Hammond At The Oscars & Governors Ball

Before I focus on last night’s 83rd Academy Award winners, let me describe my conversations with the “losers”, only some of whom seemed to take the news in stride. Clearly, The Social Network filmmakers were licking their wounds. To the point that hands-on producer Scott Rudin didn’t even make the trip west for the awards. Clearly, they think they were robbed. In fact, as I traversed the Grand Ballroom of the Governor’s Ball, I kept hearing that precise phrase — “You were robbed” — said a few times to everyone involved. Executive Producer Kevin Spacey told me with bitterness, “Yes, I am very disappointed  about Best Picture. But I am just stunned that David Fincher didn’t win, just absolutely stunned. This just proves it is all about campaigning and nothing else. It’s just a popularity contest.” He used some other language, too, that could give Melissa Leo a run for her money. Sony Pictures chairman Amy Pascal, who really invested herself in Oscar season this year, hugged Best Picture presenter Steven Spielberg and thanked him profusely for the consoling words he said before announcing The King’s Speech as the winner. (“If you are one of the other nine movies that don’t win, you will be in the company of The Grapes of Wrath, Citizen Kane, The Graduate, and Raging Bull”, Spielberg reminded everyone.) To add insult to injury, Social Network producer Dana Brunetti told me that the Governors Ball security guard hassled his table after they were already inside, questioning their tickets (apparently they didn’t scan correctly) and becoming so belligerent that he nearly got into a fight with one rent-a-cop until security backed off.

Also upset was Biutiful director Alejandro Gonzalez Inarritu who told me he thinks the Academy of Motion Picture Arts & Sciences needs to change the Foreign Language category rules so more people in the organization can actually vote on the final films than just the few hundred that are eligible now because they’ve seen all five films. He was clearly disappointed by Biutiful‘s loss to Susanne Bier’s Danish film In A Better World, but said he’s ready to gear up tomorrow for the next phase of his career after spending the past 9 months since the Cannes Film Festival talking up Biutiful.

Also disappointed was The Kids Are All Right‘s Best Actress nominee Annette Bening who told me she’d had an idea it probably wouldn’t be her night to win after three nominations but “I thought I might. I was hoping. Because we got this far with this little movie. But that’s showbiz.”

Walt Disney Studios Chairman Rich Ross was happy for his four wins — 2 for Alice In Wonderland, and 2 for Toy Story 3 but admitted to me he had been holding out hope for Pixar’s big grossing and well reviewed toon to win Best Picture. (His mantra all season had been, ‘If not this year, and not this picture, when?’)

Now for the winners. Toy Story 3 director Lee Unkrich had his shiny new Oscar engraved at the special stand which the Academy set up in a room near the ballroom. The King’s Speech Original Screenplay winner David Seidler had just done the same thing. (“I got it engraved now so they can’t take it away from me now!”) Sitting at the same table with his mother, whom he saluted in his acceptance speech, and his new Oscar, The King’s Speech director Tom Hooper tried to describe the night. “It’s such a feeling of relief. I’ve done it.  It’s been a long road but I can sit back and not worry about it now.  I can go on with my life and I have this.“  His mom told me she approved of his line, “Listen to your mother”.

But a director whom Hooper beat, The Fighter’s David O. Russell, was so ebullient you’d have thought he won. “Joel Coen just told me my movie was the best of the year. He can be a curmudgeon, too. That’s my prize,” he beamed.

When I headed over to the Weinstein’s  celebratory party at Chateau Marmont, newly Oscared producer Gareth Unwin shouted at me across the room, “Hey, we’ve come a long way since this started in Telluride! I just may not land my feet on the ground for another two months.” The Kodak Theatre orchestra tried to play him off the stage after accepting his Oscar but he just started talking. “It was like having a soundtrack for my speech. I liked it,” he told me.

