Oscar night

The hall is squirming a little in their seats, but at home it’s great. Jon Stewart is killing.

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72 thoughts on “Oscar night

  1. Agreed. The gay cowboy montage was priceless. Jon Stewart is the second-best host ever, behind Steve Martin.

  2. I think my favorite moment was when they did the montage featuring clips from movies that tackled big social issues, and Jon said, “None of those issues have ever been a problem again.”

    Oh, except for when the rap group won for best song, and all the black people in the audience were jumping up and applauding. All three of them.

  3. And yet we all lose the guess for best picture! That’s really amazing. I’m still surprised by the upset. Brokeback just had so much clout going in.

    My favorite Stewart line of the night, “For those of you keeping score at home: so far it’s Martin Scorsese 0, Three 6 Mafia 1.”

  4. Supergenius,
    I’m so glad you said that. I had high hopes for Jon Stewart and he did great, but he really wasn’t as good as Steve Martin.

  5. Overall, I’ve got to say that this was a pretty disppointing year in American cinema. The Best Picture winner was a film that was pretty much ignored by the public, and only somewhat recognized by critics, during its first theatrical run. I really haven’t seen any of the movies that were nominated for any major awards, and only plan to see a couple on DVD. The only category that really impressed me was Best Animated Feature.

    Someone tell me why I’m wrong that this was a pretty weak year for the movies.

  6. The biggest surprise is how much I cared this year, and how upset I am by the outcome. Everyone at my house (7 people) was stunned by the loss of Brokeback Mountain.

    Crash is safe (bigotry is bad, don’t you know), extraordinarily trite moviemaking. Brokeback Mountain isn’t the greatest movie, but it certainly pierced the culture, the first movie to do this since the Lord of the Rings juggernaut — perhaps it outstayed its welcome?

    Jon Stewart was painfully nervous during his opening monologue, but he did get much funnier and easier throughout the evening.

    Overall, the combination of show and surprises earns about a B-, in my gradebook.

  7. D, you know your gradebook is important to us 🙂

    I agree, the loss of BM was a huge, huge surprise. I can’t help but be bothered about the fact that Crash did some super-campaign to get that win and they gave it to them. I thought it was a good movie (it’s the only one of the bunch that I’ve seen), but I doubt it was better than the others.

    And yes, Jon Stewart was incredibly nervous at first but got nicely into his groove. Too bad none of the Hollywood’s got his jokes.

  8. I agree, Rusty — the whole thing smells of politics and money. Brokeback won ALL of the pre-Oscar awards, and probably coasted on that idea.

    Crash, apparently, sent out 10,000 screeners, and they didn’t bother sending them to any of the voters of the pre-Oscars — partly because they knew it didn’t matter, and partly because, they probably didn’t have enough money to do that.

    I saw Crash on a screener, not in the theater.

    I also think that Brokeback’s cultural resonance extended to all the parodies (even the gay cowboy parody right in the Oscar show), and this may have made many voters think it simply wasn’t a very important film. Crash isn’t so easily parodied (it’s sort of its own parody) so it didn’t have the weight of satire holding it down.

    P.S. Crash was an unexpected nominee as well as winner. I thought it was the worst of the 5 Best Picture nominees. The best movie of the year is Good Night and Good Luck, which took home exactly 0 awards.

  9. I wonder if Brokeback Mountain didn’t suffer a hype-overdose backlash. In the weeks leading up to the Oscars, it seemed everyone was resigned to the fact that it would win. The Aviator had the same thing happen last year (though not quite as dramatically).

    Also, as someone pointed out, half of Hollywood was in Crash, so it’s not hard to see where all the Academy votes came from.

  10. Yeah, that was funny when Jon Stewart was pointing out who had been in Crash and then he said, “Actually, this will be easier. Raise your hand if you weren’t in Crash.”

  11. D. Fletcher, I agree that Crash was the worst of the 5 Best Picture nominees. In fact, I think it isn’t even a good film. I found it to be full of superficial characterization and unbelievably stilted dialogue (just try to say the lines from that film without feeling silly).

    Good Night and Good Luck was certainly excellent, although I think the speech bookends somewhat weaken the film by making its message a bit too explicit. Still, a terrific achievement.

    Even better in my opinion is Capote, which is simply full of unbelievably wonderful performances, is well written, and is nicely if unmemorably filmed.

