The Oscars Thread

Mortay

Sparrow
Whatever happened to this Kimmel? He did quite the 180 from being a "chauvinist" and "misogynist" to a complete white knight faggot.


P.S. I forgot how red pilled this show was
 

debeguiled

Peacock
Gold Member
ed pluribus unum said:
YossariansRight said:
Can someone tell me what the ending of “Being There” means?

Did Chance die?
Was he an angel?
Was the whole movie a dream?
Other hypothesis?

I have watched that movie maybe 5 times...and every time the ending blows my mind.
I think it's supposed to be something along the lines of "he can walk on water because he never learned/doesn't know that he can't" or some similar kind of boomer/hippy sentiment.

If ever it comes on I only tune in to watch Peter Sellers cracking up in the bloopers during the closing credits.
This was the seventies, a time when everyone was tired of the Vietnam war, Watergate, college protests, violent lefties, the whole sixties shebang.

No one wanted to deal with grownup stuff, and there was a pretty serious retreat into nonseriousness: Disco. Pet Rocks. Streaking. Superficial pop psych.

Being there came out in '79, and it was only a year later that I saw a nostalgia shop open up in Berkeley for people in their twenties which had their favorite candies, lunch boxes with their favorite cartoons.

So it is no surprise that people wanted easy answers rather than hard questions, and the figure of Chauncey Gardener was perfect. Keep it simple. The wise fool. All we need is a retreat to childish simplicity.

One of the bestselling books at the time was a self help book called



It had such classic advice as:

1. Share everything.
2. Play fair.
3. Don't hit people.
4. Put things back where you found them.
5. CLEAN UP YOUR OWN MESS.
6. Don't take things that aren't yours.
7. Say you're SORRY when you HURT somebody.
8. Wash your hands before you eat.
9. Flush.
10. Warm cookies and cold milk are good for you.
11. Live a balanced life - learn some and drink some and draw some and paint some and sing and dance and play and work everyday some.
12. Take a nap every afternoon.
13. When you go out into the world, watch out for traffic, hold hands, and stick together.
14. Be aware of wonder. Remember the little seed in the Stryrofoam cup: The roots go down and the plant goes up and nobody really knows how or why, but we are all like that.
15. Goldfish and hamster and white mice and even the little seed in the Styrofoam cup - they all die. So do we.
16. And then remember the Dick-and-Jane books and the first workd you learned - the biggest word of all - LOOK.”
Might be the inception of the safe space mentality.

I liked Being There. It was well acted, well written, and was a beautiful fable. It was fine without the "Maybe Jesus will come back as a moron" twist ending.

It also laid the groundwork for Forrest Gump, and this is unforgivable.
 

YossariansRight

Ostrich
Gold Member
debeguiled said:
ed pluribus unum said:
YossariansRight said:
Can someone tell me what the ending of “Being There” means?

Did Chance die?
Was he an angel?
Was the whole movie a dream?
Other hypothesis?

I have watched that movie maybe 5 times...and every time the ending blows my mind.
I think it's supposed to be something along the lines of "he can walk on water because he never learned/doesn't know that he can't" or some similar kind of boomer/hippy sentiment.

If ever it comes on I only tune in to watch Peter Sellers cracking up in the bloopers during the closing credits.
This was the seventies, a time when everyone was tired of the Vietnam war, Watergate, college protests, violent lefties, the whole sixties shebang.

No one wanted to deal with grownup stuff, and there was a pretty serious retreat into nonseriousness: Disco. Pet Rocks. Streaking. Superficial pop psych.

Being there came out in '79, and it was only a year later that I saw a nostalgia shop open up in Berkeley for people in their twenties which had their favorite candies, lunch boxes with their favorite cartoons.

So it is no surprise that people wanted easy answers rather than hard questions, and the figure of Chauncey Gardener was perfect. Keep it simple. The wise fool. All we need is a retreat to childish simplicity.

One of the bestselling books at the time was a self help book called



It had such classic advice as:

1. Share everything.
2. Play fair.
3. Don't hit people.
4. Put things back where you found them.
5. CLEAN UP YOUR OWN MESS.
6. Don't take things that aren't yours.
7. Say you're SORRY when you HURT somebody.
8. Wash your hands before you eat.
9. Flush.
10. Warm cookies and cold milk are good for you.
11. Live a balanced life - learn some and drink some and draw some and paint some and sing and dance and play and work everyday some.
12. Take a nap every afternoon.
13. When you go out into the world, watch out for traffic, hold hands, and stick together.
14. Be aware of wonder. Remember the little seed in the Stryrofoam cup: The roots go down and the plant goes up and nobody really knows how or why, but we are all like that.
15. Goldfish and hamster and white mice and even the little seed in the Styrofoam cup - they all die. So do we.
16. And then remember the Dick-and-Jane books and the first workd you learned - the biggest word of all - LOOK.”
Might be the inception of the safe space mentality.

