#this song felt like the obvious nix choice
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whollyjoly · 1 year ago
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BofB as Killers Songs - Lewis Nixon
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Lewis Nixon - Uncle Jonny
i feel a burning in my body's core it's a yearning that you can't ignore now i gotta go out tonight hey, jonny, i got faith in you, man i mean it, it's gonna be all right he's convinced himself right in his brain that it helps to take away the pain tell us what's going on feels like everything's wrong hey, what you say, jonny? if the future is real jonny, you've got to heal hey, what you say, jonny? (when everybody else refrained / my uncle jonny did cocaine)
pt 3/? - band of brothers as killers songs
playlist for the series
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Taglist: @xxluckystrike @ronsparky @land-sh
Let me know if you'd like to be added or removed!
Next up: Ron Speirs
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tocinephile · 5 years ago
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The Morning After - The Year the Oscars Got it (mostly) Right Edition
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The 92nd Academy Awards kicked off looking an awful lot like the Grammy’s with a splashy musical performance by Janelle Monae and Billy Porter, the first of a night’s performances/presenters/commentary designed to include all the groups it seemingly excluded in it’s nominees list. Meant to poke fun at themselves or a gesture delivered a little too overt and a little too late? Either way, I think in the end, the artistry of the South Korean-made foreign language film that swept the night’s awards won one back for every group that was overlooked.
Bong Joon-ho’s Parasite took home awards for Best Original Screenplay, Best International Feature, Best Director, and Best Picture, making it the first South Korean film to win in all these categories.  To do it all in a single evening is astounding.
Here’s a look at all the winners of the night:
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Best Picture:
“Ford v Ferrari” — Walt Disney “The Irishman” — Netflix “Jojo Rabbit” — Fox Searchlight “Joker” — Warner Bros. “Little Women” — Sony Pictures Releasing “Marriage Story” — Netflix “1917” — Universal/Amblin Partners “Once Upon a Time in Hollywood” — Sony Pictures Releasing “Parasite” — Neon (WINNER)
Most deserving win of the night!!!  Of course many of us hoped Parasite could be the underdog to win it all, but a more realistic prediction to win would be 1917. Thrilled to be wrong on this one. 
Also, while I liked 1917 (more for its execution than story), even if Parasite had not been in the mix, I would have been rooting for The Irishman to win.
Lead Actress:
Cynthia Erivo, “Harriet” Scarlett Johansson, “Marriage Story”  Saoirse Ronan, “Little Women”  Charlize Theron, “Bombshell”  Renée Zellweger, “Judy” (WINNER)
I am also in full agreement with this category and with Renee sweeping this category this awards season as well.  
I have not seen Harriet, but if Renee hadn’t been in the race, Charlize would have been the best of the bunch.
Lead Actor:
Antonio Banderas, “Pain and Glory”  Leonardo DiCaprio, “Once Upon a Time in Hollywood”  Adam Driver, “Marriage Story”  Joaquin Phoenix, “Joker” — (WINNER) Jonathan Pryce, “The Two Popes”
Again, no question this was the right winner. If only every win didn’t mean we’d have to roll the dice to see what kind of acceptance speech we’d have to endure... While I didn’t appreciate being chastised for adding milk to my coffee, Joaquin closed out his remarks by quoting his late brother River and I thought that was beautiful.
Director:
Martin Scorsese, “The Irishman”  Todd Phillips, “Joker”  Sam Mendes, “1917”  Quentin Tarantino, “Once Upon a Time in Hollywood”  Bong Joon Ho, “Parasite” — (WINNER)
Another category that I thought the Academy would give to Sam Mendes, but nonetheless put my bets on Bong Joon-ho.  Some big competition in this category (except Phillips... sorry, I’m not saying he’s bad, but he has yet to prove to me he’s a contender).
Original Song:
“I Can’t Let You Throw Yourself Away,” “Toy Story 4”  ���I’m Gonna Love Me Again,” “Rocketman” —  (WINNER) “I’m Standing With You,” “Breakthrough”  “Into the Unknown,” “Frozen 2”  “Stand Up,” “Harriet”
Talk about a year of forgettable film songs. I think I left the room for every one of these performances except Elton’s. Did I miss anything?
