As usual, I will be liveblogging the Oscars over at MostlyFilm this year – and as usual, I need to record my predictions in advance, to give me a reason to care about the results. I mean, of course I care about the results, a bit: I wouldn’t stay up until 5am on a schoolnight if I didn’t. But in order to really care, I need some personal investment in the outcome, so here we are. I never said I wasn’t shallow.
Our live coverage begins in just over three hours and I need to eat and nap before then, so I’m going to keep it short and sweet. I also intended to watch as many as I could track down of the Short Film nominees this time around, but naturally that hasn’t happened. So with a hefty dose of guesswork and without having seen either Birdman or Boyhood (I know!), here we go!
- Picture: Boyhood
- Director: Richard Linklater
- Actress: Julianne Moore
- Actor: Michael Keaton (unless it’s Eddie Redmayne, in which case I amend my prediction for Best Picture to Birdman. Pay attention.)
- Supporting Actress: Patricia Arquette
- Supporting Actor: JK Simmons
- Adapted Screenplay: The Theory Of Everything
- Original Screenplay: Grand Budapest Hotel
- Foreign Language Film: Ida
- Animated Feature: Big Hero 6
- Documentary Feature: Finding Vivian Maier
- Documentary Short: White Earth
- Cinematography: Robert Yeoman, Grand Budapest Hotel
- Editing: Sandra Adair, Boyhood
- Production Design: Grand Budapest Hotel
- Costume Design: Grand Budapest Hotel
- Make Up: Grand Budapest Hotel
- Original Score: Grand Budapest Hotel (this in hope more than expectation: I really think it’ll go to Interstellar, but it shouldn’t)
- Song: Everything Is Awesome, The Lego Movie
- Live Action Short: The Phonecall
- Animated Short: The Bigger Picture
- Sound Mixing: Birdman
- Sound Editing: Birdman
- VFX: Interstellar
See you back here tomorrow, or soon.
Spare a thought for the one person who isn’t on holiday tonight. Merry Christmas!
For the second Christmas in a row, the best city in the world has been blindsided by an incomprehensible event. Love to Glasgow and everyone who loves it and its amazing people. The original lyrics to this song included the lines “Have yourself a merry little Christmas/It may be your last/Next year we may all be living in the past” but the slightly more hopeful version made it into Meet Me In St Louis, for which we can all be grateful. This is the last of the sad songs, but it’s super-sad and I give you permission to have a big old sob along to it. Tomorrow we cheer up again; until then we’ll have to muddle through somehow.
I don’t know whether this is as tragic as yesterday’s song, and even if it is it has a Love, Actually-ish sense of manipulation that prevents it from feeling raw and makes it, instead, mawkish. And if there’s a time for being mawkish, it’s Christmastide! And take heart, because it all gets easier from here.
Today’s song is late, which is good because it may be the most tragic one yet, and I don’t want to ruin anyone’s Sunday. This song is the one I couldn’t post on Friday, because it was Faye’s birthday and she has a brother called Jim, and I didn’t want to be responsible for a drop in team productivity by sending her home in tears. Maybe listen to this one with nobody else around.
Yes! Two songs today, because they go well together and because I had one too many. First one you’ll know: Simon and Garfunkel’s Silent Night/7 O’Clock News, which is no less tough a listen now than it was in 1966, and secondly Nina Simon’s gorgeous Little Girl Blue, and if you listen closely you’ll spot the common theme.
I had a different song scheduled for today, but it’s my colleague’s birthday and for reasons which will become apparent early next week if I tell you that her brother is called Jim, I decided I needed a last-minute replacement, which fortunately the same colleague provided by sending me a link to this, which I’ve never heard before and like a lot. So thank you Faye, and happy birthday to you.
I need you to start preparing for the real tear-jerkers now. What could be more Christmassy than sad country music? Nothing, that’s what. Here’s Loretta Lynn with the first in a series of songs to break your heart. Don’t worry, it gets better by Christmas Eve.
It wouldn’t be Christmas without a little bit of Bing, would it? There’s only one sad line, but it’s a zinger.
As you know, I only rant here when it’s important. So you’ll understand how strongly I feel about this desecration of a song that every single one of us loves, whether we were initiated by Cohen, Buckley or Burke or someone else. It’s not that she sounds as though she has treacle in the back of her throat (although she does), it’s that she has enough disrespect for the song to sing:
But you don’t really care for music, dooooooo yooooooo
Rather than the actual lyric which is:
But you don’t really care for music, dooo yaaaaaaa
And then she sings “Hallelujah” in its normal pronunciation (rather than “halleluuuuuuujuuuuu”), so that the whole rhyme and the rhythm disappears, along with any sort of rawness or sadness or human emotion. I don’t and always won’t try to sound like an expert but good heavens, if you can’t sing it like you mean it, don’t sing it.