When I ran into Harvey Weinstein just as the Oscar show was about to begin he was nervous. But I told him it seemed to me he was going to have a great night. For the most part there were no shockers and even no surprises. The wealth was spread out by Academy voters with The King’s Speech predictably grabbing four Oscars — for Best Picture, Best Actor for Colin Firth, Best Original Screenplay for David Seidler, and Best Director for Tom Hooper. Once again proving the DGA correlation. But the sweep which some (not me) were predicting for the British pic failed to develop as the Academy decided to give several films their due. The Fighter won both supporting Oscars for Melissa Leo and Christian Bale, the first time that double play has happened in these categories since Hannah And Her Sisters did it in 1986 with Michael Caine and Dianne Wiest. Odds-on Best Actress favorite Natalie Portman won for Black Swan.

Inception with four Oscars and Alice In Wonderland with two triumphed in technical categories. Toy Story 3 picked up two. And one-time frontrunner The Social Network settled for three including Adapted Screenplay for Aaron Sorkin, Original Score, and Film Editing. For a moment, the latter looked like it might pull off an upset, that is until Hooper pulled off Director near the end of the show. And that was basically that. Foreign Film winner, Denmark’s In A Better World from Susanne Bier, was the most accessible and “Academy friendly” of all the nominees — and those are the ones that have triumphed in this category in recent years despite Academy attempts to get edgier.

But back to Best Pic. This year proved that, if there’s a movie the Academy really loves, then no amount of critics awards for a rival movie is going to sway members from voting their heart. And that’s clearly what happened in the case of The King’s Speech over The Social Network. As for major surprises, sadly in this internet age of 24/7 Oscar punditry and so many precursor awards leading the way, the Academy Awards winners are almost pre-ordained, taking some life out the ceremony itself.

As for the show itself, co–producer and director Don Mischer, a 15-time Emmy-winning veteran of these kinds of big ticket spectacles, told me he was generally pleased. “We’ll see what they say about it tomorrow. There were some unnerving surprises like Kirk Douglas going on and on presenting Best Supporting Actress. Bruce Vilanche suggested we bring him back next year as the host.”

Highlights for me from my vantage point in the second mezzanine of the Kodak Theatre were the filmed opening with that funny Inception takeoff, the faux movie musical bit, and the traditional In Memoriam segment which was nicely done (even though it left off a few deserving names as usual) with sweet accompaniment by Celine Dion’s rendition of Charlie Chaplin’s Smile. Fox co-chair and Academy Executive Branch Governor Jim Gianopulos told me after the show that he fought to prevent the Kodak audience from applauding for their favorites by means of a stern warning during the commercial break prior to the segment. “It was becoming an embarrassing popularity contest. We got it right this year,”  he said, satisfied. I also liked the attempt to merge Hollywood and Oscar’s history with classic clips as well as a stunning ever-changing set that had style and glamour. Billy Crystal’s bit was too short but Bob Hope’s Oscar monologues was a technical marvel and fun.

Acceptance speeches were dignified but none really stood out. There were only two standing ovations: for Kirk Douglas, and for the three recipients of the Governors Awards who appeared at the Kodak — Eli Wallach, Francis Ford Coppola, and Kevin Brownlow. Toy Story 3 winner Randy Newman was amusing in his acceptance while Inside Job’s Best Documentary winner Charles Ferguson was political when he pointed out that not a single person accused of wrongdoing in the financial meltdown of three years ago has gone to jail yet. Colin Firth got laughs for his deftly worded speech.

As for the hosts, I thought Anne Hathaway’s warmth came through and her singing drew high marks. She also came out during commercial breaks and had fun with the audience, which may be one reason that the Kodak viewers had a better time during the show than home viewers. For instance, right after Melissa Leo let loose with her F-Bomb,  Hathaway offered a sushi plate to an audience member in the top balcony by claiming, “This is not just supermarket sushi. As Melissa Leo might say, ‘This is real fucking good sushi!’” The likeable Franco seemed a bit overwhelmed by the gig, though, which threw off the balance with his co-star. Clearly hiring them was an attempt to ‘young up’ the Oscars but with mixed results. Comedians are still probably the best bet for Oscar hosting in the future, but this was a nice try from producers Don Mischer and Bruce Cohen.

