The opening number felt so inappropriate that I first hoped that the show would keep up a feel of a high school spoof of the Spirit Awards. Shouldn’t such a celebration of art & entertainment aim to contextualize all that is great about this Dream Factory? Okay, if they can’t figure out how to do that, I would be fine with several hours of pure crass classless puns like the song & dance intro promised too, but no. We get 4 hours of dullness instead. The fun of the show becomes critiquing all the mistakes.
I will leave the minute by minute critique to others, but there should be a semiotics class in all that went down when Kathryn Bigelow won Best Director. First Barbara Striesand hogged the spotlight by not announcing Bigelow’s name and instead taking it for herself by mentioning again that history had been made. And then the show’s directors had the gaul to play “I Am Woman, Hear Me Roar” in the background?! I guess they wanted to show they had balls. Bigelow so deserved her win, the directors knew she would win, and they come up with something “cute” and antiquated to comment on it? As my friend Dan pointed out, why didn’t they just play “Thank Heaven For Little Girls”? I may be an old white straight guy, but the show gave my group a bad name.
Most of all it –and I don’t think it was because I had a series of 5 second neck-snapping naps — it felt like a nightmare. 2010 will be remembered for the year that the indie film infrastructure truly collapsed, yet –yet again – Indies took every possible award they were viable for. The lack of a support structure or viable financial model for the majority of these films will be what prevents subsequent sweeps in the years ahead. Since the Indie way produces superior creative work, you’d think Hwood would make it a priority to find a way to keep Iwood alive. Whether it would be fair acquisition fees, accounting that would encourage sustainable equity investment, producer overhead deals, or just trust in their collaborators it would be nice if something was left of the old ways to give hope for Iwood’s future. Yet instead of the show encouraging such behavior, I can’t help but the real power must resign themselves to the fact that if they want Studios to win Oscars again, they have to kill off Indies completely. I think I heard the hammer hitting the nail of Indie’s coffin last night. Here’s hoping I am not buried in it…
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The show's the thing, and what kind of "thing" was this? Steve Martin and Alec Baldwin's odd couple pairing was clearly that, odd, but also not very entertaining. Five or six minutes of "seeing who's in the audience" was about a dull as watching paint dry. The Tony Awards does this kind of thing much better, but of course, they're used to playing on a stage, unlike most Hollywood performers. No matter what you do with an awards show, the fact is it's most interesting to those sitting there waiting to see if they won. The Academy really need to re-think this whole thing, put someone in charge who knows how to entertain an audience, and keep the "running time" to two hours. I thought the best thing was the James Taylor "in memoriam" piece and the great dancing number to all the film scores. Somehow music and songs got short shrift to dull patter, and lots of self-amusement by those delivering it. If you're going to put on a show, remember the first rule: never bore the audience. And the second rule, do something we've never seen before, and the third and most important rule, respect the industry and the craft to whom you're presenting the awards.
LFleming
such doom & gloom!...why bother???
Jean Dodge
Oh yes and everyone was forced to applaud my old boss Roger Corman (possibly because he was standing next to Lauren Bacall? Interesting pairing)
And in the weird Horror Montage (wtf?) they showed at least three clips of garbage I shot when I was learning camera... so I scored major points w nieces and nephews, and it woke me up from nodding off. That montage was akin to the industry reminding itself that although it's new line of cars are all Edsels (or Hummers) , it does have a warehouse full of cheapo shoddy merchandise it can sell off at a discount as the company circles the drain.
Although I agree w Ted that indies showed well where they were included, I do have to admit that indies could have learned a thing or two from the studio system before it died off, such as how to exploit writers best. Can anyone name a screenwriter who has worked for more than one indie director? Why is that?
Maybe it's time to ear it all down and start over. Indies are dead, Hollywood is dead, but cinema is not dead. (It was however coughing up blood last night.)
Jean Dodge
Hurt Locker beat "the biggest grossing film of all time." (yeah whatever. More TICKETS were probably sold to a 1930s poverty row quickie.) Logoland won best animated short. THE COVE won, and several other good/ better docs were nominated. Sandra Bullock, bless her frog-like heart gave the people their money's worth of "whacked out diva who is cute and funny." (Clooney entertained the masses better with his silent facial routines.) Hip-Hop inspired dancing was represented - although that was a pale shadow of seeing "It's Hard Out There for a Pimp" win an oscar.... John Hughes is STILL DEAD.
There were a few positive things to say about the oscars this year but yes, overall it looked like a funeral march for a dying industry, like one of those rah-rah corporate gatherings that takes place while the executives pumping their fists onstage are secretly dumping their stock in advance of an impending Enron-style collapse.
How many people who are reading this blog watched the Oscars on a laptop, as a streaming (bootleg) simulcast as I did? To me that was as important a trend to note as any. I killed my cable tv over a year ago and haven't looked back since.
Disgree strongly with Michael Walker. There was a whole slew of brand new acting talent that was at the Oscars and nominated this year. Came out of nowhere. Very talented people. Extremely strong chops.
Now all that's necessary are the womens roles to give them something to sink their chops into.
I don't think that Hollywood has anything to do with creativity anymore. Everytime you turn around there is another remake, or "re-imagining" as they like to call it.
Would it really surprise you if in the next few years, the studios announced that they were remaking say... SPIDERMAN... but wait, they are! Hollywood is looking to re-create, not create.
There's a few problems with the Oscars, but one of the biggest is also a big problem with Hollywood films right now: all the big stars are over 40. Most of them are over 50. They're trying to make some new stars, but I don't see any of them lasting. They dragged Miley Cyrus out again, but she's over. Did any of them come out of a good acting school, or even graduate high school? It's the second year in a row that it looked like it was filmed at a retirement center.
Indie film used to be the place that found stars, but it became a place where established stars worked for cheap(er). They need to get back to a place where stars are created instead of being necessary if you want any foreign pre-sales.
Ti West’s recent films are in many ways intellectual filmmaking exercises, but his command of the craft and childlike enthusiasm for the visceral thrills inherent in his genre of choice help them to succeed as popcorn entertainment.[...]
Pick of the Week Project Nim (Lionsgate) — To its tremendous credit, Project Nim does not presume to make a political case for anything more than the experience and feelings of its animal subject; there may be no more potent form of cinematic advocacy than bringing into full view the emotional life of a subject [...][...]
Last year, we came up with the idea for this personal post-Sundance yearbook of sorts. For whatever reason, we didn’t receive nearly as many replies as in ’11—I feel like I cast as wide of a line this year—but anyhow, here is what we’ve received so far. If more trickle in over the course of [...][...]
Ti West’s recent films are in many ways intellectual filmmaking exercises, but his command of the craft and childlike enthusiasm for the visceral thrills inherent in his genre of choice help them to succeed as popcorn entertainment.[...]
Pick of the Week Project Nim (Lionsgate) — To its tremendous credit, Project Nim does not presume to make a political case for anything more than the experience and feelings of its animal subject; there may be no more potent form of cinematic advocacy than bringing into full view the emotional life of a subject [...][...]
Last year, we came up with the idea for this personal post-Sundance yearbook of sorts. For whatever reason, we didn’t receive nearly as many replies as in ’11—I feel like I cast as wide of a line this year—but anyhow, here is what we’ve received so far. If more trickle in over the course of [...][...]