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Old 03-06-2006, 08:57 AM   #346
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Originally posted by MrsSpringsteen
Also the Oscars are very political as we all know, and so much is involved other than the actual merits of the movies and the performances.

When all is said and done Brokeback Mountain will always be remembered whereas Crash will be a footnote. Anyone who uses this as a way of saying that America is "not ready" to embrace a movie like Brokeback Mountain just has an agenda and is full of crap.
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Old 03-06-2006, 09:21 AM   #347
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what can you do?

i'm over it.
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Old 03-06-2006, 09:22 AM   #348
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Had BM won I think it would have been good for this country, but I'm not sure it would have closed the gap between ultra-liberal Hollywood and the rest of the U.S. Furthermore, I think by using that excuse of "safe choice", it discredits "Crash", which is inaccurate.
I think you're putting entirely too much stock in the oscars by saying a BM win would've been good for the country. Do average people really care that much about the oscars? Is your life or my life going to change as a result of who wins and loses?

Edit: I'm a complete hypocrite because I'm an avid sports fan and I felt my life did change after the Red Sox won the world series. If average people care about sports, then average people care about the oscars. My bad.
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Old 03-06-2006, 09:25 AM   #349
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Do average people really care that much about the oscars?


this is a good point. really, who cares all that much about a bunch of golden statues being passed out to a room full of beautiful people? i care passionately about film, popular culture, and the impact a film can have on the culture, but ultimately the Oscars are just window dressing.

you know, like the Grammys.
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Old 03-06-2006, 09:26 AM   #350
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I'm not over it

But I am consoling myself with thoughts of George Clooney in that tux..
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Old 03-06-2006, 10:57 AM   #351
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The highlight of the whole show was the homo montage. That was frigging hilarious (and pretty out there, I thought).
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Old 03-06-2006, 11:44 AM   #352
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http://www.time.com/time/arts/articl...0.html?cnn=yes


"Then, 3 hours 21 minutes into the telethon, Jack Nicholson announced the winner for Best Picture—which had at first been thought to be a lock, then a tight squeeze, for Brokeback. “And the Oscar goes to... Crash.” Those famous eyebrows editorialized surprise, and Nicholson mouthed a “Whoa.” Paul Haggis, the film’s writer-producer-director, geysered from his seat in joyous shock, and revelry exploded among what seemed like half of the 5,000 audience members at the Kodak Theater. One of the revelers did such ecstatic contortions, she nearly fell out of her gown. The rest hugged one another like brand-new Super Bowl champs.

Was this a long-shot triumph? Not exactly. The Crash upset simply certified what many football poolers know: bet on the home dog (the underdog playing on its own field). As we’ve been saying in the magazine and online the past few weeks, Los Angeles is the company town of the movie business, and Crash is the ultimate L.A. movie—anyway, the gaudiest freeway funhouse mirror. Besides, this huge ensemble effort employed close to a hundred L.A. actors. As Stewart urged the crowd in his opening monologue, “Raise your hands if you were not in Crash.”

The victory also validated the old rule that the Editing Oscar is the savviest predictor for Best Picture. The theory is that people, even Academy members, don’t know much about the craft of editing—the extent to which the cuts in a film are determined by the script—so they vote for the movie with the most stuff going on. Crash was certainly the busiest film nominated. And the noisiest. Whereas the other four nominees (Brokeback, Capote, Munich and Good Night, and Good Luck.) kept seeking reconciliation within their social and political conflicts, Crash let its arguments bubble over, like an overheated car radiator, into angry confrontations. The movie shouted, and the Academy heard it, over the urgent whispers of the other films.

