I know, I know. The Oscars were a month ago. It always takes me at least a couple of weeks to get this follow-up post out, and that’s without life interfering. The amount of time it takes me to generate this post is ridiculous, yes, but I can’t abandon it. History must record what I thought of the winners, presenters, host, scandals and set design. You’ve probably moved on from the Oscars by now, like a normal person, and will not invest your time reading this post. I understand. But for the sake of posterity, I forge ahead. I can not be stopped.
As far as predictions go, this was probably my best year ever. I went 23 for 24, missing only Best Animated Short Film. I doubt I’ll do that well again anytime soon, so I tried to savor the buzz. The Best Picture/Best Director split I was expecting indeed came to pass, with 12 Years a Slave winning the former while Gravity‘s Alfonso Cuarón took the latter. Given the enthusiasm on display during their Best Picture acceptance, the 12 Years crew seemed just fine with that. And Team Gravity, with seven wins, had nothing to complain about. For the record, Gravity is now second to Cabaret as the movie to win the most awards for the year without taking Best Picture. Cabaret took home eight awards — including Best Director for Bob Fosse — in 1972, but lost the big one to The Godfather.
Like last year, I had no complaints about most of the winners, even if I might have gone a different way in a few categories. (Actually, I still feel pretty strongly that Lincoln should have won Best Adapted Screenplay over Argo last year.) Unlike last year, however, the Academy was not as generous in spreading the wealth. Lots of movies took home gold last year, and only one of the nine Best Picture nominees left empty-handed (that was Beasts of the Southern Wild). This year, Best Picture nominees Philomena, Nebraska, The Wolf of Wall Street, Captain Phillips and American Hustle were all shut out. That’s especially surprising for Hustle, given that along with Gravity, it had a field-leading 10 nominations. But honestly, there wasn’t one category where it was the most deserving winner, so apologies to David O. Russell. I have no doubt you’ll get your Oscar sooner than later.
All four winning actors aced their speeches, beginning with Jared Leto, who paid sweet tribute to his mother and scored points for calling attention to the Ukraine and Venezuela. Maybe I’d strike a couple of those points for failing to thank Jennifer Garner, who was sitting right behind him. I mean, the guy thanked everybody in the English-speaking world at the Independent Spirit Awards the previous day. He couldn’t remember his other main co-star?
Lupita Nyong’o’s win was definitely one of the night’s highlights, mainly because everyone was just so genuinely happy for her. As I said in my predictions post, she has been such a classy, grateful, eloquent presence on the many award stages she’s graced this season, and the audience was quick to leap to their feet for her when presenter Christoph Waltz called out her name. And as with all those earlier speeches, this one didn’t disappoint.
The clip cuts off too soon, but as Nyong’o exited the stage, the orchestra played “Pure Imagination” from Willy Wonka and the Chocolate Factory, and it felt especially appropriate somehow. The cue probably would have popped up at that moment no matter who had won; the orchestra played an array of great movie themes as winners exited the stage and as the show went to and from commercials. But something about that song playing at the culmination of Nyong’o’s fairy tale introduction to the film industry felt right.
Cate Blanchett effectively ended the resurgence of the Woody Allen controversy by making clear her appreciation for his artistry and collaboration. She also paid warm tribute to her fellow nominees, and made a point that too many actress winners have to make: that there is an audience for movies about women, with women in the central roles, and that Hollywood needs to make more of them. Amen.
And Matthew McConaughey…you gotta love this guy. Every speech he’s given for Dallas Buyers Club has been energetic, funny, maybe a little rambling (he really droned on the previous afternoon when he won at the Independent Spirit Awards), but all uniquely McConaughey and all delivered with such charm that bits which could come across as a little arrogant from someone else instead register as funny and spoken from a place of gratitude and love. I hoped he might offer extended comments about his fellow nominees like Blanchett did, acknowledging that he’s worked with three of them (Bale, DiCaprio and Ejiofor) before, but maybe he was reluctant to invoke Reign of Fire on the Oscar stage.
I do have to say one other thing about that speech. As you saw, McConaughey offered a robust thank you to God. The Man Upstairs is often thanked by award winners and athletes who’ve just won a major victory. Most people wouldn’t read much into it. But leave it to a bunch of conservatives, especially grand idiots like Rush Limbaugh and Glenn Beck to make something out of nothing. Both radio hosts praised McConaughey for his words, and talked about the audience not knowing what to make of such a statement…as if no one in Hollywood believes in God. According to that article, some MTV host tweeted that when McConaughey thanked God, “the audience nearly took his award away.” But as usual, these morons only see what they want to see…usually because they’re making it up. In fact (“fact” — a word these people have never encountered), McConaughey’s remarks got quite a few cheers from the crowd. It’s not like the whole audience applauded, but again, thanking God is pretty common at events like this. No reason the whole audience has to show their support for such a remark, and silence does not mean disapproval. But ass-heads like Limbaugh, Beck and their flock of ignorant fans assume that to express an appreciation of God — and therefore religion in general — would be offensive to a room full of Hollywood liberals. What they don’t understand is that religion isn’t a divisive issue in American society right now; the divisive issue is bigotry, and those who try to hide behind their religious beliefs in order to justify it. And yes, that’s something you’re unlikely to encounter on a large-scale in Hollywood.
