This Had Oscar Buzz - 100 Years, 100… Snubs! – Part Five

Episode Date: May 29, 2023

We’ve arrived at the grand finale of our blowout May miniseries 100 Years, 100… Snubs! It’s all been leading up to this Red and Wild strawberry social with guests arriving, boots handed out with abandon, and our picks for the biggest Oscar snub of all time! We also dive into a feast of topics including … Continue reading "100 Years, 100… Snubs! – Part Five"

Uh-oh, wrong house. No, the right house. I didn't get that! We want to talk to Marilyn Hacks. I'm from Canada. I'm from Canada water. Tonight we've taken a wonderful journey inside ourselves, as we've identified with the people, stories, and dreams created by others. We've come to understand the spirit of our nation, the essence of our freedom, and the diversity of us as a people.

It's been a great personal pleasure to have been part of this wonderful celebration. The 100 greatest snubs of all time. What a collection. Hello, I'm Roxy Hart. And I'm Velma Kelly. And welcome to the This Had Oscar Buzz Film Institute presents 100 Years, 100 Snubs, the finale. Every week on this had Oscar buzz, you'll hear us talk about a different movie that once Spawn a Time had Lofty Academy Award aspirations, but for some reason or another, it all went wrong.

The Oscar hopes died and we're here to perform the autopsy, but for this May miniseries, we're doing something a little different. Every week in May, we'll be looking back and choosing the one. 100 greatest Oscar snubs of all time. And we'll have special guests calling in to offer their snub submissions. I am your host, Chris Fyle, and I'm here, as always, with the other one who reached for the gun. Joe Reed. Hello.

I don't know. Something clever from Chicago. My mind is so packed with all of the snubs that we're going to get out here in this last installment. I can't even think of a proper Velma. telling line. Cicero, I guess, is what I say to you is Cicero. That's all I have to say about that. We're already at the end, Chris. Where does the time go? Where do the weeks go? I don't, well, we kind of recorded this somewhat, you know, it's all time has folded in. It is. It truly has. Much like in honor of Dune, Dune 2, time has folded in itself to travel across

the space and time to get us from 100 snubs down to... Isn't that Oppenheimer, though? Like, surely Oppenheimer's going to have some time span, bullshit, time folding in on itself, et cetera. Killian Murphy revisits the space library that Matthew McConaughey is stuck in at the end of Interstellar, and that's the end of Oppenheimer. Spoiler. This morning, my voice has folded in on itself, so I'm coming to you. as a very baritone.

I should have seen this coming after getting text messages of videos from the drag club last night. I was like, oh, okay, like, that's the precursor. What is the reason for the season? It is not only the welcoming of summer, but it is the silver anniversary of Virginia West, and we celebrate that. We do celebrate that. What was the one you sent me, the clip of her doing, Welcome to the Black Parade. I was like, oh, that's fun for a drag show. That's a...

It's a good time. Good time. Fantastic. Yeah, Chris, we have an extra special episode. We've got three special guests ready to offer their submissions for their choice for snubs. We have... Blowing it out. Finale.

Ten picks apiece. This one will be culminating with your pick and my pick for number one snub. And I'm just incredibly excited. We have only, like, the list of possible snubs is long, and we only have 20 more. So, like, there will be some snubs of snubs that. Yes, we will, before we leave today, we will have the 100 years, 100 snubs. Yeah. I'm not ruling out that for, like, a future May miniseries, is what I will say, not to get too far ahead.

Snubs 101 to 150. I'm already. I'm already. feeling guilt about at least one or two specific ones that I know was on my long list, but is not going to make this. And the people are going to be surprised, I think, at some of the seemingly obvious ones that were left off the list. You think you know a person.

You think you know a person. I know. I know. I know. But that's why we play the game. That's why we, I don't know, that's why this is fun and exciting. So before we get into our home stretch of our. Biggest snubs of all time.

Yeah. Why don't you lay down the ground rules in case there are any listeners, any Garies, who are just now catching up to this May miniseries we've been doing? So in the interest of limiting our choices somewhat and making it a little bit more streamlined, we have put a cap on maximum choices. We can only do at most one snub per category per year. So if we have picked a snub from, say, the 1995. best actress race. That's the only time we can select somebody who was snubbed for that race. We also have sort of informally limited ourselves to one snub per performer. So if we've picked a Nicole Kidman snub somewhere, we are not going to pick a second Nicole Kidman snub somewhere else.

This is why Tom Hanks is on the list for a league of their own, but not for Captain Phillips, for example. We've also mostly stuck to one snub per movie. So like David Fincher for Zodiac instead of Zodiac for Best Picture. These have helped us, again, 100 is becomes a very small number when we're doing something like this. These have helped us spread the wealth across a lot of different movies and a lot of different categories. If a guest makes a pick, it is canon. However, it might free up a slot for us as well. Exactly. We also. We also Also, when we choose a snub, we also choose somebody who was nominated in that category to get the boot. So anybody in that category is eligible from getting eliminated.

We reserve the right to enact what Chris has dubbed the Nicole Page Brooks vote, where we send them all home and all of the nominees get booted. We have not. Send all those bitches home. We have not up till now used the Nicole Page Brooks rule. And I'm interested to see if it does get used in this final stretch. Will the unfired Chekhov's gun be Nicole Pagebrooks? Ultimately, as we've been saying, everything leads up to our choice for the biggest Oscar sum of all time, which we will be saying at the end of this episode.

Chris has his number one. I have my number one. So we are in the home stretch. Chaos. Chaos and catastrophe is what will happen if we've chosen the same one. That's it. This is our home stretch. Ten from me, ten from you, three from our guests.

and we will be home before you know it. This is going to be probably a long episode, but it's going to be our grand finale. Buckle up, children. Another May mini-series, soon to be in the books. But this was a fun one. I already can say with some confidence. This has been a really fun one.

So I'm excited to get started. Well, then let's get into it. A shepherd girl. What can she be to you? Unless the day. desert sun has dulled your senses. Does she grate garlic on her skin, or is it soft as mine? Or her lips chafed and dry as the desert sand? Or are they moist and red like a bomb granite? All right, let's get into it. I am going to kick us off for this episode. I'm going to take us back to the

Supporting Actress Race of 1956. This is a performance we have talked about a lot. I've talked about this a lot on social media. I've talked about this movie when we were on screen drafts with Katie Rich. From the Cecil B. DeMille film The Ten Commandments, I am choosing Miss Anne Baxter as Nefertiri in The Ten Commandments, who is, you talked in one of the previous episodes about how you are endeavoring to have a horny pick on an easter. This is the horniest pick. We could pick something hornier than this. Anne Baxter, as Nefertiri, is her character brief is essentially horny A.F. for Moses.

Like, that's essentially her entire character motivation. She's super into Moses, and she's not afraid. Especially saying his name. Moses. Moses. Moses. It's a delicious performance, I think. It's one of those ones I've said it before, and I'll say it again. I think the fact that the movie is called The Ten Commandments, and it's a billion-hour-long movie about the Bible that a lot of people in our, let's say, demographic, won't watch it. But do yourselves a favor. There is some real camp in this movie, and it's not just Anne Banks and Baxter. It's also Vincent Price, and it's also Edward G. Robinson. And it's also, like, glistening towards. in the Egyptian sun, but it is, Anne Baxter is truly the gay icon that you don't know that

you're missing in this episode. Horny legend. In this movie. She's also just in that sort of old movie star way, just absolutely lapping up all of the attention that the camera is showing her. She's just, she's a movie star. I saw this movie, I mean, I had been watching the Ten Commandments. on TV since I was a little kid. So, like, before all about Eve, before, what was the movie she

won her Oscar for? Um, shoot. Oh, shit. Give me a second. I want to say the Razor's Edge, but I don't know if that's the title of it. That sounds right. Um, I think that's right. But anyway, so, um, before I had seen Ann Baxter and anything else, I had seen her in, uh, the Ten Commandments. So when all of a sudden I, I was, you know, I'd gotten older and became aware of things like all about Eve. I was like, oh, right, that's neferteri from... That horny lady. It is the Razor's Edge that she won Best Supporting Actress for. So anyway, yeah, it's just an absolutely delicious, delectable performance. At one point, she calls a servant lady who she's trying to threaten old frog.

Like, there's just so many, just absolutely, she has a sort of face-off at one point with Yvonne Carlo, and it's just, again, gay people, you're missing out by not watching the Ten Commandments when it's on television every year. We've talked about this. You, I know, enjoy Anne Baxter in this movie as much as I do, so... What a delight. I appreciate that about you. So, for the 1956 supporting actress category, I had, as I said before, I had not had as much time to do sort of deep dive preparation on some of these categories as much as you have. This was one that I really made a point to watch all of the movies because I hadn't seen any of them.

And the nominees that year were Dorothy Malone wins for Written on the Wind, the Douglas Cirque movie. Mildred Dunnick for a movie called Baby Doll that was an Elia Kazan movie based on a... Highly controversial. Tennessee Williams play, I imagine. and it's, I mean, talk about horny. Like, that is a deeply horny movie. As I said in my letterbox review, Kate Winsland and the Holiday was right. Eli Wallach is super sexy, because he is in this movie, like, my gosh.

What a man. Who are the other nominees? Two from the Bad Seed, Eileen Heckert and Patty McCormick from the Bad Seed, and then Mercedes MacCainbridge from Giant. So I finally watched Giant. I watched all of these movies, but I finally watched Giant, which had been on my list for such a long time. As I said to you in a text, and I don't want to, certain words probably shouldn't be uttered by me on a podcast. But I said she showed up, she served Seward, and then she died.

Like that is Mercedes MacCainbridge in Giant. She really just, yeah, lesbian excellence is right. the sort of farm lady Giants an incredible movie I knew why I probably hadn't made time to watch it before because it is incredibly long but it does

kind of fly by and you know Elizabeth Taylor starring opposite Rock Hudson and James Dean like this is probably the origin story of Elizabeth Taylor becoming the friend to gaze worldwide that she

becomes a tremendous movie Mercedes-Bakebridge is again in the grand scope of things sort of exits the film early but leaves a huge impression written on the wind is another sort of like

these are some movies with pretty modern sensibilities or like some there's some edge to these movies in 1956 Dorothy Malone not to get too much of a spoiler ahead of ourselves but can do

battle by herself the final image of Dorothy Malone cradling that like, what is it, an oil, Derek that is fully just a penis. All alone at the end of this movie, Dorothy Malone. There's also the scene where Dorothy Malone is dancing alone in her room and sort of kicking up her heels while in counterpoint. Her father is falling down the stairs and dying. Tremendous cinema all around. We love Douglas, sir.

The Bad Seed is a movie I was expecting to be pretty dated and kind of corny and dumb. It's not bad, I got to say. Patty McCormick plays The Child. This is like, it's sort of, you know, proto, what if Megan was a human child? Like, that's sort of Patty McCormick in this movie. She's got the perfect sort of pigtails and the little, you know. She does a sassy dance. She does a little, yeah, I mean, basically everything but.

Like, she does everything but do a sassy dance. She kills some folks in this movie. She's sort of the original evil child, but it's nothing supernatural or anything. She's just, she's a bad seed. And I went into this, assuming I'd probably boot out the child performance because, like, it's a child performance. But she's doing some stuff there, I will say. And then Eileen Hecker, have you seen the bad seed? I have not, actually.

Honestly, I'd recommend it. Eileen Heckert plays the mother of the child who Patty McCormack kills off screen, sort of like it shoves into the river, right? And so Eileen Huckert shows up at the house and literally she's essentially just like, I'm drunk and here I go. Like it's literally just like announced that plainly and she's just, she's so entertaining. It sounds already like it's a better performance than what she won her Oscar for. Right. She won her Oscar for Butterflies Are Free, a movie that I am not saying yet. Yes. Which, I mean, like, there's some sentimentality to the performance that, like, it can be touching at moments, but it's also, what? I did not like that movie.

If you don't know listeners who Eileen Heckert is, if you've seen the First Wives Club, she plays Diane Keaton's mother in the First Wives Club. That should be her Oscar. She's tremendous in that movie. So she's one of the many Oscar winners who is a part of the cast. of the First Wives Club. And then the fifth nominee was Mildred Dunnick for Baby Doll, which is easily, I think, the least of these movies. It's fine. It's messy.

It's messy as heck. And actually stars one of the daughters from Giant, actually. Oh, who's the actress? Carol Baker, who is the titular Baby Doll. And she's married to Carl Malden, who's this awful, racist, underhanded what cotton farmer, or something like that anyway, and Ilya Kazan, not Eli Kizan directed. Eli Wallach sort of shows up as this very sort of swarthy Italian who's, you know, going to take her away and everything sort of. And Mildred Dunnick is there as like Baby Doll's aunt, who has one sort of scene where she kind of stands up for herself to Carl Malden, but like is mostly just like the decent nice aunt, older aunt in the movie. So it's like it's kind of a perplexing nomination and it makes it a very easy. boot, I think, for this. So, in goes Anne Baxter, out goes Mildred Dunnick, easy-peasy. And then

all of a sudden, that becomes kind of a fierce-ass category, if you make that swap. You've got Dorothy Malone, you've got Anne Baxter, you've got Mercedes-McBridge, drunk-ass Eileen Heckert, evil-ass Patty McCormick. Like, that's kind of an amazing category. The ideal supporting actress lineup. Basically, yes. So what I'm saying is, go watch the Ten Commandments, Go watch Written on the Wind. Go watch Giants and the Bad Seed. These are all well worth your time, everybody. So kicking off this list with a bang and Baxter.

What do you have next, Chris? The category is Butch Queen first time in drags at a ball. You know what I mean. You know what Paris means. Exactly. Butch Queen. Okay. So I wanted to include a movie that feels like has

completely been canonized, retroactively, absent of the Oscars, and that is, I'm talking Best Documentary Feature of 1991, the masterpiece Paris is burning. Hell yeah. I can't think of many documentaries that have as much place in the pop cultural lexicon as this movie. I think the visual identity of this movie is tremendous that they go into the New York City ball scene and immerse you so much in it but come out of it with these incredible visuals making like full iconography out of all these characters within the ball scene that you know really makes I think a viewer who in 1991 would have no understanding of the scene whatsoever, understand what was so where their

creativity was coming from, where they were finding their power in this art form, and just the absolute depth of understanding that we get of these people and of this environment and how exciting it is, all within like 80 minutes of screen. green time. It feels like you understand a real complete world in very short amount of time and just the hopes and dreams of all these people, you know, all of the House of Labasia. It's truly like one of the great queer movies of our lifetimes. And it deserves to be on this list. I initially had some hesitation to be like, all right, well, is this me just trying to get some personal canon onto this list. No, it's a tremendous thing. It had to have somewhat been on the radar. This was actually a

hit documentary at a time when, you know, documentaries didn't really make real money. And, like, for a documentary, a million dollars might be real money. And it won New York critics, L.A. critics, and National Society. So it had to have somewhat been on the Oscars radar. I couldn't find, like, an eligibility list to see how far it would have gotten in, like, the bake-off part of the process. Yeah. let's talk about this category let's do so documentary feature clearly had different criteria than we would consider now um mostly criteria that uh what are we considering a feature friends because most of these nominees are like under an hour long which is not feature length right and also a lot of obviously when we're talking about

documentary film and the infrastructure around the presentation of documentary film we're talking about a different time period so I don't want to be completely ignorant but a lot of these things are produced for television

and would be part of like television periodical programming frontline you know that kind of or whatever not necessarily front line, but like a lot of stuff that's like PBS. I know for a time in certainly the 90s and even into the early 2000s, a lot of documentary feature winners would essentially just be like HBO productions

that would play enough theatrically to qualify for Oscar, that kind of thing. Right. Yeah. So the winner is a documentary called In the Shadow of Stars, which is feature length, was in theaters, et cetera, at the time. time. It's like a backstage look at opera stars. And then the rest are not, that you can find them on YouTube. And one of them I had watched in like middle school health class, and maybe we shouldn't have. What was that one? A documentary called Doing Time, which is like, you know, it's like

one of those scared straight things where it's like, you know, they're trying to be like, this is what could happen to you if you don't listen to your teacher, you know. Public education, ladies and gentlemen. The other nominees are death on the job, the restless conscience, and wild by law. Sure. I am going to have to, based off of Paris's burnings, place in the popular lexicon, the fact that its winner was somewhat similar in, like, substance and point of view. much respect to all of these nominees, you are all getting Nicole Page's text. Oh, it's happening. Appropriate that it would be for Paris's burning that gets the Nicole Pagebrook's sweep. I love it. I love it. I mean, they've got to go home eventually, so send them all home. Send them all home. I mean, Paris is burning is, I think, unimpeachable. Both as culture, both as queer culture, but also as documentary filmmaking. Really, I mean, you talk about...