    But I actually think that Brokeback Mountain was better than either of those. The cinematography was astounding. The score was breathtaking. The performances were very good, and the characters were amazingly rich and multidimensional. The open-endedness of the film, which allows some audience members to view it as a pure civil-rights statement, others to see it as a tragic romance, and still others to see it as a film about the importance of taking responsibility for one’s life choices, is also a major virtue.

    After the award was given, my wife and I speculated about whether the Oscars simply felt that they’d given too many awards in a row to good movies (three, by my count — not necessarily to the best movies, but to good ones, at least) and needed to get back to the old tradition of often awarding truly terrible films… 🙂

  12. Of course, I saw Brokeback Mountain six times (5 times in the theater, and once on a screener I got last week). I think it is fresh, resonant, and heartbreaking.

    In fact, contrary to what has been said here, this seems to have been a *good* year for small films of artistic purpose, as well as wonderfully-done spectacles like Batman Begins and King Kong.

    Any of the Best Picture nominees (except perhaps for the ultimate winner Crash) is a fine film, and deserving of awards.

    I was embarrassed watching Crash, embarrassed for the rich white people who wrote and directed it and embarrassed for all the viewers who felt empowered as progressive liberals by it.

  13. Well, since I haven’t seen Crash, I may have to take your word for it. In general, I tend to be a sucker for the whole large-ensemble-interconnected-storylines thing, especially if it’s well done.

  14. BTD Greg, I share your predisposition toward “large-ensemble-interconnected-storylines” films. I love virtually all of Robert Altman’s films, and I also think Paul Thomas Anderson is great. Crash, though, just isn’t the same…

  15. Is it me, or did John Stewart cut a lot of jokes (4 by my count) against Jews? Are there lots of Jews in the academy? If so, is that why Dolly Parton didn’t win (for mentioning “Jesus” several times in her song)?

  16. Jon Stewart always makes Jewish jokes. It’s just a part of his schtick.

    I wonder if he’ll be invited back. The room seemed pretty cold, but it was great through the television screen. That Scientology bit was hilarious.

  17. Was anyone else shocked by the re-enactment of the scene between Thandie Newton and Matt Dillon (the bad scene) on stage during the performance of the Crash song last night? You would have to see the movie to know what I mean, but I found it incredibly inappropriate.

    That said, I was also disgusted with the pimp song winning the Oscar. What is up with that? And, to make things worse, my husband told me this afternoon that the pimp song is actually a good song, and also that he watched part of “Hustle and Flow” while I was away this weekend, and found himself identifying with the plight of the misunderstood pimp who wanted to become a rap star.  I feel like the little boy in The Flight of the Navigator who has been in outer space for eight years and then returns to his family to find them all changed (hideously). Clearly, I am out of touch with mainstream society.

  18. Bryce, thanks for the tip. I thought it odd for Stewart to cut Jewish jokes if he himself wasn’t (but I asked someone and they said he is). Yes, the crowd was very cold.

    Oh, and Ben Stiller’s thing was a riot. I think it actually offended Spielberg.

  19. D,

    Is this the same D who has for the longest time been telling us that he doesn’t watch movies in the theater anymore?

    E,

    You should secretly buy T the song on iTunes and put it on his iPod. Right after it you should put on a message from you about how he should feel bad about listening to the song.

  20. Yeah, Jon Stewart is Jewish and he’s always making Jewish cracks. Do you guys not watch his show? Best thing on tv, next to the Colbert Report. (I’m actually liking the Colbert Report better now.)

  21. Yep, it’s me. Partly because of my interest in Brokeback Mountain, I saw BBM in the theater 5 times, but also Capote, Good Night and Good Luck (and a bunch of others including King Kong and Batman Begins).

    I saw Munich, Walk the Line, and Crash on DVD screeners.

  22. LOL, Elisabeth! I actually agree with your Hustle and Flow reservations and was not particularly impressed with either the film or the song, particularly because of its tacit approval of prostitution.

    That being said, I think voters were responding more to the scene in which the song is set than the song itself. The song itself isn’t that great, but in the film it really is a lot of fun. I have to think that may have played a role in the votes it got.

    David J, your line about Stiller’s act offending Spielberg has had me laughing for about three minutes now.

  23. I love Brokeback Mountain as much as anybody, but my real and shocking emotional response today is more about: do people really like Crash? It just seemed SO shallow, so puerile, like Screenwriting 101 (or something that would fail that course). BBM isn’t to every taste, I’ve often said, but why not pick Good Night and Good Luck (a good movie) or even Munich? Why Crash?