Huh…I guess Oscar bloggers are just as susceptible to getting political in their posts as Oscar winners are with their speeches. I learned it from you, Susan Sarandon and Tim Robbins. I learned it by watching you. Moving on…
Beyond the four acting winners, speeches throughout the evening were nice, with only husband and wife Best Original Song winners Kristen Anderson-Lopez and Robert Lopez doing anything funny or memorable. And congratulations to Robert, whose Oscar grants him admission to the rather exclusive club of EGOT recipients. I really would have preferred any of the other three nominees to win, but you gotta give respect to the EGOT.
Speaking of songs, Darlene Love, one of the singers spotlighted in the winning documentary 20 Feet from Stardom (and Mrs. Roger Murtaugh, for you Lethal Weapon fans), joined the director and producer onstage and took the opportunity to belt out a brief, joyous hymn that brought the crowd — led by Bill Murray — to their feet.
The only other notable pattern among the speeches concerned the 12 Years a Slave gang and the exposure of an apparent rift between director Steve McQueen and writer John Ridley. When Ridley won for Best Adapted Screenplay, he made his way down the aisle but did not stop to shake hands or even acknowledge the director. Nor did McQueen make an effort to congratulate him. Ridley’s speech made no mention of McQueen either. McQueen, in turn, did not mention Ridley when accepting the Best Picture award. I noted all this while watching, but didn’t think too much of it. Turns out, according to The Wrap, there is something to it after all. It seems that after working with Ridley to shape the script, McQueen asked for co-writing credit, which Ridley refused. This led to a falling out that all involved tried to keep quiet during the awards season so as not to harm the movie’s chances. (There was speculation a few years back that tension between Up in the Air writers Jason Reitman and Sheldon Turner during the early part of the 2009 awards season cost them a widely expected Oscar win for Best Adapted Screenplay.) For his part, Ridley dismisses the idea of a feud with McQueen, saying that his failure to mention the director was simply an oversight in the midst of a surreal moment, and pointing out that he thanked McQueen at length the day before during his speech at the Independent Spirit Awards. I’m not sure I buy that, considering the story in The Wrap, although even that story includes details that seem far-fetched. The truth is probably somewhere in between. McQueen may not come across as the warmest guy, but I have trouble believing that he verbally accosted Ridley’s wife at the BAFTA awards. For what it’s worth, Lupita Nyong’o didn’t thank Ridley in her speech either, but that could also have been an oversight. It happens all the time, and Nyong’o warmly congratulated Ridley when he won his Spirit award the day before.
On her second occasion hosting the show, Ellen Degeneres did a pretty good job, certainly generating less controversy than Seth MacFarlane did last year. Some people thought her joke about Liza Minnelli crossed a line and seemed uncharacteristically mean for Ellen, but I think people completely misinterpreted the joke, in which she pretended to mistake Minnelli for a drag queen dressed like the actress. Because Minnelli is an icon in the gay community and drag queens often do dress up like her, I took the joke to be about that status that she holds, rather than a dig at Minnelli’s own appearance, which seems to be how others — including perhaps Minnelli herself — interpreted it. Whatever the intention, the two made up later when Ellen took a selfie with Liza prior to the night’s bigger selfie a few moments later.
As to that epic selfie, it definitely goes down as a classic moment in the annals of Oscardom. Meryl Streep knew Ellen was going to come out and enlist her in some sort of bit, but she didn’t know what it was going to be. It turned into a great moment of spontaneity, as Ellen called in a few other nearby stars like Channing Tatum and Jennifer Lawrence, while others like Lupita Nyong’o, her brother Peter, Kevin Spacey, Brad and Angelina and Jared Leto — who must have had to bound over from his seat on the other side of the theater — all poured in symmetrically from each side like a troupe of Bubsy Berkley chorus girls. Ellen’s goal was to make the picture the most re-tweeted ever, and the photo achieved that goal in about a half hour, while also briefly crashing Ellen’s Twitter page. Tweets aside, I just enjoyed the gag for the humor of the moment. I also liked Ellen’s intro of the next two presenters, a little joke that got buried under the applause of the selfie moment, in which she introduced Michael B. Jordan and Kristen B. Ell. (Side note: Jordan and Bell had hosted the year’s Sci-Tech Award ceremony, which I must briefly call attention to because this year’s recipients included a guy who was in my department when I worked at ILM: a mad genius named Josh Pines, whose description of the event made it into the headline of The Wrap‘s coverage. Unless you happen to be shooting a digital film in the year 2011, I don’t expect anyone to care about that video I hyperlinked to Josh’s name, but it reminds me of Josh’s energy and eccentricities.)