American documentary. Thank you, Jody. Talk about like embedding yourself. And of course, there was, you know, something of a controversy in the years after about the filmmakers and, you know, who gets credit for, who gets to benefit from this, you know, look at a subculture and yada, yada, yada. But I think just. I understand that. I do, too. However, but I feel like today, 30 years later, while we talk about.

the filmmaking of the film, absolutely, but, like, who do you walk away with from that movie? You know, you walk away Venus extravaganza. You walk away with every member of the House of the And also, like, this is what documentary filmmaking is. It is a, or it often is, which is a journalistic, it can be a journalistic endeavor to seek out a subculture or a story or something that has not known to the greater public and bring that story to a greater recognition. And I think, you know, while certainly... We're all better for having Dory and Corey in our lives. This is the thing. And ultimately, it's a, it's an empathetic and a really enlightening look at a part of New York City and a part of the sort of

human cultural experience that had not been known up till this point. So it's, I mean, I think it speaks to the power of the filmmaking that it does feel like you're enmeshed in this scene rather than something that feels voyeuristic. Yes. I think that's right. And it's like, it's all told in their words, you know. Agreed. Agreed.

Fantastic pick. Fantastic deployment of the Nicole Page Brooks rule. And I love it. All right. I'll show you the life of the mine. I'll show you the life of the mind. I'll show you the life of the mind. I'll show you the life of the mind. I will show you the life of the mind. So my next pick is in Best Supporting Actor from the year 1991. This is a performer we've talked a lot about as somebody who has never been nominated for an Oscar. And it's puzzling as to why. I had a lot of options for choosing a film for this performer. It's John Goodman.

I've considered the Big Lebowski, which I definitely feel like he's an Oscar nominee for that performance for me. Something like 10 Cloverfield Lane, which was never a movie that was going to be on Oscars radar. But he's tremendous and terrifying in that. And speaking of the roles that he's tremendous and terrifying. in, that's a nice little meld between the Cohen's-ness of Big Lobowski and the scariness of Ten Cloverfield Lane. You meet in the middle and what do you get? You get his performance in Barton Fink from 1991. A performance that feels like it was on the cusp of getting nominated. He was nominated for the Golden Globe. He was runner-up at the New York Film Critics Circle that year.

And then his co-star, Michael Lerner, sort of sweeps in and takes the, I believe, the Lusse. Angeles film critics supporting actor prize that year, and ultimately ends up with the Oscar nomination. And Goodman, I, you know, I'll respect to Michael Lerner, but like Goodman is the performance, the supporting performance in Barton Fink that really sort of, no pun intended, but kind of blazes off of the screen in that movie, you know what I mean? That's he's, he shows up, this is the Barton Fink. Michael Lerner rules in that movie, too, and he just passed away, so. Yes. So anyway, Goodman, so the movie is this sort of quasi-Clifford Odette's, you know, Fantasia, right?

Where this very sort of working man, this playwright who wants to write plays about the working man and sort of holds up in this hotel and then finds it impossible to write anything. And he ends up being joined in this hotel by John Goodman's character who passes himself off. I believe is like a traveling salesman and as we spend more time with him he gets more and more intense he reveals himself as this like serial killer on the run and by the end the hotel is burning down

Goodman is like the actual embodiment of the devil by the end of this movie he's sort of standing in front of these burning flames and it's I don't know if you can get anybody to do this performance who's not Goodman who can take you from this kind of unassuming every man, you know, somebody who you would, uh, enjoy spending some time with

who can get like gradually a little bit more terrifying. And by the end, he's the devil. You know what I mean? So, um, it's a tremendous performance. He's, you know, his work with the Cohen brothers has been so good over the years. It's, uh, for somebody who was nominated for as many Emmys as he was through Roseanne and subsequent performances, that he's never been nominated for an Oscar has been puzzling, especially because, like, in both this movie and Argo, he ends up being passed over for co-stars who I think he's better than in the movie. Like, again, no disrespect to Michael Lerner, no disrespect to Alan Arkin and Argo, but, like, Goodman's a more, like, makes more sense as a nominee, I think, in both of those.

But anyway, the nominee is in 1991. This is the year that Jack Palance wins for city slickers and does one-armed push-ups and says he could take a crap bigger than Billy Crystal, and everybody's delighted. Tommy Lee Jones is nominated for JFK, one of, I would say, a half-dozen people who probably would have been worthy of nominations from JFK, including Gary Oldman and Joe Peshy and Donald Sutherland, and just a fantastic cast in that movie. Two from Bugsy, Harvey Keitel's only Oscar nomination ever is from Bugsy, and then also Ben Kingsley. I believe Kingsley is playing Meyer Lansky in that movie, right?

And then Michael Lerner, as we said, for Barton Fink. So I'm going to maybe lean on... The double-bugsy nomination when it's like literally the other three movies would be better to have double nominations. Yeah, yeah. I mean, right, yeah, throw in Bruno Kirby from City Slickers or something like that. You know I'm hot for Bruno Kirby. I know you are. You would accept his wagon wheel coffee table.

I would. When Harry Met Sally. Yeah, so I think that's the thing is you give Bart and Fink the double nominations instead of Bugsy. I'm not going to take away Harvey Kytel's only Oscar nomination ever, even though it's a weird one. Ben Kingsley's already an Oscar winner by this point. He would be an Oscar nominee again, so I think I'm going to bump Kingsley from the lineup, add in Goodman, and sort of correct the historical record there. What do you think? As somebody who's recently seen Bugsy? I don't think this is a great lineup. And the Tom Lee Jones thing... I'm not Nicole Page

Brooksing it. I'm not doing it. I mean, the thing about Tommy Lee Jones is like, obviously, there a whole controversy about it because, like, it's, the performance is thick. It is. I think it's great, though. Oh, I think he's so, uh, so good. Yeah, but like, J. How do you walk away from JFK and say, yes, the performance we're going to nominate is Tommy Lee Jones, not Donald Sutherland. I know. Like, what are you talking about? Well, the thing about Donald Sutherland is he's in one scene and it's all exposition. It's just the greatest one-scene exposition scene in, like, cinema history, kind of. And I think Oldman... Even this is where I stand up, obviously talking a different category, but this is where I stand up for Kevin Costner, then I'm like,

that's his best performance ever. He's amazing. He is, actually. Yeah. Spoiled for choice, JFK, though, and Tommy Lee Jones was obviously, like, rising towards his Oscar win, so I get it. Tommy Lee Jones was sort of the unexpected. He's the one who didn't get, he wasn't nominated for the Globe. I don't think he got any critics. Like, he was kind of the surprise entry into this last minute. Right. Yeah. Ben Kingsley is kind of a bummer, because I feel like Ben Kingsley gets the short end of the stick in terms of Schindler's list, which I think he's

amazing. Agreed. That should have been a double supporting nomination. Yeah. I would probably boot Jack Palance, but I will respect your... It's a comedy performance. It's so memorable. I don't want to rob the historical record of that moment

of wackiness. You know what I mean? Get it. No disrespect to Kingsley and Bugsy, and it's been Bugsy is the movie I've gone the longest without seeing. So maybe I'm misremembering something there. But that's, I think that's my choice. All right.

All right. What do you got? A little time to lose. Oh, I'll make a random start of it. I have a gold standard for everyone that people maybe don't even realize was originally written for a movie. Best Original song, 1977, New York, New York, from New York, New York, I feel like, well, A, after the movie, the song became like one of the standards for Frank Sinatra. I feel like maybe nobody talks about why wasn't this song nominated because they think that that it wasn't originally written for the movie

and that the Franksson-Oversion has always existed. I would have assumed that, yes, yes. And it's written by Kander and Ebb. You can go see the Tony nominated musical on Broadway right now. Listen, starring What's His Face from Dear Evan Hanson, Colton Ryan, who I guess is tremendous and that I've heard very good things about him in New York, New York.

This is a movie that I feel like, you know, for listeners who want us to go back and do older things, it is a movie we could absolutely talk about. Liza Minnelli is incredible in this and act circles around De Niro and it's crazy. So good.

But like there was a lot of kind of hostility towards this movie. It was like, la la land before la la land but dark um you know and you have this very tempestuous marriage at the center of it so like i kind of get why it would be kind of glossed over but um yeah new york new york one of like the songs in like the universal songbook everybody knows this song song. Everybody knows the... Everybody who's ever been to a Yankee game,

everybody who's ever been to any kind of event celebrating New York City. Yeah. Yeah. Anyone who's ever been in a show choir. Right, right, true. Speaking of anyone who's ever been in a show choir, the winner is You Light Up My Life from You Light Up My Life. What is You Light Up My Life about?

Do we know? Does anybody know? It's about like a school, right? Is it? Hold on. a, like, isn't it, is it a deaf school? You know what? Your guess is as good as mine. I would have, you light up my life as another one of those songs that seems to exist independent from the movie that it's a part of, you know what I mean?

Yeah, I'm going to look this up. Yeah, hold on. You light up my life. Directed by Joseph Brooks, starring D.D. Khan from Greece, of all things. She plays a talented singer and songwriter. who feels obliged to follow her father's Borsh Belt comedian career. So the D.D. Khan masterpiece, you light up my life. So there we go.

Oh, co-starring Michael Zaslow of daytime television fame. He was on Guiding Light for so many years and One Life to Live. And ended up, he died in 1998 of Lugarig's disease and actually performed in his later years. on television as his character with Lou Gehrig's disease. Interesting. Interesting little tidbit. For the purists out there looping us back, I suppose I should be calling it the theme from New York, New York. But now, I mean, it's New York, New York.

It was written for Liza. And then Frank Sinatra snatched it from her, essentially. Right. Well, and this is also Scorsese was dating Liza at the time. Scorsese his dating life he has some gay taste Oh, the fact

Like when I found out Only a few years ago That he had been married to Isabella Rossellini Was a gag I had no idea Yeah Okay The other nominees

Candle on the Water from Pete's Dragon Helen Reddy Truly I'm not just saying This throw it out there We stand Helen Reddy Seems to me You've lived your life

Like a candle on the water That's the lyrics to that song, right? Yes. Yeah. Yes. Good movie, Pete Strach. Oh, yeah. Someone's waiting for you from The Rescuers.

Sure. The Slipper and Rosewalt's from The Slipper and the Rose, the Story of Cinderella. And Nobody Does It Better, The Spy Who Loved Me. Love, Nobody Does It. The classic combination of Carly Simon, Marvin Hamlish, and Carol Bayer-Sig. Like, can't do better. Can't do better than that. You really can't.

Some days I would go so far as to say nobody does it better is the best bond song. I mean, there's some competition there, but it's up there. It's in the conversation. Competition from Tina Turner, obviously. Competition from Shirley Bassie, obviously. Yes. Gras. You'll never know how I watched you from the shadows as a child.

You say that all the time, though. You never know how it feels to get so close and be denied. Those, I mean, those are lyrics that pierce straight to the center of all of our souls. Yes. Okay. So, this is a decent lineup. It is very silly that New York, New York is not there. Yes.

It probably was the, like, kind of animosity that that movie was met with. I was going to say, yes. I'm going to boot the Slipper and the Rose Waltz, the story of Cinder Rolls. the story of Cinderella. Like, who care? I mean, listening to that song, I didn't watch the movie, but I listened to the song. We're talking original song. We can cheat it.

We can just, like. Chris Fyle said he's not interested in Andy Cinderella who isn't bad at this point. He's only interested in bad Cinderella. I'm apparently the only one who's interested in a bad Cinderella, if that's the case. Yeah, that's a good choice. I think that's, you know, process of elimination. That's the good choice. Indeed.

All right. What do you have for us? Daddy loves the horses. He wants me to go away. No, he doesn't. But he doesn't know. He doesn't know what? Samara.

I have for us. Where am I going? I'm going to the year 2002, the best make. up category. So I'm going for the ring. Gore Vibinsky's The Ring and Best Makeup 2002, with the caveat that I understand that the ring is the American remake of the Korean original film, which when we're talking

about, I'm going to be talking about the ring, both as an accomplishment in of itself, but also as an influence for the decades of horror filmmaking that would come behind it. And I understand that, like, the Korean ring got there first, Ringu got there first. I still feel like, particularly in terms of the makeup, the sort of the Rick Baker, Jean-Anne Black, Bill Sturgeon, the makeup team, and the makeup team from the ring, sort of takes the lead from Ringu and really amps it up and really creates, from that template, a horror vision that would end up, as I said, sort of the next two decades of horror filmmaking, take that lead from the ring. How many movies have we seen where like the

villain or the ghost or the monster or the creature is some sort of takeoff on Samara from the ring, just visually with the black sort of goopy hair and the, you know, drenched in water, and she's a drowned sort of vengeance demon, right? Also her victims, too, that like distorted face thing, which apparently would also be ripped off. But that wasn't makeup. Yes, that would be ripped off too. That wasn't makeup, actually. That was a full

contortionist. No, no, it was a prop, essentially. Along with visual effects. God, carry that prop around and just like hide it in your family member's closet. I'm saying. I'm saying. Wait.

But Rick Baker was a Saturn Award nominee for the makeup for the ring. just putting Samara in all of that sort of make-up. The scene where she crawls through the television is still one of the most terrifying things I ever remember watching in my entire life and the way she's sort of, just that visual presentation of her

is just so absolutely terrifying. And kind of shocked, because that was a success. That movie was a success that year. And I know that horror has a hard time getting a foothold with the Oscars, but there were only two nominees for Best Makeup that year.