At the Governors Ball in the Grand Ballroom afterwards, reviews for the show were generally upbeat, at least from those I surveyed. Fox co-chair Tom Rothman called it, “The best show in years. It was terrific, elegant, and smooth. And the best thing about it was that it was movie-centric. I also loved James and Anne and am happy we have both of their movies [127 Hours and Love And Other Drugs] coming out on DVD on Tuesday!”

But Roadside Attraction’s Howard Cohen was not overwhelmed by most of the show, though he liked the opening and the closing. Indeed, many of the bigwigs I talked to pointed to the show’s finale with the kids chorus singing Over The Rainbow as a highlight.

Darren Aronofsky said overall the it was “good because it was my generation”.Annette Bening said she particularly liked the way the orchestra was used on stage. Christopher Nolan and his producer wife Emma Thomas also said they really liked the show, with Thomas singling out Hathaway for special praise. “We have Anne in our next film [The Dark Knight Rises] and now she will never be able to tell us she can’t make fast costume changes.”

    1. Am I the only one who though the pre-best picture award montage which smeared The King’s Speech soundtrack over all the Best Pic noms visuals was a f-ing travesty?

      Odd coincidence that they did that AND gave King’s Speech just happened to win the Best Pic Oscar don’t you think?

      And what about people that didn’t see all the nominated films? All they got to go by was a quick clip with King’s Speech narration over it? Talk about disrespecting the work. Everyone involved should be shot.

      1. I thought the best picture montage with the King’s speech over the images of the nominees was outstanding. The words synced with the action onscreen brilliantly. Nobody cried about the Inception opening as being unfair. Some films just lend themselves to the proceedings in different ways.
        And nobody got robbed. There were several excellent films that might have won and art is subjective.
        The Social Network is a terrific film, but a hell of a lot more money was spent on both its production and Oscar campaign than was for the King’s Speech.
        Brunetti and Spacey are classless and arrogant. I’ll guarantee if their film had won, none of the principals of the King’s Speech would be whining. They would have accepted the result with aplomb.
        Brunetti spent the entire time uploading red carpet pictures of himself to Facebook, for christ’s sake. He’s a self-aggrandizing little twerp. Everybody knows how he got his job and how much “producing” he actually does. Rudin produced that film, and even he was so bitter that he stayed in NY rather than sit there when his film didn’t win. Sour grapes in advance! Jesus.
        I loved the finished product, but everyone involved with the Social Network are crybabies as far as I’m concerned.

      2. This is an astute observation. It was bizarre and presumptuous. But sadly not as presumptuous and graceless as the Social Network people appear to have been. I’m sorry, but you can’t argue that the triumph of the human spirit, juxtaposed over the last great war the world has fought, with the quality of directing by Tom Hooper didn’t deserve the Oscar. Particularly because of the overblown hype around Social Network, a story of a guy who arguably ripped off his early partners, from a Director who has polarized the people in Hollywood his whole career in spite of the brilliant brilliant Aaron Sorkin. The movie wasn’t better than The King’s Speech, it wasn’t even better than The Fighter! All in all a boring Oscar cast but they always are. It’s too inside and most of today’s movie stars are personalities who got lucky so when coupled with gowns and tuxedos that they wear once a year and it shows, no wonder the glamour has been extracted from the telecast, let alone all of Hollywood. It’s the one aspect of James Franco’s stoned out performance that rang true; he was not movie star!