  24. Crash did have it’s supporters. It topped Ebert’s top ten list. But it also topped (bottomed?) some others’ worst ten lists. It is strange for that kind of movie to win best picture.

    On the other hand, Hollywood does love to congratulate itself for being tolerant and progressive (see Clooney’s big self-pat on the back). It looks like this year they wanted to congratulate themselves for being racially tolerant rather than sexual orientation tolerant. I thought Brokeback gave them an opportunity for a more Culturally Significant Gesture this year, but I s’pose I thought wrong. Brokeback did win for the screenplay and editing, though, which I consider more important than best picture because they are awarded to the artists, so there’s some consolation for fans.

  25. Brokeback did NOT win for editing, which went to Crash. The editing award is very significant, since it almost always signals Best Picture.

    The same isn’t true of the director award.

    Brokeback Mountain’s other award was for Best Score, which was fine, but really Memoirs of a Geisha had the Best Score this year (by John Williams).

  26. I don’t know why I said editing. I meant directing. I care more about directing and screenwriting awards than the best picture award. When I see a movie I feel like I’m watching the art of the director and writer/s. I never pay attention to who produced it if it’s not the director.

  27. Crash also won for its screenwriter (who was also the director).

    Basically, BBM and Crash shared the main awards, and both got nothing for acting.

    I can’t imagine a more polarized contest. Reminds me of the 2000 Presidential election.

    😉

  28. For the record, Roger Ebert (with whom I don’t always agree) begs to differ:

    One of the mysteries of the 2006 Oscar season is the virulence with which lovers of “Brokeback Mountain” savaged “Crash.” When the film about racism actually won the Oscar for best picture Sunday, there was no grace in their response. As someone who felt “Brokeback” was a great film but “Crash” a greater one, I would have been pleased if either had won.

    The nature of the attacks on “Crash” by the supporters of “Brokeback Mountain” seem to proceed from the other position: “Brokeback” is better not only because of its artistry but because of its subject matter, and those who disagree hate homosexuals. Its supporters could vote for it in good conscience, vote for it and feel they had made a progressive move, vote for it and not feel that there was any stain on their liberal credentials for shunning what “Crash” had to offer.

  29. Yes, I know Ebert’s opinion. I do disagree.

    I might say, Brokeback isn’t the greatest movie (something I’ve been saying over and over), but Crash is a far worse one. Crash suggests that people overcome their racism because of coincidence — Policeman Matt Dillon molests Thandie Newton’s character in a situation one night, but then turns out to be really good inside because he heroically rescues her from a car crash the next day. It’s absolutely ludicrous. (And I guess there are only 2 cops in all of LA.)

    Brokeback Mountain had terrific performances, beautiful photography, and an important point to make. If it was all a bit glossy, its beauty is in its straightforwardness.

  30. I would guess that the system is set up to allow for upsets. There are ways to implement elections between multiple parties that determine the true winner. I am guessing that the Oscars are not set up this way. D, maybe you could ask your source for screeners, but my guess is that the members of the academy just vote for their favorite rather than ranking their choices. Whoever gets the most votes wins, which can allow four superior films to split the vote in such a way that an inferior film that appeals to a certain segment of the voters can win.

  31. You know, if they had some studio accountant tallying up the votes, it’s entirely possible that the numbers don’t add up quite right…

  32. It’s still PriceWaterhouseCoopers, right? I would guess that they can at least add up less than 6,000 ballots to come to the correct answer. They may even double check their results.

  33. I think it’s pretty amazing, this aftermath business. I’ve never experience anything like it, in 37 years of watching the Oscars. There are thousands of upset people, upset over a movie!

  34. D., I don’t know that there are “thousands of upset people,” and if there are, there probably are most years. This is not Forrest Gump beating Pulp Fiction (now THAT’s a travesty). And I think you’re giving Crash ridiculously short shrift. It’s not the greatest movie ever, but it’s good. I don’t think the movie is about anyone “overcoming” their racism. The storyline you reference about Matt Dillon isn’t meant to show, as you say, that “he’s really good inside” — just as the scene with Ryan Phillippe and the black kid isn’t meant to show that Phillippe is “really bad inside.” Rather, it’s trying to show that people — and race issues — are complicated. Yes, there are lots of coincidences, but I don’t mind movies where it rains frogs, or where British families miraculously bring water to African villagers.

  35. Greg, if you don’t know that thousands of people are upset over this Oscar, you’re not reading the blogs or the newspapers. I’ve never seen anything like it.