Original Score:
“Joker,” Hildur Guðnadóttir —  (WINNER) “Little Women,” Alexandre Desplat  “Marriage Story,” Randy Newman  “1917,” Thomas Newman  “Star Wars: The Rise of Skywalker,” John Williams 
As part of the montage for this category, the orchestra accompanies with each film’s original score. This segment, as they proudly pointed out, was being conducted a female for the first time in Oscar history (I’d like to shallowly add that she was also wearing the most amazing gold jacket to do it!). Now I don’t know if she also arranged it or whether she was just conducting, but I have to say, I don’t think the arrangement did the scores any justice whatsoever. 
Luckily they were not being judged on this particular performance, and Hildur Guonadottir once again took home the accolade for Joker. I agree with this win. Little Women and 1917 also had impressive scores.  Marriage Story didn’t particularly catch my attention, and while Star Wars’ themes will always be among my all time favourites, The Rise of Skywalker wasn’t particularly outstanding out of the saga.
Best International Feature Film:
“Corpus Christi,” Jan Komasa “Honeyland,” Tamara Kotevska, Ljubo Stefanov  “Les Miserables,” Ladj Ly  “Pain and Glory,” Pedro Almodóvar  “Parasite,” Bong Joon Ho — (WINNER)
If anyone else had won we would have rioted right?
Makeup and Hair:
“Bombshell” — (WINNER) “Joker” “Judy”  “Maleficent: Mistress of Evil”  “1917” 
Got this prediction correct, while not the most obvious frontrunner perhaps, a lot of subtle effort was put in to transform cast into their characters.
Visual Effects:
“Avengers: Endgame”  “The Irishman”  “The Lion King”  “1917” — (WINNER) “Star Wars: The Rise of Skywalker” 
It’s naive of me, but seeing 1917 win for Visual Effects almost takes away from my appreciation of the film in some ways because in my head, I’d still like to think of all films outside of fantasy and sci-fi as largely real. I know it’s not the case and that even your average period drama is created largely with effects these days, it can’t help but ruin the magic a little.
Also I had guessed Avengers: Endgame would win.
And we all think that The Irishman is on this list for de-aging technologies alone right?
Film Editing:
“Ford v Ferrari,” Michael McCusker, Andrew Buckland — (WINNER) “The Irishman,” Thelma Schoonmaker  “Jojo Rabbit,” Tom Eagles  “Joker,” Jeff Groth  “Parasite,” Jinmo Yang 
This entire list is on par with each other I think, with Ford v Ferrari just edging out the rest. Also the editing is what made the film so dynamic, there was little room for a bad cut, whereas the others might have little bit more room to err.
Many might disagree but I think Little Women should have been considered in this category.  The film’s editing choices was one of its main criticisms, but I think it actually made the film much more dynamic and differentiated it from previous adaptations.  (If only they’d used a bit more of The Irishman’s aging/de-aging effects)
Cinematography:
“The Irishman,” Rodrigo Prieto “Joker,” Lawrence Sher “The Lighthouse,” Jarin Blaschke  “1917,” Roger Deakins — (WINNER) “Once Upon a Time in Hollywood,” Robert Richardson
Agree! Cool camera work in 1917 for sure.
Sound Mixing:
“Ad Astra”  “Ford v Ferrari”  “Joker”  “1917” — (WINNER) “Once Upon a Time in Hollywood”
Um ok, if you’re going to split the sound categories between two films.  I would’ve said Ford v Ferrari for both.
Sound Editing:
“Ford v Ferrari,” Don Sylvester — (WINNER) “Joker,” Alan Robert Murray  “1917,” Oliver Tarney, Rachel Tate  “Once Upon a Time in Hollywood,” Wylie Stateman  “Star Wars: The Rise of Skywalker,” Matthew Wood, David Acord 
Agree. Hopefully everyone who wanted to see this film caught it in theatres, the sound was a huge contributing factor to the enjoyment of this film.