Frida, which won, which again, maybe wins for coloring in the space between Salmahawiac's eyebrows? Like, maybe that's... There's more going on. No, I know. I'm making a joke. But, um, and then the time machine, which was, uh, I can't remember who directed the time machine, but that was Guy Pearce. Is it Gore Vovinsky? Was that also, Corvajn? The ring? No, hold on. Hold on. Hold on. Oh, I think it's Stephen Summers who did the mummy movies. I think, I think you may be right, but let's double check that. Best

Makeup, 2002, the Time Machine. Simon Wells directed that. Sure, never mind. The great-grandson. Wait, Simon Wells is the great-grandson of H.G. Wells. I guess that's how he got the job. Yes. He had also directed

The Prince of Egypt. Yeah. And we're back a dinosaur story. So, clearly the Nepo baby Simon Wells was doing okay. But it was Guy Pearce. Of course, who could forget the only film to star Guy Pearce and Samantha Mumba together? So, truly a moment in time.

So, yeah, I think I put the ring. I'm not going to Nicole Page Brooks of these two. I'm going to keep Frida around, but I'm going to boot the time machine. I was going to say, do you even need to boot with only two nominees? Well, that's the existential question. I would feel like I was maybe skirting our little rules to just add the ring. I mean, I also feel like this kind of justifies its own placement. I had a, I, there was something I was strongly considering for Best Makeup that there wasn't a

makeup award given that year, even though there had been in years previous. Oh, interesting. I feel like this, this almost justifies its own existence in the list. All right. Simply because there's two nominees. Well, throw in an Oscar nomination for the ring. We'll let the Time Machine stick around. We'll have three nominations for makeup.

Although I imagine the only two was that there were only a certain number of movies that qualified as having... But, like, every movie has makeup. Like, that's a weird... I don't know. Give the ring a nomination. It deserves it. What do you think? Am I short-changing Ringu by jumping it in the queue for the ring here?

I'm trying to remember, and I could go and do the research, but, like, I don't want to sidetrack us too much. I think Ringu never got a U.S. theatrical... release until afterwards. I think it was one of those things that was only available around. Yeah. Oh, yeah. That was back when it was like really hard to find foreign language movies like that. It took me a while to see Ringu.

Yeah. Yeah. I don't know. I think I'm standing by this nomination. I think it's correct. Good and correct. All right, Chris, where are we going next? I believe that two is mine.

You ain't the one. She's not the one. Back off, Virgil. I am a drag queen. All right, we're going to Best Costume Design in 1995. Here's one that I feel like was at a slight disadvantage because of a recent winner in this category that the movie bears a lot of similarities to. I am talking about Marlene Stewart's work for two Wong-Fu. Thanks for everything, Julie Newmar.

Fantastic. Uh, the, the, the costuming in this movie could not be more joyful, more, not just celebratory of the art of drag, but just, like, celebrating these, uh, you know, Midwestern women, uh, from the middle of nowhere, like, uh, it, I mean, come on. This is a movie that makes the costume choice to put Alice Drummond in, uh, a hippie vest and headband. genius, brilliant. She looks fierce. Alice Drummond, a flawless queen. Legend, Alice Drummond. Legends all in this cast, to be honest. All of those towns ladies are legendary. Absolutely legendary. To the point, like, you have Melinda Dillon, you have... Blythe Danner. Obviously, stalker Channing. The legend, Beth Grant. Kathy Geis from 30 Rock.

Yeah, not to mention the three leads, Patrick Swayze, Wesley Snipes, and John Leguizamo, who all look tremendous in this movie. And granted, there's parts where in the beginning of the movie that John Likwasamo is not supposed to look as tremendous because she is a drag queen who is learning her art. How many challenges does Nogzima Jackson win on Drag Race looking like she does in this movie? Like, four? Probably four. I mean, like, Noxema Jackson absolutely wins a comedy challenge. Nogzima Jackson also wins the makeover challenge. Like, she really, she really invests in Alastrowland. Yeah, she has the surprise friendship. So, of course, she does well in that challenge.

Yeah, yeah. This is also just a great movie that I love, that I... It's tremendous. Considered placing elsewhere, I really thought. for a long time putting Wesley Snipes as a best actor snub because I think Wesley Snipes just blows the roof off this movie. And yeah, like just the costuming is so...

You get a wide range of drag in the movie, especially in the opening sequences. Yeah. And, you know, it's... I think it understands what, especially like 90s drag was celebrated. in what it, you know, the fashions that it puts the women in as well. And, I mean, I think the most iconic costume in this movie is Stalker Channing's standoff

Red Bride outfit. Oh, tremendous. Pulling back that's a finale look, right? That's a finale look. You walk out at the finale and you're wearing that. We're all drag queens, which she's right. She is. And then, of course, the final look that,

Cha-cha wears at the very end of the movie is just like, I mean, come on. That was legitimately copied by Selena's Titties this year for the reunion, very intentionally, very much as an homage. Yeah, no, it's absolutely the right choice. It's perfect. It's a perfect selection. Do you think there was a sense that because Priscilla, Queen of the Desert, won in 1994, that Oscar voters were like, well, we've done that. We've done the drag movie in costume. I feel like, yes, because, I mean,

Tuwong Fu was also a studio movie released in that fall. So it's not like, I mean, Tu Wong Fu, I think, was considered more of a commercial disappointment, probably because, you know, you have movie stars in it. Yeah. And, like, it's just never going. It wouldn't have made that level of money. So, yeah, I think the direct correlation to,

Priscilla Queen of the Desert Which while they They're movies that bear a lot of similarities I think The costuming comes from a very different perspective I mean like the Priscilla costumes are like They turn them all into lizards Like they have lizard costumes in the movie

Yeah Very different thing Whereas this is like nostalgia Americana And then just high drag Have we said who the costume designer was on two No, two Wongfu in case we... Marlene Stewart. Yes, okay, yes.

So the Oscar nominees that year, Restoration wins. I forget what episode we talked about that costume drama, Restoration. Yes. Restoration Hardware wins the Oscar. Also nominated 12 Monkeys, Braveheart, Richard the 3rd, and Sense and Sensibility. Yes. If I remember correctly, we'd already booted restoration. You already have once, yes.

So I don't, I don't want to necessarily pick on that movie. Especially because you don't remember it at all. Sure. Well, no, because like I did my research. I was like, I'm not going to watch this movie again, but I'm going to, like, you know, go and investigate why I think these costumes won. Yeah. It makes a more legitimate case as a nominee than I think Braveheart does.

I think you're right. All those kilts, though. All those kilts. those leather kilts covered in mud like I get it that you probably had to make the most it's probably the most costuming of all these movies

but I don't know I don't even have to make pants though it's just all skirts so I mean when you're up against like 12 monkeys which does some wild shit and is like such a cool nomination and like Richard the 3rd

which is like playing with the eras and like is it supposed to be you know are there supposed to be anachronisms in this modernization of something? Yes. And it's cool. And then sense and sensibility, I mean, top to bottom, gorgeous. Yes. You know, there are no faults in that movie. Yeah. So, yeah, I'm booting Braveheart. I think that's the right call. I think that's right. Besides, I'm putting in a gay movie. You got to boot the homophobic movie. Yes, exactly. Don't look now, Chris, but I think I see somebody approaching in a red wedding dress with a veil on.

and then we can't tell who it is. I do. Is it, is it, oh my goodness. It's a guest. It's a drag queen. We're all drag queens here today. We have a guest, uh, with our next selection. And without further ado,

Hi, Gary's Oliver Sava here calling from backstage the burlesque lounge. I only have a minute before test wraps up her number, so I'll be fast. The Oscar snub that breaks my heart is Greta Gerwig's joyful, but kind of tragic performance as the titular role in Francis Hop. She got a surprise Globe nomination for it, so there was some buzz, and it could have been one of those moments when the Oscars takes a chance on a stand-up performance from a very small movie, you know, like Amy Adams and Junebug, Jennifer Lawrence and Winner's Bone. What I appreciate is the love in Girlwork's performance of this character that has a lot of flaws. She's this extremely relatable millennial artist, struggling to stay on a creative career path in a challenging job market and city that is pricing her out. The film is also a paragon of friendship cinema, and in what could have been Growig's Oscar clip, a drunken monologue where she talks about the kind of transcendent feeling she wants to have with any person in any relationship,

not just romantic or sexual. I would kick Meryl's O'SH County Grandma out of the lineup and give Greta some early Oscar love before she became the Oscar darling she is now. And kudos to Joe and Chris for making their outro song, the same one that plays during Francis Ha's awful Paris trip. Everyone's a winner, and I can't wait for Greta to beat Christopher Nolan for Best Director this year.

Okay, it sounds like Tess's numbers done. I got to go, love you, Gary's. Oliver. What a flawless submission. Truly. Taking the assignment and running with it, Oliver said. Go back to our burlesque episode. Okay, first of all, correct boot.

Yes, yes. One million percent. And also thank you for doing the call-up for the song, Oliver. We love you. Yeah, great choice. Remember when Reddick Erwig was an actress? Yes, I do, because she was in one of my favorite movies of all time, Francis Ha. So I absolutely had Francis Ha as a best picture snub on my snub list, which I then, because we got Oliver's submission, I decided that it spread the wealth, and I'd let Oliver take the Francis Ha ball and run with it as gloriously as he just did.

And so my next selection is, was my replacement. So it's essentially my, like, you can call it our 1001st, maybe, or my 501st selection. But I stand behind it just as fervently. So Sidney Ellen Wade has done nothing to you, Bob. She has done nothing but put herself through school, represent the interest of public school teachers, and lobby for the safety of our natural resources. You want a character to debate, Bob. Bob, you better stick with me because Sidney Ellen Wade is way out of your league. I'm taking us back to 1995, the best original screenplay category for everybody's favorite screenwriter and certainly yours as well, Chris.

Aaron Sorkin for the American president. In many ways, sort of the best big screen distillation of what I really love about Aaron Sorkin as a writer. and I've loved a lot of his movies, whether they be scripted by him or directed by him, you know, Steve Jobs, and he obviously wins the Oscar for the Social Network and Molly's game and such. The American president is his most sort of self-consciously Capra-esque. I think he probably had a photo of Frank Capra sort of pinned to the bulletin board in the room where he wrote the script for the American president. It's unabashedly sort of pie-eyed and optimistic about what the White House could be. I've talked a lot, a lot, a lot about the West Wing in my time writing and commenting on culture.

And one of the things that I think sometimes gets forgotten about the West Wing is that it wasn't really – it was taken when it was airing as a counterpoint to the George W. Bush presidency. But it was written as a kind of pushback. to the Clinton presidency as to like, what if we had an idealistic president who also was an upstanding man, right? And that's what we get in Andrew Shepard in the American president. It's like so much of the thrust of this movie is this idea that the Republicans are coming at him for, you know, family values reasons. And he's, you know, he's dating a woman and does this make him unfit to be a leader because he's, you know, whatever, having a relationship with a woman

he's not married to and undue influence and all this sort of stuff. And the big moment at the end is when Andrew Shepard sort of stands up and says, you know, you can take your moral superiority, Richard Dreyfus, and shove it. Fuck you, Richard Dreyfus. Truly. And it's this incredibly rousing scene, but like the middle portion of this movie, in between all of this, you know, all of these grand sort of statements and, you know, I'm Andrew Shepard and I am the president.

which is the scene everybody really remembers, is the other thing that the West Wing is really good at, which was the processiness of the White House staffers trying to get this crime bill passed. And Sidney Ellen Wade, played gloriously by Annette Benning, trying to get her environmental protection, carbon emissions bill passed, and she's taken all these meetings,

and incredibly performed by the supporting cast of, you know, Michael J. Fox and Martin Sheen and David Pamer and Anna Devere Smith and Samantha Mathis. It's John Mahoney, who's her boss, or Andrew Sidney's boss, I believe, in this movie. Joshua Molina. It was the prototype for the West Wing for a reason. And it's, for what it is, it succeeds brilliantly as being this, you know, as I said, sort of Capra-esque look at what if, you know, the White House was something we could really be proud of. And it was a Writers Guild nominee. It was a Golden Globe nominee. It actually got

a ton of Golden Globe nominations. I believe it got something like five Golden Globe nominations total, which that's a frontrunner at the Globes. Like you don't get too many total nominations at the globe. So like five is a ton. It got a picture and director, like Reiner was nominated for director, both of the stars. And ultimately gets almost entirely blank. by the Oscars it gets a right it's just the score nomination I believe correct great score tremendous score but otherwise gets a blanked where are you on the American president I know you've talked about how much you like Annette Benning in this movie I love the American president I don't give a fuck um the American president is a gauntlet to see how many syllables

Anna Devere Smith can fit in as few seconds as possible uh huh um it is It is, like, the, like, punchiest script in terms of just, like, casual quotability and also, like, yes, the, like, I'm Andrew Shepard and I am the president, like, high quotability of it. I think it is Aaron Sorkin, aside from the social network, with, like, the least Sorkin problems that I have. Sure. And it's just a fun movie. Like, I don't think it's a movie that should be taken. super seriously on any level, but in terms of delivering something that is like classic Hollywood fun.

It's so watchable. Oh, my God. It is champagne. It is, uh, we love the American president. Yeah. So the other thing about nominating, uh, the script for the American president is you thrust it into truly one of the wildest and most problematic screenplay lineups ever. So the ward is won that year by Christopher Macquarie for the usual suspects,

a movie that I still love despite the fact that it is intimately associated with both Brian Singer and Kevin Spacey. Christopher McQuary does not deserve to be tarred with the same brush as those two. And yet I think the usual suspects sort of, you know, is looked back on with a lot of raised eyebrows and askance looks. And I will grant people that. But as a movie, It was one of the sort of early, you know, Joe as a teenager really sort of like falls in love with this hard-boiled crime narrative that was twisty. And it's one of those ones, those early building blocks movies for me. So I can't ever really remove it from my psyche. Other nominees that year were Randall Wallace for Braveheart, Woody Allen for Mighty Aphrodite, Oliver Stone, Christopher Wilkinson, and Stephen J. Revell for Nixon.

and then take a deep breath. Here's the team from Toy Story. Joss Whedon, Andrew Stanton, Joel Cohen, not that one. Alex Suckelow, John Lasseter, Pete Doctor, and Joe ramped. And, like, again, Andrew Stanton, Pete Doctor, at all, do not deserve to be lumped in the same boat as John Lasseter and Joss Whedon. But, like, this is a category whose nominees include Woody Allen, Joss Whedon, John Lasseter, and include films like Braveheart and Mighty Effort and Mighty Effort.

80 and the usual suspects like this is um this category would be burned to the ground is your least problematic this is what i'm saying this is what i'm saying man like it's really really something but it's it's just so i'm so so so this category would be burned to the ground if you ever floated it out there on twitter so um and again and it's not like erin sorkins the darling of social media at this point anyway. I mean, and it's, in fairness, it's John Lasseter and Joss Whedon for Toy Story. So, like, maybe people are just happy to look the other way when they see those credits. 100%.

