Meanwhile six-time nominee 'Little Women' only won one award, for costume design, in an awards ceremony that featured numerous onstage comments praising the work of female directors.
The 2020 Oscars marked another disappointing awards ceremony for the team behind Netflix's Martin Scorsese-directed mob drama, The Irishman. After being shut out at the Golden Globes and Screen Actors Guild Awards, the epic, decade-spanning and decade-in-the-making story starring Robert De Niro and Oscar nominees Al Pacino and Joe Pesci failed to win any of the 10 Oscars for which it was nominated.
Still, Scorsese got a few shout-outs from the stage, with Chris Rock and Steve Martin mentioning the film and the director in their monologue and best director winner Bong Joon Ho taking a minute to note how, as an aspiring director, he was particularly inspired by Scorsese, comments that prompted the Academy Awards audience to give Scorsese a standing ovation.
Meanwhile, other top nominees had a relatively disappointing night, with six-time nominees Jojo Rabbit, Marriage Story and Little Women only taking home one award each. Little Women's prize was arguably the lowest profile award of those one by Jojo Rabbit and Marriage Story, only taking home the prize for best costume design. It's poor showing was somewhat ironic given that a theme throughout the show was praising the work of female directors, like Little Women helmer Greta Gerwig, despite the fact that none were nominated for best director again this year. Jojo Rabbit won best adapted screenplay while Marriage Story's Laura Dern won the best supporting actress award she was expected to take home
While Once Upon A Time in Hollywood won two awards, for production design and best supporting actor Brad Pitt, writer-director-producer Quentin Tarantino didn't win any of the awards for which he was nominated including high-profile prizes best original screenplay, best director and best picture.
Similarly, 11-time nominee Joker only won two awards, for best score and best actor Joaquin Phoenix, high-profile victories but a significant drop, numbers-wise, from its leading spot among nominated films.
Also while Parasite was predicted to do well at the 2020 Oscars, with the best picture race shaping up as a battle between the Bong Joon Ho film and Sam Mendes' 1917, many pundits expected 1917 to win best picture or for Mendes to win best director, if not both, particularly after 1917 won the top prizes at the BAFTA Awards last week, in the middle of Oscar voting, after winning the top prizes at the DGA Awards and PGA Awards. And while 1917 won three awards, all were in technical categories.
Other multiple Oscar nominees that were shut out included Harriet and The Two Popes.
Source: Hollywood Reporter
EXCLUSIVE: Oscar conversations around town bring differing opinions about what might win in an exceptional year for auteur cinema. It was surprising how many people add: boy would it be nice to see Martin Scorsese get an Oscar for his final mob epic, The Irishman. Sure he won for The Departed, but he got robbed on Taxi Driver, Goodfellas, Raging Bull and Casino, those epics with Robert De Niro.
Scorsese shared with Deadline moments from those film collaborations with De Niro. Most know the hardship this film went through after De Niro and Scorsese decided to scrap a Paramount greenlit adaptation of the Don Winslow novel The Winter of Frankie Machine to instead make the film about union leader/hitman Frank Sheeran's deathbed regret over crimes that included the murder of his best friend, Teamsters leader Jimmy Hoffa. The Irishman allowed Scorsese and De Niro to focus on the regret and guilt that few mobsters in his earlier films conveyed.
Because it spanned decades, no studio would step up for the de-aging technology that pushed its budget to $160 million, until Netflix embraced it. What is surprising here is how much of a struggle they encountered on every movie Scorsese and De Niro made together.
DEADLINE: A documentary on fellow New York director Sidney Lumet traced how his filmmaking path was forged by watching soldiers pull a young girl on to a train to sexually abuse her, and when it was clear he might not survive an attempt to stop it, he did nothing. The guilt pressed Lumet to make movies about men who summon the courage to stand up for what is right no matter the cost, like in 12 Angry Men. I watched your films, from Silence to Mean Streets and wondered; what events in your own life informed the depictions of guilt, faith, and cowardice of the imperfect male characters in these films? Like the interpreter in Silence who asks for confession to forgive his latest betrayal, knowing full well he's going to do it again the next time he needs to save his own skin. All this began with the relationship between Harvey Keitel and De Niro's characters in Mean Streets.
MARTIN SCORSESE: But that character in Silence, he's really going to try not to [repeat the sin.] That's a difference. He says, I will pray to be stronger. I promise I'll be stronger. It's his condition. It's the human condition and that's such a complicated question. There are so many things I saw growing up...grown men in a male dominated world. There were good, hardworking, decent guys but there were many people around who had money in the street, as they say, and who were involved in real street corner underworld activity. Just thugs, but a lot of those thugs I basically knew as people first. I was eight years old.
Some were nice, some weren't. The ones who weren't, you...