“And yes, I want George Clooney in the worst way — which is standing up in a hammock.”

I just reread this thread, and laughed out loud, again.

The alternative sources for percussion (rhythmically clicking typewriter, angry mother beating on car) were aesthetically perfect. This soundtrack brilliantly submitted to the plot, which is the point of a film score. Most film composers are likely too full of their original ideas to do this, so hats off to Dario Marianelli, whoever he is.

Sometimes the best ideas are so simple.

7. Ditto. Part of the reason why I enjoy those movies is the excellent scoring by John Powell, although there hasn’t been much new material over the course of the trilogy.

8. I disagree. I thought the movie was interesting. Although a little like watching an extended music video with no real plot, I was impressed by the songwriting and was glad to see them win that award.

I think the Schwartz and Menken songs served the film well, but that none of them deserved an Oscar. I haven’t seen August Rush yet and didn’t care for the song.

But then, I make my living trying to teach kids the distance formula. When among you guys, I just consider myself the population of Peoria.

Although… for the first time ever, I got to watch the best picture winner the night of the ceremony on my little SAG screener DVD, so that was pretty cool.

-Hopefully like how we would love it when Teri Reisser came to our small group concerts, because her enthusiasm was contagious.

This is diverting from The Oscars - and anyone, please feel free to talk about The Oscars, I enjoy reading - but during dark days it has occurred to me how profound and serious humor is. There were days in 2007 that just beat the crap out of me, and then at night I would catch David Letterman and he would tell me a joke. I thought he was the nicest man. He was telling me a joke, and didn’t demand anything in return. I needed that.

So, “that guy is so arrogant..” , “we make catty comments about you..” - I laughed at ‘em both.

Thank you for helping us regain our perspective here.

I love Bill Conti, though, and I disagree that his time is up. I think the Oscars should be orchestral, a little more staid and classic. Who would you suggest to replace him? I mean, me, of course, but since I’m busy conducting the New York Phil all next season, who would be your second choice?

Perhaps my judgement was skewed. A DVD viewing will clear it up.

1) Bill Conti needs to retire. We appreciate the 17 years, dude, but your arrangements are getting stale and cheesy. (And I’m not even the professional arranger/musician…)

2) Bruce Vallinach (oh, I can’t spell) and his crew also need to be put out to pasture. The disparity between their usual crap and the sharp stuff from the Daily Show guys was alarming. And let’s not forget Jon’s supernatural quick wit. (My favorite? After the “Once” guy’s ultra humble speech, Jon turns to the camera and quips “Wow, that guy is so arrogant…” Pair that with “Wanna know what we do during the commercial breaks? We sit around and make catty comments about what you’re wearing at home.”)

I also agree that Amy Adams has ultra cajones.

(running for cover…)

The whole Bourne Ultimatum thing… That movie was one of the top 5 of the year, hands down. It should have been nominated for the big prize. Also, next year, the Academy needs to create a new category called,

“Best Action Trilogy Ever and Why Can’t The Rest of You Bozos Be Like Them” category.

The Bourne Movies would just be awarded every year. It’d become tradition, like the montages.

P.S. Jeremy - 300 was really good, too! We all enjoyed the half-nekkid lady.

So the whole Once thing… Ok… look. So it’s obvious that Schwartz and Menken are masters and totally knocked it out for Enchanted. They are a big reason why that movie worked. I hope they get points on the gross… yeah right.

I have such fondness for Once. It was like a little private movie made just for Chad. It felt like it was a personal love letter. That song, in the movie, is just breathtaking, because Glen’s character is teaching it all the way through the first chorus before she starts to get it and play along. It’s executed just so sweetly, so beautifully capturing the moment of creative birth.

There’s a sequence later in the film where they spend a weekend in a recording studio, and Michael, I defy you to watch that sequence and not be transported back into that bubble that so few have been inside, that bubble where art is created frantically and haphazardly and is somehow working. I just smiled and smiled and smiled.

Claptrap? I said good day, sir.

(I will admit that I hated them singing to click and strings. Just the 2 of them please, and feel free to retire, Mr. Conti.)

Shakespeare in Love vs. Saving Private Ryan is still total bullcrap 9 years later.

No Country For Old Men is a great movie, no questions asked. I did not object to the ending as many did. I thought it was poetic and completely congruent with the arc of the story.

I don’t know if you remember the 79 best picture winners or not, but I had a strange experience watching it. I was amazed how, starting at about 2000, the winners just seemed to pale in comparison to past winners.

Gladiator vs. Lawrence of Arabia… hmm.
A Beautiful Mind vs. A Man for All Seasons… hmm.
Million Dollar Baby and Crash vs. Rocky and In The Heat of the Night… hmm.

Are they just not aging well? A Beautiful Mind is a fine film… but a classic? The epitome of everything all the creative minds in the world could film in that given year?

So then I think something like this:

The Godfather vs. There Will be Blood…. Yup. Absolutely. It’s that good.

I think the academy missed the opportunity to add a movie that will stand the test of time to the canon. They seemed to think it was enough to give the prize to Daniel Day-Lewis, but there’s more to that movie. I love the Coens, but PTA has just simply become an iconic filmmaker, and that movie deserved it hands down.

I had all sorts of mixed reactions to the musical performances from Enchanted. I thought Amy Adams was great, but I was really surprised how much of that song working in the movie was due to the hilarious visuals that go with it. It wasn’t very entertaining on it’s own.

So, how is it that Broadway sextuple threat and Aaron Sorkin’s former muse seemed totally stiff and out of voice? Kristin Chenowith is amazing, but her performance was totally outshone by Amy Adams. Knowing a bit about Chenowith, and what she’s really capable of, I can only chalk it up to poor execution on behalf of the arrangers and producers. They should have raised that song about a 3rd and gotten into the sweet part of her voice.

The last song from Enchanted? All I have to say is… umm.. nothing. It was really bad.

I have more thoughts… in a moment…

link

I was, however, bummed that Johnny Greenwood did not get nominated for the score of There Will Be Blood. Apparently there was some kind of disqualification? Anyone know anything about that?

300 was invited to the Bake off and by all accounts did very very well. In fact everyone I know that was there told me it would get a nomination. Then….nothing.

Often times the academy votes for the movie they liked the best not for the individual category that it is supposed to be judged on. In this case I cant for the life of me figure out why Compass won. It bombed and most people that did see it didnt really like it on any level. Color me confused.

The Year Diablo Cody Gave Oscar a Bad Case of Gonorrhea.

Apparently, all you need to write a hip and relevant script these days is a book of Mad Libs, and the ability to pickup dollar bills with your lady bits.

Now…on a personal note. Where was 300? I dont want to sound like sour grapes but common. It should have at least been nominated.