Voila ~ the April Foolish Predictions are Complete!

by Nathaniel R

Whew. Can y'all give me a round of applause? Somehow I finished the April Foolish charts in all the early doable categories (i.e. all but documentaries and the three shorts categories) before April was done! Let this be a new leaf turned as we need lots of new leaves while we reinvent ourselves FOR 2018.

The freshly baked charts...

PREDICTION INDEX |  PICTURE | DIRECTOR | ACTOR 

And the charts that previously went up, some of which we've discussed on the blog....

ACTRESS | SUPPORTING ACTOR | SUPPORTING ACTRESS | SCREENPLAYS | FOREIGN LANGUAGE FILM | VISUAL CATEGORIES | MUSIC AND SOUND CATEGORIES | ANIMATED FEATURES

As you can see if you peruse them, they're filled with all sorts of narrative possibilities. Some of those stories they tell are in direct opposition to one another. I urge all of you to try this year in advance thing at home some year. It's incredibly confusing because each time you place a movie here you have to figure how it might affect things over there since there are distinct patterns to the way things happen. 

Steve Carell in "The Women of Marwen" based on the story that also informed the documentary "Marwencol"

It's like trying to construct a crazy intricate jigsaw puzzle without the final image to work from! You can make it up as you go along but what the hell kind of picture are your fingers forming?  And no matter how careful you are some things never end up making any sense...

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"Carousel" and "Spongebob" lead the Drama Desk Nominations

by Nathaniel R

Jessie Mueller and Joshua Henry in Rodges & Hammerstein's revived "CAROUSEL" which led the nominations

As discussed in a previous recent post, most theatrical awards don't have as direct a correlation to the Tony Awards as film awards do to the Oscars. At the Drama Desk Awards, which have been around almost as long as the Tonys, Off Broadway is also considered so their nominations naturally differ quite a lot. Expected Tony frontrunner The Band's Visit received zero nominations due to its previous Off Broadway run (i.e. eligible last season instead with the Drama Desk)

The nominations are after the jump...

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1970: The Aristocats

Our year of the month is 1970. Here's Tim Brayton...

From the standpoint of 1970, we find ourselves at the dawn of what is almost certainly the least-interesting decade in the history of American animation. Television screens were then dominated by the flat, cheap nonsense of Hanna-Barbera while Warner Bros. and MGM had abandoned their short film programs. Just about the only person trying to do anything with the medium was Ralph Bakshi, whose vulgar cartoons for adults were very often "fascinating," but almost never "good." The problem, in all likelihood, is that for 40 years, American animation had been primarily a matter of people reacting to the things Walt Disney had done; and in 1970, Walt Disney had been dead for four years.

This left his namesake studio in a state of full panic and confusion, looking to find any sort of project that felt like it might be "what Walt would have done." The first of these, released for Christmas, was The Aristocats, based on the last story (by Tom McGowan & Tom Rowe) that Walt had briefly glanced at and given his vague blessing to before his death...

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April Foolish Predictions: What film scores will be loved in 2018?

by Nathaniel R

Mary Poppins (1964) was nominated for 13 Oscars winning 5. Will Mary Poppins Returns (2018) also win Oscar hearts?

Since scores are often one of the very last components to fall into place in post-production, determining which scores might stand out at year's end is like throwing darts blindfolded. Each year some composers are replaced between our first round of predictions and the time their films arrive. Plus some 2018 movies haven't even hired a composer yet. Presumably they're waiting for Alexandre Desplat's schedule to open up. Only half joking! The perpetually in demand French composer and double Oscar winner generally scores anywhere from 5 to 10 (gulp) movies a year and he only has three films currently scheduled for release in 2018 (Isle of Dogs, Operation Finale, and Kursk... though we suspect The Sisters Brothers will hit this year as well, making it 4). Other Oscar favorites who have suspiciously empty schedules this year include Hans Zimmer and Thomas Newman.

From the year's releases that we've already seen we're curious about how A Quiet Place and Black Panther might hold up in the sound categories, too, since both films are blockbusters and A Quiet Place, especially, relies heavily on its aural elements for its success.

In related news: Best Original Song is next to impossible to predict this early as details are always scarce until late in the year but if you have any premonitions do let us know!  Here is our guesswork on the sound categories for the next Oscar race and the April Foolish Predictions thus far.

Stage Door: The Complex Web of Theater Awards

by Nathaniel R

Andrew Garfield in "Angels in America"

Oscar fanatics have it easy. Each year roughly 300 movies are eligible for the Oscar race and those same titles (with very few exceptions) are also eligible for all the other movie awards on this continent. They're even (with a few more exceptions) the same slate of movies that are eligible ACROSS the ocean at the other major English language film awards (the BAFTAs). Not so with theater!

Theater awards, a nichier beast altogether, are ultra territorial and when there is crossover it can feel accidental or play out like an echo rather than a harmonic convergence. The Olivier Awards, for example, just honored Lin Manuel Miranda's blockbuster "Hamilton"  which the Tony Awards honored two years prior but the only real crossover for this year's Tony Awards is likely to be Angels in America which just transferred here with most of its London cast intact...

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