Gotham Awards: ‘Spotlight’ Edges ‘Carol’ in Battle of Indie Oscar Hopefuls (Analysis) ... Can ‘Spotlight’ Score the Rare Oscar Hat Trick? ... ‘Awards Chatter’ Podcast — Benicio Del Toro (‘Sicario’) ... Ian McKellen Hopes to Become Third Oldest Best Actor Nom in History ... The Harvey Keitel Effect ... ‘Awards Chatter’ Podcast — Will Smith (‘Concussion’) ... ‘Creed’: Can Stallone Make History? ... Spirit Awards Noms Suggest Indie Community Is Uniting Behind ‘Carol,’ ‘Spotlight’ (Analysis) ...
Countdown to Oscars

Posts Tagged ‘John Williams’

Tuesday October 6th, 2015

‘Bridge of Spies’: Complicated Relationship Between Steven Spielberg and Academy

By Patrick Shanley
Managing Editor

Director Steven Spielberg has been one of the most successful directors in Hollywood for four decades, with major commercial hits that have broken records at the box office. His latest film, Bridge of Spies, premiered Sunday night at the New York Film Festival and centers on an American lawyer (Tom Hanks) who is recruited by the CIA during the Cold War to help rescue a detained pilot from Soviet Russia.

Spielberg’s last collaboration to star Hanks, 2004’s dramedy  The Terminal, failed to earn any nominations from the Academy, whilst their previous collaboration, 2002’s Catch Me If You Can, earned just two Oscar nominations (best supporting actor for Christopher Walken, best original score for John Williams) but was unable to take home either, despite positive reviews and large box office numbers.

Despite having won three Oscars in his career, and the multitude of iconic films that he has helmed, Spielberg’s relationship with the Academy has been a bit tumultuous. Since his beginning as a young upstart to his mega-star status and boffo box office numbers, it seems that Spielberg’s films are either feast or famine when it comes awards season.

Read the rest of this entry »

Wednesday September 16th, 2015

Space May Be the New Frontier for Oscar Hopefuls

By Patrick Shanley
Managing Editor

There has been a trend towards the stars in the past few years in Hollywood, and Oscar has finally begun to take notice. Films set in outerspace are no longer just the realm of niche science fiction, but rather have begun to get serious awards recognition.

The Martian, the new space epic from director Ridley Scott and star Matt Damon based on the novel by Andy Weir, premiered at the Toronto International Film Festival this past weekend and has high hopes for Oscar gold. Scott has been nominated for best director three times in his career (1991’s Thelma &Louise, 2000’s Gladiator, 2001’s Black Hawk Down) and hopes that his latest will finally earn him the statue.

Space-set films have been getting more respect as potential award season threats, with 2013’s Gravity earning a best director award for Alfonso Cuarón and a best picture nom. The trend is somewhat new, however, as a look back at years past show just how far the genre has come in terms of Oscar recognition.

Read the rest of this entry »

Tuesday January 14th, 2014

Potential Nominees Who Are Overdue for Oscar Wins

By Mark Pinkert

One of the most popular Oscar hopefuls this year is Bruce Dern, who has gotten a lot of love from critics and from his peers for a great performance in Alexander Payne’s Nebraska. But, other than the role itself, what has made his story so special is that he’s had an extremely prolific film career–mostly as a supporting actor–and is finally getting Oscar recognition for the first time at the age of 77.  (Dern did get nominated for Best Supporting Actor thirty-five years ago for Coming Home (1978).) Even getting a nomination, though, will be an uphill battle, as he’s in a tight race with the likes of Tom Hanks, Leonardo DiCaprio, Chiwetel Ejiofor, and Matthew McConaughey.

Read the rest of this entry »

Monday December 16th, 2013

Best Original Score Winners in the 21st Century: Do they Influence The Best Picture Race?

By Mark Pinkert

When I began research for this post, I assumed there would be a noticeable correlation between Academy Award Best Picture winners and Best Original Score winners. A safe assumption, I thought, because of how important music is to cinema (have you ever watched a scene before music was added?). Music provides emotional thrust to a film. It creates suspense, amplifies poignant moments, and brings settings to life. Additionally, music can shape our memory of a given film. How many iconic movies—The Godfather (1972), Star Wars (1977), Jaws (1975), Psycho (1960)—have themes that we automatically recall as soon as the movie’s title comes up?