Supporting Actress:
Kathy Bates, “Richard Jewell”  Laura Dern, “Marriage Story” — (WINNER) Scarlett Johansson, “Jojo Rabbit”  Florence Pugh, “Little Women”  Margot Robbie, “Bombshell” 
Little surprise when Laura Dern swept this category, even though I maintain she wasn’t better than the rest. That said, I’m not sure who I would pick in her place, I say share the love between Laura Dern, Scarlett Johansson, and Florence Pugh (yes, I just said Amy March should get an oscar... I see the irony of this too)
Best Documentary Short Subject:
“In the Absence,” Yi Seung-Jun and Gary Byung-Seok Kam  “Learning to Skateboard in a Warzone,” Carol Dysinger — (WINNER) “Life Overtakes Me,” Kristine Samuelson and John Haptas “St. Louis Superman,” Smriti Mundhra and Sami Khan  “Walk Run Cha-Cha,” Laura Nix 
I didn’t see any of the shorts this year, my bad.  The winner sounds hella interestering!
Best Documentary Feature:
“American Factory,” Julia Reichert, Steven Bognar — (WINNER) “The Cave,” Feras Fayyad  “The Edge of Democracy,” Petra Costa  “For Sama,” Waad Al-Kateab, Edward Watts  “Honeyland,” Tamara Kotevska, Ljubo Stefanov 
I only saw American Factory and The Cave and I actually liked The Cave better.  That said I felt strongly that American Factory had the edge, for starters it was backed by the Obamas’ production company. I didn’t love American Factory but I do feel it’s a timely piece that shows two sides of the story, inevitable prejudices based on what we’ve become conditioned to physically, mentally, socially, and also how important it is that we try to overcome or build a bridge to find solutions for the greater good. 
Costume Design:
”The Irishman,” Sandy Powell, Christopher Peterson  “Jojo Rabbit,” Mayes C. Rubeo  “Joker,” Mark Bridges  “Little Women,” Jacqueline Durran — (WINNER) “Once Upon a Time in Hollywood,” Arianne Phillips 
For a historical drama, I really didn’t find the costumes of Little Women to be that spectacular (I’m having visions of The Age of Innocence when you say Best Costume), though a part of me knows the period films win more often than not. While I think Once Upon a Time in Hollywood is strong contender, Jojo Rabbit should have won.
Production Design:
“The Irishman,” Bob Shaw and Regina Graves  “Jojo Rabbit,” Ra Vincent and Nora Sopkova  “1917,” Dennis Gassner and Lee Sandales  “Once Upon a Time in Hollywood,” Barbara Ling & Nancy Haigh  (WINNER) “Parasite,” Lee Ha-Jun and Cho Won Woo, Han Ga Ram and Cho Hee
Yes! Once Upon a Time was a bit overrated (sorry Quentin) but this was one category where it really deserved to win, from the western sets, film studio lots, to the wardrobe and streets of the 60′s, lots of fun and spirit captured in the production design.
Best Live Action Short Film:
“Brotherhood,” Meryam Joobeur  “Nefta Football Club,” Yves Piat  “The Neighbors’ Window,” Marshall Curry — (WINNER) “Saria,” Bryan Buckley  “A Sister,” Delphine Girard 
Adapted Screenplay:
“The Irishman,” Steven Zaillian  “Jojo Rabbit,” Taika Waititi — (WINNER) “Joker,” Todd Phillips, Scott Silver  “Little Women,” Greta Gerwig  “The Two Popes,” Anthony McCarten 
I love that Taika Waititi is an Oscar winner. Also shouts to Greta Gerwig for making Little Women almost tolerable in her script! The Two Popes could not have been an easy adaptation either. Now can a comic book expert please tell me, how much of Joker is really from existing stories in comics, and how much was filled in by the writers? I understand why it was an adapted screenplay, but I feel like material like this almost completely open to interpretation and could easily be written anew as an original screenplay.