Now then…the other great audience moment was the pizza delivery. When Ellen was first in the aisle asking people if they would eat pizza, it felt a little stiff. But when she actually brought out an unwitting delivery guy with three boxes and started distributing, that was great. I’ve heard some people gripe that it went on too long, but I thought it was fantastic. The unpredictability of live TV kept it interesting as stars got involved, with Spacey and Pitt helping to hand out plates, while the delivery guy then went to the other side of the theater, forcing Ellen to follow. And as funny as it was to see who jumped at the chance for a slice (I loved Harrison Ford tugging Ellen’s sleeve to get a napkin), it was just as fun to watch the reaction of someone like Leonardo DiCaprio, who declined to eat but seemed so bemused that Ellen had actually gone through with the joke. Then when Ellen off-handedly said that she had no money, she set up a nice extension of the gag by calling across the room to Harvey Weinstein.
I was just as amused later when she passed around Pharrell’s hat to collect donations. “That’s a start,” she said when Weinstein dropped in $200, and she went on to comically guilt Brad Pitt for not putting in more, prompting him to up his contribution. All in all, I’d say the whole episode turned into another classic Oscar moment.
Not that those people can’t afford to chip in, but I wondered if she really kept that money or gave it back to them later. Shaking Harvey Weinstein down for a $200 pizza tip is funny, and I’m sure he forgot about it five minutes later, but I guess it’s hard for me to imagine having to just kiss that kind of money goodbye in the blink of an eye. It’s also hard for me to imagine being as rich as Harvey Weinstein is, so there’s that. I hope he at least got a slice. Wherever the money actually came from, Ellen really did present the pizza guy with the tip on her show the next day.
These antics made up for the less successful moments of Ellen’s performance. Her introduction of presenters could have used a little more punch, and there was a strange moment where the show came back from commercial break just after Karen O’s performance of “The Moon Song” and Ellen was sitting on the edge of the stage with a guitar, seemingly about to do a gag, only to dryly introduce the next presenter. No joke, no bit, nothing. Oh well. Pizza and Twitter ensured Ellen’s gig will be fondly remembered.
The production kind of dropped the ball in this area. Usually a few of the presenters can be counted on to keep the comedy going during the show, but there was precious little of that this year. The closest they came was Jamie Foxx doing an amusing Chariots of Fire bit while his co-presenter Jessica Biel discussed Best Original Score. But these Oscars badly needed some Will Ferrell or Jack Black, some Steve Carell or Tina Fey (whose current commitment to the Golden Globes may preclude her from appearing at the Oscars), some Robert Downey Jr. or Ben Stiller, some Kristen Wiig or Emma Stone. Why didn’t they get American Hustle co-star Louis C.K. to present? Or nominee Sandra Bullock and her co-star from The Heat, Melissa McCarthy? Are Mindy Kaling and Aziz Ansari too associated with TV to be considered as Oscar presenters? What about Chris Pratt? He’s starred in Oscar-winning and nominated movies like Her, Zero Dark Thirty and Moneyball. Let’s get him on stage next year. Point is, comedy is a crucial element in keeping the inevitably long Oscar show moving, and the presenters usually help to carry that weight. Not so much this year. Some blame has to go to the writers, who also didn’t provide funny material for the presenters. Jason Sudeikis presented, but wasn’t given anything funny to do. Robert De Niro had some amusing material about the dark recesses of a screenwriter’s mind, but most of the presenter moments that did get some laughs were off the cuff, like Foxx’s Chariots gag or Bill Murray’s unique Bill Murrayness. Kevin Spacey’s brief invocation of his House of Cards character and equally brief Jack Lemmon impression were appreciated, but beyond that there were few attempts at humor from the presenters. The show could definitely have used some of the comedic energy that Sacha Baron Cohen brought to the Britannia Awards last fall.
Cohen was accepting an award there, not presenting one, but the point remains. And I think I just wanted an excuse to include that clip.
There was also the problem of some odd presenter choices to begin with. Jim Carrey? John Travolta? Will Smith? Kate Hudson? Jessica Biel? When was the last time any of these people had a hit? I don’t mean to write them off as irrelevant, but they feel a little warmed over at the present time. Could the producers really not find some people who feel like more vital contributors to movies at the moment? I mean sure, you also had people like Goldie Hawn and Glenn Close, but there’s something about them that is classically associated with the Oscars. They transcend any concerns of “currentness.” Not that I’m saying to go the other way and just throw a bunch of stars who are hot at the moment on Oscar’s stage. That’s how Taylor Lautner ended up there a few years ago, and that doesn’t need to happen either. I suppose it can be a fine line between presenters who have timeless appeal and those who make you feel like you’re watching a show from five or ten years ago. Knowing the difference is a skill that you need if you’re going to produce a show like this one. (I have that skill, in case the Academy is interested.)
