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
Over 14 seasons of a comedy like It’s Always Sunny In Philadelphia you’re bound to offend someone or present things that may not age well. Show creator Rob McElhenney recently admitted as much, but unlike other creators he explained why it’s important to learn from those moments and strive to do better.
McElhenney was profiled by Esquire writer Emma Dibdin in a piece that explores his new show, Apple TV+’s Mythic Quest: Raven’s Banquet and also dives into the long history of Sunny and how it’s impacted his life. The feature is great and chronicles how things have changed in TV in the decade-plus since McElhenney, Charlie Day and Glenn Howerton filmed two episodes of what became Sunny at their apartments in Los Angeles.
McElhenney explained that the show was originally supposed to be the anti-Friends, where people didn’t have each other’s backs and tried to distance themselves from caring about others. And that gruff attitude, though funny, has resulted in some early episodes that don’t age well when it comes to homophobia, racism and sexism. But McElhenney said it was always important to distinguish between his character Mac and McElhenney as a showrunner and writer, even if the show failed people on screen.
“An important distinction that I think we try to make in Sunny—and don’t necessarily always succeed—is that for as homophobic or racist or ignorant or terrible as the characters are, I think it’s clear that the people behind the show are not. And where we have blind spots, we try to ameliorate or at least recognize them.”
The piece mentions a trans character in season one, Carmen, who McElhenney admitted was called a “slur” in the early episodes. In later seasons, the character returns and the show tried to handle them better and make amends, to some success.
“[The characters] were calling her a slur during the first few years, which was most definitely out of ignorance. It was never supposed to be inflammatory or hurtful, but nevertheless, it was. We can’t go back and re-edit those episodes, but what we can do is make sure that as we’re moving forward, we’re making those adjustments and doing our due diligence.”
McElhenney mentioned that Sunny lacks representation in many ways, but that it wasn’t intentional. Now, assembling a writer’s room is a more deliberate process, and it’s made for much better results on screen as well. It’s something McElhenney has tried to be aware of when making Mythic Quest, admitting that he’s no longer the young cutting edge of comedy or politics that he perhaps once was.
“I’m an old man in the writers’ room, and I think of myself as a pretty progressive lefty liberal, but sometimes by the end of these conversations I feel like I’m an archconservative! I don’t always agree, but if I just shut the f*ck up and listen, nine...
Polish composer and conductor Krzysztof Penderecki, whose often disturbing and challenging avant-garde music has turned up in films from “The Shining” to “The Exorcist” and “Children of Men,” and as recently as the TV series “Twin Peaks: The Return,” died at his home in Krakow on Sunday, March 29. He was 86 years old.
Penderecki’s greatest influence on any modern composer can perhaps be found in the work of Johnny Greenwood, the lead guitarist and keyboardist of Radiohead and musician behind the soundtracks for films including Paul Thomas Anderson’s “There Will Be Blood,” “Phantom Thread” and “The Master,” as well as Lynne Ramsay’s “We Need to Talk About Kevin” and “You Were Never Really Here.”
“What sad news to wake to. Penderecki was the greatest — a fiercely creative composer, and a gentle, warm-hearted man. My condolences to his family, and to Poland on this huge loss to the musical world,” Greenwood tweeted on Sunday morning.
Penderecki began composing in the 1960s, going on to produce eight symphonies, four operas, a requiem, and many concertos and choral works, many of which are regarded as notoriously difficult to play. His compositions were often politically motivated, including probably his most famous work, “Threnody for the Victims of Hiroshima,” which appeared in the films “The People Under the Stairs” and “Children of Men.”
The chilling composition below was also used by David Lynch in the landmark Episode 8 of Showtime’s “Twin Peaks: The Return,” set against images of an atomic bomb that appears to birth evil itself into the world. In “Children of Men,” “Threnody” sets off the film’s masterful long-take sequence as Clive Owen rushes to safety through a harrowing warren of chaos. In this piece, 52 string instruments collaborate to create a nerve-shredding soundscape.
Penderecki’s work also appeared in “The Shining,” with terrifying pieces employed by director Stanley Kubrick in lieu of an original soundtrack though composer Wendy Carlos did turn in a score, it went mostly unused in favor of preexisting music. Penderecki’s works also appear in David Lynch’s “Inland Empire” and “Wild at Heart,” Martin Scorsese’s “Shutter Island,” William Friedkin’s “The Exorcist,” and Peter Weir’s “Fearless.” His work even appears in the 1996 disaster movie “Twister” and the Netflix series “Black Mirror.” He also contributed original scores to films as well, including most recently in the 2015 Polish horror film “Demon.”
Head over to The New York Times for a full obituary...