Film Club 3000

The Oscars Series - The 66th Academy Awards w/Parker Podcast Perry!

• Cameron Linly

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My, my, my, my, my... what a mess.

This week, we get in our time machine and head back to 1993 with our good buddy and frequent guest, Parker Perry!

Do you have a favorite film of 1993?

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Cam:

hello, everybody! This is Film Club a podcast exploring the history of filmographies. We are your hosts. I am Cameron Lindley Robinson.

Parker:

And I'm Parker Podcast Ferry. Each week, we take a deep dive into a collection of films to explore the origin, the trajectory, and ultimately, the truth in these subjects. This is our Oscars Series.

Cam:

Okay, don't be confused, everyone. Don't

Kemari:

still here. I'm

Cam:

Kamara is

Parker:

is still here.

Kemari:

I am still a host of the show. Don't, don't, you know, don't be afraid. but you know, with our friend Parker podcast, Perry coming on for a third time, I'm like, you might as well, you might as well have the official third share and get in there on the, on the intro. Welcome back Parker Perry.

Parker:

you! Thanks, y'all! I'm thrilled to be here. I'm a Oscars fiend. So this

Kemari:

Oh, oh my God. I know. I know. I

Parker:

You know

Kemari:

is why I was like, this has to happen. This, yeah, we've been, oh, we've been in contact and we've been in the pools and we've, we've done it all over the years. Um,

Cam:

done the illegal betting. They've done the oh wait.

Kemari:

don't say that.

Cam:

Guys, I do want to point out because I feel like this is important, and that Parker is on the podcast, it makes it even more important. This is our 25th episode of the podcast.

Parker:

Whoa!

Cam:

That's kind of like that feels big, right? Like, that feels like a lot.

Kemari:

a podcast.

Cam:

Now we're old.

Parker:

You're old. news now, guys.

Cam:

It's our quarter life crisis, so, uh, I'm excited that, you're here for it, Parker.

Kemari:

Yes, it's a celebration.

Parker:

oh yes, we're gonna, and we've got a lot to celebrate

Kemari:

Oh my God.

Parker:

But first, Kamari, Cameron, what have y'all

Cam:

Oh,

Kemari:

Yeah, you better flip it on us.

Cam:

better host!

Parker:

ha

Kemari:

That was good hosting right there, my friend. Um, great question, Parker Perry. What have I been watching lately? And I really only have one answer because I've been As I told you guys before we started recording, I have been viciously watching these films from the 60th Academy Awards, even up to the minute that we started recording. I just finished. but in the time between all of that, I watched a couple movies that I want to just briefly touch on. The first is a possibly modern masterpiece or modern horror epic, which is, 2003 is the cat in the hat.

Parker:

You

Kemari:

I revisited, that movie and it was an experience because I haven't seen it since I was like a child. and watching it with adult eyes was just a crazy experience. Michael Myers makes some choices in that film that could be considered war crimes.

Parker:

He's making nothing but choices in that film.

Kemari:

It's every single moment is a choice and I kind of respect it but at the same time, I'm like, the fact that your brain possesses this much ability is, I'm afraid of it. And the other film I want to talk about a little bit is Late Night with the Devil, which I saw. Have you guys heard about this movie?

Cam:

Late night with the devil.

Parker:

I've heard about this.

Kemari:

It's like an indie horror thing. It was fine. I didn't love it actually. I thought it was just fine. Um, I thought it was a really interesting concept, but I didn't think it really did a lot with the concept. I think the coolest thing about it was that it was like a found footage horror film but the way they did it was really cool in that it was like the whole thing was just an episode of this series that they found and I dug up and I thought that all of that like the conceit of it like how they, actually chose to shoot it and outline the film was great but some of the story was just kind of like you know but I love you it's good to see original horror films you know it's cool to see people talking about stuff that's not done before so I respect it for that.

Parker:

It's true. I've, I've heard about that. uh, based on the controversy, because they, they used some AI generated art for some of the intertitle pieces, which

Kemari:

how do we feel about that? Cause I don't know that? I don't know. That's, that's very interesting.

Cam:

AI's taking over?

Kemari:

I would have never noticed that until I saw the controversy and it was like, yeah, they, every single one of the art things in between the intertitles are AI. I'm like, wow.

Cam:

So wait, it's like sequences of like, Like, what exactly is it?

Kemari:

it's supposed to be like a talk show from the 70s or whatever. And it'll be like, we'll be right back. That's AI. Like the, we'll be

Cam:

Oh, okay. So having, like, a graphic designer, like, make that. Gotcha.

Kemari:

Yeah. Or like, there's like a, the show is called night owl or something like that. And like the, logo of the show is AI as well, like stuff like that. All of the art that has to do with the show and the, you know, graphics are all artificial intelligence, which is.

Parker:

it's Just such a shame that, like, nothing is sacred anymore. We're having robots come in here and And make the art that we should be, that's, that's a human experience is making art. Just hawking it off to the robots.