Then there was poor Kim Novak. This is another thing Oscar producers often try to do, which is trot out an old-time Hollywood star who has been out of the spotlight for years. It’s a nice idea in theory, but too often it falls flat and ends up an embarrassment for the performer. They can’t read the teleprompter. Or they try to improvise. Or they get caught up in the emotion of being back in the spotlight, but it leads to awkwardness instead of poignancy. Novak fell somewhat victim to that trap, but even beyond that, there was something off about her presentation. If she was reading from the script, then it seemed like she was trying to do this thing where she made the text sound spontaneous, but I don’t know…it wasn’t working, and Matthew McConaughey looked like he had to hold her up, physically and performance-wise. And why Kim Novak anyway? Was she meant to tie into the show’s theme of Heroes? If so, then that should have been explained when she was introduced. So why her? If elderly stars of yesteryear are going to appear on the telecast, there should be some significant reason, or they should be presenting Best Picture. I don’t know…am I just being a dick? Or was Novak’s moment onstage as painful to watch for others as it was for me? It made me sad.
Sidney Poitier fared better. It was hard to see him looking so frail and moving so slowly, but he was still as cool and classy as ever. He has often come off as a measured, thoughtful speaker, so the long pauses he took felt natural. And as his co-presenter Angelina Jolie noted, the occasion marked the 40th anniversary of his historic Best Actor win, so his presence felt justified. And he was there to give out the Best Director prize, one of the night’s biggest. That’s how it should be done.
Jumping back to Travolta for a moment…what can I say that the internet hasn’t already said? His bizarre butchering of Idina Menzel’s name turned the non-existent Adele Dazeem into a web sensation, and turned him into a punching bag for the next few days. Slate offered the Adele Dazeem Name Generator to show how Travolta would mispronounce your name. Buzzfeed speculated on how he would have screwed up the names of other Oscar attendees. Someone started an Adele Dazeem Twitter feed. I actually started to feel bad for the guy, so incessant were the efforts to mock his mistake. He released a brief statement a couple of days later in which he addressed the error but, amusingly, didn’t really apologize or explain himself. Menzel’s performance of “Let it Go” was just a little bit off that night, and some wondered if she was thrown by Travolta’s intro. When she finally commented on the incident a few weeks later (see, this is why I wait so long to post the follow-up!), her response was good-natured. So it sounds like things are all well, and while it’s probably time to let Travolta move on from this, I think Adele Dazeem, whoever she is, must live on.
-The presentations of all four nominated songs were among the best moments of the show. First was Pharrell’s lively performance of “Happy,” which included a trip off the stage and down along the front row where Lupita Nyong’o, Meryl Streep and Amy Adams got their groove on. He really had the room going, and I have to admit, the song has grown on me a lot since the nominations were announced.
Next was the gorgeous staging of “The Moon Song.” Befitting the tune’s delicate lyrics and fragile nature, Karen O — accompanied by Vampire Weekend’s Ezra Koenig — was seated on a small staircase with her shoes at her side, lit initially by just a single spotlight from above, and then by an enormous full moon projected on the screen behind her, rising throughout the song until it reached full height, her red dress shining beautifully against the dark stage. Visually and vocally, it was a perfect presentation for that song.
U2 kept the flow going with a terrific performance of “Ordinary Love.” The song isn’t an all-out rocker, but they stripped it down even leaner than the studio recording, going with an intimate, acoustic delivery that felt right for the movie, the song and the room. As I watched them standing side by side on stage without a full array of instruments between them, it really struck me just how long these guys have been playing together, how iconic they are, and how long they’ve been involved in social causes like the ones that brought them into Nelson Mandela’s life. They were excellent.
And although I mentioned before that Idina Menzel’s rendition of “Let it Go” was just a touch off — she seemed to be straining at the end — the simple set design evoking the icy look of Frozen was just enough to provide an interesting backdrop against which the singer could shine. Still, the number might have come off even better the next night when Jimmy Fallon played a video of Menzel performing the song accompanied by The Roots on classroom instruments.
-The show’s other two musical performances were fine, but less inspired. Pink did a nice job on “Over the Rainbow” in tribute to the 75th anniversary of The Wizard of Oz, but I felt like she was a little bit flat. I’m not sure how they settled on her to perform the song, but I think they could have found someone better, who could have been a real showstopper. The song certainly lends itself to an emotional performance, but Pink didn’t take it there. Yet according to Entertainment Weekly‘s report about things you didn’t see on the TV broadcast, she was a huge hit in the room, and the standing ovation continued after the show went to commercial.
