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Comments
I already knew about it. It doesn’t seem to be a major concern for OPPENHEIMER.
Oh, I think I know why.
The new rules are by their very nature provocative.That’s why I posted Richard Dreyfuss reaction video to these ridiculous rules.
Would Oppenheimer not technically qualify under the very broad (and questionably effective even if you agree with such enforcement/standards) guidelines? It's not strictly speaking an all-white cast (you of course have Rami Malek in a pretty notable albeit small supporting role, and there's scatterings of actors credited and uncredited in much smaller roles who aren't white). From what I can tell really that's all you need, and a film like Oppenheimer is such an 'insider' Hollywood film anyway that it'd be unlikely they'd not let it get a nomination.
Dreyfuss is just an old man shaking his fist at the clouds. When he started complaining about not being able to perform in black face he lost.
If the shrinking viewership is anything to go by, it lost its value decades ago…
Yep,it was always cringe to a certain extent but now it’s just a big virtue signaling circle jerk.The idea of regulating art to the extent that it has to have x amount of these people or x amount of those people is absolutely preposterous.
I’d say the only reason people tuned in this year was to see if any other celebrity lost their rag and assault a comedian on stage.
They need a big shakeup in a similar way they got back in 1970 when MIDNIGHT COWBOY won best picture and changed everyone’s idea of what an Oscar winning film can be. I’m hoping EVERYTHING EVERYWHERE ALL AT ONCE is that film, but we won’t know that until we start seeing the other winners down the line and if they just revert back to cliche Oscar bait films like THE GREEN BOOK.
This
I’ll wait out the rest of the year for other flicks. Still got plenty coming down the line like KILLERS OF THE FLOWER MOON.
Oh, that’s right. Forgot about that one :)
Gotta say I watched Oppenheimer with half an eye on how Nolan would handle this and I think he acquits himself well. It looks like he stuck pretty close to the historical record. And he didn't invent anyone of any great importance. But instead seems to have made an extra effort to populate many scenes featuring students, workers at Los Alamos, citizens in the streets of Berkeley (I think), etc. with women and visible minorities, even where such an effort does not necessarily reflect the social reality of the time.
We wil see or movies wil cros around 24 million what NTTD did. Both Opperheimer be and NTTD be Universal movie's and there are known there give movie's time.
I'll be controversial and say that I don't want to. Bond has an established sound, and I don't trust most modern composers to understand that, as they clearly haven't since most of Skyfall on. Michael Giacchino or David Arnold are much more promising to my ears, doing new things WITH the Bond/genre sound, not new things in SPITE OF that sound, which I feel Goransson might just to be different.
I'd agree based on his works with Nolan, however he did fantastic work on the Creed films; bridging the gap between Conti and the more hip-hop focus of those films. He absolutely could do it, if he had the same respect for Bond.
I will admit the Rocky/Creed saga is a huge blind spot in my filmography I plan to remedy on a series of long-distance flights one day.
There's very good reason to look back at what works for an action film and what does not. Bond is built on many people's legacies, it (used to) rarely only offer a person one gig: it often finds a talented craftsperson and keeps them. It is what it is and shouldn't change too much. The Skyfall, Spectre, NTTD scores just simply are not effective in any way. We tried the "new" approach and it sucks for action.
Look at Zimmer. We got a rehashed, low-key version of his typical schtick with a touch of the age-old Bond theme. Nothing even "new" there. You know who is more capable of reinventing themselves? Someone tasked in the same role challenged to offer something different each time, where they can grow with the franchise.
Bonds in trouble! It should sound exciting! Not like a biopic.
For reference: I just saw CR in a full theater. Unforgettable sound, and it's Arnold challenging himself with reinvention. Just excellent all around. Something interesting that adds inherent value to the full picture, not a simple supplement like we've been getting.
But I’ve already spoken about how I thought Newman was a big step up. I remember the feeling of escalation in the music with the pre-titles of SF that felt reinvigorating for the series. It really enhanced the film in a way no score had since a long time.
And I do think they should keep a revolving door of composers because theres so much talent out there that shouldn't be neglected in favor of one guy. Alberto Iglesias would actually be my pick.
I agree the PTS of Skyfall is its score's highlight (for me) but it isn't revolutionary (to me). Agree to disagree on CR. At this point, I'm not necessarily saying we have to go back to Arnold, or rip from the genre's competition (Giacchino), but I do want them to be sure-footed for the next choice and offer something cohesive and invigorating for a least a couple of movies.
Edit:
I really enjoyed this! Iglesias would be welcome.
Ditto with the writing. Give Purvis and Wade and Oscar, artsy writers a break.
To me Arnold was one of the best things about CR and QoS, and Newman one of the worst things about SF and SP.
If Arnold didn't return, I'd be happy with Justin Hurwitz. His score on First Man was superb, and evoked a 60's John Barry sound without sounding too obvious like Arnold does.