    2. The best part about watching the Oscars. Is when I get to see a person have that moment that the have dreamed of many many times. It is a wonderful thing to see. I wish that feeling for all of us. :)

  1. Social Network lost because the Academy voters are a bunch of old farts who don’t understand Facebook or the internet and they always vote for British art films over more mainstream American films they’re a bunch of elite effete snobs. Saving Private Ryan was a much better film than Shakespeare in Love so this was very predictable in fact I predicted it here a month ago.

    1. What you fail to mention is that King Speech grossed more at the box office than Social Network, both domestically and globally. Moreover, since King Speech cost less to make, it will also end up more profitable than TSN.

      While box office doesn’t necessarily determine a great movie, the younger audience didn’t seem to embrace TSN in the way that many would expect.

      And since when did older equal not having taste? Maybe you’ll let us know when you become older.

      1. Your point about box office is well taken, King’ Speech is hugely more popular than The Social Network and it stands to reason that would be reflected in the Academy as well. And presuming the average age for Academy Members is 50+ (and 15% of the membership coming from outside the States,) it’s really no surprise that King’s Speech did so well. That doesn’t quite explain why True Grit did so poorly, of course.

      2. The King’s Speech is doing marginally better business than The Social Network while profiting off a huge Oscar push. The Social Network is not because it hasn’t been in theatres for a while.

        The myth of the total super-duper popularity and commercial success of The King’s Speech is just that. A myth. It’s on-par so far with Black Swan and The Social Network, give or take a few millions. However True Grit was a bigger commercial success even though it wasn’t a blockbuster like Inception or Toy Story 3 but no one talks about that.

        The real question here is if the embrace of the hip, young, internet-savy target audience is so easily measurable in the “sold tickets at your local cinema” way. Hate to say it but iTunes sales and the number of illegal downloads would probably way more telling in this regard.

        1. That’s what the Oscars are for, and that’s why the awarding of Oscars was created in the first place: as a promotional tool for movies. Look on the flip side of things: a movie about the largest social network in the world (500+ million users) should’ve had a box office total that was through the roof.

          1. I wash my hands every day but that doesn’t mean I want to watch a movie about making soap.

      3. Watching the social network for me was like discovering that the IKEA founder is a Nazi at heart. kind of ruins the thrill of driving to Burbank for press board and formaldehyde. i walked away from that film trying to figure out how to help zuckerberg fail.

    2. You know, there a lot of people who think The Social Network was *made* by “old farts who don’t understand the Internet.” I have no clue where this idea came from that the young, tech-savvy crowd has somehow embraced TSN; to many of my generation, that movie was a joke– a bunch of old, out-of-it dudes trying to be “hip.”

      At least “The King’s Speech” knows what it is.

      1. Thank you, Rose! I am so tired of hearing that TSN was this great movie that the “old people of the Academy” just didn’t understand and that’s why they voted for “Oscar Bait.” I’m a university student and my FB page is constantly open in Google Chrome and I didn’t think TSN was all that great. I think it was timely, but I don’t think it really had anything to say. “Mark Zuckerberg made money but lost friends.” Okay, why? “It was so daring to have your main character be unlikable.” Not really, if you’re familiar with American film, but okay. But why is he unlikeable? The film never bothers to really tell you anything about him, so what’s the point? What’s the fuss? Sorkin wrote it and Fincher directed it, so it must be good. It was enjoyable, but not the Best Picture of the Year. TKS is better, Inception is better, TS3 is better, The Fighter is better — shoot, 127 Hours is better and I couldn’t stand James Franco before the Oscars.

    3. It is a possibility that the Social Network lost because the Academy is a bunch of old farts or, what I lean towards, perhaps they realize that the Social Network was overrated. Being of the “Facebook Generation,” the movie in no means speaks to me, and the suggestion of which is laughable. Of my friends who saw it who are under the age of 32, we all agreed that we enjoyed the film, that it was well written and executed, but that it was very obvious that it was an older generation’s interpretation of our generation. Those over that age completely thought it defined my generation.

