Oscar Volley: The heat is with the "Original" screenplays

Team Experience is discussing each Oscar category in the lead up to the nominations. Here's Nathaniel and Abe to talk Best Original Screenplay...

AFTERSUN

NATHANIEL: I feel like I say "my favourite category!" a lot when talking Oscar. So let me just tell you, Abe, that this is at least 'one of em' for me (with the Actress categories, Costumes, International Feature, and and and and and) Usually, the Oscar buzz centers on the Adapted screenplays since they come bearing automatic prestige. This year it is so pleasing that the heat is with the originals. The Banshees of Inisherin & Everything Everywhere All At Once feel neck-and-neck for the future win. Even if they both didn't have so much heat in Best Picture, they'd be formidable contenders in this category.

I want to start with the longer shots, though. One movie a lot of people are rooting for is Charlotte Wells' Aftersun. I love it too but I wonder if it's ineffable impact doesn't spring more from the fluid mystery of the direction, editing, and performances? I wonder if it can go the distance here. What longer shot are you rooting for?

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Oscar Volley: Adapted Screenplay

Team Experience is discussing each Oscar category in the lead up to the nominations. Here's Nathaniel and Chris to talk Adapted Screenplays

CHRIS: Hi Nathaniel! I’m looking forward to discussing the Adapted Screenplay race with you. Each year, it’s fun to size up which screenplay category is more competitive - Original or Adapted. This year, the scale is tipped much more in favor of the Original Screenplay race, which has a majority of the Best Picture hopefuls. By comparison, the Adapted Screenplay is much more open, which can lead to a more interesting set of nominations. The clear frontrunner is Women Talking. It’s a Best Picture hopeful that has a really clear script hook. The film takes place over the course of 24 hours, yet weaves the individual stories of its female ensemble into a stunning patchwork quilt of trauma. Yet, it does so with moments of levity and heart. After that, the only other Best Picture sure thing in contention is Top Gun: Maverick. As that movie becomes more of a threat to win the big prize, it feels like the blockbuster behemoth will take one of the five slots here. So what becomes of the final three slots?

It’s crazy that Glass Onion: A Knives Out Mystery only stayed in theaters for a week. The groundswell for the incredibly twisty and fun whodunnit will likely begin now that it's streaming on Netflix...

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Oscar Volley: the still bonkers-crowded Supporting Actress race

Here are Baby Clyde and Mark Brinkerhoff to discuss TFE's favorite category, Best Supporting Actress:

Jessie Buckley in WOMEN TALKING

MARK:  Happiest season, to all who celebrate! I love a supporting actress smackdown, in real time, don’t you?This is a blood bath, to be sure, although one thing I’m fairly certain of: There will be someone from  Women Talking and  Everything Everywhere All at Once. At this point, I’d say Claire Foy and/or Jessie Buckley and Jamie Lee Curtis and/or Stephanie Hsu could even form the bulk of the lineup.  Curtis definitely is gunning for it—will she be the third veteran, overdue actress in as many years (after Amanda Seyfried and Kirsten Dunst) to find herself finally nominated in supporting?. If Everything Everywhere All At Once overperforms, that could augur well for Hsu. (Wouldn’t it be something if we got four actors in a single film nominated again this year after The Power of the Dog did it just last year?)

My hunch is we’re likely to see a majority of first-timers in this category, which is always exciting...

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Oscar Volley: Two locks for Supporting Actor... and then it's wide open?

Here are Chris James and Eric Blume to discuss one of Oscar's trickiest categories, Best Supporting Actor:

ERIC:  Chris, so happy to be reunited with you, this time to discuss the Best Supporting Actor Oscar.  This category is always one of the weirdest and often the worst... I'm still not done being angry that arguably-bad Troy Kotsur beat the genius work of Kodi Smit-McPhee last year.  But that's how this award often goes.  

Let's start with our "locks".  I think we have two:  Brendan Gleeson and Ke Huy Quan.  And that's great news, because they're both splendid performances and either would be one of the best winners in this category for the last decade.  Gleeson is the embodiment of tragicomedy, and Quan finds that perfect note between farce and realism in an incredibly playful piece of acting.  How do you feel about Gleeson and Quan personally, and would you agree they're locks? 

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Oscar Volley: Fresh nominees or familiar names for Best Original Score?

Team Experience is discussing each Oscar category as we head into the precursors. Here's Juan Carlos Ojano and Mark Brinkerhoff... 

CARLOS: I've learned my lesson about the Original score category. It defaults to usual suspects. On the one hand, their loyalty to certain composers gives the opportunity for films to be nominated even when they're not Best Picture nominees. They don't even have to be Best Picture-adjacent (Parallel Mothers, Isle of Dogs, Passengers). On the other the hand this category can be a lazy checklist of familiar names in the way other categories are a lazy checklist of Best Picture heavyweights. Are you feeling the same way?

MARK: Yes. Often times the  familiar “in the club” composers get shortlisted. Considering The Fablemans is positioned to score overall and considering his own track record, we can surely reserve one spot for John Williams...

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