Original Screenplay:
“Knives Out,” Rian Johnson  “Marriage Story,” Noah Baumbach  “1917,” Sam Mendes and Krysty Wilson-Cairns “Once Upon a Time in Hollywood,” Quentin Tarantino  “Parasite,” Bong Joon Ho, Jin Won Han —  (WINNER)
Just for fun, my ranking of the original screenplay nominees from best to alright:
1) Parasite, 2) Knives Out, 3) Marriage Story, 4) 1917, 5) Once Upon a Time
Animated Short:
“Dcera,” Daria Kashcheeva  “Hair Love,” Matthew A. Cherry — (WINNER) “Kitbull,” Rosana Sullivan  “Memorable,” Bruno Collet  “Sister,” Siqi Song 
I keep hearing great things about this short!
Animated Feature:
“How to Train Your Dragon: The Hidden World,” Dean DeBlois  “I Lost My Body,” Jeremy Clapin  “Klaus,” Sergio Pablos  “Missing Link,” Chris Butler  “Toy Story 4,”  Josh Cooley — (WINNER)
I clearly didn’t watch any animated films this year because I didn’t even know there were new How to Train Your Dragon and Toy Story films released.
Supporting Actor:
Tom Hanks, “A Beautiful Day in the Neighborhood”  Anthony Hopkins, “The Two Popes”  Al Pacino, “The Irishman”  Joe Pesci, “The Irishman”  Brad Pitt, “Once Upon a Time in Hollywood” — (WINNER)
Overall, if Brad Pitt sweeping this category means I get to hear at least one great speech per awards, then I’m ok with this. My personal ranking:
1) Al Pacino, 2) Joe Pesci, 3) Tom Hanks, 4) Brad Pitt, 5) Anthony Hopkins.  I had to debate over Pacino and Pesci’s performances, I feel like this is one of the best problems in the world.
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Prior to the start of the show, I made a mess of notes about who I thought would win, who I thought should win, and shared my Oscar Pool Picks which were based on a mix of the two... My Oscar pool are an extremely knowledgeable bunch, and with 18/24, it only put me in a 3-way tie for third place (there were also three winners who split the winnings), I need to move back to the baby leagues!
If you were following my Twitter (or care to check in hindsight...@palindr0me) I also shared a little additional commentary and photos of some of my favourite dresses of the evening. 
My personal top 3 moments during the Awards Ceremony were:
1) Every time Parasite won an award - Give this man all the statues he wants! lol
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2) Billie Eilish’s rendition of Yesterday (I wish this was an actual recorded track so I could play it over and over)
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3) When Eminem took the stage at the end of a montage to perform “Lose Yourself” and my phone exploded with all these messages of “ Whaaat is happening???” LOL! Believe me friends, I was as confused as you were.
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Aaand, that’s a wrap on awards season! Looking forward to a new year and new decade in film!
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simplelinesunfashiond · 6 years ago
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New York City, 1988
This is probably not actually part of Visions of Midnight, aka one of the TSP backstory prequels. Warning, teen Nathaniel basically exists in a permanent state of crisis. But also, is very easily starstruck. I...don't know exactly what this is. So. @idreamonpaper @drabbleitout @wrennytenten @abalonetea @adie-dee @elliereblogsmemes
Nathaniel stared down at his boots. They were a rich red, faintly sparkly, and only tolerable because they didn’t have heels. He most certainly didn’t need to be any taller. Honestly, it was sad that Nix couldn’t be there, to make him look shorter.
Sure. That’s why.
He chased the intrusive thought off, and resisted the urge to rub at his eyes. “You lied. I definitely had time to go change while you were developing those,” he said, glaring at Lana who happily flipped through her folder of photo prints.
Honestly, the black silk shirt was one thing – the fact that it didn't button up all the way was another. And he was fairly certain someone of his stature was never meant to wear jeans that fit like these. He was all legs, sharp angles, and at the moment, far sparklier than he had ever intended to be in his life. His eyelids were all but encrusted in the same glittering color as his feet, and he could only remember the faint smirk Anderson had responded with as he explained, “You’ll look good in red.” Helpful. He fidgeted with the fringy end of the narrow scarf looped around his neck, just a little too orange to be red, but too red to be gold.
“But then you wouldn’t look so pretty for this meeting,” Lana answered, shrugging one shoulder and smiling at the Nathaniel in her pictures.