Kemari:

How good are the robots? And I'm like, this is, I mean, this is a small indie film, but it also had like a budget. Like we're not talking like, we're not talking 10, 000 indie film here. Like y'all had, uh, y'all got, y'all had money to make this happen. Like y'all could have hired a little graphic designer to make like five intertitles. That would have been nothing in comparison to your overall budget. But. You know, always trying to cut corners. That's the, that's the producer way.

Cam:

Mm hmm. Yes, it is. it is. Interesting.

Kemari:

what y'all been watching?

Cam:

I have watched one film.

Kemari:

Okay.

Cam:

Sent that is not a film For, this podcast and I'm gonna talk about it No, I'm not even gonna talk about the movie really I'm gonna talk about the experience of it And I'm gonna take this moment to brag a little bit because this was one of the coolest experiences of my life so far

Kemari:

Fuck your shit.

Cam:

Because as I mentioned last time on the podcast, I'm working on this film And the Director And the entire team basically that I'm working with did additional photography For, um, the new Ghostbusters movie that just came out. And so, since I'm now a part of this team, I got invited to go, watch it with all of the people that made it,

Parker:

Oh, that's awesome.

Cam:

It was super fun because not only did I get to watch it with like the people that made it, but we also were, it was very interactive. Like we were laughing and cheering and like, It was very cool. And then, the producer of the film I'm working on, Jason Reitman is the son of Ivan Reitman, who is the original creator of Ghostbusters and also has a film that we'll be talking about in this podcast. And so it it felt really like sweet and like exciting. He did not, it's funny cause like him and one of the other producers did not stay to watch the movie, but they came and like talk to everybody beforehand and then they stood up and he was like, I've seen this movie a million times. I'll let you guys enjoy It

Parker:

I can imagine,

Cam:

Yeah, he was like, who you gonna call? And we all like yelled Ghostbusters. It was very fun. I will say I think the movie was Blast. I, had a really good time. I'm sure that had to do with the situation that I was in But I think it was super fun I think that it like it poked a lot of fun that I think the original movies like did so well like a lot of That kind of goofy like atmosphere and I mean, I'm not like a Ghostbusters You fanatic, so I don't know if I'm necessarily the right person to be critiquing it, but I had a good time, and that's what I'll say about it.

Parker:

That rocks, that's that's such a cool experience,

Kemari:

yes. That's fucking great.

Cam:

Yeah, so that's, that's all. I'm done bragging. Parker, have you watched anything

Parker:

Um, Uh, not in any sold out, theaters with, with Jason Reitman, but um, no, I, I've, I've mostly been, training as well and researching for,

Cam:

It's so hard the lives we lead, right?

Parker:

It's a burden, but, uh, but I did, I did just get to watch, Lisa Frankenstein, uh, Diablo Cody's new, new feature.

Cam:

how was it?

Parker:

I, I didn't expect anything out of it? really. I'm really not the target audience, but I found it so enjoyable. It's such a hoot.

Cam:

It looks cute. It

Parker:

it's just a goofy, silly, like, romance, like, she falls in love with this dead Victorian guy who's,, coming back to life, and she's, like, putting body parts on him from, the people she's killing, and they're following in love, and it's, it's, Hilarious, it doesn't take itself too seriously, if you like Jennifer's body, if you like, you know, Heather's, Edward Scissorhands, like it's very, you know, 80s kind of,

Cam:

you're listening to a lot of good movies, so.

Parker:

I'm, I'm just saying, I'm a Lisa Frankenstein. Enjoyer,

Cam:

Oh!

Kemari:

That's a movie that I've been interested in, but I will say it has been antagonizing me. The trailer has been antagonizing me for the past like six months.

Parker:

Sure. I, and yeah, I

Kemari:

I've seen that trailer at every single screening of every movie I've seen in the theater since like August of last

Cam:

Yeah, I was going to say, since last year.

Kemari:

got to promote it. I'm Literally, it's been a long time.

Parker:

well give it a shot, you know, if you have a fleeting moment while y'all are doing this Oscar series,

Cam:

I know, right?

Kemari:

Yeah.

Parker:

but yeah, that, that's one one from me that I've seen.

Cam:

Excellent.

Kemari:

talk about your drink.

Cam:

I will. And, exciting, fun thing that I did with this drink is I sent the recipe to Parker Perry. Oh my god, Parker Perry, we, are we, Oh

Kemari:

I love

Cam:

I just know that, I just know that. I had a feeling that Parker would, would join me in this one.

Parker:

Oh, I, I am always down for a little sangria, morning, noon, or night.

Kemari:

Oh, wow.

Cam:

um, so for this episode, as I, have been doing for this, series, I'm doing a cocktail based on the best picture winner of the year. This year, of course, we have a Schindler's list. And so I decided to, do a a sangria and, Specifically in the recipe, it's a kosher wine that. I wanted to use for it. So I found this Manischewitz, kosher red wine that's kind of deep and pretty sweet, I would say. And then I chopped up apples, plums, some like, deep red fruits, threw that, in there, topped it with some sparkling wine. And you have Schindler's sangria.

