RICKY T INSIGHTS Oscar Nominations 2024 Part 3
Sometimes, MIDNIGHT REVIEWS owner and financier RICKY T takes over, providing all the showbiz facts, gossip, and insight that you need.
With the nominations list for the 2024 Academy Awards revealed [INCLUDE LINK, BARBARA!], we here at MIDNIGHT REVIEWS had an inside track when it comes to some of the nominees for Best Picture.
Read on to find out all about these movies, the secrets behind famous scenes and what it takes to make a Best Picture (nominee).
Check out part 1 and part 2 by clicking the links and subscribe to the blog to receive the best and most accurate showbiz info around. Remember: the more subscribers we have, the more likely I can source money from Father to keep the site running!
Killers of the Flower Moon
We sat down to talk about Killers of the Flower Moon with the key people who made the movie. We thought it’d be a short chat but, knowing Martin Scorsese, we put plenty of time in our diaries (because his movies are so long!)
Hi, Mr Scorsese, what an honour.
Scorsese: That’s nice of you, that’s nice of you.
We won’t keep you long — not as long as your movies.
Martin Scorsese: (laughs, eyebrows dance) That’s right, that’s right. I do make long movies.
Leonardo the Capricorn: He does make long movies.
I’m loving what you guys are wearing, by the way.
Lily Gladstone: Oh, thanks. That’s very kind of you.
And your hair, Leo. Is that a new style. Is it extensions? Your hair seems a little long.
Scorsese: Does it? (checks Capricorn’s hair)
But not as long as your movies.
Scorsese: Ah. (laughs, but with less energy) Good one.
But what I love about your work is that even though you definitely have a certain type of movie people think of you for...
Scorsese: Yes, of course.
Capricorn: Great movies.
Scorsese: (laughs) Thanks, Leo.
But you’re so prolific and I think if you kept making movies in that same genre that you’re known for, things would get a little stale.
Scorsese: I mean, I’m lucky that I work with people who can keep bringing me material that means a lot to me. Everyone here gives it their all, which helps on a project of this size. I know you, Lily, gave a lot to me and didn’t expect a lot in return.
Gladstone: I think we all wanted the movie to be as accurate a portrayal as possible.
Yeah, and you don’t spend too long between projects.
Scorsese: No, I don’t, because I enjoy what I do.
Not as long as your movies.
Scorsese: What?
Someone once said to me, I’d had a hard day, and I was at a bar, you know, drowning my sorrows. I wasn’t feeling too good about myself. And the barman said to me, he said, “Why the long face?” And I said, “Not as long as your movies.”
Scorsese: His movies?
No, your movies.
Scorsese: Oh, my movies.
Capricorn: You’re there in the bar as well, I guess.
No, you’re not in the bar, but I’m telling you the story now, look, it doesn’t matter –
Capricorn: You’re not in the bar.
Scorsese: I’m not in the bar.
You’re not in the bar, but because you’re here I’m telling you the story, and it’s about you, look, it doesn’t matter.
Gladstone: Can we move on?
Scorsese: Let’s move on.
Let’s move on. Let’s talk about style. You have a lot of, shall we say, ‘extended’ takes in this movie. Some scenes that don’t feature too many cuts.
Scorsese: Oh, I wasn’t aware of that.
Capricorn: He’s… he’s doing a thing.
Yeah, some of the takes are really long. But not as long as your movies.
Scorsese: Oh. Okay.
I know that you’ve played around with comedy in the past, with King of Comedy. Is there any desire to move into a fully-fledged comedy movie?
Scorsese: Maybe. I’m not too sure right now is the time though; I don’t really have anything that screams out-and-out comedy.
Gladstone: Is that a hard transition to make?
Scorsese: What’s that?
Capricorn: From one genre to another?
Please, I’m… I’ve got more questions.
Gladstone and Capricorn: Sorry.
Was there anyone in the comedy sphere who you’d want to work with? Even if it was to see their more dramatic side?
Scorsese: Maybe.
I know people like Adam Sandler have recently moved into more dramatic areas again. Maybe even a Steve Martin.
Scorsese: I don’t know if Steve’s doing any more movies.
Oh, that’s a shame. I wonder if there’s anyone close to him who could? I suppose… my first thought is Martin Short. But he’s not long enough for your movies.
Robert De Niro: (chuckles)
Killers of the Flower Moon is nominated for multiple Academy Awards.
Anatomy of a Fall
Anatomy of a Fall, the terrifically tense story featuring themes such as death, isolating oneself from nearby violence and dealing with the unstoppable consequences of terrible actions, came out to rave reviews. But this didn’t translate into big box office. We had a question and answer session with the director about what this means.
Did it really affect you, knowing this story wouldn’t necessarily receive the widest audience?
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: No.
What was it for you then? Just head down and get on with the work?
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: Yes.
The sound design is instrumental. Well, not actually instrumental.
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: (laughs)
Not, like, with instruments and stuff, but with –
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: I know, I knew what you meant. And it really was. When I got together with my sound designer –
No, let me make myself clear here. I didn’t mean that you just recorded a bunch of instruments for the background sound.
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: I know you didn’t. There’s no need to get upset.
Oh, oh look, here comes a guy walking down the street (imitates trombone sound, pitch going high then low). Like that’d work. Oh, he’s eating his breakfast (imitates slide whistle). I didn’t mean that.
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: I know. You were perfectly clear when you said –
Oh look, she’s fallen over (imitates slide whistle again).
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: I know. You were perfectly clear when you said it. You mean the sound design was important.