      Stylistically, I think Black Swan deserved the win, especially considering what Aronofsky did with what little budget he had. While I thought that Inception was also overrated and too predictable given the hype, I think it, too, deserved best picture over Social Network because, like Black Swan, every element from story to costuming to visual effects enhanced and supported the story. Every frame of both of those movies embodied the art of filmmaking in its highest form.

      But, in the case of storytelling, King’s Speech is the strongest work of the ten. I walked out of that movie remembering why I used to love movies so much. Which is probably what the Academy was thinking when they voted it.

  2. This article is far too kind to Franco. He was completely out of his element. He was unfunny, out of sync with his co-host, and even seemed unsure where he was and what he was doing. I am glad there is a mention of the OTHER reason Hathaway and Franco were hosting: DVDs coming out the following week. What is this, the MTV Movie Awards?

    1. America — specifically New York — is tired of his act. He is not a good actor, he is a gorgeous 20-year-old who is no longer than attractive, and he is taking up seats at every school he goes to. If he were pursuing an education at Yale, no one would care, we would applaud him, but going to 10 schools at once, producing below low-quality work, it’s insulting to everyone in his sphere, and outside of it. His book is worse than what middle schoolers would produce, and his constant attention-seeking behavior will result in poor box office. Watch Planet of the Apes —— the numbers on it will be awful.

      Also, “Congratulations, nerds.”

      For someone who is trying to educate himself, and has zero genuine intelligence, it was tactless and tasteless.

      1. Agreed 100%. Franco was classless and the least charming host I can remember. His act is wearing thin to everyone but himself.

      2. Word. I found out a few days ago that this guy I went out with a few times (who was a real prick) has been “working” with James on one of his “student films” and has been seen in pictures posted to Franco’s twitter feed and I just kind of wanted to puke.

      3. Agree on the “nerds” line. Doesn’t seem like that would’ve been scripted.

        Also, in the “nerds” defense, ANYONE in Hollywood who does something well is technically a nerd. Only in this case, these NERDS are raking in millions in residuals from the licensing of their products.

        Hopefully he was only trying to be funny, and not spiteful.

        1. I think it was meant as irony, but as with everything else he attempted that night, it just didn’t work. Someone so desperate to let us all know he’s working on his dissertation wouldn’t laugh off the technical awards as “nerds” without trying to be funny … although he does come across as arrogant, as evidenced by his 10 schools at once attitude (having worked extremely hard to earn my own Ph.D. — which was a FT job — I’ll admit I may be personalizing), even though his assistant told New York magazine that she literally had to put the food in his hands or he wouldn’t eat. Renaissance man.

  3. Does anybody really think it would be a good idea to allow people to vote in the foreign film category without seeing all five nominated movies?

    1. Seriously. So Inarritu thinks that the best judges for foreign films aren’t necessarily the ones who saw ALL OF THEM and chose In a Better World over his film, but rather the ones who just saw Biutiful? That’s like saying only people who follow Palin on Twitter can vote for president.

    2. he is out of his mind. So people who have NOT seen the movies should be judging? yeah, that makes perfect sense. That sounds perfect for something like a golden globes, payola types scheme. They didn’t love your movie more than the others. Put on your big boy pants and move on.

  4. I find Annette Bening to be way overrated. Her performances don’t move me in the way, say, Debra Winger’s used to do.

    There’s something distant and mannered going on in her acting. Plus, she can be very snooty on the Red Carpet. Or, as Joan says, Bening has “major tude.”

        1. The operative word is “was”. Was awesome in “American Beauty”. Well, not really awesome. Even kind of overrated back then too when I think about it. Really, watching “The Kids Are Alright” made me think, good job, Hollywood. You managed to make lesbian couples look just as boring and banal as straight couples in a movie that is humorless, predictable and formulaic. There was nothing original in this film. Except for Mark Ruffalo, there wasn’t anything that held my attention. Bening didn’t deserve to win and neither did her film.

