Showing posts with label Saving Mr. Banks. Show all posts
Showing posts with label Saving Mr. Banks. Show all posts

Thursday, February 27, 2014

Last minute question marks and wishlist

Ballots have been in for two days now, and there's nothing left to do but wait for the final results to be unveiled on Sunday night. Most pundits have settled on their predictions after weeks of deliberation, but for me, these dwindling days are often when my initially settled predictions suddenly become unsettled! There are some huge question marks that'll have me waffling on this category or that from now until their envelopes are opened. Here are some lingering uncertainties I have heading into the big show, accompanied by a small wishlist that would be oh so satisfying to see happen:

Sunday, February 9, 2014

One Category at a Time: Original Score

There are all sorts of theories on how the Academy votes for Best Original Score, arguably the most subjective of the craft categories. Appraisal of music is so prone to personal tastes that just when you think you've got the Academy pegged, they go and do something unpredictably awful (like award Gustavo Santaolalla a second consecutive Oscar for a score that makes liberal use of pre-existing compositions) or go and do something unpredictably cool (like give Trent Reznor an Oscar for an extremely atypical electronic soundtrack).

Monday, January 6, 2014

Review - Saving Mr. Banks

Saving Mr. Banks takes us behind the development of the Disneyfication of the Disneyfication of Mary Poppins (how meta!), the movie rights to which author P.L. Travers was notoriously resistant to sign over.
Emma Thompson plays Travers ('Mrs.' Travers, as she'll quickly tell you she prefers to be addressed), at the end of her rope and in need of money, urged by her agent to let Walt Disney Studios turn her beloved childrens book Mary Poppins into a feature film. She is loathe to let her precious creation become trivialized by the kid-friendly brand, but reluctantly agrees to travel to L.A. to work with Disney's writers and tunesmiths. Among her many insistences are that the film not be a musical, not star Dick Van Dyke, and contain no animation nor the color red. As history tells us, Disney reneged – or at least changed Travers' mind – on those stipulations.