Then there was Bette Midler performing “Wind Beneath My Wings” after the In Memoriam segment. It was a nice idea, but seeing as it followed the actual montage of departed filmmakers and wasn’t accompanied by additional clips of their work or photos of them, it just felt like an unnecessary time suck. Midler still sounds great, but her performance was a dead spot in the show. In the past, performers like Queen Latifah and James Taylor have sung during the montage itself, which has worked well, and might have been instituted to prevent the audience from applauding names that have broad recognition while others come and go in silence because their work is not as well-known any more. The downside is that when the segment ends, the singer’s presence onstage can take the focus away from the deceased, which is where it should stay. In fact, there was an awkward moment when Midler’s number came to an end and the audience offered a standing ovation. It wasn’t really clear if they were standing for her, or out of respect for those depicted in the montage…particularly Philip Seymour Hoffman, the last person featured. Midler seemed moved by the standing ovation, but I’m not convinced it was about her as much as it was a gesture for Hoffman, whose death was obviously a particularly strong blow to this community. Midler could be heard starting to speak just before the show went to commercial, in one of several instances throughout the evening where speakers were mistakenly caught for a few seconds on live microphones. What did she say to the applauding throngs?
-As for the In Memoriam sequence itself, it was good to see Harold Ramis made it in. Having passed away during the week of the show, he might have been too late an addition to be edited into the piece. There’s often some controversy around the montage over who is omitted, but fortunately it wasn’t much of an issue after this year’s aired. I read a few stories noting that Cory Monteith had been left off, but with all due respect to the late Glee actor, he had almost no presence in movies and should not have been featured. The only person I was surprised and disappointed to find left out was Dennis Farina, whose work in films like Midnight Run, Get Shorty and Out of Sight should have earned him a spot.
Although Sarah Jones — the 27 year-old crew member who was killed in a tragic accident on the set of a Gregg Allman biopic — didn’t make it into the montage, the online movement to include her did perhaps reach the Academy. As the segment ended, there was a banner with her picture on it directing viewers to the Oscar website for an online In Memoriam gallery that was more inclusive than the one on the telecast.
I also saw a comment online grousing that it was inappropriate and in poor taste to put an emphasis on Philip Seymour Hoffman’s screen in the montage, as if his death was more significant than others. But the montage always concludes with someone who was a giant within the industry, and there is almost always a little extra time devoted to them. Interestingly, the In Memoriam section is one of the few aspects of the Oscar show that the producers do not control. The decisions about who will and won’t be included are made by a committee within the Academy. It’s always a difficult task, and former Executive Director of the Academy Bruce Davis thinks it might be best to eliminate it altogether.
-Despite the plea I made in my predictions opus, the producers failed to show enough imagination to get a clip for Best Supporting Actor nominee Barkhad Adbi other than the one we’ve seen over and over again in which he looks at Tom Hanks and says, “I’m the captain now.” Oh well. If you’ve seen the movie, you know how good he was in all his other scenes.
-Am I the only one who was sort of puzzled by the mass of bright red roses that appeared down an entire center section of the backdrop when the show returned from its first commercial break? The color was nice, but all I could think was that American Beauty had projectile vomited all over the set.
-It had been announced in the weeks leading up to the show that this year’s theme — because apparently there has to be a theme — was Heroes. This amounted to little more than three montages spaced throughout the show that paid tribute to different types of movie heroes. The first focused on animated characters. The second concentrated on the ordinary heroes populating movies such as Serpico, Braveheart, Norma Rae, Ali, To Kill a Mockingbird, Milk, Silkwood, Apollo 13, The Blind Side, In the Heat of the Night and Erin Brockovich. The last one was the least clearly defined, straddling the line between the previous grouping by including Rocky and The Karate Kid but mostly focusing on action, fantasy and science-fiction fare like Star Wars, Aliens, The Lord of the Rings, The Hunger Games, Die Hard, The Matrix, The Avengers, The Princess Bride, Jaws, Back to the Future, the Harry Potter movies, Kill Bill and Ghostbusters.
Now as someone who loves movies, I love a good movie montage that artfully puts together an array of clips from classics and favorites. In fact, one of my favorite Oscar memories is a montage that was shown at the beginning of the 1990 ceremony (or ’91 technically, but honoring the movies of ’90) that was created to mark the 100th anniversary of the invention of motion pictures. I always conclude my annual post about my favorite movies of the year by including some montages that movie fans have created to celebrate the work of the previous 12 months. There can be a certain kind of skill on display in a great montage of movie clips, but these three lacked any of that finesse. They felt hastily assembled, with no creative thought into how they were put together.
More significantly, they were the only attempt to even lend the show a sense of having a theme, and they weren’t enough. What’s so odd about how poorly the theme resonated was that to look at this article from a couple of weeks before the show, in which producers Neil Meron and Craig Zadan vaguely previewed the ceremony, there seemed to be a lot more that was supposed to happen. They mention celebrating actors and filmmakers who take on difficult subject matter, so that the hero theme would encompass not just movie characters, but also behind the scenes figures. That didn’t happen. They talk about dividing the show into sections built around the different montages, as if there would have been more effort to incorporate the types of heroes that each montage focused on into the show at large. That didn’t happen. There was supposed to be an “emotional moment” intended to “illustrate the theme of how movies have inspired” that was set to involve The Amazing Spider-Man star Andrew Garfield “induct[ing] a new superhero into the fraternity of superheroes.” That didn’t happen…although in that case, there are some details.