    Crash is simplistic movie-making, and not particularly original (see Magnolia for a much better film using the same structure).

    Race issues are complicated, and retro. Crash would be a great masterpiece had it been made in 1968. As it is, it is simply puerile, simplistic, and safe. Everyone can feel good about their true lack of racism by watching this film.

    If Crash’s message is “race issues are complicated,” then that’s about as sixth grade as movies can get.

  36. arJ: My comment was directed at Bryce, and was mostly tongue-in-cheek.

    D.: Not to put too fine a point on it, aren’t most of the people who are upset by this choice gay activists? I don’t think much of the rest of the country really cares. This was one of the lowest-rated Academy Awards shows in the past twenty years and none of the movies had much of a popular following (despite anecdotal evidence that Brokeback did well in “red states.”) March of the Penguins made more money than all of the Best Picture movies combined.

    Personally, I tend to dislike “agenda” movies, which is probably why I haven’t seen any of the movies that were nominated for Best Picture. They each appear to have very strong agendas. Not that there’s anything wrong with that, necessarily, but it’s not my preference.

  37. D: The fact that there are now thousand of blogs where people can spew forth complaints does not mean that there are significantly more upset people (though maybe there are, I don’t know). As for the real press, there appears to be a division between those who think Crash’s win was a tragic mistake, and those (like Ebert) who think it’s no big deal.

    I agree that the dramatic structure of Crash is not particularly original. The multiple-interweaving-stories-in-Los Angeles thing has been done many times. But Crash did it well and not gratuitously.

    I find it a little disconcerting that you think that race issues are “retro.” They certainly aren’t retro here in Oakland, and probably not in your town either. And again, I think you’re totally distorting the intent and import of the film. If it made you feel good about your own lack of racism, you were watching a different movie than me.

    I never said that the “message” of Crash was “race issue are complicated.” I don’t think of (good) movies as having a “message” that can be communicated in four words. Is the “message” of BBM “Be true to yourself”? If so, that’s no less trite or “sixth grade” than “race is complicated.” Thankfully, both movies are richer than that.

  38. We’ll have to disagree about Crash, Greg. I didn’t find it rich, but pablum for the masses. Brokeback Mountain is certainly fresher, and richer.

    As to the rumor that March of the Penguins made more money than all the Best Picture movies combined, it’s false:

    From IMDB:

    March of the Penguins, gross $77,413,017 (USA) (cost $8,000,000)

    Brokeback Mountain, gross $75,383,067 (USA) (cost $14,000,000)

    Brokeback will surpass Penguins when its DVD is released.

  39. Here’s a terrific take by that astute cultural critic, Michael Musto, who does not exactly represent either the American masses, or safe choices in art:

    “I was cocksure the Academy Awards were going to be even more of a gay Olympics than the actual gay Olympics—you know, the male figure skating competition. I blithely assumed they’d be such a glammed-up circuit party they’d have to have a back room instead of a greenroom and a fleet enema in the gift bag. But the show turned out to only be a moderate gropefest for the gays, tempered by the fact that Brokeback Mountain had peaked too soon and became abandoned by lily-livered trend pirates afraid to endorse out-of-wedlock buggering outside of their own. I’d probably be more pansy-purple with rage over this if Crash wasn’t indeed the better movie.”

  40. OK, we’ll never see eye-to-eye on this. My last card played — Brokeback won every conceivable award prior to the Oscars, including a lot of acting awards. There has never been a movie that won Best Picture in all the guilds, directing, acting and screenwriting, that didn’t go on to win the Oscar. The award list for Brokeback Mountain is literally endless.

    Crash only won two previous awards, and wasn’t nominated as Best Picture in the Golden Globes at all.

    My real surprise here is this: all roads led to Brokeback; I’m not alone in thinking it the better movie, Musto and Ebert excepted.

    And a lot of people are upset about it, not just the gay mafia.

    🙂

  41. D.: I should note that I’m not saying Crash is a better movie that BBM. I haven’t seen BBM, and for all I know it is the superior film. Based on all those awards you reference, I thought BBM would win the Oscar too. All I’m saying is that Crash winning it does not necessarily mean there is a dark spot on the soul of the Academy voters, or a conspiracy, or whatever.

  42. I never said there was a conspiracy. People voted for Crash. They must have liked it. I asked — what do people see in Crash, that I don’t? I think it’s a very obvious movie, almost condescending. Bigotry is simply more insidious than that movie, with epithets shouted from every corner, suggests.

