03-01-2004, 06:32 PM
Good on her. I had just missed that line...
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CHUD.com Official Oscars 2004 discussion
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03-01-2004, 07:09 PM
No one else thought that the whole thing about Coppola being an "American girl" and then having to go up there on stage with her dad was a little demeaning? She didn't look too happy about it. #1, she's not a girl, she's a woman, and #2, enough with the family connection already. Let her stand on her own two feet.
03-01-2004, 07:13 PM
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03-01-2004, 07:53 PM
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03-01-2004, 08:10 PM
Ten bucks says she loves her dad and doesn't need to nurse her ego by having the spotlight to herself.
03-01-2004, 08:43 PM
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03-01-2004, 08:54 PM
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03-01-2004, 10:08 PM
When Sofia Coppola creates a movie that's not an American Zoetrope production, she will truly be her own artist, out of her father's shadow, etc. Till then, she's doing good work, but the Coppola name isn't hurting her efforts. And she will continue to be paired with her father in the press, at awards shows, etc., no matter what, until she marries someone with a name like Pendergrass or Schumpeter.
03-02-2004, 01:22 AM
The sweep just makes me that much more upset that Sean Astin wasn't nominated. All things considered, he would have smoked Tim Robbins.
That would have been a speech for the ages. 
03-02-2004, 01:30 AM
Everytime Lost In Translation wins an award and Sofia Copolla goes up to give a speech she never thanks or even mentions the great performance by Scarlet Johanson(Sp?) but always mentions how great Bill Murry was. I wonder why this is?
03-02-2004, 05:21 AM
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03-02-2004, 10:12 AM
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03-02-2004, 10:50 AM
Now wait a second, something I just remembered...
in the IN MEMORIAM section... WHERE THE FUCK WAS JOHNNY CASH?????
03-02-2004, 10:51 AM
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03-02-2004, 01:23 PM
What was the guys name who seems to be responsible for some of the most classy trailers and was mentioned at the "Thanks for the memories" montage?
03-02-2004, 01:49 PM
JUst my 2c on the ROTK score:
I've always thought the score for THE EMPIRE STRIKES BACK is the best I've ever heard, and frankly, I still do. But like I posted before, I completely agree with Strax that Shore's score is the most perfect score since then. What I loved about the score for ROTK is that it didn't take the easy way out. The way RETURN OF THE JEDI did, and perhaps the way INDIANA JONES AND THE TEMPLE OF DOOM did, where instead of going to create a whole lot of music, Williams maybe was a bit lazy, throwing the Imperial March or the Rebel Fanfare or the Indy theme in where possibly some different new music could have been used (as in the aforementioned Asteroid Field piece). Shore shows that along with the characters, the music has evolved, and much of the repeating themes (and the leitmotif) have been rephrased and rearranged to suggest this in a beautiful way. It's also got such amazing range, from the sinister score to the Smeagol transformation to the glory of Anduril to the absolute horror of Shelob's Lair and finally the majesty and pure emotion of the Return of the King and the Grey Havens. This score has been non-stop in my CD player since I got it in November, and along with the film, never fails to reduce me to an emotional wreck, which ESB also does. I think this also fits with the way I view THE LORD OF THE RINGS: basically, as the STAR WARS of this generation. Something that comes out of nowhere and lays down a set of movies that, if not as technically proficient as other movies (although that's more describing SW than LOTR), they win out because they tap into somewhere that so many other movies (read: THE MATRIX) fail to do, which I guess could be appropriated towards the whole 'being a kid again' factor. In any case, I think it's an absolutely perfect score. Nuff said.
03-02-2004, 02:10 PM
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03-02-2004, 02:17 PM
Someone's said something very similar before but I think it was cogent: just becasue Chevy Chase was in a few music videos or Bruce Willis out out a record, doesn't mean they'd get selected for a memorial section at the Grammys.
Johnny Cash was first and foremost a singer. They didn't put in every Grip, Lighting Cameraman or critic (Alexander Walker?) that dies this year either. It's selective and in the main, subjective to Chuck Workman or whoever puts these things together. And in the acting world, Cash is no Donald O'Connor.
03-02-2004, 02:21 PM
He contributed his voice, music, and face to many films (and television); I think he deserved at least a couple of seconds during the section.
03-02-2004, 02:35 PM
Walker popped it last September (I think was the month).
03-02-2004, 02:42 PM
The quote all I always remember him by is from his review for FIGHT CLUB:
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03-02-2004, 03:01 PM
I think they included that quote in the insert. He's was a wag.
03-02-2004, 08:15 PM
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03-03-2004, 11:22 AM
Well done, you know some obscure films than many other folks don't - but this is the Academy Awards remember, a vastly populist celebration of the film year and like it or not, most people know the man as a country legend. As I say, there are many more probably-more-prolific-in-their-field than Johnny Cash. I mentioned Alexander Walker, one of the most prominent critics in the world, second to Dilys Powell in terms of the UK scene. Cash didn't get mentioned, for a fairly logocal reason. It's hardly an exhaustive list and therefore an almighty snub.
Besides, he got his own concert. John Ritter didn't. He had to make do with Tex's. | ||||||||||
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