Yet in the thirteen Academy Awards since and including 2000, only three Best Picture winners also took home Best Original Score and of the eighty-five films that were nominated for Best Picture in this time period, only about one third of them were even nominated for Best Original Score.

Read the rest of this entry »

Monday February 11th, 2013

‘Lincoln’ Oscar Noms A Reminder Of Spielberg’s Lauded Crew

By Joey Magidson
Film Contributor


Whenever Steven Spielberg decides to take up a new directorial endeavor, he doesn’t do it alone. He gets his stock company of talent on the phone, and once he has the gang together, they go off and make a movie. It’s certainly not the same as when Spielberg was making little films in his backyard as a kid, but in a way the spirit is still the same. One big difference, though, is that when these movies get made, Oscar often takes notice.

Spielberg films almost always receive Academy Awards attention. On his own, he has 15 nominations (one of which came for just producing Letters from Iwo Jima, which he didn’t direct), while his crew has gotten dozens of nods. The last film of his not to get at least a nom was The Terminal, and before that it was Always. Believe it or not, only one other flick he directed went without a citation, and that was his early movie The Sugarland Express. That’s a stunningly good run of nominated work, and while he deserves lots of credit, his stock company deserves just as much.

Spielberg’s newest film, Lincoln, has gotten the attention of the Academy, and that extends to his crew as well. The movie itself is nominated for 12 Oscars, and while Spielberg has a solo citation for directing to go along with a trio of acting nods, the rest of the dozen go to the Beard’s crew members (though he shares a Best Picture credit, too).

Read the rest of this entry »

Wednesday February 29th, 2012

FEINBERG: Recapping My Night at the Oscars

Last night, thanks to a very kind gesture on the part of my editor, I was able to realize a lifelong dream and sit in the audience at the Academy Awards. I covered the Oscars from the backstage press room three years ago, which was a thrill in and of itself, but, as someone who has spent a huge chunk of my life researching, writing, and talking about the Oscars, you can imagine how much more excited I was to have the chance to watch the ceremony unfold with my own two eyes. And, I’m pleased to report, the experience did not disappoint.

Click to read more…

Tuesday January 24th, 2012

Academy Award Nominations: Key Factoids, Stats, and Snubs (Analysis)

Nine films were nominated for best picture for the first time: The ArtistThe DescendantsExtremely Loud and Incredibly CloseThe HelpHugoMidnight in ParisMoneyballThe Tree of Life, and War Horse.

Click to read more…

Monday January 16th, 2012

“The Artist” Wins Globe for Best Original Score

By Sean O’Connell

Ludovic Bource won the Golden Globe for Best Original Score on Sunday evening for his work on “The Artist.” It was his first win at the Globes.

His score triumphed over “W.E.” (Abel Korzeniowski), “The Girl with the Dragon Tattoo” (Trent Reznor and Atticus Ross), “Hugo” (Howard Shore) and “War Horse” (John Williams).

Click to read more…

Sunday December 25th, 2011

THR Awards Expert Scott Feinberg’s Top 10 Films of 2011

The following list and remarks reflect my personal opinions and do/will not in any way impact my projections or analysis on this site, wherein I strive above all else to correctly forecast what will happen, not what I believe should happen.

Click to read more…

Tuesday December 13th, 2011

Will Critics’ Choice Nominations Overlap with Oscar Nominations Again? (Analysis)

Early this morning, the Broadcast Film Critics Association (BFCA) — of which I am proud to be a voting member —revealed its nominations for the 17th annual Critics’ Choice Awards, which will take place on January 12 in Hollywood.

In recent years, the BFCA’s choices have correlated with the Academy’s as often as any of the early awards groups’. Last year, the two agreed on nine out of 10 best picture nominees and 18 acting nominees (though, in fairness, the BFCA sometimes includes six nominees in each acting category, whereas the Academy always has just five), and for the past two years they agreed on the same four acting winners. It is a pattern that is hard to explain, since they have literally no overlap — the BFCA is composed of roughly 250 journalists, while the Academy is made up of over 6,000 filmmakers — but it is also one that is hard to ignore. Consequently, people like me who try to predict the Oscars pay very close attention to what the BFCA has to say.

So what are the big trends and take-aways from today’s announcement?

Click to read more…