100%. And, like, I don't think it makes Toy Story worse. I think Toy Story is just as good of a movie as it was, you know, before all of this. So anyway, as for who I'm booting, I'm taking your lead from your previous 1995 entry, and I'm boot Braveheart because I will boot Braveheart as often as possible. So, um, okay, this actually, I do think the boot selection would be hard, because also Mighty Aphrodite is like, it is. It's not a good Woody Allen movie. Like the Hell and a Bottom Carter character is so like, yeah. Yeah. This was back when Woody Allen was

pretty reliable for a screenplay nomination, though. This was, I think his, if not his, because he was making one movie a year. So there was probably a movie in between Bullets over Broadway and Mighty Aphrodite that he made in 95, probably. But it's right on the heels of Bullets Over Broadway, which was a huge Oscar player, and he got a director nomination for that, I'm pretty sure. So, obviously, Mirisrovino wins the Oscar from ID Aphrodite, but that was really, it's kind of surprising that the screenplay got nominated because other than Mirisorvino, the movie

didn't really make a ton of impression. So, yeah, I considered booting that one, but the screenplay for Braveheart, the one that writes in this like incredibly offensive depiction of a gay character who then gets his lover thrown out the window of the tower to like cheers from the audience like no fuck that get out get rid of that movie I'm done with it

um all right Chris what do you have next sometimes you can still catch me dancing in it We're going to best original score of 90s, a score that I cannot believe. is not an Oscar nominee, I would probably put it among the, we're not fully devoid of problematic presences, but a score that I would put among the greatest of all time, like, yes, you're not wrong to say that. I put this on my Christmas playlists, the score. We're talking Danny Elfman's work for Edward Scissorhands. I can hear it in my head right now, and it's so beautiful.

And, like, you're getting, like, goose flesh just from thinking of it. I mean, there's something, I mean, like, the score really kind of captures the movie's sense of, like, otherworldly, everyday, like, wonder. And just kind of this storybook legend that is Edward Cisorhands of the, or Edward, I guess, Cisorhands is not really his, it's not his government name. it's true he did not go by uh mr mr scissorhands your uh your appointment is ready yeah yeah scissorhams comma comma edward l um the l stands for lover um jesus christ edward scissorshands is also a movie that should have kind of run the gamut at the Oscars it was a hugely popular or is it nominated it's nominated for makeup uh who does it lose to in 1990.

It was a hugely popular movie, too. I remember being, like, it made, it was enough of an imprint in the culture that, like, it was referenced on an episode of Seinfeld. You know what I mean? Right. That was sort of my, always my gauge for what penetrated the culture at the time. It lost to Dick Tracy for makeup, which, like, fair enough. That's most makeup.

Sure. That's a lot going on. Listen, you make a man prune face and you do a lot of work on it. Right. But it's also, I think it's another son. of, you know, we talked about this a little bit with Beatlejuice, the uneasiness with taking Tim Burton that seriously, you know, being such a pop artist. Yeah.

And it's like, you know, look at Tim Burton's work now, and you really wish we could have taken it seriously while it was justifiable to do so. You know who should have been nominated from Edward Cisorhands is Diane Weist. You know what? She actually did, she was winning, like, critics awards for that movie. She should have. She's so good in that movie. You know who should have been nominated for that movie?

Speaking of horny nominations, Kathy Baker. I know you love some Kathy Baker in Edward Sizerhands. My concept as a child of like hot woman, like the idea of like hot woman who wants to have sex as like a child in my mind was Kathy fucking Baker in this movie. I mean like. Yeah. So much going on just like design one. that is so beautiful, but the Danny Elfman score truly does create a sense of wonder. I think it's his best work.

That's the thing is, even if you were going to ignore Edward Sizerhands in your top line categories, you're acting, you're directing your picture, it's still baffling that Danny Elfman wouldn't get a score nomination. Okay, so the lineup includes Dances with Wolves wins. Barry Levinson's Avalon, Ghost, Havana, Havana, a notorious, Redford Baumann. Camilla Cabellos, Havana, was nominated for an Oscar. That's incredible. Unbelievable. You have like, who would be present? I wonder who would have presented this, like, in 1990? God, who even knows? Angelica Houston.

Dances with wolves. Avalon, Ghost, Havana, Unana, and Home Alone. that Home Alone nomination is really fucking cool yes it is and it's like there's populism here in this category don't understand why Danny Elfman can't be there he didn't get nominated until 1997

he got double nominated in 1997 for the musical or comedy score for men in black and then dramatic score for Goodwill Hunting and again the men and black score you can probably hum and your head. The goodwill hunting score is pretty good, but like, I defy you to say that that's more of an iconic score than Edward Sizerhands. Or Peewee's Big Adventure is the other one. You know what I mean? Was he ever nominated for a Tim Burton movie? Big Fish. Big Fish was the one. Yeah, yeah, yeah. A big fish, which uses what in its trailer? The music from Edward Sizzerhands. You know what I mean?

Like, that was a trailer that knew it was doing. Yeah. Listen, all we're saying is that Mr. Bridget Fonda should have been nominated for his best work. Boingo Boingo himself should have been nominated. Yes, I agree. And I'm going to give the boot to Havana, Hunana. Yeah, sure. Get rid of Camilla Cabo. She was what? Not born for another 10 years? She knows what she did. She knows that flash mob, you know, made her retroactively ineligible for a score she didn't, right? All right.

Very good. Good selection. Good choice for the boot. Agreed. We're going to do the next one? Yeah. All right. I didn't know I had another mother. Of course you do. Everyone does. Best Art Direction, 2009. I am nominating the Henry Selleck film, Coraline, for which Henry Selleck did production design. The art direction team was headed up by Phil Brotherton, Bo Henry, Tom. Tom Proust, Don Swaderski, this movie was a runner-up for production design at the National Society of Film Critics. It lost a fantastic Mr. Fox. It is, in fact, an animated movie, and animated movies have been nominated for art direction, but rarely.

I remember Kubo and the Two Strings was nominated for art direction. I thought it was visual effects. Was it? Okay. I know it got nominated for something outside of a craft category. Can you look that up while I'd lather on and on? I shall. Thank you.

Tell us about Coraline. I mean, Coraline's a stop-motion animated movie, and with all that that involves, but the art direction for something like this, and from pretty much all of Henry Seleck's movies, there is a, at this, like, you know, very small scale, there is such an attention to detail. I think that's what you get from these, you know, really wonderfully cared for. movies that Henry Seleck does. And the art direction in Coraline is absolutely stunning and creepy

and sometimes sweet. You know, obviously everybody remembers the mother, whatever other mother, voiced by Terry Hatcher with the buttons for the eyes and everything is sort of, you know, the stuff that's sort of just off is very

sort of effectively creepy. And I think in general, animated movies, when possible, when you're able to sort of discern where the craft begins and where the animation, how to differentiate that, I think whenever possible animated movies should be considered for their craft more than they are, because they are something like this, you look at something like Coraline, it is just a feast for the eyes, and a lot of that is that production design, that art direction. I love the fact that it lost a fantastic Mr. Fox, anything for National Society of Film Critics.

I almost put Fantastic Mr. Fox in for costume design. It's a fantastic choice for that, because, again, those little Fox costumes are tremendous. The little, whatever, the bandit masks, that's what he calls him, right? You got to wear, we got to wear bandit masks, are really tremendous. What a great movie, Fantastic Mr. Fox is. Where did Kubo end up, by the way? Visual effects. Was it visual effects?

Okay. Probably could have been nominated in Art Direction or production design. I didn't remember if the category had changed names by then. You're a Coraline fan, I would imagine. Yes? Yeah, of course. I mean, we can't talk about, I can't talk about the Henry Seleck, Wendell and Wilde thing. Oh, I know. I know. That's another one with a lot of art direction. A lot going on in Wendell and Wilde, for sure. It's almost as if the animation in that movie is tremendous. It's almost as if, yes. Oh, gosh, what a, what a movie.

Okay, so nominees in 2009 for Art Direction were Avatar, which won the Imaginarium of Dr. Parnassas, the Terry Gilliam movie that went through, obviously, those production difficulties when Heath Ledger passed away, nine, Rob Marshall's nine, Sherlock Holmes, which was Guy Ritchie, right? Correct. with Robert Tony Jr. and Jude Law. And then the Young Victoria, which was Emily Blunt as the titular Young Victoria movie I still haven't seen, but I really should, which won costume design that year. Avatar, as I mentioned, wins for Best Art Direction. I'm going to leave it where it stands. The temptation was because I'm just in general not a fan of nine was to boot nine. But then I think about how much I love that the Italian number in that.

and even something like Cinema Italiano, which I think is not as good as the B-Italian number, but is so campy, and it's Kate Hudson, and I love her. I think the art direction, as with most things in Sherlock Holmes, is kind of ugly and a little bit repulsive. And I generally just am not a huge fan of that movie, and I know it was a big hit. and you know Hollywood likes to reward those things when possible

but did it need to be nominated for art direction like I say no just because it was a lot of this sort of steampunk old you know England kind of stuff Victorian era I don't know I'm bad with the eras usually I say something and then I'm wrong and then somebody yells at me or whatever but I think it was Victorian era is Rachel Nick Adams the female lead in that movie the most thankless task is

Rescue her from crap movies like that. And isn't, who's in the sequel? Is the sequel like Rebecca Hall? No, Rebecca Hall was the Holmes and Watson movie. I think that's right. I think Rachel McAdams is also in the second Sherlock Holmes movie. But anyway. Rachel McAdams, yeah, supporting actress candidate this year for Are You There?

God, it's me, Mark. I got, I think I'm seeing that this week, so I'm excited to see it. But yeah, booting Sherlock Holmes, throwing in Coraline, what a great movie. And there we go. Where are we going next, Christopher? And I suppose you see a piece of this for yourself. It's my plan. We're in this together.

Yeah, but it's my money, and I don't need no fucking partners. Ain't your partner? I'm your manager. And I'm managing to get your money out of Mexico into America in your hands. And I'm managing to do it all under the nose of the cops. So therefore, I'm your manager, and a manager gets 15%. No, the manager gets 10%. No, that's an agent.

A manager gets... No, no. A manager gets 15%. Aging gets 10. I'm getting 15%. So, we're going, we've had a lot of craft categories, and we had a screenplay nominee. We're going back to some acting snubs. So we're going to talk Best Actress, 1997, and we're going to talk about my winner for that year.

None other than Pam Greer as Jackie Brown. Jackie Brown. Jackie Brown. Remember that trailer that was just her? She kept saying Jackie Brown. Jackie Brown. And my God, what a tremendous performance that obviously, you know, piggybacks on the career of a screen icon and, you know, kind of riffs on it and does its own thing.

I think this is probably a movie, you know, Jackie Brown had some backlash to it, some of which is the backlash that happens to every Tarantino movie. But I can't imagine following up Pulp Fiction and all of its bombast with this minor key character study that is Jackie Brown and the performances in it. And how exquisite all of her scenes are with Robert Forrester. It's great that Robert Forster got nominated. Those should be his and her nominations. She, I think, kind of, you know, mops the floor with all of the other lead actress contenders that year, maybe with the exception of Kate Winslet and Titanic. But, like, she's easily my winner.

Like, just the, it's incredibly fun watching Pam Greer in this movie in the kind of twists and turns of this quasi-heist, you know, basically drug money, smart. struggling scheme in the movie, but also the, you know, the, I don't want to say like cracks in the surface, but like the person, the decades worth of like hardship that just like can't help but bubble above the surface at every minute in this movie, just so incredibly fascinating to watch in this whole movie and this person that you root for so much. And like, you could creates a dynamic that I don't think you see in a Tarantino, any other Tarantino movie. It is my favorite Tarantino movie. And my favorite performance in one, I just love her in this movie so much.

What are your thoughts on Jackie Brown? I really like Jackie Brown. I really respect Jackie Brown. It is, it's in the whole Tarantino thing, I think a lot of people have Jackie Brown as their favorite. I still think there are other movies that kind of stay in my mind a little bit more prominently, but... It's not what people go to when they go for a Tarantino movie, usually. Yes, but I think it has attained this position as, like, the Thinking Man's Tarantino, you know what I mean? Like, the more discerning a Tarantino choice, and I can't argue with that.

I think it's a very well-done movie. I'm not as big of a fan as Samuel Jackson in that movie as I am. in other movies, but I think Pam Greer is pretty flawless. Pam Greer and Robert Forster are, that's the show for me right there. Like, that's sort of what you're there for. He got the nomination and supporting. It really would have been cool if she had gotten the nomination. And I agree with you.

I stick up for Helena Bonham Carter in the Wings of the Dove a lot because I think she's really tremendous in that, but I think in general you can slot Pam Greer above almost everybody in that category. Yeah, which you mentioned Helen and Bottom Carter is nominated. Helen Hunt wins. Julie Christie is nominated for Afterglow, Judy Dench for Mrs. Brown,

and Kate Winslet for Titanic, as I mentioned. It's not a bad lineup. Like, I don't take umbrage with any of these performances. I just think, I don't know. I guess the well isn't as deep

as I think Pam Greer's is. And, like, Yeah. Do I get different notes from each of those performances when I rewatch the... I mean, I haven't seen Mrs. Brown in years, but Judy Dench is spectacular. Yeah. I don't know. I feel like I noticed something different when I rewatch Jackie Brown in the performance,

and I feel different things when I watch it, too. Yeah. I mean, I feel mean, making this my boot, because I feel like... You know, people have made a whipping post of Helen Hunt and her win, but I think she's my boot. I mean, she's not my favorite in that category, but I also don't remember a ton about Afterglow. Like, it's a supportable choice, and I will stand by you. But I think ever since I heard that Helen Hunt's role was written for Holly Hunter. Sure. Yeah, it's tough to put that out of your head.

imagine the version that Holly Hunter would have given. It's just like, you can't unsee it. It's true. It's true. Where are you? Where am I for this next one, you ask? Well, Hello? Hey, hello? Hey, quiet. It's him again. Let's take a trip back to the 70s, man. The swing in Hollywood 70s. You mean the swing in Canadian 70s? Sure, yes. The terrifying 1970s, as it were,

I'm going to the best cinematography category in 1974 for one of my very favorite horror movies of all time. We talked a lot in this project about giving nominations for horror and for comedy. I think those are the two genres that we are arguing most strenuously that should have more recognition at the Oscars, and I think rightly so. Black Christmas,

1970s 4's Black Christmas, directed by is it give me a second. I think it's directed by Bob Clark, who did a Christmas story. Yes, it is. I knew it was the director of a Christmas story. I couldn't remember. I wanted to say Sean Cunningham, but that's Friday the 13th.

The two genders, truly. Christmas story and Black Christmas. So, yes, directed by Bob Clark. The fact that the same mind gave us Black Christmas and a Christmas story is really something else. But cinematography for Black Christmas was done by Reginald Morris. And it is a, again, just one of the best horror movies. One of the best looking horror movies, though, is the other thing. It just, it's a movie that takes place inside a sorority house, on a college campus, just as people are starting to break for Christmas, so people are,

you know, you've got that, you know, people are leaving for home on their own schedule and you don't know who's left yet. And that sort of contributes to this air of like, oh, I haven't seen such and such in a while. She's probably gone. And she's, you know, dead up in the attic with a plastic bag overhead, right? There's a psychopath lurking inside the house. And you never, ever, ever find out what this guy's deal is. He's a heavy, breathing voice on the phone. He is a POV shot of the camera. He's never seen, and it's, and he's never caught, it's the other thing. By the end of the movie, he's still in that house.