You probably recall that in November 2013, the City of San Francisco worked with the Make-A-Wish Foundation to realize the dream of 5 year-old cancer survivor Miles Scott to be a superhero for a day. Dubbed “Batkid,” Miles took part in a series of staged heroics around the city, cheered on by huge crowds. On Oscar night, Andrew Garfield was supposed to introduce a montage of what Meron called “popular heroes” which would have been followed by Miles coming out on stage and being made an honorary superhero by Garfield. The initial reports were that Garfield and Scott rehearsed the segment on Saturday, but the producers then decided to cut it for reasons that were never clearly stated. To make it up to Miles, the Academy sent his family to Disneyland on Monday.
Then the New York Post‘s gossip column Page Six claimed that during the rehearsal, Garfield raised concerns with the script and angrily bailed on the show when his suggested changes weren’t accepted. Knowing Garfield’s public image, that sort of behavior seems highly unlikely. Subsequent reports paint a more believable scenario, which is that Garfield did have some concerns with the material, feeling it was “exploitative.” He offered a re-write, but the producers preferred the original draft. Garfield eventually agreed, but the producers ultimately decided that the entire segment was not a good fit with the tone of the show, and cut it altogether. (My favorite part of the article in the previous link? Sony was upset about Garfield being cut because of the lost opportunity to promote May’s The Amazing Spider-Man 2…as if that movie needs helping getting attention.) Captain America star Chris Evans was called in as a last-minute replacement to introduce just the montage portion, and that was that. The Academy later issued a statement explaining that the evolving nature of a live show led to the segment being excised. Garfield’s rep also issued a statement, saying that the Academy made the decision, and that any reports of bad behavior on Garfield’s part were untrue. In fact, Andrew visited Miles at his hotel afterwards, and joined the family on their Monday trip to Disneyland. (Both the Academy’s and Garfield’s statements are included here.)
So much drama! Why couldn’t Garfield still have introduced the montage, even if the Batkid portion was eliminated? I don’t know, but I’d guess he was labeled “difficult” after raising concerns about the original script. And an even better question: why was Garfield tapped to “induct” Batkid in the first place when Christian Bale, the actor who actually played Batman, would be in the audience as a nominee? Did the producers approach Bale to do the segment? Did he decline? I know Bale has a reputation for being prickly, but would he refuse to provide a heartwarming moment for a little kid who survived cancer and loves Batman? I would love to know if Bale was ever asked to do it, and I’d love to know what Garfield’s concerns with the material were and why Meron and Zadan really cut the bit entirely. But their dodgy, politically correct statement is all we have to go on. And for what it’s worth, the Batkid bit wasn’t the only thing cut from the show. Apparently there was supposed to be another musical number with a lot of stars involved, but that too was scrapped.
Bringing all of this back around to the point that the show’s Hero theme was badly underdeveloped, the omission of Batkid seems to be just one of several plans the producers hinted at prior to the show that never came to pass. During her monologue, Ellen pointed out that real-life heroes Philomena Lee and Richard Phillips, who were depicted in two of the Best Picture nominees, were in attendance. Yet they may not have been the only ones. According to The Hollywood Reporter, 2013 movies inspired by real life such as 42, Fruitvale Station, Lone Survivor and Mandela: Long Walk to Freedom were represented in the audience by Jackie Robinson’s widow, Oscar Grant’s mother, former Navy SEAL Marcus Luttrell and Nelson Mandela’s daughters, respectively. Incorporating them into some kind of salute to movie heroes would have made the show’s intended theme resonate. It might also have been manipulative, but no more so than including Batkid. Whatever the reason that all these plans to bolster the Heroes theme failed to materialize, the remnants of the concept — those three underwhelming montages — came across as unnecessary drags on a show that would clock in at about 3.5 hours. So maybe next year, whoever produces the show (and after two consecutive years, the Academy should move on from Meron and Zadan) might be better off foregoing the idea of a theme and just stick to celebrating the movies from the year gone by. And if they insist on having a theme, they should follow through.
-I’ve complained about the lousy job that Don Mischer has done directing the show over the past few years, so I was relieved when it was announced that this year’s telecast would be directed by Hamish Hamilton. Yes, I’m the kind of person who can find disappointment and relief in the choice of the Oscar show director. I have no particular loyalty to Hamish Hamilton, about whom I know nothing. I just know he’s not Don Mischer, and that was good enough for me. He did do a better job than his predecessor, if only because when he cut to reaction shots from the audience, he found famous people to focus on instead of total unknowns in the middle of the room that mean nothing to the TV viewers tuning in to see their favorite movie stars. Still, Hamilton’s directing job wasn’t too impressive. As I mentioned earlier, there were several moments where live mics caught backstage chatter or other snippets not intended to be heard. Or how about when the clip of Best Supporting Actress nominee Sally Hawkins ended and the camera should have shown Hawkins in her seat, but instead landed on June Squibb? It’s not like Hawkins was a moving target. Was it really so hard to have a cameraman in place to capture Hawkins’ reaction, and to cut to said shot from the booth? And what was with that weird camera move we kept seeing where the camera would start to one side of the presenter and then circle to the other side, with the presenter following the camera move instead of just addressing the audience straight ahead? Awkward and arbitrary. C’mon, Academy. Can’t you find someone who knows how to direct live TV?
