Barnack

Hard to imagine more accessible than something like Coda or GreenBook, they are not Platoon or The Deer Hunter. Even Parasite, subtitle aside, Joon-Ho make really accessible large audience crowd pleaser for the most part (Mother maybe a bit less) like a David Fincher/Tarantino. And I am sure when people watch them at home, giant proportion of people (specially of the same age that oscar voter are) like them. Platoon was beating movie like Children of a Lesser god, The Mission, A Room with a View in 1986. There is different type of Oscar bait, the making a movie the average 60 years' old love a la Spotlight, The King Speech is extremely accessible, the high emotion roller coster/bit of nice accessible social message a la CODA-Greenbook-Slumdog Millionaire has well. Hurt locker was more in what you have in mind, but I am not sure they are a majority of the front runner most years.

Back in the days it was around 108million of today dollars (plus what Tom Hanks/Zemeckis spent out of their own pocket to finance budget overrun during the production) with really generous first dollars gross deal to the big name. Forrest Gump was a giant actor with a giant director fighting for a mid budget movie to happen, in recent time The Martian (110 millions) Ford V Ferrari in 2019 (100 millions) Ad Astra (80 millions) Almost every DiCaprio movie (Once upon a time and so on) Gravity (100 millions) Mid budget original that can please adult still exist if rarer, the giant budget relative to the competition one are getting really rare since Avatar (the Gladiator, Titanic), but that in part because the competition with an IP can rise the bar because of known in advance revenues, but Nolan still make one from time to time. Are not that far and Gump was competing against 4 much smaller budget affair (Pulp fiction (8 millions), quiz show (31 millions), shawshank (25 millions), Four weddings (4.4 millions))

Which I feel is why people think they were a shift, there was a recent era where doing overt partisan political statement during the show would make the crowd boo. The Academy refused for Littlefeather to read Brando letter during the show and listen to the crowd reaction when she talk about the treatment of American Indian by the film industry, she got booed, unfathomable to imagine that it would happen today. It was less of an echo chamber and felt are more divided crowd by the viewer, with more people feeling is side represented.

Unlike the non-racist anti-black. I imagine you are just an online character here, but are you really convinced that if Ben Affleck had slapped Chris Rock after a Jennifer Lopez joke, people defending Affleck online that Apatow would have for sure not any over the top reaction to them ?

That was not enough of a clue: and it was being televised across state lines, so it's probably RICO I would imagine all my post are terrible to read if they are long enough.

PS: American tend to have a someone good grasp on the first amendment what many are terrible at is free speech, many American think they are almost the same (like if something is not protected by the American state in the last 50 year's of jurist prudence it cannot be considered like a cost that speech has (i.e. an absence of it being free of consequence), something they would never do for something like The right to the pursuit of happiness.

Scripted thought when in at first automatically, but Chris Rock way to act it would it have been scripted felt way too good almost immediately after. What kind of acting genius would have decided to acted it so low able to execute that flawlessly, that would have been better than Pam Anderson in Borat and on live/without any montage/zoom on is face.

Will Smith did an South honor culture, 2022 is just missing some respectable duelling option.

Maybe/maybe not, I feel that's a movie (like Green Book) almost everyone will adore if they decide to watch it, even with high expectation. Few movies, made me cry more than CODA, and it did it in new ways, I did find it extremely well crafted some exposition was not easy and really well done.

That probably a different word that your corrected change for, Alopecia maybe ?

Little maybe anal distinction, but Slapped, which is a degree of difference (specially for a trained in boxing large fit men like Smith)

There is a bit of a contradiction here, there is not that much limit what you can do to an adult male that will not press charge in term of injury less slapping in the face after they insulted someone them on the normal folks side. Adults can get into a fight in the streets (or in a ring, hockey game), and from many cops points of view that all good if they wanted too and do not want to press charge after. He is Will Smith, a nobody would have been dealt with quite differently. How ?

The Academy award crew is quite something, it took a while for them to get Smith walking to the stage but they had a lot of time to do so: If it was staged, brilliant/genius acting by Chris Rock, extremely realist (one would not imagine in advance that one would react like that) and the crew (removing the sound and so on), would be impressive.

I am probably way late here, but the game sound promising in that regard, different era (again) completely:

Titanic, Avatar, Gone With The Wind, Lords of the Rings 1-2, Green Miles, Godfather, Braveheart, Jackson King Kong, Private Ryan, Inception, the long Tarantinos many of the best legs in history have very long run time and if we talk multiplier, run time will have affected opening for giant one. A movie that is hard to rewatch, that for sure would hurt legs.

I think that excellent (and will be excellent streaming content after)

Runtime can be more opening weekend thing (how many show you can fit) than leg one ? BvS needed to milk that opened weekend.

It depend when and movie by movie, but often less than half of a movie revenues come from theater, it is why it tended to balance out. Say a movie cost 150m to do and had a 110m theatrical releasing cost, 50m of other cost (interest, home ent release, some back end deals), total 310m. Made 300m in theatrical, with an average 42% return (got a 53% domestic deal, less internationally) for a 126m rental. 40% of the movie revenues was theatrical, total revenue were: 126/.4 = 315m Historically tie in (even on the most tie in franchise with the best deals a la Bond) does not cover the international marketing budget, what they do is give way more exposure to a movie, the tie in often come with the understanding that the studio will spend on movie ads featuring their product while they will spend on their product ads featuring the movie in exchange, there is often very little to no actual money being exchanged, but giant value would they have bought that exposure (and they can put giant numbers in that category).

