How I Came to Write Musicals

IT'S A SPECIAL GUEST STAR DAY!

We are thrilled to turn The Film Experience over today to Tom Mizer, one half of the songwriting team Mizer & Moore (The Marvelous Mrs Maisel). In addition to his many career accomplishments, he happens to be a longtime TFE reader! Please give him a warm welcome - Nathaniel R.

by Tom Mizer

It’s a little disturbing to discover that the best way to introduce myself to you, good readers, is by having you meet 10 year-old me. During a lockdown cleaning binge, I found a stack of “scrapbooks” I made as a kid out of construction paper and newspaper clippings. The extreme Tom-ness of who I was and who I’d become is all there. I mean, look at just this one page.

First, note the slipshod but intense workmanship. I have not a crafty bone in my body and clearly needed to avoid the visual arts...

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April Foolish Predix Pt 2: Visuals & Sound

Hello brave readers willing to fantasize about the 93rd annual Academy Awards while the bulk of the internet (but not us!) is convinced they won't exist! We've previously covered potential options for Best Animated Feature so now let's talk all the craft categories before we get to the 'big eight' (Screenplays, Director, Acting, and Picture). It's a wild wild world out there in terms of possibility. We only know:

a) which movies are "definitely*" still planning to open this year
b) the kinds of things Oscar tends to like in a normal year
c) a vague idea and plentiful hunches about which movies are closest to being finished in post-production and will risk opening. 

So please take all of these predictions in the way they are intended: a bit of fantasy escapism based on past punditry experience mixed with vague ideas about what might happen in the future of this tumultuous year. 

VISUAL CATEGORIES
Our favourite film categories to think about apart from Actressing & International Film. Come look at what we think might happen in Costume Design, Cinematography, and more. 

SOUND CATEGORIES
These are much less fact-based. Composers are often the last part of a creative team hired so a lot of upcoming pictures dont have composers announced yet. Especially since Hollywood isn't at work at the moment. So this is wild guesswork. We also dont know which movies will have original songs. So we are blindfolded while looking at these crystal balls. It's quite odd, punditry, in this pandemic world.

1999 with Nick: Best Original Score

This week, in advance of the 2019 Oscars, Nick Davis is looking back at the Academy races of 20 years ago, spotlighting movies he’d never seen and what they teach us about those categories, then and now...

the surprise winner

Spotlight Movie: The Red Violin
One of the most exciting things that can happen on Oscar night is when a movie with no other nominations wins one of the “craft” or “technical” or “below-the-line” categories—three bad names for the races where very few contenders are celebrities. In a year like the current one, where the Best Picture nominees ran the table to a historic degree, and consuming most of the spots in every other race, we have even fewer prospects than usual to see this occur. I’d love to watch The Lighthouse win Cinematography or Ad Astra win Sound Mixing, both because they deserve these victories on merit and because it’s nice (but mostly false) to hope that Oscar voters make discerning judgments from category to category based on each discrete department of artistry.

The Red Violin’s Best Original Score trophy at the 1999 Oscars represented one of these glorious instances, and registered as a significant upset at the time...

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Film Bitch Awards: Screenplays, Score, and Sound

We started a week ago with a few appetizers but now the 20th (gulp) annual Film Bitch Awards are finally in full swing. Here are the new categories that are up

BEST ORIGINAL & ADAPTED SCREENPLAY
Wouldn't it be neat if Marriage Story or Parasite could snag a surprise win from Once Upon a Time in Hollywood at the Oscars in Original Screnplay. All three are also nominated for the Film Bitch Award but we don't think Tarantino needs a third Oscar and for the first time since Kill Bill his visuals feel even more noteworthy than his writing anyway. Not that it's not a grand script. But the raw wound comedy and drama of Baumbach's reflection and Parasite's ingenious construction are right there for the honoring so we hope the Academy thinks it through.  We're happier about the other impending Oscar win for Adapted because Greta Gerwig takes Little Women apart and puts it back together again in such a personal and fresh 'life-of-an-artist' way. 

BOTH SCORE & SOUND CATEGORIES
Music and sound preferences are so hard to articulate so forgive the very short notes.

As a reminder, if you haven't voted on the "should wins" for those categories at the actual Oscars, do that on the charts please. 

Interview: Double Lopez on "Into the Unknown"

by Eric Blume

I recently had the pleasure of sitting down to speak with Robert Lopez and Kristen Anderson-Lopez, nominated for the Best Song Oscar for "Into the Unknown" for Frozen 2.  This talented duo has already won the Oscar twice in this category, for the megahit "Let It Go" from the original Frozen, and "Remember Me" from Coco.  They could not be more charming and charismatic, as witnessed here...

[This interview has been condensed and edited for clarity]

Eric: At what point in the process were you brought in on FROZEN 2?

KRISTEN: Very early on when it was like, 'I think we're going to do Frozen 2. We're thinking it's about change.' Jennifer Lee [Frozen 2's writer/director] called us, sort of tipped us off.

ROBERT: It needed to happen because, you know, the sounds in a musical are as integral as any dialogue and in fact, they have to bear a lot more weight. So we had to be there. We helped influence the story and they helped influence the songs...

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