It also hit plenty of nerves, in its collision of races and classes, and Hollywood loves issue movies that push the hot button. But what about Brokeback? Didn’t that film pioneer man-love in a pup tent? Sure, but homosexuality is just not an issue in Hollywood. The town was gay before gay was cool (that would be the summer of 2003, when Queer Eye for the Straight Guy became a brief TV sensation). Indeed, homosexual roles are prize-winning plums for actors—like Hoffman in Capote —as long as they aren’t gay, or, if they are, don’t admit it."
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Old 03-06-2006, 12:22 PM   #353
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Originally posted by MrsSpringsteen
But I am consoling myself with thoughts of George Clooney in that tux..


i actually really enjoyed it when he basically told mainstream America to fuck off.

i mean that. someone had to say it.
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Old 03-06-2006, 12:25 PM   #354
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He's really hot when he's cocky and dismissive. I normally don't like that but on him it's very effective

Seriously I like what he said about Hattie McDaniel and Hollywood being ahead of its' time in that way and other ways.
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Old 03-06-2006, 01:15 PM   #355
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Quote:
Originally posted by Irvine511

i actually really enjoyed it when he basically told mainstream America to fuck off.

i mean that. someone had to say it.
My friends and I decided George has it all--talent, looks, brains, balls, heart and charm.

And Jake was completely adorable in one of the red carpet interviews.
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Old 03-06-2006, 01:34 PM   #356
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George's acceptance speech was the best that i heard.

Quote:
Originally posted by randhail
Do average people really care that much about the oscars?
i don't

the only one of the 4 nominated films (for best picture) i saw was 'Munich'. It was the only one that appealed to me & i'm not gonna see 'Crash' now just because it won. I go to movies based on whether the plot sounds interesting to me and sometimes because of the actor/actress in it. not because some small group of people called it the best picture.


The best picture i saw last year was "Batman Beginings"
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Old 03-06-2006, 01:56 PM   #357
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LOS ANGELES, California (AP) -- Even before the first gleaming Oscar was presented, Hollywood's biggest night was already a milestone for the gay, lesbian and transgender community.

Three films -- "Brokeback Mountain," "Capote" and "Transamerica" -- dealt with gay or transgender characters, drawing critical acclaim and a combined 15 Oscar nominations.

But a sweep wasn't in the cards for those films.

"Brokeback," with a leading eight nominations, did win Oscars for best director, adapted screenplay and original score. "Capote," which had five nods going into the awards, earned the best-actor honor.

"Transamerica" was shut out, despite great reviews for lead actress Felicity Huffman.

Gay advocates said the number of Oscars earned by those movies wasn't as important as their impact on Hollywood and America.

"The films lead to conversations, and conversations lead to greater awareness, a level of comfort with gay and lesbian Americans," said Neil Giuliano, president of the Gay and Lesbian Alliance Against Defamation.

Others weren't surprised that the gay-themed films found mixed success at the Oscars.

"I think America sent a message to those in the industry that this isn't something that they're interested in, and hopefully this was something that weighed heavily on them as they voted for these pictures," said Alan Chambers, president of Orlando, Florida-based Exodus International, a Christian organization that promotes "freedom from homosexuality."

Chambers acknowledged, however, that Hollywood will likely keep pushing the envelope with more films dealing with gay themes.

All the attention -- and even the jokes -- that "Brokeback" and the other films generated helped gay cinema, said Jennifer Morris, co-director of the San Francisco International Lesbian, Gay, Bisexual & Transgendered Film Festival, which is marking its 30th year in 2006.

"That's the best thing about these films, especially with 'Transamerica' and 'Brokeback Mountain,"' Morris said. "This really was a groundbreaking year."
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Old 03-06-2006, 02:06 PM   #358
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latimes.com

By Kenneth Turan, Times Staff Writer
March 5, 2006

Sometimes you win by losing, and nothing has proved what a powerful, taboo-breaking, necessary film "Brokeback Mountain" was more than its loss Sunday night to "Crash" in the Oscar best picture category.

Despite all the magazine covers it graced, despite all the red-state theaters it made good money in, despite (or maybe because of) all the jokes late-night talk show hosts made about it, you could not take the pulse of the industry without realizing that this film made a number of people distinctly uncomfortable.

More than any other of the nominated films, "Brokeback Mountain" was the one people told me they really didn't feel like seeing, didn't really get, didn't understand the fuss over. Did I really like it, they wanted to know. Yes, I really did.