From my understanding the Academy give ticket to nominee, 3 people of their choice, presentator, Academy members winning a lottery and the ABC-Disney people etc... Don't look Up is invited (if they are) by Netflix that received a bunch of tickets that they split among big name and people involved in the movies: https://time.com/6159180/oscars-invites-rachel-zegler/ After that, the Academy cleans its hands of the decision-making process by handing out to each studio blocks of tickets that are roughly proportional to the nominations they’ve received. The entire cast (of 192 people) of Don't look up will not get ticket for the Oscar by the studio that just impossible even if they make an explicit demand, not usually but certainly not in a year with one of the lowest amount of attended since it is a tv show because of COVID rules and the small theater. It is not the first time that this occurs and again the Academy will ask people why Disney decided that to Disney: Six years ago, a similar controversy emerged when the cast for Straight Outta Compton, which depicts the rise of the rap group N.W.A., did not receive invites to the ceremony; only the film’s white writers who were nominated for Best Original Screenplay were invited. At the time, an Academy spokesperson deflected responsibility: “The Academy invites the nominees only, and each studio gets a limited ticket allotment, based on the number of nominated films, to use at their discretion. It has been this way for decades,” the spokesperson told People. Maybe there was an exception for Jack Nicholson (there were way less member and much more place back in days so maybe he was simply getting one has a paying member, just a really good one) not having to go by an win the lottery, but actors not in nomination if I understand correctly that are there are either presenter/got a ticket from the +1 or +3 of their nominated friends, from a powerful agency/studio, won the lottery has an academy member, bought the ticket on the second hand market, they were not a direct invite from the Academy themselves. If DiCaprio agent would ask Netflix for a ticket, they would make it happen, obviously.

Disney then, wonder why Disney decided to not invite her (or one of the many movie nominees giving one of their 3 tickets), but one could imagine they have long list of people to weight on. To make it short, that was a Disney call not the Academy.

With how much they exploded membership, having issue getting ticket will get ultra common I imagine https://www.latimes.com/entertainment/movies/la-et-mn-oscars-tickets-20180228-story.html Over the past two years, most everyone has applauded the motion picture academy’s decision to add nearly 1,500 new industry professionals as a long-needed step toward diversifying the group’s ranks. But the ever-increasing enrollment has created one small problem: It’s almost impossible to get a ticket to the Oscars these days unless you’re willing to beg or engage in some serious wheeling and dealing. And that was in 2018, got quite worst since. The Studios get a bunch of invites more or less in line with the numbers of movie nominated, if WB did not give one to an major actor of a major Oscar movie, it is to them to ask why I think, not the academy. Even paying member cannot all get an ticket now, they use a lottery. If they knew WB would have not used an invited on her, maybe they could/should made her a presenter just to reserve her a ticket. I would imagine that if we would take the time to look how are those agent/agency it would become clear what is going on (and what is gained by the Oscar), agency have quite the power.

I am not sure if stats mean nothing, but I feel that it is almost always a reverse causality. Often could just be that when they love a movie they make him win BP and vote for it everywhere they can down the line, I do not think about best picture first, I vote down the line and then get influenced by that process to vote the moving in BP. The movie can be really strong down the line without having any change at BP (a la Fury Road) And the voters changed so much in the last 3 year's that even recent history can be similar to when sport analysis bring result between teams overtime that share 0 players/coach with today editions. People can go so ridiculous with them, I remember seeing stuff like Birdman could have issue winning BP without a editing (a movie that took less than a week to edit) or other stuff of that sense.

Not seen it but how does such a terrible movie achieve to get such good reviews (MC, RT), audience score and industry reconnaissance (according to the people that find it terrible) ? Any idea, just terrible COVID era competition or beloved people involved at some level ?

I feel like Top Gun was at the very end, probably already effectively over and the "victor" clear to everybody by that point of the official Cold War (1947 to 1991). Neil Armstrong walked on the moon right in the middle of the Cold War (1969). For the reversal John Wayne Top Gun movie (Jet Pilot) was at the beginning 1949-1950, movie that was in post-production hell for so long that by the time the very advanced maybe we cannot show them in a film army technology was already on the obsolete part, "terrible" in a way but still an interesting watch, Janet Leigh, the era, Wayne propaganda, etc... it aged somewhat well. And the feeling is quite different, they are more ostensibly selling capitalism over socialism in a more urgent way and less certain of who would win.

It has been a good while that the African American (mostly out of talent/interest/building of industry/leaders in that sector of activities) population has been over-represented in medias, in tv/ads/sport/music obviously but even in movies now: https://assets.uscannenberg.org/docs/inequality-in-1100-popular-films.pdf From 2007-2017, 12.1% of the speaked roles were played by black actor, a bit more than their share of the USA/Canada/UK/Australia main talent pool/place movies are shot and story occur. Woman and Hispanic are the underrepresented class in recent history.