“Really? You don’t think this is kinda, I don’t know, too much?” He hoped his glare would emphasize his point, but she didn’t look up.
“You don’t know who you’re meeting,” she said, as if this had just occurred to her.
“I don’t know who any of these people are, I never do.”
“You’ll be perfect.”
“I dunno if ‘perfect’s’ the right word. I’m sheddin’ glitter like a sun’va-bitch,” he muttered, and Lana laughed, soft and pretty. She reached up. Brushed his cheek.
“Tranquilo, baby,” she cooed, and then laughed again. “You get twang-y when you’re nervous.”
“Pretty sure everyone already knows I ain’t from around here.” He smiled, just a little, at the way her nose crinkled in distaste. He leaned over to look at her pictures, lips pursing as he flipped through a few. “I look a little…girly, in a lot of these, huh? More like some sort of…model than a singer…”
“You’re pretty, babe. Nothing wrong with that.”
He looked at a couple more, wondered at the poses, at the makeup, at everything. At everything it brought to his own mind, at least. A red leather jacket, the cherry finish on the Fender, the orange-gold decal on the hood of the firebird. God, Firebird – why had he named the damn song that? “I mean, it just seems a little…” Obvious. You’re selling yourself out. Did you really have to write a song about him, dumbass? “Excessive,” he concluded, instead.
Lana looked at him more seriously, in that soft almost pitying way he hated. “We don’t have to use all of them. Of course, you get final say in anything that goes out to anyone,” she said. He nodded, and she closed the folder, tucked it in her pin-filled jacket. “Hey. Cheer up.” She punched him lightly on the arm, suddenly all sunshine again. “You’re on your way to meet a big name, get a gig as an opener, get your first shot at an arena. You’re in the big leagues now, pretty boy!”
Nathaniel smiled, then, but answered, “People in the big leagues don’t ride the city bus to meetings, darlin’.”
“Twang-y,” she objected, and pointed dramatically in his face. Really, she was right – she always was, it was why they’d made her manager – and they managed to keep each other laughing the rest of the way to their appointment with whoever the hell.
They’d already heard the new demos. They’d already heard the last two albums, too, but this “they” wasn’t anyone Nathaniel cared to recognize. Just office people, business people, people who cared about how accessible his style was and whether the same fans might be into him as their other clients. To see if he was a good match. He hadn’t felt quite so scrutinized in years, but at least when Lana pulled out a few publicity photos from her folder, they were more standard ones, images he’d approved, and the rest stayed safely tucked away. He marveled, a little, at her way of wooing business people when she trudged in in combat boots covered in duct-tape, but maybe that was just New York for you. Maybe it was just Lana. Maybe it was just another thing Nathaniel was never going to quite get, and he found himself wishing for what had to be the seventy-third time that Nix was there.
Nix had better things to do, he guessed. Nix things, at any rate. And besides, these people all knew what Nix was about. They’d heard his work, everybody had. It wasn’t Nix they were trying to sell, so why should he be there to hold Nathaniel’s hand? A poor choice of words.
It was starting to seem they would never get past the desk people. Why would whoever they were allegedly going to be working with bother to come up to this grubby New York office just to meet one small piece of a not-so-big operation? To do some sort of exaggerated bonding ritual? Offer them drinks, show them around some places nobody really cared about, act like they were gonna be friends for publicity’s sake? Honestly, he wasn’t exactly in the mood to party with strangers, as much as he could probably use the drink.
Lana was arguing with one of the desk people. Nathaniel was tuning it all out. Humming to himself, trying to stay in the “music” part of his brain, where he was comfortable. Somewhere, the desk jockey was getting angry. A door opened. Lana was laughing, telling someone her name, telling someone his name. Nathaniel looked up. Saw who had walked in. This was a name he knew, after all. A face he knew. A voice, Dear God, a Voice that ran cold fire down his spine. It was a boy, looking at him, waiting for him to say something.
“You can call me Nat,” Nathaniel said, and hoped he was smiling – hoped also that he wasn’t smiling like an idiot, which was all the more likely, he was afraid. He wondered how his heart hadn’t exploded out of his rib cage yet. “So, I guess this means we’ll be working together?”
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