    1. Totally agree! She’s got this whole “I DESERVE THIS” thing going on- you could hear it in her Globes’ acceptance speech. Everybody knows Portman deserved her award because she was by far the Best Actress this year.

      1. Disagree. Natalie Portman was just a scared little girl throughout most of the film, then at the very end under very heavy makeup she played the black swan, with no dialogue, just her dancing. If it were a dancing award, then yes. But it’s for acting. Annette Bening, while I agree didn’t have an overwhelming performance, gave a much more rounded performance, with a whole range of emotions…not just scared little girl. I’m glad you liked Natalie, but I found her kind of weak. Also, Annette Bening got beat twice by Hilary Swank, who does one thing – plays a butch girl – so she’s probably a little peeved over that. I can’t blame her.

  5. “…sadly in this internet age of 24/7 Oscar punditry and so many precursor awards leading the way, the Academy Awards winners are almost pre-ordained, taking some life out the ceremony itself.”

    Yes, I bet Pete Hammond, Nikki Finke and company hate supporters of 24/7 Oscar punditry and find it very sad indeed. Damn those trade websites!

    1. about Spacey: that’s exactly what I was thinking. It really turns me off to see artists get riled up about who wins at award shows. this isn’t a sporting event.

      about Franco and Hathaway: I agree Hathaway was OK as a host, although obviously not as entertaining as a seasoned pro. Franco was all wrong. Trying to mask his anxiety with false confidence. It’s hard to be funny when you can barely enunciate. I don’t think the producers should take risks when it comes to selecting hosts.

    2. If Kevin Spacey thinks the Academy Awards are just a popularity contest, does that apply to his two Oscars as well?

  6. I thought Hathaway did great with what she was given. Franco struck me as if he was doing a tryout for the part of Joey on Friends.

    I have a better idea for next year. Bring back Douglas to replace Bruce Vilanch as head writer.

    1. I thought the same thing about Douglas replacing Vilanch (what’s up with ‘e’ at the end of his name?). Every year people complain about how lame and unfunny the Academy Awards, and every year Vilanch’s name pops up on the writing credits. The man wasn’t funny 20+ years ago on Hollywood Squares, and he ain’t funny now.

    2. I agree completely about Anne Hathaway. I’ve never been a big fan of hers in general–I dont dislike her, just no real opinion. However, I thought she showed great enthusiasm especially when it was clear to all that Franco was a dud beyond belief. I know at her age I wouldnt have been able to muster up that much presence and sparkle, and she looked absolutely stunning in every single gown she wore. Far from the cipher I expected her to be…

  7. the core of Academy voters is older-so Social Network just couldn’t get through this tight race. Too bad, it had everything, relevancy to our brave new world, incredible script, phenom director, perfectly cast ensemble players and Jesse Eisenberg was stunning to behold as he morphed his moods with rapid fire, intricate, caustic dialogue as this while realistically appearing to type code. o well too bad this did not win

    1. It’s very ageist of you to assume that older voters chose KS while younger voters chose TSN. That’s been the overall story since KS won last night, but unless you poll every Academy voter, that theory doesn’t have credibility.

    2. Yeah but the rapid-fire dialogue, while very entertaining, is not how people talk in real life. Great barbs and comebacks from some very sassy-talking characters (and LOTS of dialogue all around – very, very talky, like a really long episode of “The West Wing”), but come on, no one talks like that.

  8. How can Rudin’s not making the trip out West constitute licking his wounds? He would have gone out West *for the awards.*

  9. This it the most safe, self-conscious, and politically “correct” review of the Oscars I’ve read so far. I wonder who wants to get invited back next year…

  10. I hate RIch Ross getting credit for “Alice in Wonderland”. This was Dick Cook’s movie through and through. He is the one with the relationships with Johnny Depp and Tim Burton. The film was green-lit and produced under his watch. Ditto for “Toy Story 3”: RIch had nothing to do with it.