I liked Being There. It was well acted, well written, and was a beautiful fable. It was fine without the "Maybe Jesus will come back as a moron" twist ending.

It also laid the groundwork for Forrest Gump, and this is unforgivable.
Well said! The infantilism started during that time for sure.

And yes, “Being There” was the template for “Forrest Gump”, much like another 70s classic, “Play Misty For Me” was the basis for “Fatal Attraction”.
 
I always thought the ridiculousness of late 70's movies had less to do with childishness and more to do with the massive amounts of cocaine that everybody in the entertainment industry was snorting like crazy at the time.

From what I've read and seen, it was everywhere. Music, movies, TV, books, you name it. Everybody was high back then, and that's no exaggeration.

When I was little we got cable in the late 70's and I watched all the silly Hollywood movies that went straight to HBO back then. As a little boy I loved them, my parents hated them. Looking back now and knowing that most if not all of the people involved in those movies were geeked to the gills, it makes me laugh even harder.
 

YossariansRight

Ostrich
Gold Member
Chevy Woonsocket said:
I always thought the ridiculousness of late 70's movies had less to do with childishness and more to do with the massive amounts of cocaine that everybody in the entertainment industry was snorting like crazy at the time.

From what I've read and seen, it was everywhere. Music, movies, TV, books, you name it. Everybody was high back then, and that's no exaggeration.

When I was little we got cable in the late 70's and I watched all the silly Hollywood movies that went straight to HBO back then. As a little boy I loved them, my parents hated them. Looking back now and knowing that most if not all of the people involved in those movies were geeked to the gills, it makes me laugh even harder.
Back when HBO was good. The 70s produced some of the best examples of American films...and tons of schlock too.

And 99.9% of it all was make with enough booger sugar to fill the Grand Canyon.
 

questor70

Ostrich
Chevy Woonsocket said:
I always thought the ridiculousness of late 70's movies had less to do with childishness and more to do with the massive amounts of cocaine that everybody in the entertainment industry was snorting like crazy at the time.
The funny thing is for me, having been a kid in the late 70s and early 80s, is that the world seemed pretty damn safe back then. I felt pretty disconnected from Vietnam and Watergate and fear of nuclear war seemed wholly hypothetical. The whole Carter malaise period never felt real to me. Life seemed pretty damn carefree. That sense of America being a safe place and not having to consider larger issues lasted pretty much straight through to 911. It was only after 911 did the American way of life start to feel really vulnerable.

The funny thing is today that people seem just as fixated on gossip and cheap diversions...it's just that they're also bombarded with politics and hashtag campaigns 24/7.

Life was simpler when my only concern was seeing how long my roll of quarters would last at the arcade.

 

budoslavic

Peacock
Gold Member
Sounds like the theme of the Oscars night was "Diversity, Communism, LGBQT and Female Empowerment". What a cringefest. :eek:










Edit. :lol:

 

Number one bummer

Kingfisher
Gold Member
budoslavic said:
Miller is hilarious, I've followed him for the last couple years. He would have been cancelled a long time ago for his opinions on immigration and demographics if he wasn't intersectionality protected.

Only in clown world can Phoenix come to tears talking about separating a calf to milk the cow while supporting the post-natal abortion of humans at the same time.
 

Canopus

Kingfisher
Just a little food for thought. Take a look at the bold text.

Vulture: Who Is Writing Brad Pitt's Awards Season Speeches?

the gold rush Feb. 6, 2020

Who Is Writing Brad Pitt’s Awards Season Speeches?
By Chris Lee

By this point in awards season, Brad Pitt’s march toward a Best Supporting Actor Oscar seems all but inevitable. Not to say anyone’s complaining. In fact, the loudest knock against the Once Upon a Time in Hollywood star is that his warm-up acceptance speeches at events like the Golden Globes, the Screen Actors Guild Awards, and the BAFTAs have been a little too, well, perfect.

Pitt’s “I would’ve shared the raft” nod to his OUATIH foil, Leonardo DiCaprio? Slick yet magnanimous. The crack about avowed foot fetishist Quentin Tarantino having “separated more women from their shoes than the TSA”? Culturally sticky beyond the normal bounds of off-the-cuff remarks. And Pitt joking about putting his SAG statuette on his “Tinder profile”? The platonic ideal of a humblebrag. (Even his acceptance speeches in absentia are noteworthy: the “Hey Britain, heard you just became single — welcome to the club” quip was technically delivered by Margot Robbie.)