-As the Oscar-watching faithful know by now, the special achievement awards are no longer presented on Oscar night, but are instead handed out at a ceremony in November called the Governors Awards. Ever since that tradition began five years ago, the recipients have attended the Oscars to take a bow, and highlights from the Governors Awards are usually shown. Alas, not even the bow happened this year, since only one of the honorees was even there. Angelina Jolie received the Jean Hersholt Humanitarian Award, and of course she was at the Oscars with nominated husband Brad Pitt. But none of the three honorary award recipients — Steve Martin, Angela Lansbury or costume designer Piero Tosi — were at the Oscar ceremony. Lansbury was on the London stage appearing in previews of Blithe Spirit; Tosi, who lives in Italy, fears flying and has never traveled to the United States; and Martin, an Oscar regular who you’d think could have made it, was unfortunately out of town.
So while it was disappointing none of them could be there, there was nothing to be done about it. Kevin Spacey introduced the highlight reel, after which the camera cut to Jolie in her seat. At least she got to take the stage later when she and Sidney Poitier presented Best Director. More from the Governors Awards further down.
-For the second year in a row, the Academy held a contest asking film students across the U.S. to explain in a minute-long video how they planned to contribute to the future of film. Six winners were selected by The Academy, Meron, Zadan and Channing Tatum, and Team Oscar got to hand off the statuettes and direct presenters and winners offstage on Oscar night, as well as tour studios and meet filmmakers during the week of the Oscars. I love this idea and was glad to see the Academy continue it. The winning videos can be seen here.
-One final observation, and this isn’t about the production, but I’ll put it here anyway. Some of you movie stars need to learn how to get into the spirit of this thing. It’s Oscar night! I know for those of you who are nominated it can be stressful, but let’s face it: win or lose, you’ll still be successful movie stars in the morning, so loosen up and look alive out there. When The Great Gatsby‘s costume designer Catherine Martin won, there was a shot of Leonardo DiCaprio clapping, but he wasn’t really smiling and looked like he was sort of on auto-pilot. Martin won again later in the night for Best Art Direction, and again there was a shot of Leo, and again he was clapping slowly, distractedly, as if in a daze. Leo! It’s your movie! Would it kill you to muster some genuine happiness for your winning collaborator? Charlize Theron was shown on camera a few times while seated, and she looked like she couldn’t be less pleased to be there. As the directors and producer of Frozen were walking off stage having just won Best Animated Feature, there was a shot of The Walt Disney Company CEO Bob Iger in the audience just sitting there stone-faced while the audience continued to applaud. I’m always baffled by this lack of enthusiasm that Oscar attendees often express. Those of you who are too deep in your own heads need to take a cue from Julia Roberts. Anytime the camera showed her, even when “minor category” winners were having their moment, she was smiling, happy, and looked engaged. She seemed genuinely pleased for every winner, whatever their category. If only all the Hollywood elite could be so down to earth.
-All in all I’d say the show was uneven, but tipped more toward successful. There were more times when it was good than not, and it ended up the highest rated Academy Awards in over a decade, so that’s likely all the Academy and ABC care about. I wonder what the big draws were to attract such a large audience. It wasn’t just Ellen; her last time as host didn’t do this well. There were some big hits among the nominees, but nothing on the scale of The Lord of the Rings: The Return of the King or Avatar. But maybe Ellen, combined with nominees like Gravity and American Hustle, combined with a strong line-up of musical performers added up to make this year’s show particularly attractive.
THE GOVERNORS AWARDS
I already touched on the Governors Awards earlier, but it deserves additional coverage. The Hollywood Reporter offered a thorough report on the event, and In Contention posted one which basically contains all the same information, but adds comments about how much Judd Apatow and Bill Hader were digging the Steve Martin portion of the night, which makes me smile. Mark Harris also wrote on Grantland about why having a separate ceremony for the honorary awards is such a bad idea and weakens the main Oscar telecast. I’ve always had mixed feelings about this. I do miss the inclusion of these tributes in the main show. They add a lot, especially by illuminating for the more casual viewer the work of artists who they might be less familiar with than contemporary filmmakers. Unofficially, part of the Academy’s reasoning of spinning these special awards off into their own ceremony was to allow for a more relaxed, intimate affair. Harris takes them to task for this, pointing out that with speeches by presenters and recipients posted to YouTube, and journalists in the room covering the event, there is nothing intimate about it. But he doesn’t touch on the Academy’s stated reason for the separate event, which is to allow the Academy to pay tribute to its chosen artists in a more expansive celebration that needn’t be crammed briefly into an already full Oscar ceremony.