    Brokeback Mountain isn’t perfect (too slow, for one thing), but it’s dignified, and it does tell a story that hasn’t really been told at this level before. It’s new.

    Neither of these movies is exactly a pleasant experience, though after the 5th time seeing it, I cried during Brokeback Mountain, because I knew the characters and what was going to happen to them.

    Crash certainly has credentials (in the acting department at least) and some of it is cinematic and compelling. But it is set-up as a realistic narrative, and as realism, it fails in a big way.

  43. D: I’ve heard Crash described as an allegory, not realism. Things happen at the behest of a narrative all the time that we wouldn’t expect to happen in real life. Personally, that doesn’t bother me.

    You’re right about the box office numbers. I was repeating something that I heard on the radio from a local movie reviewer. My bad. It’s still accurate to say that March of the Penguins made more during its theatrical run than any of the Best Picture nominees (but not combined). I think my point still stands, though. According to this article, “The five Best Picture nominees, as of the day of their nominations, had grossed a combined $186.4 million. That?s the lowest combined total for the top nominees in two decades, since Platoon was on its way to Best Picture in 1986.”

    I was surprised that BBM didn’t win, certainly. But I was surprised that The Aviator didn’t win last year, too, just as I was surprised that Saving Private Ryan didn’t win.

    BBM won a lot of accolades and will be remembered as a very well-received movie. (I think Ang Lee will be able to put The Incredible Hulk behind him.) I don’t think that the Academy will hesitate to nominate any deserving gay-themed movie in the future, either.

  44. I’ve heard it described as both “allegory” and “fable.”

    And yes, I’m still talking about movies I haven’t even seen. Ain’t the Internet great?

  45. Can I say this was the first Oscar race in a while where I didn’t particularly care about any of the films? I’ve not seen any of them and the only one I remotely am interested in seeing is Capote although I’ll probably see Clooney’s film too.

    It certainly was a year without any film that one could say was the public’s choice.

  46. Here’s an interesting analysis of how “Crash” may have overtaken “Brokeback” among Academy voters.

    A brief excerpt:

    Moreover, insiders are also pointing to a little known piece of Oscar trivia: not since 1980’s “Ordinary People” has a film won the best picture Oscar without also having had a nomination for best film editing. “Brokeback” wasn’t a film editing nominee this year, while “Crash” film editor Hughes Winborne took home the Oscar. Insiders claim that film editors don’t vote for best picture nominees that aren’t also best film editing nominees. There are 239 members of the Academy’s Film Editors branch. If their votes are added to the 1,238 that quite possibly weren’t cast at all, that’s a total of 1,477 votes — nearly 24% of the total Academy membership — that didn’t go to “Brokeback.”

    Actors, meanwhile, make up the Academy’s biggest branch. There are 1,359 actors who vote and they represent nearly 22% of the Academy’s membership. It’s a safe bet that they preferred “Crash” to “Brokeback” since the Screen Actors Guild in late January gave “Crash” its Best Ensemble Cast award, its equivalent of a best picture honour. It was the only important vote that “Brokeback” missed out on, but it sent a signal that the movie wasn’t resonating with actors.

    By sending about 110,000 “Crash” DVDs to SAG’s full membership, Lionsgate made sure that all of the guild’s members had an opportunity to watch the film at home. This was the first time anyone had ever sent DVDs of an Oscar contender to the full SAG membership. Because this marketing technique worked so well, other distributors are likely to adopt the same approach next year. It’s worth noting, however, that the reason Lionsgate was comfortable doing this was that “Crash” had opened in cinemas last May and had gone into DVD in September. The DVDs sent to SAG members didn’t need to be specially watermarked or encrypted because awards season piracy wasn’t something Lionsgate was worrying about at that point.

  47. From the llamabutchers:

    For example, there was a point last night when a producer – I believe it was for Crash – ascended to the stage and informed us, in the most unctuous, serious tones, that the “purpose of art is to shine light on dark places.” It occured to me that the same sort of thing could be said of proctology. But that’s where Hollywood’s head is right now. They’re the ‘light,’ we’re the ‘dark place.’

  48. D., I agree with Greg on this one. I’ve seen both movies and don’t really want to debate which one is better. But most of your criticisms of Crash can be easily applied to Brokeback Mountain.

    I thought they were both good movies. From all the post-oscar buzz I’ve been reading, there seems to be this need of Brokeback-loving critics to remind everyone how inferior Crash is, even if this inferiority was rarely mentioned so drastically in the first place.