No. I mean, yes.
JUSTINE TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: It really was. When I got together with my sound designer, we knew that it was going to be important to let the audience focus in on some of the sounds without consciously knowing they were doing so.
Sure. I mean, yes.
J. TRIET, WRITER AND DIRECTOR OF ANATOMY OF A FALL: And so we had to pick moments, because you couldn’t just do it with anything. And I think in the end we did a really great job with that. But that was only one piece of the puzzle.
Metaphor.
J.T., WRITER AND DIRECTOR OF ANATOMY OF A FALL: Yes.
How was it with deciding the style of the movie? I think, alongside the sound design, it’s probably the most important decision for this movie.
J.T., WRITER/DIRECTOR OF ANATOMY OF A FALL: Sure. We had to let the audience in on what some characters knew, or at least what they thought they knew.
Sure. Like, how they were Nazis, but just, like, living in a cottage and ignoring all the other stuff.
J.T., W/D OF ANATOMY OF A FALL: Which scene are you referring to?
Where they were living next door to the camp, but it was like the camp wasn’t even there.
J.T. W/D OF AOAF: Oh. I think you’re thinking of The Zone of Interest.
No, I’m not talking about Zone of the Internet. I’m talking about your movie.
J.T. W/D AOAF: My movie isn’t Zone of the Internet or Zone of Interest. My movie is Anatomy of a Fall.
Yeah, the one with Nazis and stuff, eating sandwiches. Ralph Fiennes is in it, I think?
Released to critical acclaim but underseen by audiences, Zone of the Internet is still available to stream.
American Fiction
We spent some time with the director of American Fiction, Cord Jefferson, when he was in the edit suite, heavy into the post-production process. Images of the magnificent Geoffrey Rush flashed up on a projection screen as he and his editor worked on a particular scene. As they were busy at work, we agreed to another question and answer session.
Our interview began in earnest outside the editing suite, but our recording equipment was only able to pick up what was said once inside (the batteries needed changing). But even with only half the material, it was a scintillating, enlightening interview.
Wait, so your name is Cord?
Cord Jefferson: Yes.
As in, like a parachute?
CJ: Yes.
(long pause)
Why did your parents name you Cord?
CJ: Wouldn’t you rather ask me about the movie? I mean, literally anything about the movie. You are inside the room where a movie is being made. Or even something about The Good Place, or Master of None? Ask me anything.
(pause)
CJ: (exhales deeply) Fine.
Why did your parents name you Cord, Cord?
CJ: Because my mom told my dad she was pregnant when he was at the DIY store.
(very long pause)
You’re lying to me, Cord Jefferson.
CJ: I’m not. I swear.
Who came up with Jeremy Bearimies, Cord?
CJ: What?
In The Good Place, time in the afterlife flows differently than time on Earth, and they call a unit of time a Jeremy Bearimy. Who came up with that idea?
CJ: I’m not sure. I can’t remember. I don’t think it was Mike Schur. Would you like to know about the writing process on that show? It was really interesting, such a mixture of different ideas and backgrounds in the writer’s room.
Hmm not really. Now, Cord, I can call you Cord, right Cord?
CJ: Yes.
Now, why is that?
American Fiction is nominated for multiple Academy Awards.
The Holdovers
On our visit to the set of The Holdovers, it was clear this was a different type of film. The atmosphere was different. Things were relaxed, there were smiles and people had a skip in their step.
“No executives on this one,” Paul Giamatti announced to us, beaming grin on his face. “We get to make the movie we want. I know Alexander [Payne, director] couldn’t be happier.”
Indeed, recent reports from financial experts and industry insiders price The Holdovers as easily the most expensive movie made this year, if not all time. Giamatti couldn’t be happier.
“Oh yeah. Huge CG budget. Amazing numbers. Amazing numbers. What I’ve wanted to do my whole career,” Giamatti told us at the time of our visit. “I mean, I tried something with Amazing S&M 2, but unfortunately they just didn’t pump enough numbers into that project and the thing flopped. You’ll notice my whole career I’ve been pushing up and up on the numbers just to reach the kind of integrity only these sorts of franchises can reach.”
Alexander Payne talked about the struggles he’d had at first, with executives making visits nearly every day. “We showed them some scenes that we had at the rough cut stage. They kept asking us to turn the volume down. I said no! Waaaaay up! I want people to shit themselves in their seats when they see the Bonzo-Bot!” The director reached his arms out and spun around, eyebrows raised. “And do you hear that? Not one executive in sight. No one to tell us we’re taking too long. No one to tell us we can’t use AI to re-create Tate Donovan.”
But Tate Donovan isn’t dead, we reply.
“Hey, no spoilers!” Payne cajoled, clapping his hands together like a giddy seal.
And was it difficult for Giamatti to perform in a complete mo-cap suit? The star, nominated for Best Actor, turned to us and with typical nonchalance shrugged his shoulders and told us, “Hey. You know what they say. I am the Rhino.”
Currently in production, The Holdovers 2 is aiming for a July 4th opening.
There we have it, folks! All the info you needed on the important nominees for the upcoming Academy Awards, this year hosted by one of the Jimmies on March 10th, live from Los Angeles. Check out parts 1 and 2 if you want more of the inside scoop.
Remember to subscribe here and unleash the fullness of your potential, maximise your margins, be in the moment and [insert link to gardening side business]. Ricky T signing off!
Ricky Amadeus Taurus is the financier and chief operator of MIDNIGHT REVIEWS. He is also a full-time life coach, broker, actor and landscape gardener.
