved seems a bigger factor.
I don't think they think that way. Or if they do, it's only on rare occasion. Generally speaking, I really do think they just vote for whatever film they liked the most. Sometimes it takes the form of whatever moves them the most, sometimes it takes the shape of whatever gives them the most entertaining experience.

But something else to consider with Kenneth Branagh: he might not be the most "due" filmmaker in the world, but he is an actor/director and how many of them have worked with him over the years? I'm guessing quite a few. He doesn't strike me as someone who shows up at all the industry parties but he's probably fairly well liked.
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Re: My first predictions of the year (pre-fall festivals)

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Good point. Belfast thus far has strong but not universally rave reviews. If—big if—Licorice Pizza gets similar or stronger reviews, which of these two filmmakers do voters see as more due for an Oscar? For me if would be PTA by a long stretch. The box office factor seems less relevant now that far fewer people are going out to movies. Whichever one is more relatable and beloved seems a bigger factor.
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Re: My first predictions of the year (pre-fall festivals)

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A slightly different thought: does the race have room for two coming-of-age remembrances? One of them is about a 1970s kid going after a girl and wanting to be an actor (possibly more) while the other one is about a kid growing up in the late 1960s amidst the troubles. I have no doubt Belfast (which is already off to a good start) is going to seem like the weightier project to at the very least older Academy voters, which means Licorice Pizza probably has to be something really special and a bit commercial to standout.

And, y'know, maybe it will be. I'm not sure if the Academy has been warming to Paul Thomas Anderson more lately or if they just really liked Phantom Thread. I guess we'll find out with this one.
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Re: My first predictions of the year (pre-fall festivals)

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rolotomasi99 wrote:
Sabin wrote:This on the other hand, I am here for all day. Fingers crossed because this looks wonderful.

https://www.indiewire.com/2021/09/licor ... a5564ecf9a
I agree that this looks amazing, but then again I am what the kids call a stan for PT Anderson.

As an objective Oscar prognosticator, I doubt this will be a hit with the Academy. Maybe it can do as well as INHERENT VICE with Screenplay and Costume nominations, but it gave me more PUNCH-DRUNK LOVE vibes which would mean zero nominations.
Be
Still really looking forward to seeing it, but I definitely need to adjust my prediction list.
I’m thinking the opposite: that the Academy will greatly reward Anderson for finally doing a down-to-earth and personal film. Of course it needs to be screened, but the trailer looks very appealing, and just weird enough to still qualify as a genuine PTA film.
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Re: My first predictions of the year (pre-fall festivals)

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Sabin wrote:This on the other hand, I am here for all day. Fingers crossed because this looks wonderful.

https://www.indiewire.com/2021/09/licor ... a5564ecf9a
I agree that this looks amazing, but then again I am what the kids call a stan for PT Anderson.

As an objective Oscar prognosticator, I doubt this will be a hit with the Academy. Maybe it can do as well as INHERENT VICE with Screenplay and Costume nominations, but it gave me more PUNCH-DRUNK LOVE vibes which would mean zero nominations.

Still really looking forward to seeing it, but I definitely need to adjust my prediction list.
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Re: My first predictions of the year (pre-fall festivals)

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This on the other hand, I am here for all day. Fingers crossed because this looks wonderful.

https://www.indiewire.com/2021/09/licor ... a5564ecf9a
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Re: My first predictions of the year (pre-fall festivals)

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Sabin wrote:I try not to judge too much from advanced footage, but this "exclusive clip" just dropped for Don't Look Up and it seems impossibly smug.

https://www.youtube.com/watch?v=Op_v2PHDn-0
Smug and stupid, like all of Adam McKay's films, but certain critics and audiences will see something profound in it that isn't there.
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Re: My first predictions of the year (pre-fall festivals)

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I try not to judge too much from advanced footage, but this "exclusive clip" just dropped for Don't Look Up and it seems impossibly smug.

https://www.youtube.com/watch?v=Op_v2PHDn-0
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Re: My first predictions of the year (pre-fall festivals)

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That doesn't necessarily mean anything. Music is usually one of the last aspects of a film completed and IMDb doesn't always have the composer listed until after it's been released theatrically and the credits are "completed." So, it may be that within a couple of weeks, that information will be updated, so I wouldn't read into it much yet.
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Re: My first predictions of the year (pre-fall festivals)

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Not sure Morrison's music is eligible for Oscar. Although Wikipedia does say music by Van Morrison, the more detailed credits on IMDb. refer only to a music editor with no credits for scoring.
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Re: My first predictions of the year (pre-fall festivals)

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mlrg wrote
Belfast just won the people’s choice award at the Toronto Film festival
Obviously not a prediction, but we have our first Best Picture frontrunner. Nine of the last ten TIFF People's Choice Awards winners were Best Picture nominees (in 2011 they gave it to Where Do We Go Now?). Three of them (12 Years a Slave, Green Book, Nomadland) won Best Picture. All but one were nominated for at least five Academy Awards (Room was up for four).

What nominations is Belfast going to be up for? Probably some combination of Best Picture, Director, and Original Screenplay. Ciaran Hinds will probably be the actor pulled towards a nomination for the film. And Best Cinematography, Film Editing, and Production Design will likely depend on competition.

One thing I found very interesting: the original score is apparently composed by Van Morrison and the film has a new song written and composed by him. This could end up being something of an issue for the film as Morrison is a pretty vocal anti-vaxxer to say the least. This could end up politicizing the film in a way it probably doesn't need.

But at 97 minutes, Belfast would be the shortest Best Picture winner since Annie Hall (93 mins). Driving Miss Daisy is two minutes longer (99 mins).
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