And Olivia Hussie plays the main character, but Marco Cater's in this movie. A tremendous Andrea Martin looking like, who did I say this year that she was a dead ringer for, kind of all the beauty in the bloodshed. Nan golden Andrew Martin looking like Nan golden in this movie which is kind of amazing tremendous movie but the sorority house the look and the

feel of the sorority house the sort of dark corners this is a movie that's taking place when the sun sets at 415 in the afternoon right like this is it's very much winter time it is very much this is, you know, this sort of

1970s homey decor where there's not a lot of light. It's a lot of sort of, even the, you know, with all the lights on, it's this kind of very dark wood, dark, you know, atmosphere inside the house. And it contributes to just this absolute mood of dread and this mood of very

unfussy. It's not like there are these big sort of like gothic, you know, corners or whatever in this house. It's just like a very regular house. But it is, it's terrifying. It's so moody. It's so unassuming. And it makes you so scared of just like just the way your house looks in the evening when the sun sets early and it's dark and you don't know who's on the phone and you don't know who's, you know, this is a whatever, three stories plus an attic kind of a house. You know what I mean?

So, like, there's so much of this house that this guy could be hiding in. I love this movie. I came to this movie only maybe five or seven years ago or something, and I've ended up watching it every year since. Just, like, either during Halloween time or during Christmas time, just because it's so perfect. I love it so much. Every year, it moves up the ranks in my favorite horror movies, full stop.

I think... Calling it out for cinematography is really smart because there is this really terrifying visual quality to it that, you know, it really hones in on a lot of that darkness and the, you know, genericness of the setting. And like, there's almost a, there is kind of this, I don't want to say flat quality, but there, it does capture the, like, blandness of sorority life or campus life in a way that makes it more terrifying? I'm also somebody who's very much, I'm very much a Christmas person, and I love Christmas lights. I love sort of sitting in my living room with, you know, the only light in the room is the Christmas tree, and it's just like, that's a kind of thing that really comforts me. And a movie like Black Christmas is like, okay, but what if the Christmas lights illuminating a room

made it really creepy instead. What if it made it? And that's sort of how it feels. A movie like that, I think Gremlins does a similar thing where it's just like, what if the lights, the Christmas lights were unsettling rather than, you know, beautiful? And I love that.

Yeah, I think this is a movie that a lot of modern horror is indebted to, not just in, you know, kind of its themes, but also its, you know, avoidance of giving you, closure or spelling out the whole story. I think all of the remakes have learned absolutely all the wrong lessons from this movie and they try to, you know, fill in those gaps in a way that makes it less scary, less interesting, and I felt the same way about like Midsomar. Like part of the fun of Midsomar is not knowing everything that's going on, not having it all spelled out for you

and you having to piece things together. And then you watch that director's cut, which people say is better but it's like it spells everything out for you it demystifies the entire movie I've still never seen the director's cut I don't know I was so worth your time I was so scarred back in the day of watching that Donnie Darko back's director's cut and

being so sort of disillusioned about how that turned out that I was like do I really need to see the Mitzelma director's cut you don't you don't so the nominee is in 1974 for cinematography the towering inferno wins Chinatown is a nominee Earthquake nominated Lenny, Bob Fossi's Lenny, and then Murder on the Orient Express.

So right off the top of the line, you've got two disaster movies nominated for cinematography. The Towering Inferno is sort of the more notorious one, but it's also the one I think that has the most sort of memorably visual aspects to it. For as much as this scene in retrospect as this sort of corny thing, stuffed with movie stars and everybody's trying to escape this building. but like there are I remember certain visuals of it Earthquake which is a movie

that like I feel like used to be on TV a lot I remember watching it the scene where the big the big Los Angeles earthquake happens

is first of all it goes on forever and it's kind of funny it's watching it now especially there's kind of

a high camp factor to it that I don't think was intended in the original version of it. There's a lot of like, just people sort of like standing and like, you know, everything's shaking like incredibly violently and these big pieces of set are

tumbling onto people and whatnot. And there's a kid who's in danger and there's power lines coming down everywhere and all this sort of stuff. And it just seems kind of a little silly nowadays. And I'm not getting rid of Lenny. I'm not getting rid of a Bob Fossey movie. I'm certainly not getting rid of Chinatown.

It's interesting to me that in a year, where The Godfather Part 2, you know what I mean? Like a lot of these really great movies. Obviously, Chinatown is there, and Lenny is there. But it's surprising that there would be these two sort of corny disaster movies instead of something like the Godfather Part 2. Understandably, they weren't looking at something like Black Christmas as an Oscar nominee, even though they should have. But like, so I think I'm booting earthquake of that one. I think that's the wise choice.

Did you ever go to back in the day Universal Studios when there was an earthquake ride? I've never been. The crunchiest experience. It was so corny. That's so funny. No, I've never been to Universal Studios in any shape or form. The closest I've come is one of my recent trips to L.A. I went to the Bucca de Beppo at Universal City Walk.

That's as close as I've ever come to Universal Studios. That is Italian Universal Studios. Basically, essentially, it's like Italian food, the theme park version. The ride. Yes, Italian food, the ride is 100%. Mariner on the ride. Bucca DeBepo, highly recommended. All right, where are we going next?

Could you ever conceive of going to Italy, Tom, and bringing him back? What? I'd pay you. If you would go to Italy, persuade my son to come home, I'd pay you $1,000. So was it the last... Was it part four that we talked a bunch about 1999? Maybe. And I feel like generally it's been a topic for this miniseries, you know, of 1999 being this incredible movie year and a bad Oscar year, at least, you know, at the very top of the Oscars.

Yes. Because this is a movie, talking best picture, this is a movie that, you know, got some nominations, got an acting acting nomination, but part of the reason why it feels so much like a snub is the story behind it. talked about it before. I am well on the record as being this is one of my favorite movies talking about Anthony Mingellas the talented Mr.

Ripley. Hell yeah. So it was a Paramount Miramax co-production. I believe it was Paramount had the U.S. distribution Miramax had overseas. It was kind of like the

you know, it was getting chumptu. But it also had like the Miramax all-star lineup, right? It was Damon and Paltrow, you know what I mean? Like all the darlings of Miramax. You know, and, you know, the backlash, for lack of a better word, even though that's not the right word, was settling in for Minghella, was settling in for Matt Damon, it was settling in for Gwyneth Paltrow. You have Kate Blanchett and Philip Seymour Hoffman getting great critical notices,

but their parts are very small. So Jude Law is the one who kind of emerges the most victorious in the whole movie. A star is born, Jude Law. Exactly. But, I mean, this movie is a stone cold masterpiece. It is. It is, you know, surprisingly, you would think that in the late 90s, Matt Damon in a lead role, it would, you know, dodge the gay text of the movie more than it ultimately does. And I'm sure even at the time, it was frustrating.

because you wish there was more of it. However, I mean, if you've read the Patricia Highsmith novel, which, like, it does diverge from somewhat, but as far as an adaptation of the tone, the texture, especially the, you know, the gay vibe of what it is, and, you know, the frankness or lack of feels accurate to Hithsmith's vibe. And, like, I don't know. Be gay, do crimes.

He sure does. He does several crimes. Among them murder, fraud, and... More murder. Other things. Yeah. More murder. Yeah.

Yeah, if you haven't seen the talented Mr. Ripley, I've said enough on it. What are you doing with your life? Go watch it right now. Yeah. Tremendous movie. We've talked about it. On other podcasts, we talked about it on screen drafts. My number one movie of 1999.

Oh, with a bullet. Same with me. It's so good. Yep. Yeah. Yep. American Beauty, obviously the winner, also nominated the Cider House rules, the Green Mile, the insider and the sixth sense. The insider is my vote of those nominees to win pretty safely.

Sure. And also when we talk about, I don't understand why this is the case, but it is when people talk about. people talk about the Oscars not being good for a great movie here it all gets lumped on the cider house rules. Right. And I feel like the more egregious

best picture nominee is the Green Mile. Sure. Like shmaltz, like pseudo-religious schmaltz the movie. Yeah. And like I could sit back and probably watch all three hours of the Green Mile

and just check out and be you know, absorbed by it. But under no circumstances, is it good? Right. Like, I think it is the worst nominee than the cider house rules, so I'm giving it the boot. I think that's the right call. I think that's smart.

Oh, Chris, oh, look. Back to the strawberry social. Let's see what type... Who brought us a pie? There's another person in a red wedding dress approaching us, holding a strawberry pie, and a shotgun? It was strangely enough. It's also a shotgun. It's quite a look. And as we see, the veil is coming off.

And it is our friend, Bobby Finger, with a choice for his pick for Oscar Snub. So the first snub that came to mind was one that I was pretty sure Joe had mentioned. And he did in the first episode of the series, which is Cameron Diaz and in her shoes. One of my favorite performances of all time, I can't do that. So my mind went to music. I think that there are constantly snubs in the best original score and best original song categories. I get really passionate about those because I feel like you see the same cast of characters

all the time in those two categories. There's not a lot of experimentation in those two categories. I think that can probably be said for a lot of categories, but for some reason, those two just are always meaningful to me. I always think that they overlook people. So then I had two that came to my mind initially. One of them was Thomas Newman's Meet Joe Black score, which was not nominated its year.

I looked at its year and it was like, Life is Beautiful, Elizabeth, Pleasantville, Saving Private Ryan, Thin Red Line, pretty good list of things. My two favorites from that list, Pleasantville and Thin Red Line, did not win. Life is Beautiful, did. But then I was like, you know what? Thomas Newman gets nominated left and right.

Even though he didn't win or get nominated for what I think is his best score, I want to find another category, which is best original song. And the powerhouse in this category, who has only been nominated once, and has been writing amazing original songs since, like, the mid-90s is Mary J. Blige. She has written, like, at least four songs for movies that could have won. Her song for Waiting to Exhale, her song for The Help, which is amazing, her song for Mudbound. But I think my favorite Mary J. Blige song that never got recognition is, I can do battle by myself from the Tyler Perry movie. I can do better by myself.

I think it is her best original work for a movie. I think it is kind of like a classic best original song song, just like all of her songs for movies are like classic. They are about the movies. They are not conceptual. They are not vaguely related. They are about a theme of the movie. They are about characters in the movie. And I think that I can do better by myself elevates what is, I think, already Tyler Perry's best movie.

It is the narrative of the film. It's the narrative of the Taraji B. Ensign character. I just think it's like a classic original song in every sense of the word. She is just kind of an incredible storyteller when it comes to, I mean, when it comes to her music generally. But I think that, like, she has a particular. wonderful knack for taking the themes of movies that she either appears in or is a fan of and distilling them into like really powerful music and I think that none of her original songs for movies are as effective or as beautiful or as memorable as I can do bad up by myself

and I hope you play a clip of it because it's incredible and when you look at the songs that were nominated that year it's the weary kind from crazy heart it's almost there from princess and the Frog. It's down to New Orleans from the Princess of the Frog. It's a song called Landa Pan Am from Paris 36, which I have not seen or heard, and take it all from nine. So I would cut Wanda Pan Am from Paris 36 because I have no idea what that is. And you know what? Even though The Weary Kind is one of my favorite best original song winners ever, I put, I can do bad about myself above it, I think. So it's the winner. Thanks, Joe and Chris. Bobby, what a legend. Also, yes, Paris whatever

Paris 36 how do you not remember Paris 36 I remember on that Oscar ceremony when they performed that song it felt like a fever dream it felt like a collective gaslighting like all of Hollywood was gaslighting everyone viewing at home that this was a real movie all due respect to the

films creators and its songwriters but still it was just like what is this nomination honestly yes yes good choice I love that Bobby went for something from the music categories. I love hearing Bobby talk about

scores and original songs for movies. So that was a perfect choice. We love Mary J. Blige here, and yeah, fantastic. I loved it. Where are you taking us now? Doctor not told me you'd be here. Is Blue Fairy here

too? I first heard of your Blue Fairy from Monica. What did you believe the Blue Fairy could do for you? She would make me a real. Real boy. But you are a real boy. At least it's real as I've ever made one, which by all reasonable accounts would make me your blue fairy.

I am going to take us to the best director category in 2001, which the movie is AI artificial intelligence. A movie that I went back and forth as to where I wanted to include this on this list. I had for a while that I was going to give it to Haley Joel Osment, whose performance in that movie gets better and better every time I see it. I think it's such a tough needle to thread for such a little kid. I think it's even as impressive as I find him in the sixth sense, I think AI is his career. Like, that's the thing he really should be remembered for, just in terms of how difficult that's got to be to play. a robot playing a boy who wants to be seen as a boy and not a robot, but the robot, you know, sort of like keeps peeking through. And just the duality of that, it's so hard. It's so hard and he's so good.

But instead, I'm going to give it to Steven Spielberg for Best Director for Artificial Intelligence. I also toyed with giving Spielberg director for Jaws because it's Jaws. And they gave it to Fellini. They gave it to Fellini. And they should have given it to Spielberg for Jaws because it's one of the best movies of all time. But AI is such an impressive, almost more impressive for the ways that it falls just short of being, you know, of perfection, really. It's there are jagged edges to AI. There is a lot of people sort of are down on the ending.

I'm not necessarily. I think that that ending for that story makes a lot of sense. Obviously, the sort of Stanley Kubrick of it all becomes so much a part of the story that it was originally a Kubrick project, which got passed off to Spielberg after Kubrick died. The world building in AI is really, really incredible. The story of it, the sort of the humanity of it, this quest narrative, everything about the flesh fair, which like,

Anytime there's any more news updates about AI in any way, I'm always just like, maybe Brendan Gleason had the right idea with the Fletcher. Different type of AI, different type of AI. Different type of AI. But listen. That sequence is so fucking upsetting. It is. It's incredibly upsetting.

Obviously, I'm not advocating the cruelty of Brendan Gleason and that. But I'm just saying, beware of AI. It's just a tremendously fascinating movie. And I think Spielberg doesn't always get credit. This was the thing with the Fableman's too, where I don't think Spielberg often gets credit enough for movies, for the complexity of some of his movies. And I think a lot of times his movies

get sort of boiled down to these really kind of simplistic readings. And I think AI was one of those movies. I think the Fableman's is one of those movies. Whenever I stick up for Warhorse, I'm always talking about how there's a little bit more going on there than maybe you think. I think it's easy to sort of read artificial intelligence as this kind of, you know, lost boy story that he's, you know, he's looking for the Blue Fairy.

And by the end he gets this, you know, sort of a sweet, happy ending. But there's so much darkness to AI. And Spielberg really leans into that in a lot of ways. And it's, again, a movie that gets better every time I see it. The first time I saw it, I was. perplexed by it. And I did not think it was, you know, I thought it had a lot of problems. And I think every time I've seen it, any kind of those misgivings have either gone away or I've realized that what I initially was sort of twigged by is actually one of the film's strengths. Again, it goes

into that complexity. And I think it's a really, really good movie. Spielberg was nominated at the Golden Globes that year. He lost to Robert Altman. He was a Saturn Award nominee, and he lost to Peter Jackson. Both of those, I mean, Altman for Gossford Park and Peter Jackson for Lord of the Rings, Fellowship of the Ring.

Tremendous, I don't think I would, you know, quarrel too much with that. It's an interesting best director lineup in 2001. It's Altman, it's Peter Jackson. David Lynch, for Mahal and Drive, gets director, but not picture. Ridley Scott for Blackhawk Down, director, but not picture. They were both instead

of Baz Luhrman for Mulan Rouge and Todd Field for in the bedroom. So, like, that's a really interesting case there. And then the winner of all of those talented filmmakers and tremendous films, who wins, but Ron Howard for a beautiful mind.