In the privacy of the voting booth, as many political candidates who've led in polls only to lose elections have found out, people are free to act out the unspoken fears and unconscious prejudices that they would never breathe to another soul, or, likely, acknowledge to themselves. And at least this year, that acting out doomed "Brokeback Mountain."

For Hollywood, as a whole laundry list of people announced from the podium Sunday night and a lengthy montage of clips tried to emphasize, is a liberal place, a place that prides itself on its progressive agenda. If this were a year when voters had no other palatable options, they might have taken a deep breath and voted for "Brokeback." This year, however, "Crash" was poised to be the spoiler.

I do not for one minute question the sincerity and integrity of the people who made "Crash," and I do not question their commitment to wanting a more equal society. But I do question the film they've made. It may be true, as producer Cathy Schulman said in accepting the Oscar for best picture, that this was "one of the most breathtaking and stunning maverick years in American history," but "Crash" is not an example of that.

I don't care how much trouble "Crash" had getting financing or getting people on board, the reality of this film, the reason it won the best picture Oscar, is that it is, at its core, a standard Hollywood movie, as manipulative and unrealistic as the day is long. And something more.

For "Crash's" biggest asset is its ability to give people a carload of those standard Hollywood satisfactions but make them think they are seeing something groundbreaking and daring. It is, in some ways, a feel-good film about racism, a film you could see and feel like a better person, a film that could make you believe that you had done your moral duty and examined your soul when in fact you were just getting your buttons pushed and your preconceptions reconfirmed.

So for people who were discomfited by "Brokeback Mountain" but wanted to be able to look themselves in the mirror and feel like they were good, productive liberals, "Crash" provided the perfect safe harbor. They could vote for it in good conscience, vote for it and feel they had made a progressive move, vote for it and not feel that there was any stain on their liberal credentials for shunning what "Brokeback" had to offer. And that's exactly what they did.

"Brokeback," it is worth noting, was in some ways the tamest of the discomforting films available to Oscar voters in various categories. Steven Spielberg's "Munich"; the Palestinian Territories' "Paradise Now," one of the best foreign language nominees; and the documentary nominee "Darwin's Nightmare" offered scenarios that truly shook up people's normal ways of seeing the world. None of them won a thing.

Hollywood, of course, is under no obligation to be a progressive force in the world. It is in the business of entertainment, in the business of making the most dollars it can. Yes, on Oscar night, it likes to pat itself on the back for the good it does in the world, but as Sunday night's ceremony proved, it is easier to congratulate yourself for a job well done in the past than actually do that job in the present.
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Old 03-06-2006, 04:13 PM   #359
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I agree with randhail that what wins, and how the pundits spin that, is unlikely to have much impact on how "ready" the mainstream is for more gay films. Brokeback's box-office figures proved that there is indeed a "mainstream" audience for them, and those figures, not the Academy Awards, is what the studios will listen to.
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Old 03-06-2006, 05:16 PM   #360
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Quote:
Originally posted by MrsSpringsteen
latimes.com

By Kenneth Turan, Times Staff Writer
March 5, 2006



"Brokeback," it is worth noting, was in some ways the tamest of the discomforting films available to Oscar voters in various categories. Steven Spielberg's "Munich"; the Palestinian Territories' "Paradise Now," one of the best foreign language nominees; and the documentary nominee "Darwin's Nightmare" offered scenarios that truly shook up people's normal ways of seeing the world. None of them won a thing.

Hollywood, of course, is under no obligation to be a progressive force in the world. It is in the business of entertainment, in the business of making the most dollars it can. Yes, on Oscar night, it likes to pat itself on the back for the good it does in the world, but as Sunday night's ceremony proved, it is easier to congratulate yourself for a job well done in the past than actually do that job in the present.
I know I've made note of this many times, but I honestly think had Tony Kushner won the Oscar for best adapted screenplay, that would've been a bigger stride for the LGBT community. Here is someone who is actually gay. No one involved in the Brokeback film production was gay.
I think it's disturbing how while congradulating themselves for how "out of step" they are with the world, Hollywood catered just as much to Israel as the Bush administration.
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