  11. Franco was just terrible. Like a dear caught in headlights. Don’t think Hathaway hurt herself at all here. I found her enthusiasm enjoyable.

    1. I enjoyed Anne. She did the best she could with the material she was given and her co-host. If she had Hugh Jackman for a co-host, she would have been really great.

  12. Was it Matt Damon, some years back, that we should not vote on films until they’ve reached the 10 year mark? Something about seeing how the film holds up 10 years later.

    Hmmm. Kinda like the idea.

    1. I totally agree (although my cutoff would be five). I’ve said for awhile that it’s not fair to put something on the “Greatest Ever” lists until they have been out for five years.

      The way I see it, when a movie first comes out, people fall in lust with it. They are blinded by their initial reactions and tend not to see the deeper flaws. If they still feel the same way after x amount of time, then they are in love with it and it may be fairly put on an “all time” list.

      Kind of works that way in life, too.

  13. Completely agree with Anonymous. TSN was the far, far better film. Too bad, but life goes on. And while I’m not a big fan of him personally, I think between The West Wing and The Social Network Aaron Sorkin is the leading screenwriter of his generation.

  14. Will somebody please explain how The King’s Speech is best original screenplay if it’s based on his unpublished play? Isn’t it still an adaptation? I’m not being rhetorical, does anyone know the rules on these things?

    1. I believe that Seidler had started writing the project as a film script then re-structured it into a play to work out some character development issues. The play that was written was never intended to be published or produced. Hence why it’s still an original work. Someone correct me if I’m wrong.

  15. Kevin Spacey, on the Oscars: “This just proves it is all about campaigning and nothing else. It’s just a popularity contest.”

    Except for the two Oscars you have, right Kevin?

    And how exactly is it so surprising TKS beat TSN? Both films are pretty much 1 and 1A on the critics’ lists. TSN gets a cool 100% on Rotten Tomatoes from the Top Critics, but TKS is at 97%. Not exactly a huge difference. The Academy has always shown preference for the message period piece… at least this year they picked a good one to honor.

  16. In defense of Franco, I think that watching Kirk Douglas do his death scene then pee on himself, followed immediately by Leo’s attack of the grasping trailer wannabes, left him stunned and in surviver mode. Monday was a director’s fault; even though the whole Hollywood act is a dying phenomenon, there’s still more material left in it than was evident last night.

    1. i don’t see how any of that is a logical defense of franco. I lifted up my TV remote when I saw how bad Franco was. I changed the channel during Kirk Douglas. (and never went back). I find it really stressful to be sitting my living room and actually feeling nervous for people who have no business being on Live television.

  17. So basically what Alejandro Gonzalez is saying is that he wanted people who had only seen his movie, Biutiful, to be able to vote in the foreign language category. What a joke. That is not fair and that is why the Academy requires viewing of all nominees- it only makes sense and in this case “In a Better World” from Denmark was obviously the top choice of those who had seen all nominees.

  18. On what subject across the vast expanse of the universe would Kevin Spacey NOT comment on “bitterly?”

  19. Also, Melissa Leo put the final nail in her wacky coffin last night. Even though she won the Oscar she has proven that she is officially off her rocker. All of that “feigning surprise” and then the tacky and trashy use of the F-word, give me a break. Would have rather seen Carter take it and give a humble, smart, funny, and graceful acceptance speech to this quack any day.

    And James Franco- what can you say? Ok, we all get it James- you’re too cool for the “Hollywood thing”. If that’s the case then why agree to host it? Either he was extremely nervous or just being a total asshole.

  20. Hathaway tried too hard to be cheerful and make up for Franco. The King’s Speech is a classic, deserving winner. TSN is a modern docudrama full of Sorkin wit but not enough soul. There are as many opinions about Oscars as there are liars and thieves in Hollywood – wait, maybe not that many.

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