I am a house downbootsing this for sure. Like, Ron Howard... I knew that was coming. I mean, I've not made a secret of the fact that I really don't care for a beautiful mind. I have nothing against Ron Howard specifically. I don't think he's, I think a lot of people sort of line up behind the, like, Ron Howard's a hack kind of a thing. I think Ron Howard's made some really good movies.

This is not one of them. What do you, where do you fall on both AI and this year's director lineup? I do not love this director lineup, I have to say. AI, however, I mean, AI is a movie that I've seen having more and more vocal fans as the movie ages. And I think, I hope that means that. Spielberg gets more credit for the type of storytelling risk that this is because obviously it's a huge movie so it has to be sold to a wide audience and it's just I think in that it was meant for a wide audience it was never going to have a friendly reaction because you can't expect like mom and pop and Branson to sit down for a giant massive visual effects extravaganza Spielberg movie. and deal with this incredibly complex, not just emotionally, but also this kind of real question of where we're going in the future and what we, the, like, complexities and the questions of what technology means for our own humanity. Yeah.

Or, you know, it's an ability to expose the truths that are already there, that we are fucking monsters. I don't expect I don't think you can ever really expect a friendly response from this movie But I also think Spielberg was kind of written off In that he was like chasing Kubrick Yes At the time at least

And it's like I don't think we talk that way About this movie anymore But He got, I think this is one of the movies That he got the short end of the stick for And I think it's one of his riskiest movies, especially narratively, the way that the story is structured. It is a, like, behemoth of a movie.

It's just not the time. It's not, I don't know, it's like his biggest art film ever made. A wide audience is not going to, you know, understand this movie, especially without sitting with it for a while. Yeah. I watched it in the lead-up to the Fableman's again, and it's, yeah, it's one of the top Spielberg movies for me. It's a lot to kind of grapple with, even just like talking about it. I think it's one of his most complex movies.

All right, Chris, what do you have next? Let's say, for example, you have some gorgeous woman standing in your room. office, naked, and you're feeling her fucking tits. Now, what I want to know, I want to know, what are you really thinking about when you're squeezing them? I'm staying in 1999, and we're talking about Best Actress, a movie that we definitely will do in the future at some point when we have another three hours to sit and talk and still probably not get to all of it. yeah um Nicole Kidman for eyes wide shut Nicole Kidman was one of the examples of

you know when we're talking about the kind of parameters and rules that we set for ourselves for this it's like we're not going to do 14 Nicole Kidman performances yeah so it's like picking the one was a little you know difficult I obviously thought about birth I think that's one of her best performances I thought about other options I'm very on the record of saying her you know, Oscar resume is very not indicative of who she is as a performer. Sure. So once I'd settled on this, it made complete sense to me. You know, this is before she's fully taken seriously. Obviously, to die for has happened at this point, and she

almost was nominated for that, presumably. And like, eyes wide shut being completely blanked for the Oscars was no surprise at the time because, you know, critical response was not good. Again, a movie sold to a wide audience that it was absolutely not going to get a friendly response for. Yeah. But every

time I rewatch this movie, I am again kind of a gog at her really like un... I don't want to say unhinged, but just like you can see

her as a performer being liberated in somewhat of a way. And she's somewhat talked about this in her career in terms of it helped her be director focused. And, you know, she speaks very lovingly of Kubrick. And like the way that people were like, oh, his methods must have been horrible. And she's like, I could have done that every day for the rest of my way. But in some ways, it is both atypical and I think the kind of quintessential Kubrick performance and that through stillness she communicates so very much and she turns the entire

movie on its head with just her gaze I always laugh when she does the like she does that belittling voice about his penis or something or tities or she says tities or something And it's just like, what is this performance? This is, yeah.

She's amazing. She's absolutely amazing. And I think we can get into it when we get into the movie. I think she remains entirely grounded in the real world throughout, whereas most of the movie is this kind of nightmarish fantasy. Yeah. She's spectacular. She should have been taken seriously for this movie. Agreed.

However, the one people we could rely on to give her her due was the good people at Blockbuster. She is a Blockbuster Entertainment Award winner for favorite actress in a drama, romance. Yes. God bless the Blackbuster Awards. Maybe stretching the designation to call this movie a romance. But we get it, we get it. Yes. Who were our nominees that year?

Well, Hillary Swank wins for Boys Don't Cry, or as Roberto Benini said, Hillary Swank for Boys Don't Cry. Annette Benning for American Beauty. Janet McTeer for Tumbleweeds, Julianne Moore in the End of the Affair, and Merrill Streep in Music of the Heart. This, I mean, when people talk about this race, it comes down to them talking about Hillary Swank and Annette Benning, and they kind of overlook the other ones. I think Julianne Moore is great in the end of the affair,

even if it's one we don't maybe talk about for her. Same with Meryl and Music of the Heart. Obviously, there's complex feelings about Hillary Swank's performance in Boys Don't Cry. I still think that she's good in it. The one I would boot that I hadn't seen for a long time watched it at some point in the pandemic and still was kind of left scratching my head was Janet McTeer in Tumbleweeds. We talked about movies like this when we talked about anywhere, but here there's, you know, a lot of those

parent, child, go across country and restart their lives somewhere and, you know, reconcile their relationship. And it's very much that movie, but I thought it was one of the less exciting ones I've ever seen. Yeah. I mean, I suppose

Janet McTeer, if you hadn't seen her before, she's primarily a theater actress, maybe this performance would kind of surprise you more, but I didn't see a lot of there there. I support that. I haven't seen tumbleweeds yet ever, so, but I support that distinction.

If only to stand up for Merrill in Music of the Heart. Listen, many a times has Merrill taught us to run? Yes. taught us to, what, not hide, but what are those Diane Warren lyrics? Anyway, Merrill did that for us. No, you taught me to fly, not hide You didn't teach me... Oh, yes, she did teach us to fly.

This was before lockdown drills in classroom, so Meryl Streep did not have to teach her music class to hide yet. Oh, Jesus, fucking... Sorry. It's Joe Reed. Sorry. It's dark. We're living in dark times, man.

We're living in dark times, man. We're living in dark times. Okay. All I do is worried and slayed and defend you. And all I get back is that fucking face on your face. All right. My next choice, best actress, 2018, of course, I could not get through a list of snubs without talking about the great Tony Collette in Hereditary. This feels like a no-brainer, right? This feels like what more needs to be said about Tony Collette in Hereditary? It's one of those performances that you get to the end of it. It's sort of like Jennifer Lawrence and Mother, actually, where you get to the end of it and you're just like how did you where did you pull this wherewithal to play this

character just there's it's the intensity of it i'm not saying that she actually crawled up to the ceiling of the house while she was filming this but like she very well may have just on the strength of her you know her her her energy and her commitment to this role um she did slice her own head off though playing a woman who's already dealing with uh i mean that's you know, those Australian actresses, man, they'll just come to set and just be like, yes, I'll slice my own head off for this role. It's fine. She's playing a woman who's already grieving the death of her mother,

who was a sort of secretive and exacting woman who we learn more about over the course of the film. And as she's trying to process this grief, her daughter gets killed in the most awful way you could possibly ever think of it. And her reaction to it is to just absolutely just self-immolate, often literally. And obviously the scene where she loses it on Alex Wolfe as her son

is the one that sort of gets played a lot, the, you know, I am your mother and, you know, you sit there with that face on your face. tremendous scene, but it's just, it's one of the most committed and dialed in horror performances that I can think of. And it felt like we were on the cusp for a minute there of maybe getting a little bit of respect for, you know, performances in horror movies enough that maybe Tony Collette was going to enter that conversation for Best Actress in 2018. And it didn't quite make it there, but it feels like we're sort of like inching closer to this

kind of, you know, respect and consideration for horror performances. I know you are a fan of Tony Collette. I could have gone a bunch of different places for a Tony Collette snub. I considered Velvet Gold Mine. I will say, if I was going, if I, and I had debated, if I'm putting Tony Collette on this list, I probably would have picked a different performance. Either the hours or Velvet Gold Mine or Muriel's Wedding. Miriel's Wedding, Japanese story. There's so many options. Lest we forget Connie and Carla.

I know you are... Lest we forget Connie and Carla. I know you are a fan of Midsomar. You talked about it just a second ago. Are you as much

of a fan of hereditary? Oh, yes. Yeah. I mean, I think Midsomars is the better movie. And I begrudge nothing. Sometimes the fans of this performance

do drive me a little crazy. Sure. But, yeah, I mean, well, so we can save it for the eventual hereditary episode. I have thoughts on this movie in terms of what I think the perspective is that I think, you know,

even though it's a performance where she saws off her own head and, you know, is hiding in the crevices of her own architecture, it is a, you know, grand, like, like Greek tragedy performance, you know, like theater of the mask. shit that happens to be an horror movie. Yeah. Yeah. And, like, that's just the Ariaster vibe, right? Sure. Everything is huge because it's, you know, grand tragedy.

Yes. Everything is taking place on a stage even if it's not necessarily. Right. I haven't watched this probably since before Midsamar came out. So maybe I'm due for a refresher. It's just, it's a movie that gets talked about so... I know. much. I know. It's just like, do I really need to even see it if people won't stop talking about it? Understandable. And yet I couldn't, I couldn't in good conscience leave it off of my list because I am such, I am such a fan of it. Like I, for as much as I want to sort of pretend that I'm, you know, better than those people. I'm not. I am ultimately. I also feel more goodwill for the movie now, even though it's a movie that I like.

quite a bit I feel even more in defense of this movie now after being very whoopi Goldberg

okay after Beau was afraid sure sure sure so yeah okay the nominees that year 2018 best actress quite famous

because I've watched this clip eight billion times Olivia Coleman wins for the favorite who's nominated against Yalitza Apricio for Roma

Glenn Close for the wife, Lady Gaga for A Star is Born, and Melissa McCarthy, for Can You Ever Forgive Me? Melissa McCarthy's probably my winner that year if I'm casting a vote. What a

wonderful performance. Obviously, she stays. Obviously, Lady Gaga stays for A Star is Born. Love Yolitsa Operizio in Roma. Love Olivia Coleman in the favorite. Even if I didn't think the wife was kind of a subpar movie, I think process of elimination

sort of dams Glenn Close in this anyway. to getting booted off of this list just because I think the other four performances are quite good, and I don't think, much as I like Glenn Close a lot, I don't think she can compete. Much as I feel like,

I would have been fine with Glenn Close winning this Oscar. I'm glad that Olivia Coleman has an Oscar. I'm glad that she won for that performance. If Olivia Coleman hadn't won for that performance, she would have been undeniably the winner for the lost daughter. I think that's true, and I think then Glenn Close doesn't get nominated for Hillbilly elegy, and maybe things are better in the world.

Who knows? Who knows? Who knows? Who knows? But then Glenn Close doesn't do the butt on the Oscar telecast. So truly, maybe things all worked out the way they were supposed to. Who knows? Maybe she would have. She's a good time, gal. She's cool. Maybe. It's possible. It's all possible. All right. I must listeners say that I am mean, I'm going to say absolutely nothing about this boot. However, I will say also back to our rules, which it feels like it naturally becomes more of a conversation as these snubs have gone on, as the list nears its end. If we're talking Best Actress in 2018, Tony Collette is not the one that I'm pulling. Who would be yours? Viola Davis and widows

Well, yes Also widows This is the thing This is why I tried to limit myself To not doing as many from the last five years Because we went into widows too We did a whole episode on widows And I love widows

I think my bona fides for widows We're never going to stop talking about widows Yeah All right I continue Chris we only have a small handful of snubs left What are we going to do? We're already running out of

We're getting there Very deserving Snubs So, Chris, who do you have next? Oh. We've got the view of the mezzo.

You've had to a good moment. When we first came up with this concept for this May miniseries, among the first things that came to my mind

was this snub from the foreign language film category in 2005, now known as Best International Feature. Michael Hanukkah's cachet. I think it is his best movie. I mean, weird to say his masterpiece because he

mostly just makes those. And this is like part of the reason why this does feel like a snub. It is, I hate using the word bureaucracy, but there is no perfect system for this category in terms of getting things. But this is a movie that got uniquely screwed. because it was disqualified as the Austrian submission. Michael Hanukkah is Austrian. Yes. And because the movie is in French, which was deemed not the national language of Austria,

it's not eligible because of that. And there's also a history around this time of, well, what country can submit something if it's like co-productions across multiple countries, is there a question of what language is used in the movie? Like the decision to say what the national language of something is, whereas like it's movies have been screwed before because like the majority of people speak English in countries.

So it's like what is the national language of some of these countries? A lot of stupid shit that prevents movies from getting their due. and Cache, I think, is one of the most, a movie that should have been on, like, the global platform of the Oscars. It is incredibly well made. It deals with a family played by Daniel O'Too and Juliet Pinoche, who are getting these suspicious videos sent to them of someone recording outside of their home and sending it to, them and then you get into the father's backstory of his childhood. And it raises a lot of questions, you know, in terms of a lot of the relationship with, you know, media that we would continue to have immigration in a lot of complexity and asks, I think, dark

questions, and I think it says a very damning thing about especially Eurocentric white people and our relationship to the other and self-perceived imperviousness that the movie takes to almost a horror film aspect. You know, watching these sequences of the filmed video and maybe subverting that and sometimes are we meant to be the person behind the camera. There are so many times in this movie where you're watching something and you're, you know, you assume you're just watching a movie and then you turn out you're watching a video inside of a movie. And Hanukkah is a very

impish filmmaker sometimes. He can be very sort of like, I got you. You know what I mean? I think he enjoys playing tricks on the audience in that way. I think he enjoys sort of provoking the audience in that way. And it's a movie that really he gets a lot of enjoyment out of that. And as you're like kind of your eyes wandering the image that you're watching in stasis and like sometimes major activity, like huge plot driving things are happening somewhere in the frame of what you're seeing but you don't know where and maybe you miss it

and also what does that say about what the movie is doing thematically it is a real troubling but not in the way that like there is yeah like it's problematic or something a very troubling disquieting movie

and hugely celebrated by bullshit yeah hugely celebrated in its year like for as much as it got screwed over by the Oscars and I think kind of the poster child for why a lot of those rules didn't work and like there's no perfect system to be able to do this category or at least not one that I've ever seen suggested

that solves some of its problems so in this year the TIF audience award winner Sozzi wins the category also nominated or Don't Tell Joyo Noelle, Paradise Now and Sophie Shoal. A lot of these movies, I think, have good things going for them, even if I don't think they're overall good, like Paradise Now or Don't Tell. Um, Sophie Scholl, I actually was kind of riveted by, even though it's, you know, pretty straightforward. Sure. The one I would boot is Joyo

Noel. It is, I mean, it asks Diane Krueger to lip sync. It's, it's, it's, it's, it's, very straight down the middle, you know, it checks a lot of Oscar boxes that it's like, well, of course, it's nominated, even if it's not very exciting or good. It's World War II. It's, you know, during the armistice, when all of the battling sides came together for Christmas, et cetera, et cetera. Sure. All right. Didn't love it. Uh-oh, Chris. Who's approaching now?

Is it time for the pies? I think it's time. I think the strawberry pies are approaching. And yet another mysterious figure in a red dress. Weielding a shotgun and a strawberry pie. This is too much. This is a shotgun, a strawberry pie, some incredible high heels. And a veil.