While he makes some excellent points about the value and importance of the special awards, he fails to acknowledge that if they were included on the regular telecast, everything about them would be truncated. The presentations, the clip packages (presumably; we don’t get to see those on YouTube), and the speeches would all have to be shorter, and it wouldn’t be possible to honor as many people each year simply due to time constraints. When these awards were included on Oscar night, people complained that they added to the bloat of the show. Now that they’re not included, people complain that they deserve to be part of the big night. Maybe advocates of returning the honorary awards to Oscar night would point to other things that should be removed or trimmed back in order to accommodate them, but the bottom line would be the same: complaints. At the end of the day, I think a separate ceremony makes for a more full and touching appreciation of the honorees, and the availability of full speeches on YouTube goes a long way toward assuaging my early concerns about taking them off the main telecast. But I do think it’s time the Academy start offering a full broadcast of the Governors Awards, one that includes all the clip reels and is not broken up into the fragments we get on YouTube. I’m glad we at least get those, but movie fans deserve to see the full event.
Taking what we can when we can, however, here is Angelina Jolie’s moving acceptance speech…
as well as Steve Martin’s.
Also, Martin Short’s comments about his fellow amigo. This is great stuff, though I was really disappointed to learn that some of these jokes were recycled from Short’s tribute to Carol Burnett when she received the Mark Twain Prize for American Humor a month earlier. Really Marty?
Oh, and I liked Geoffrey Rush’s remarks to Angela Lansbury.
All of the presentations and speeches can be seen here, for any of you not too fatigued by all this reading to click the link.
THE OSCAR CONCERT
As I mentioned after the nominations were announced, the Academy inaugurated a new event this year: a public concert at UCLA featuring performances of all the nominated songs (not done by the originating artists) and selections from each nominated score, conducted by their respective composers. In addition, film journalist Elvis Mitchell was on hand to interview the composers. It sounds like the event was well-received, so we’ll see if a new Oscar season tradition has been born. Here’s a report about the event, and a photo gallery.
It wouldn’t be Oscar night without lavish dresses and actresses rocking them. To my eyes, untrained in knowledge of fashion, there were a lot of great looks this year.
I would have included Lupita Nyong’o and Cate Blanchett, but they can be seen in photos and videos above. Nyong’o totally conquered the world of celebrity style this award season. She attended numerous ceremonies and events, and looked amazing pretty much every time.
THE INDEPENDENT SPIRIT AWARDS
I’ve mentioned them a few times here already, but I always like to acknowledge the Independent Spirit Awards, which take place every year in a tent at the beach in Santa Monica on the Saturday afternoon before Oscar Sunday. As it would the next night, 12 Years a Slave took prizes for Best Picture, Best Screenplay and Best Supporting Actress. Without Gravity to contend with, it took Best Director and Best Cinematography as well. Also winning at both the Spirit Awards and the Oscars were Lupita Nyong’o’s fellow actors Matthew McConaughey, Cate Blanchett and Jared Leto…marking the first time, if I’m not mistaken, that all four winning actors at the Spirit Awards took home the Oscar as well.
The afternoon’s best speech probably belonged to Jared Leto. At first it seemed like he was just going to read a list of names…which he did…but around the 3:00 mark it started to get interesting.
One cool honor given at this event each year is the Robert Altman Award, which is presented to a film’s director, ensemble cast and casting director. It’s a non-competitive award announced in advance, and this year it went to one of my favorite films of the year, Mud. A great choice.
While the ceremony looked like it was a lot of fun as always, the televised version was a disaster. The Spirit Awards used to be broadcast live in their entirety on Saturday afternoon on the Independent Film Channel. I don’t know when that changed, but now the full show is edited down to an abridged version and shown on Saturday night. As a result, some of the best or most interesting moments get edited out, like last year’s drunken acceptance speech by Safety Not Guaranteed screenwriter Derek Connolly. This year, the edited version was an absolute mess. Reese Witherspoon presented an award at one point, and as the winner walked to the stage, there were shots of audience members seated at their tables applauding…including one of Reese Witherspoon. Later, host Patton Oswalt came out with a piece of paper and started reading off names that Jared Leto forgot to thank. It was a strange and random list which made no sense because the whole middle portion of Leto’s speech which Oswald was having fun with had been edited out of the broadcast, so the joke had zero context. What sense does it make to include a joke that references an incident that was not included? And why would the producers of the show cut parts of Leto’s speech when it was one of the highlights of the event? The TV presentation was full of such problems, which is no surprise considering how rapidly it had to be edited together. In addition, some of the awards — like the one above for Mud — weren’t even included in the broadcast. Idiots. I don’t understand why they don’t just air the entire ceremony like they always did. This was just embarrassing.
You know what else is embarrassing? The amount of space I just took up writing about the minutiae of movie award ceremonies, and the amount of time it took me to do it. I think we’re done here.