    Heaven forbid if they’re BOTH good movies…

    And when you said, “The biggest surprise is how much I cared this year, and how upset I am by the outcome.” I was surprised that you were surprised by how much you cared and how much you were disappointed. I had already predicted (to myself) both your interest and disappointment well before reading this thread, why was it surprising to you?

  49. My criticisms of Brokeback Mountain are very different from Crash. I find BBM fresh, Crash, stale.

    My chief surprise in the Oscars this year, is that I cared about all the major movies shown, in a way that I haven’t cared in years (not since 1996). I also think the Crash/BBM controversy is the most interesting Oscar aftermath I’ve ever personally experienced.

  50. “Brokeback did NOT win for editing, which went to Crash. The editing award is very significant, since it almost always signals Best Picture.
    The same isn’t true of the director award.” (31)

    I’m sorry to do this to you, d. Fletcher, but… bullshit.

    There is a lovely database at http://www.oscars.org/awardsdatabase/index.html

    I found it a few months ago and because I’m a trivia freak & I roll that way, I’ve been playing around with it a lot lately.

    So one day I decided to test your theory, mostly because I have been wondering for quite a while how well the “Best Director, Best Picture” theory holds up, too.

    I was really hoping you were right.

    There have been 78 years of Oscars ceremonies.

    In that time, Oscar has given both the best picture & directing wins to one film 57 times; both the best picture & editing (not an original award, by the way, the first editing award was given in 1934) to one film, 29 times. (If you give editing automatic wins by factoriong in the 6 non existant years, well, directing still trumps editing , by what? – I am not good at math.)

    Moreover, there have only been four times when the best picture also won the editing award, but not the directing (Which means 25 times it was a Best Picture/ editing/ directing triple crown) Around the World in 80 days, 1956 – In the Heat of the Night, 1967 – Chicago, 2002 – and Crash, 2005. This is in contrast to the 30 times there has been a best picture/ best directing combination win. (I’m not listing those, because – come on – 30!) Although, only 9 of those 30 wins came without at least an editing nomination.

    Only 2 best pictures wins were NOT **nominated** in either the editing or directing catagories, however: Wings (27/28) and Grand Hotel (31/32) – So nominations definitely help.

    Yes, I have no life.

    Yes, I work in a library.

  51. Ooh, Jennifer, I did state it wrong. Except for Grand Hotel, which garnered no other nominations except Best Picture, which it won! I meant that no movie has ever won Best Picture without a nomination for Best Editing — Wings was the other exception that I didn’t know about.

    So, had anybody known this statistic beforehand, they might have predicted Crash. Brokeback Mountain wasn’t nominated for editing.

  52. Except that there have been 8 best pictures (since 1934)to win without an editing nomination, and only 1 to win best picture (since 1934) without a directing nomination : Driving Miss Daisy, 1989.

    I love quibbling, don’t you?

    Now I know how those baseball stat guys feel.

  53. ps: 1980 was the last time a movie won Best Picture without an editing nomination (Ordinary People) so there has been *quite* a little dry spell.

  54. pps: The eight to win without an editing nomination are:

    1934- It Happened One Night

    1937- The Life of Emile Zola

    1948- Hamlet

    1955- Marty

    1963- Tom Jones

    1966- A Man for All Seasons

    1974- The Godfather, pt II

    1977- Annie Hall

    1980- Ordinary People

  55. I do think the editing award has become particularly prominent in the last 25 years.

    Crash and Brokeback Mountain each won 3 awards.

    Crash won: Best Picture, Best Screenplay (original), Best Editing.

    Brokeback Mountain won: Best Director, Best Screenplay (adapted), Best Score.

    No acting awards for either, though BBM had 3 nominations, Crash had 1.

    Of course, Brokeback won every other conceivable award during the pre-Oscar period, including many Best Pictures.

    Crash only one one of these, the Chicago Critics award (Roger Ebert must have paid all those guys off.)

  56. And when did Lion’s Gate distribute the screeners?

    Before or after the nomination process?

    Before or after the other awards shows had their ballots in?

  57. Lion’s Gate must have distributed the screeners for Crash in January, because it won the SAG Acting Ensemble award (while Brokeback was winning every other award, and was still in the theaters).

    Brokeback also won the Producers, Directors, and Writers guild awards as Best Picture — the first movie to win all three of these and not win the Oscar.

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