And a veil. Who could it be this time? Oh, my goodness. It's Christina Tucker. Oh, my God. Let's take a call. All right. Chris and Joe, thank you so much for calling on me in this moment to submit a snub that I hold dear to my heart. And I know, before I say this, that I know what I'm going to hear from the fans, the listeners, the Gary's, if you will, is boo, Christina, Christina, this is recency bias, go a little deeper, pull further.

And to them, I say no. Because when we as a nation decided not to give Jennifer Lynn Lopez an Oscar nominee, for her outstanding work in the film hustlers. We lied to ourselves and we lied to her. And I think that's really the biggest mistake of all because had she been nominated, we could be living in a world where she's in better movies, not in a movie called Mother,

where she's some sort of assassin, not in a movie with Josh Duhamel. We could have had better for her. I would also, it also feels like a very easy switch, right? Because we've got Scarlett Johansson famously in these Oscars twice to take her out of supporting. Though I think the correct action would also be taking Margot Roby out. She could go. But I think the easiest sub-scarlet for J-Lo and then, and I'm sorry, DeLora Dern, give the Oscar to Florence Pugh.

She deserved it. was that two in one? Am I too crazy for you? XOXO, XO, Gossip Girl, Christina. Just Christina, not a gossip girl. Fantastic. Fantastic. Absolutely. This is the type of discourse that we should be bringing to the strawberry social. Yes. Absolutely. Anyone claiming recency bias, I also say, shame on you. This, I mean, truly, the thing is, and maybe we, will be getting into this discussion again on an upcoming episode. Who knows? It did actually feel like a snub. It did actually feel like they don't like Jennifer Lopez. And they don't like this movie they perceive to just be about strippers. And rude is what it was.

And we should say that because it is one of the performances of the past decade. Go back and listen to our episode on Hustlers. We talk a lot about it. one of the best Thank you for saying for speaking the truth Christina Tucker come into our fur is what we say

come sit with us on this rooftop I think I think booting Scarjo is fair to I think so too She had a nomination

She still has her marriage story nomination Totally absolutely And also Absent to win for Jennifer Lopez I also said We should have voted for Florence Pugh to win Yeah, I mean, listen, I'm not here for Laura Dern denigration for her performance in marriage story, a truly comedic performance that doesn't, the kind of which does not win enough in movies is what I will say.

So I'm very, very good with that win, but Jennifer Lopez was the cream of that crop that year and was unfortunately rudely snubbed. So I'm glad we could make that correction here. And I am not besmirching Laura Dern either. I think that's a good performance, though. Does she have the smallest feet in her family? I think not. Joe, I believe you have... We're coming in...

Home stretch, y'all. Home stretch. We're in the home stretch. Two picks left apiece. All right, yes. What's going to happen to you? Nothing too bad. But I got to tell you, Sam.

Sammy, and I know things really didn't work out too well this time. But it's really good to know, wherever I am, and whatever stupid shit I'm doing, that you're back at my home rooting for me. It's all going to be all right, Sammy, comparatively. This is a selection which almost made my number one Oscar snub of all time. It is one that I most fervently fired up about, how did this miss a nomination to 2000 Best Actor. It's Mark Ruffalo, and you can count on me. One of my favorite movies of all time and a true two-hander in terms of

of Laura Linney's nominated for Best Actress that year, and rightly so. Probably my vote to win that year in a very strong category. um i'm it's just one of the special performances for me but it's a performance that works so well in tandem with mark ruffalo who plays terry her brother and everything that is so special about you can count on me comes from that brother or sister relationship obviously there are other relationships in the movie you know her son uh it grows close to terry her son played by rory Culkin, very, very little, little baby boy, Rory Culkin. Her, she's having the affair with her boss,

Matthew Broderick. But, like, you can count on me boils down to Sammy and Terry and their relationship with each other, and they're such well-drawn characters by Kenneth Lonergan, the screenwriter and director, but they're also performed so indelibly by these two actors. And Ruffalo, this is his big sort of breakthrough role. and he's so stubborn and headstrong but also like clearly vulnerable and clearly you know

sort of wounded this you know you can there are these you know siblings who grew up and they only had each other because their parents died when they were very young and he's dependent on Sammy he really wants her approval but he's also you know rebellious against her she's sort of the authority figure in his life, and he wants to do his own thing. And he really, really, really can't stand being back in his hometown where he constantly feels judged by other people and has these probably, you know, wounds from being probably a bad kid in high school and all this sort of stuff. And their scenes together are perfect. And his scenes with Rory Culkin are perfect. And it's just shocking to me that, and I know that we treat sort of up-and-coming breakthrough actors

differently than we do actresses and, you know, I think the sort of the ingenue actress gets a lot more play with the Oscars than does the, you know, out of nowhere young actor, right? We sort of have actors prove themselves a little bit more. But I don't know how you can nominate one without the other. I think this should have been an easily, easy sort of actor and actress double for these two. He was the runner-up at National Society of film critics that year where he lost to Javier Bardem for before Night Falls. He also lost to Javier Bardem at the Independent Spirit Awards that year. So I wonder when they were both in collateral several years later

if Ruffalo reminded Javier or Javier reminded Ruffalo of that fact. I know I am probably, I can't imagine you're as big of a you can count on me fan as I am because I can't imagine how anyone would be. But I know that you are a fan. this movie. I'm a massive fan of this movie. It's so wonderful. I've seen it so many times. Listen, I will break the pool stick over my knee and we can fight to the death over who is the

bigger you can count on me fan because I will win. But I love this choice. Oh, thank you. Thank you for supporting me. Laura Linney also loves this choice because she's, she would talk about how she's like, I appreciate all of this happening for me, but I don't understand why it's not happening for my co-star, Mike Ruffalo. Especially because, like, he would become such an Oscar favorite later and get, you know,

multiple nominations going forward. He's a three-time nominee now. And anyway, so the nominees that year, Russell Crow wins for Gladiator, probably a year before the Academy, if they would have, I think if the Academy had known that a beautiful line was coming the next year, they would have probably held off because they really loved the beautiful mind, and they almost gave it to him two years in a row, but anyway, he beats out Javier Bardem for Before Night Falls, Tom Hanks for Castaway, who maybe wins if he's not already a two-time Oscar winner, sort of a Jody Foster and Nell situation there, Ed Harris

for Pollock, and then Jeffrey Rush for Quills. I'm not a huge Gladiator fan, but I think Russell Crow getting nominated for that. I don't know about winning, but I think Russell Crowe getting nominated for that movie is probably correct. He brings a lot of movie star charisma to that. I think a lot of the reason The Gladiator works is because of Russell Crow. At the center of it, love Hanks and Castaway, love Castaway, just in general. What a great movie. Ed Harris is so unlikable in Pollock that I find it's just so impressive.

Just what son of a bitch. He is in that movie. I like Javier Bardemman before Night Falls. That was a big breakthrough for him. I'm not as big of a fan of Quills. I know you've talked earlier in this series about liking quills. I'm not super into it. I think Jeffrey Rush, I think the assignment is to sort of go over the top,

but he goes over the top in that very Jeffrey Rush way. Of his, I do think that's the one I'm booting, though, out of this category is Jeffrey Rush for Quills. And I think Ruffalo makes, I think Ruffalo is probably my winner that year of all of these guys. But at the very least, deserved a nomination. All right, Chris.

All right. Your penultimate. My penultimate. For a moment, thought about this as my biggest of all time, but I have a very clear winner of that distinction. Talking about Best Director of 1983, Barbara Streisand for Yentel. Had to know this was coming. You had to know this. I mean, first of all, who loves Yenthal?

Again, horny cinema. Yeah. I feel like when we talk about Barbara Streisand not getting Best Director nominations, people more so talk about Prince of Tides, I think because Prince of Tides seemed like an even bigger snub because it was the second time it happened. And it had a ton of overall nominations. And it had a Best Picture nomination, too. Yentel did not, but Yentel got multiple Oscar nominations. It did.

It is so fucking good. good, such a fucking personal story. And when you, I feel like it's the even bigger snub because I think it shows more distinctly who Streisand is as a director.

And, you know, where she's coming from as a storyteller. And I think it's just a better movie than Prince of Tides. And when you like, you read some of the press around the time of this movie, it just reeks of such

sexism and anti-Semitism for this, you know, distinctly Jewish story. And, you know, people treating this movie like it's some type of vanity project. Right. And it's like, you could, sure, maybe it could, but like we don't go to the movies to see

people be modest. We don't. Like, it, I mean, I think it's, for someone who does not consider themselves very religious, I think it's a very, you know, profound to me in the type of spiritual awakening that it is trying to exemplify.

This is a queer legend movie. Like, there is so much to be said about this movie in terms of sexuality, in terms of gender expression, in terms of, you know, gender euphoria. And it's also a really good musical. Like, I feel like it gets a lot of shit for all of the songs are Yentils and. that gets lumped into the way people perceive Streisand, but also when you look at the narrative, it makes absolute fucking sense that all of the songs are just in the protagonist's head,

basically, you know, the original Roxyheart of our time. Yentel. Yentel. And it has maybe one of my, like, top five favorite finale songs ever. I've talked a lot about Cynthia Revo performing a piece of sky

as among my favorites I don't know I think Streisand also pulls off what so few especially modern musicals are able to achieve in that the grandeur

and the intimacy of the story are given equal skill and attention and she's able to pull off these small intimate character internal moments and then make this kind of grand sweeping story at the same time. Yentel fucking rules. I love Yentel.

I love this choice. She was not too old for Yentel. She was too old for Yentel. I love that moment and end and out. Okay. The nominees in 1983 for Best Director. The all-mail nominees. Barbara won the Golden Globe that year.

Yes. Yes. James H. Brooks wins for terms of endearment. Bruce Beresford for Tender Mercies. Ingmar Bergman for Fanny and Alexander. Mike Nichols for Silkwood and Peter Yates for the dresser. I think this is actually a pretty good lineup. Sure.

I think that, you know, a few of them are not at the level of what Yentel achieves, notably Bruce Barrisford and Peter Yates, though I think the dresser is a lot of fun. I've never seen the dresser, but I've heard good things about it. I understand why people would hate it, but I also understand why people love it. I kind of fell somewhat in the middle, though I was impressed by what Peter Yates brings to the material and what he draws out of it. My boot is Bruce Beresford for Tender Mercies, a movie that has some good stuff in there. Obviously, Robert Duval wins his acting Oscar for that movie. it also has

Betty Buckley on a break from cats ripping into the I believe it was nominated for original song over you which like my God

pull up that clip of Betty Buckley going full country western singer and then doing this kind of torch ballad it's fucking incredible just cut that scene into Yentel somehow It was, by the way,

it was an original song nominee alongside two songs for Yentel. And she did perform it on the ceremony, I think, because she'd either gone back to cats or something. Yeah. Bruce Beresford is my boot. All due respect to Mr. Beresford.

Very good. All right, Chris. So here's what's interesting and funny as we move into the number one Oscar snub of all time, is we came up with these lists completely independently of each other. We went in our separate corners, we came up in our list, we came back together, and lo and behold, genuinely, shockingly to the both of us, we both had the same choice

for number one snub of all time. What else could be a bigger snub than this? The reaction that I had when I saw that this was your number one snub and mine, it was absolutely completely perfect. We're going to play a clip for you. in a second. And you'll understand as soon as we play the clip why we had to choose it as our number one Oscar snub of all time. Very storied, very notorious, very beloved. That's the thing. It was such a no-brainer. A huge intrinsic part of culture for all people. It was, it's the obvious

choice, but we had to go for it. And we couldn't not. Sometimes the obvious is true. All right. So we're going to play a clip, and then we'll talk about our number one choice. Hey, baby, dog, what's going on? Sweet baby doll, I'll sing my song. Uh, uh, come on. No. No, we're kidding. You guys were kidding.

Much as we love, by the way, much as we absolutely legitimately love, Hey Baby Doll from This at Oscar Buzz Certified Selection, Danny Collins. We're playing a little joke on you. But what if you guys? The great existential question, Hey, baby doll, what's going on?

What's going on indeed? Sometimes I wake up in the morning and I just look in the mirror and I take a deep look into my soul and say, hey, baby, baby doll, what is going on? We couldn't not mention, hey baby doll. At the very least, we couldn't

not mention it. But no, that is not our number one. We do have two distinct choices for number one Oscar snub of all time. Mine was pretty clear for me. Mine was in turmoil for a while. I will say, before Oliver came in with his

selection of Greta Gerwig for Francis Haugh, her best picture was my choice for number one snub of all time. But I, again, chose to spread the wealth. It's not a joke. It was actually my choice. And I would have been happy to stand by it. But Oliver jumped it.

All right. So instead, I am choosing... Make them laugh. Don't you know everyone wants to laugh? My dad said be an actor, my son. But be a comical one. They'll be standing in lines for those old honky-tonk monkey shines. Or you could study Shakespeare and be quite elite. You could charm the critics and have nothing to eat.

Just slip on a banana peel, the world at your feet. Make them laugh, make them laugh, make them laugh. This one does feel, no, this is not, I'm, nobody's joking this time. This does feel like an obvious one, but one I couldn't not recognize as, it's one of the more puzzling, baffling, you know, you look back and you're like, why, why did this not happen? We're going all the way back to 1952, best picture. It's singing in the rain, ladies and gentlemen. What was happening in 1952, Chris, that it's not like it took, it's not like singing in the rain was one of these things that got reclaimed late in, you know, late in the game. It's not like it took until like the 70s or something like that for people to realize that singing in the rain was this, you know, great beloved hit or whatever.

It didn't feel like, you know, there wasn't this big controversy around. it or whatever. There wasn't anything. It just was somehow overlooked for five other nominees. It only got two nominations in total. It got nominated for Gene Hagen for supporting actress as Lena Lamont. Rightly so.

Tremendously funny performance. And then original score. And then otherwise no. Nothing for picture, nothing for directors Stanley Donnan and Gene Kelly. Nothing for Debbie Reynolds or Donald O'Connor.

Um, it's just, it's surprising. I know the songs were not largely not original, right? There was some, they were, uh, but regardless, um, it was a Golden Globe nominee. It lost two with a song in my heart. It was a BAFTA nominee among 18 nominees for best film, not from, uh, England, essentially. Go off BAFTA. 18 nominees that included not only singing in the rain, but like Roshaman and a streetcar named Desire and the African queen.

So, like, it was, there was some competition there, for sure. But anyway, just in general, singing in the rain was not recognized as this sort of no-brainer best movie of the year, a cinematic classic by then, which is, again, it's puzzling. I guess you could maybe say that it's because it takes something of a dim look at Hollywood, but it does so in the guise of something that celebrates Hollywood. Hollywood, too, right? That celebrates the idea of, you know, making motion pictures and making, ultimately, these people are, you know, artists and entertainers. And Gene Kelly

and Debbie Reynolds have this, you know, very wonderful romance. Donald O'Connor is, as I said, the last time I saw Singing in the Rain on the big screen, Donald O'Connor giving one of the great sublimated gay longing performances of all time, where it's... just like, I'm in love with my best friend, so what I'm going to do, I'm going to dance so hard that I, like, run up onto the walls. You know what I mean? Like, that's what's going to happen in this performance right here. I don't know. I think it's like, it's largely regarded as one of the great musicals and great films of all time. And it's just, it's so strange to go to look back and think, well, obviously, what did that lose to in the best picture race? And it's like, well, it wasn't even nominated. And it's like, well, it wasn't even nominated. And it's like, What the hell? So what do you have to say about singing in the rain, my friend? I think some of it is just like the relationship with, it's so weird. The musicals that have endured and stand out so much for their greatness today and have been highly influential,

it's, Oscar's relationship with musicals have always been so strange. Sure. Like, I, in a previous episode, called out gentlemen prefer blondes, which had no nominations, which is crazy. Yeah. I guess maybe it's not till the 60s when you get stuff like The Sound of Music and My Fair Lady and Oliver and stuff like that. But even like Oliver is one, that one best picture and like, do people really talk about Oliver all that? No. I mean, I know that Oliver has its fans in musical theater, but as a film.