As Pitt heads toward the Dolby Theatre’s tuxedoed throng this weekend, we’re less curious as to whether the ageless star will win for his turn as a stunt stand-in in the Ninth Film From Quentin Tarantino™. The more interesting question is: Who is ghostwriting Pitt’s awards speeches?

Pitt (or, rather, his representatives at Once Upon a Time in Hollywood’s studio distributor, Sony) declined to comment when we posed that very query. But at least one outside speechwriting agency reached by Vulture (that asked to remain anonymous because of a confidentiality agreement) confirms that Pitt’s representatives contacted the organization to consult about engaging their services. Which isn’t that surprising; according to a cross-section of awards campaign strategists, public relations executives, and speechwriting professionals, the practice of having nominees in the acting, directing, and writing branches enlist professional help to boost a certain gracious-yet-deserving quality at the awards podium has been one of Hollywood’s worst-kept secrets for many years.

“The most common reason [to hire a ghost acceptance speech writer] is knowing the room. Like, ‘What is the difference between the PGAs, the Globes, and the BAFTAs?’ Knowing the room is key,” says one awards campaigner, who declined to be identified out of ongoing professional sensitivities. “Laziness is the other reason.” This source recalled writing scripted remarks for an awards-nominated screenwriter after the individual kept “going off the mark” in speeches leading up to the Oscars — never mind the nominee’s extensive background with the written word. “It’s tricky business,” the strategist adds. “Actors are much more accepting of speechwriting.”

In an era when Hollywood studios annually mount mega-dollar awards offensives with all the tactical precision and groupthink of political campaigns, it should come as no shock that the act of winning one — or several — of Oscar’s preamble awards has become minutely choreographed. Conventional entertainment-industry wisdom holds that a nominee’s lack of focus or preparation, or the inability to deliver a speech that is at least outwardly “authentic,” can detract from their seeming deservedness for Academy hardware.

Meeting this exigency, hired speechwriting guns extensively confer with a nominee (and their “team”) to help hone in on message and polish jokes while also ensuring the nominee stays on brand (apropos the character role for which he or she is being honored in actors’ cases) in the 45 to 90 seconds usually allotted for the award spotlight. To name one of the more famous operators in this space: Outside her uncredited script-doctoring on such films as Hook and The Empire Strikes Back, the rapier-witted Carrie Fisher is rumored to have regularly ghostwritten stars’ acceptance speeches.

And if Pitt were indeed inclined to up his speeches’ humor quotient using outside help, his team need look no further than in-house talent. The actor’s management firm, Brillstein Entertainment, is regarded as a comedy powerhouse whose lengthy roster includes such stand-up stars as Natasha Leggero and W. Kamau Bell.

Joaquin Phoenix’s meandering, expletive-laden, pro-vegan Golden Globes acceptance last month put Hollywood watchers on notice for a similarly unfocused arrival should the Joker star win a Best Actor Oscar. But, in sharp contrast, Phoenix’s BAFTA-winning speech last weekend functioned more like a policy-point presentation, agitating for on-set inclusivity and increased multiculturalism in a year the British film academy failed to nominate a single person of color for its marquee awards. “This is not a self-righteous condemnation because I’m sorry to say that I’m part of the problem,” the actor said, without a trace of the recalcitrance for which he is infamous offscreen.

In certain Hollywood circles, it begged skepticism: Had pro speechwriters come in to help Phoenix course correct before the Academy Awards?

Fenway Strategies is a speechwriting and communications firm founded by former Obama administration officials Jon Favreau and Tommy Vietor. Although the firm’s most obvious connection is to the political arena, helping speakers prep TED talks or United Nations addresses, Fenway has branched out into Hollywood. And over the last few years the firm has helped ghostwrite awards acceptance speeches for a number of A-list clients; you definitely know them but their identities are protected by non-disclosure agreements.

To hear it from Fenway principal Sam Koppelman, a former speechwriter for Michael Bloomberg and digital strategist for Hillary Clinton who also co-authored the New York Times best seller Impeach: The Case Against Donald Trump, the practice is so widespread among movie, music, and TV stars nowadays, he finds it more astonishing to discover a nominee has eschewed professional speechwriting help than when one seeks it out.

“Writing for actors is a speechwriter’s dream come true,” says Koppelman. “Because unlike politicians, who are not professionals at memorizing lines or delivering them in compelling and charismatic ways, actors actually know how to deliver the lines.”

As for Pitt’s unbroken run of awards speech excellence, the communications strategist is willing to suspend a certain disbelief. “Maybe he just decided to do it himself and he’s really good,” Koppelman adds. “But if you do find out who wrote them, let me know — they’re good at speechwriting.”
 
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