Something’s Wrong With The Live Action Short Category
Out of the last 20 nominees and winners in this category, not one of them has been an American production. In fact there have only been three American nominees over the past seven years (two were winners: “Curfew” in 2013 and “The Phone Call” in 2015). Considering how many great American shorts play in major film festivals on an annual basis, this is quizzical. We’re all for international representation, but many of these foreign language entries border on the cutesy and appeal to the stereotypical older Academy member (see “La Femme et le TGV” this year) more than a contemporary American creation (we’re not saying these voters are anti-hipster short film lovers but we’re not not saying it either). The Shorts Branch needs to find a way to get younger members to volunteer to vote on the shorts in both phases of the voting process because every year only two of the nominees even seem worthy of a nomination.
If The Emmys Allow Six Acting Nominations Why Can’t Oscar
Seriously, would it be that much of a travesty to the sanctity of the Academy Awards if voters could qualify more than five nominees? Would the possibility of six nominations be that bad? Over the past three years both the Best Actress and Best Actor categories had strikingly competitive races where not one, not two, but up to five great performances didn’t earn an Oscar nod. This year Amy Adams and Annette Bening were snubbed. Why can’t a voting process where enough first place or second place votes ensure a nod be part of the process? Just something to ponder.
Telluride, Telluride, Telluride
It’s actually an old rule, but sometimes it’s good to remind the studios who decided to skip the annual Colorado Labor Day festival. These movies premiered at Telluride: “Moonlight,” “12 Years A Slave,” “Argo,” “The King’s Speech,” “Slumdog Millionaire.” These movies screened at Telluride immediately after Venice or Cannes: “The Artist,” “Spotlight.” This is the only Best Picture winner not to screen at Telluride over the past 10 years because it came out in June: “The Hurt Locker.” Did you buy your pass yet?
Foreign Language Film Voting Process Needs Some Work
There were a lot of historic events this Oscar season but let’s not forget the inability of “Elle” to make the nine short-listed contenders for a Foreign Language Film nomination was one of them. “Elle,” one of the most critically acclaimed pictures of the year, didn’t make the list even with the committee having the ability to select three of the nine movies. It’s unclear officially, but the committee likely had to use those slots to save “Toni Erdmann,” another critics’ favorite, “The Salesman” and, possibly, “Tanna” (although you could argue they should have saved “Elle” over the latter two). Part of the problem is that the voters who volunteered for the first round of voting were based only in Los Angeles and were mostly retired or unemployed older members many of whom come from the non-creative branches. The second round of the process takes places in New York, Los Angeles and London where 30 hand picked voters (Meryl Streep took part in 2016) screen four to five of the films over a weekend. There are rumors the Academy realizes this is a problem and plans to modify the system so more New York and London voters participate in the first round. That may not be enough, however. We’d suggest the committee have the ability to select four of the nine shortlisted if necessary. It should ensure that there is never an “Elle” embarrassment again.
If You Have A Transcendent Work Of Art Anything Is Possible
Before Oscar Sunday, when asked whether Luca Guadagnino’s masterpiece “Call Me By Your Name,” which debuted at the 2017 Sundance Film Festival in January, would earn a Best Picture nomination I’d conservatively answered “no.” The Academy has nominated some unique works of cinematic arts over the past decade including “Her,” “Tree of Life,” “Beasts of the Southern Wild” and “Moonlight,” but there was no indication they’d ever vote for them as Best Picture. Moreover, they’d overlooked “Jackie” (one of those critics’ favorites), “Carol,” “The Master” and “Moonrise Kingdom,” among others, over the past few years. Even with a mostly American cast, I assumed ‘Call Me’ was simply too gay and, for lack of a better word, “European” to get a nod. All that has changed after “Moonlight’s” win. Barry Jenkins’ drama was unquestionably the best film of the year. Voting from the Academy’s diverse, 600 plus new members add last year helped, but the group as a whole has slowly been raising the bar for what is worthy of a Best Picture nomination. Could they take a step backward in 2018? It’s possible, but after another round of new diverse members are added this spring, I doubt it.