Isn't Oliver at City Center, like right now? Isn't that happening at encores? Yeah, yeah, yeah. Okay, interesting. I'd rather pluck my own eye. I can see a production of Oliver personally. But, yeah. But no, you're not wrong. I think maybe in the 1950s.

Although, when was Gigi the Best Picture winner? That was in the 50s, I imagine. So it's like the trend is in the 60s that musicals did well, big, giant, flashy musicals. Sure. So this was maybe a little bit before its time. But it's just, it's always like the ones that. do land with them. I think of even like White Christmas,

which I'm sure White Christmas has just seen as fluff at the time. Sure. Sure, sure, sure. Yeah. Anyway, so the nominees that year, this is the year that the greatest show on Earth wins, the Cecil B. DeMille. More is More, epic, greatest show on Earth. Also nominated were

High Noon, Ivan Ho, Moulin Rouge, the John Houston Moulon Rouge, and then John Ford's The Quiet Man. Mulan Rouge, no punctuation. Right. Yeah, Mulan Rouge full stop. Not even full stop. There's nothing. What are your thoughts on this best picture lineup, Chris? I haven't seen the greatest show on Earth, but it's one that I've seen bandied around by people as like some of the worst best picture winners of all time.

Yes. It is. Oh, really? Well, I've not seen all of them. So like I can't, you know, but it's a lot of sound and fear. And again, I am not a Cecil B. DeMille hater. I kicked off this episode raving about the Ten Commandments. So, like, I like Cecil B. DeMille going big. But greatest show on earth falls short of that, I think, for sure. Ivanhoe I've not seen, but that's supposed to be this sort of, again, that was another big movie of that year.

This was this, whatever, old England nights of the roundtable, but like Richard the Lionheart era kind of stuff. and Elizabeth Taylor is in that one, I want to say. But anyway, high noon, obviously, this, you know, celebrated Western, which was, I think, hugely critically lauded at the time. The Quiet Man is a little bit of an atypical film for John Ford in terms of, like, you know, a Western that sort of goes in some interesting directions. And then I've not seen John Houston's Moulon Rouge. So I can't

Neither of I But I've also not heard great things So anyway I think just for the historical record of it all I'm going to house down boots This one and get rid of the greatest show on earth And we'll slot in singing in the rain And we'll pretend that that one best picture that year

And everything will make sense once again And listen It's your greatest Oscar snub of all time You are allowed to make your boot be petty It's true, exactly. All right So that's my number one snub of all time. Chris, what is yours? The only reason why you're here

you can make their team win and their team wins these schools get a lot of money. This whole thing is revolving around money. So mine was pretty clear to me early on that this is the greatest Oscar snub of all time, not just for creative reasons, but also just for the simple fact of,

I can't think of other Oscar snubs that were so egregious, that made so much headlines, that it actually resulted in changes in the way the category would be nominated, moving forward. I'm talking about none other than 1990. Best Documentary Feature for Steve James's Hoop Dreams. So Hoop Dreams failed to make an eligibility list. And Roger Ebert especially, who was a huge proponent of this movie at the time, and I think he maybe made it his best of the decade,

best movie of the decade, if I'm remembering correctly. I remember that at least both Siskel and Ebert had it as their number one movie of 1994, for both of them. And they made somewhat of a hullabaloo about it being on the, I think just the shortlist for it. It didn't make it. And that ultimately pushed it to, by the editors to nominate the movie for best editing. Is it still the only documentary nominated in best film editing ever? I would have to scour that category, but I can't think of anything else off of the top of my head. Quite possibly. Yeah. Which is surprising because you you would think that of all the categories for, you know,

documentaries to get additional nominations and editing would be a natural one. But, you know, who knows? The documentary for people who haven't seen it and you absolutely have to. It is American masterpiece. It centers around several kids in Chicago who are attempting to get through, playing basketball, whether they're recruited for private schools, they're doing it at public schools, et cetera, trying to basically land college deals as well. And the movie, in somewhat of like a Frederick Wiseman way, goes through the whole system of what this is like. You deal with

these really shitty, evil, like recruiters and the manipulations that they go through. You get the administration, both within the schools and all. the sports teams that are, you know, getting these students in, but you also get a lot of detail about their personal lives and their family lives and what their families are going through and their struggles with finances, et cetera, and the kids' education as well, just to get these young athletes ahead. And it becomes this very, very intimate look at, you know, the sports industrial complex within America. And I think, you know, I'm obviously not a sports person.

Sure. You know, when I see these scenes in this movie, that's, you know, 30 years old and I see the way that these kids are manipulated by, like, recruiters and stuff, I'm like, that man is evil. Sure. That man is evil. He is destroying this child's life. And, uh, it is, it's, I mean, it's one of the greatest America movies ever made, period. And the kind of out. outroar about the about this movie not making the uh shortlist exposed how the documentary branch was

voting for these movies that's the thing which is insane and belittling to these artists basically they're going to screening rooms and they're going to be screening all of these documentaries for uh people in the audience and apparently the documentary branch or the people voting on Best Documentary had the ability to like wave a flashlight at the screen if they wanted to stop watching the movie and if they get like a majority

or a certain number of lights they stop the screening and they move on to the next movie and it hoop dreams which is three hours long and it does take time to kind of snowball and reveal what it is you know it's a three hour long movie and it was exposed that

They stopped the screening of the movie through this method 20 minutes into it, which is like you don't even get into the sports part of it. So it's like they didn't see the art in it, didn't see the interest in the story as you're just seeing these young black men's lives. So it's like, oh, so you don't see that this is a valuable story to be telling and it got exposed. And they obviously no longer vote that way. Well, and I would also imagine that by the time they had gotten to the screenings, there had been some sort of advanced praise for hoop dreams. And so it won at Sundance. You should have already been aware that, like, this is something that we owe our attention to, and we owe a little bit more leeway, even under this dumb system with the flashlight. It was also a hit movie.

It made several million dollars at a time when that didn't happen to documentaries. And now that's kind of the standard. Like movies that are like the hit documentary movies are kind of the ones that do get ahead with Oscars in large ways. Like Fire of Love last year made a million dollars at a time when movies were struggling to make a million dollars, let alone documentary movies. So like it's incredibly formative just for like the American movie going public's relationship with documentaries. and, like, a movie that's made the financial viability and success of documentaries a possibility. Also, you know, set aside Steve James is like a major force in the art form. Yes, absolutely, yeah.

Through justified and well, you know, publicized anger over how this category was, was voted for and what it probably exposed about that branch and their biases, like, this is kind of the no-brainer for me. I can't think of another snub that changed the voting practice for a category, which like, when you hear about how they do that, can you imagine doing that for like a best picture? Like, they voted best picture that way? Like, let me flash a light on the screen saying, I don't want to want to watch this movie. It's hostile. It's un, it's, it's, it's, so unnecessarily hostile to cinema, right? You know what I mean?

Like, not to get highfalutin about it, but like, come on. It's... And also, granted, Hoop Dreams is a three-hour movie, but, like, it's riveting the entire time, and it's incredibly emotional the entire time. But, like, like I mentioned at the top of this episode, documentary features weren't really even features at that time. Like, I couldn't find anything when I looked at,

what at that time the running time had to be. Sure. But, like, you know, they're, so it's like you can't sit and watch all of this. Yeah. This one. If you can't sit and watch all of it, why are you voting? This one's a- Not that I think you have to watch everything, but.

No, I know. This one's a great choice for number one, though. It's such a sort of infamous stain on the Oscars. It's, you know, it's ideal, I think. I think it's a really good choice for your number one, and I'm glad you made it. Yeah. Chris, we did it. We did it.

A hundred snubs. A hundred plus snubs. Amazing. Again, we don't know math. We don't care. We shine our flashlight at math. We say, go away, math. Trigonometry flashlight, flashlight, flat, like, way.

Let's talk about some 100 years, 100 snubs. Snubs. There's a lot. Because we know that the listeners think that we have some. Listen, I think that we have some. We both know how long our semi-final lists were. There are so many that we didn't get to. I'm not kidding about maybe revisiting this as a future mini-series.

I think we could easily put together a list of 100 more, so you never know. Or maybe a bonus something along the line. Who knows? Who knows what we could do? So, yeah, listeners, get back at us. Who are your choices for snubs that we didn't include? feel free as always to compliment the ones that we did choose because we will humbly take that on but yes, talk to us about snubs that we didn't include

we obviously had way, way more than we could fit into a list of 100 but we also went long on all of these episodes so I don't know if we could have crammed in many more than we already did What are some that you feel might be missing, or that were hard for you to cut? Some of my sort of cutting room floor ones included, Kirsten Dunst for Bachelorette was definitely among them for me. Diane Warren, for You Haven't Seen the Last of Me, the original song from Berlesque, which was another. Burlesque was also represented by Oliver in this. I had Annihilation on my long list for sound.

I had the great, wonderful filmmaker Stephen Cohn for his original screenplay for Princess Sid and also his original screenplay for the wise kids. There was a lot. There was a lot of really good choices on here. As I said, Tony Collette could have easily shown up for Velvet Gold Mine instead of hereditary. Muriel's Wedding. What about you? What were your... I'd mentioned I'd wanted to get more Mike Lee performers in there.

Sally Hawkins for Happy Go Lucky was just to me such a big obvious snub that I tried to get her in there. Michael Stulbarg for Call Me By Your Name and a Serious Man. I had a lot of costume nominees. I didn't include Down with Love having recently discussed that on the... B-sides. Yeah. And, uh, I had, well, I mentioned fantastic Mr. Fox in costuming. I'd had widows somewhere on the long list that, that and a few other things were, um, you know,

we had episodes on, so it was easier to cut them out. Yeah. Um, I mentioned a makeup one I almost did. I almost did videodrome for best makeup because in that year there was no award given, but it was tough to get that to a spot when it was Rick Baker and, the man has like seven Oscars. Yeah, yeah, yeah, yeah. So I was like, well, he did fine.

He did fine. Yeah. I really, really, my gay ass wanted to put prisoner from the eyes of Laura Mars in here. It was a close one. Yep. It was a close one. It would have been a way to double get Barbara in there because she sings it. She didn't write the song.

But she sings it. She wouldn't have been the nominee. Yeah. You say prisoner, and I have to remind you that it is not just prisoner. It is prisoner parentheses love theme from eyes of Laura Mars. Right. Right. A love theme. I love the era of love themes. Bring them back. Yeah.

God, I love that horrible movie. It's a great movie. I love that movie. Yeah. I had some other international features and documentaries that I wanted to include, like, Greg Gardens, which I think is incredibly form for the art form and was, like, sneered at in its time. Also, BPM, a recent example of a movie that people thought would be saved for an executive list. in that category for the executive committee I also really wanted... I was going to say

if I had done more recent ones I probably would have thrown in somebody like Mike Feist for West Side Story who I really, really loved. One of my very last cuts was Margaret Hamilton for the Wizard of Oz which like, yes of course, but also

history has put her on the mantle for that. So it's like, what would an Oscar nomination do to add to that legend at this point? And what's some other ones that I thought of? Again, genuinely, genuinely, we can save some of these in the holster for a future episode of something. I genuinely think we can.

But yeah, I think the winnowing down process, we had several meetings for winnowing down. We definitely took some care with this. So this was not a list that was arrived at willy-nilly. Should I run down this final part, part five, the snubs that we've selected this year, and then we will bid our listeners adieu for another May. Oh, I just thought of the major one that I tried to get in there, but couldn't get it in for like a single performance. Was Carrie Grant, obviously.

Sure, yes. Wanting to get Carrie Grant in there. Yes, give us that list. Give us that list. All right. Part five, 100 years, 100 snubs. We have honored Ann Baxter, the 10th. Commandments. Best Supporting Actress, 1956. Paris is Burning. Best Documentary Feature in 1991.

John Goodman, Bart and Fink, Best Supporting Actor, 1991. New York, New York, from New York, Best Original Song, 1977. Rick Baker, Jean-Anne Black, Bill Sturgeon, Best Make Up for the Ring, 2002. Marlene Stewart for Two Wong-Foo. Thanks for Everything, Julie Newmar, Best Costum Design of 1995. Aaron Sorkin for the American President, Best Original Screenplay of 1995. Danny Elfman, Edward Cisorhands, Best Original Score, 1990. Henry Selleck, Best Art Direction, Coraline, 2009. Pam Greer for Jackie Brown, Best Actress, 1997. Reginald Morris for Black Christmas, Best Cinematography of 1974.

The talented Mr. Ripley, producers to be determined. Best Picture, 1999. Steven Spielberg, AI Artificial Intelligence, Best Director, 2001, Nicole Kidman, Eyes Wide Shut, Best Actress, 1999. Cashet, Best Foreign Language Film, 2005. Mark Ruffalo, You Can Count on Me, Best Actor 2000, Barbara Streisand, Yentel, Best Director in 1983, Singing in the Rain, Best Picture, 1952, and Hoop Dreams, Best Documentary Feature, 1928, 1994, we would also like to thank Oliver Sava for bringing Francis Ha, Greta Gerwig, Best Actress of 2013, Bobby Finger for bringing I Can Do Bad All By Myself from I Can Do Bad

All By Myself, Best Original Song of 2009, and Christina Tucker bringing us Jennifer Lopez for Hustlers, Best Supporting Actress, 2019. That's the list, Chris. That is the snubs. Wowie, wowie, wowie, we did it. We did it. We celebrated movies. We celebrated American snubs is what we did. We would like to thank Jody Foster and Sally Field and Richard Gere, Trisha Yearwood, Marvin Hamlish. Who else? All of our... God. All of our guests from our previous episodes, we could not have done this without you. We were so glad that you sent in your submissions for us. Just, who else? I mean, the American Film Institute, why not?

Thank you, the American Film Institute for inventing the list. That's right. We have, ever since they came up with 100 years, 100 movies, and we had been given the concept of a list, we have now been able to argue and compile various lists over time. All right. I mean, that's it, Chris. What else can we say? Uh, uh, send us out with a bag. We can say thank you to the listeners. We, uh, this was for you. Yeah. Yeah, this, hopefully you all enjoyed this. Uh, we appreciate all of your support so much. Uh, we hope this brought you as much joy as it did to us. Indeed. All right. That's our episode and that's our May miniseries.

We'll be back next week with standard episodes. If you want more, this had Oscar Buzz. You you can check out the Tumblr at this had oscarbuzz.tumlor.com. You should also follow us on Twitter at had underscore Oscar underscore buzz and on Instagram at this had Oscar buzz. Joe, where can our listeners find more of you? Twitter and letterboxed at Joe Reed, read spelled R-E-I-D. I am on Twitter and letterbox at Krispy File. That's F-E-I-L.

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