Parker:

And, and might I be the first to say, delish. I, I, I'm a, I, I'm a Manischewitz enjoyer, and, and, but this, you know, so it's fruity, it has a little acidity to, to balance out the, the

Cam:

Yes, yes.

Parker:

drinkable. Woohoo!

Cam:

I don't know, I was thinking, obviously, it's, It's it's difficult to, to conceive a cocktail, about such a dark film without it being like, I don't know, too indulgent in that. So I wanted to honor, you know, obviously the ancestry of the people that, that, that film is discussing, but also kind bring in ideas of, uh, drinks that are meant for like, Moments of coming together. Like you think of sangria is as like a drink that, you, your grandma, like throws together in a big pot. that's how I think of stuff like that. And so it feels like something that a group of people coming together would enjoy, which feels appropriate for a film about, you know, this entire group overcoming this thing. And I'm happy with the results, so check out the recipe in our magazine.

Kemari:

cheers.

Parker:

Cheers.

Kemari:

All right. I think it's time for us to hop into our time machines and go back to 1993 in film. Because I think this was a pretty epic year. first of all, the 90s were a banger decade for the movies. Something was in the juice. Something was in the water over here in Hollywood, and they were just, they were just making bangers. Absolute bangers. We got Jurassic Park, which is like, one of the

Parker:

it's a poll, I mean.

Cam:

Yeah.

Kemari:

legendary films. The Fugitive, The Firm, Sleepless in Seattle, Miss Doubtfire. That's your top five highest grossing of the year. Miss Doubtfire made it. Miss Doubtfire's up there,

Parker:

and they're all nominated at the Oscars. Like, you don't see that anymore.

Kemari:

you don't

Cam:

really don't.

Kemari:

It's pretty impressive and it's a, it's a good group of movies too. They're very quality. I have a question for you, Parker. what what made you want to do Parker picked which Academy Awards he would come join us for. What made you pick this one?

Parker:

yes, I was given the, the offer to, choose my, my own, Oscars that I wanted to talk about. And I, I just kept, I, as I kept researching, I just kept getting drawn to 90, 93 as a year for, for film. Spielberg has always been my favorite filmmaker.

Kemari:

Wow,

Parker:

like, like growing up, and he like, he was, he was a big, like, as I was getting into film, I was watching so much Spielberg, I think that's where you start a lot of the time,

Cam:

Yeah.

Parker:

you know, cause you, you have E. T., you have, I mean, Jurassic Park, Indiana Jones, like, he's inundated.

Cam:

Mm hmm.

Parker:

film history. and so the, and this is really a celebratory year for him.

Cam:

Oh yeah. Oh

Kemari:

It's his moment. This is Spielberg's big, this is the year that made Spielberg. Spielberg, it is his year.

Parker:

Yeah, but, but there's also so many other, like, really cool. Like varied films happening this year and a lot of really cool moments like you, you know Tom hanks's first oscar and you know You have the fugitive This like big, action thriller nominated for best picture and you have jane campion you have the the piano and you have Jurassic park in in and of itself like it's such a cool So much to to discuss so I I felt drawn to it and it's very cool that this is the first one in y'all series that we weren't alive for so this is truly like us going back in time

Kemari:

Yeah.

Parker:

I think that's neat

Kemari:

Yeah. Yeah. it's really cool. I'm very glad that you picked this one, because I think this one really does have a lot to discuss about it. I mean, the movies alone are just so It's such a rich collection of movies and you have your best picture five, but you also have Every single of the acting nominees are just so good this year. And each movie is just so, like, I don't know. I feel like there's a thematic through line for each of these movies. It's like, there's like unspoken feelings, unspoken emotions, like these like bubbling under emotions like that you feel in every single one of these films. It's just like, So I don't know, like heartbreaking and like, it makes you just break. Every one of these movies made me break. I was, this is like, a lot for me.

Parker:

there's like a recurring repression and like and which it results in like an abundance of emotion like there's a lot of that which is super cool

Kemari:

they're just working on an emotional level that I feel like we don't really get to see consistently across all of our best picture nominees anymore today just because we've opened up to 10. So you're going to get like one or two or three that are like the populist film or like one that's like the comedy one that's like, you know, these are all like, I don't know, I feel like they all kind of work on the same playing field.

Cam:

But still in so very, like, in so differing of ways, if that makes sense, like, yes, there is this through line, but you're also getting, like, such different, like genre of film all in one. It's interesting how those two things can exist at the same time, in a year like this. Welcome to 1993. Song of the year was Whitney Houston's I Will Always Love you just to throw us back. gas was a dollar and 11 cents, which is absolutely insane. To my brain. Bill Clinton becomes the president following George H. W. Bush. which was the first like, pretty big pendulum swing for Democrats in the White House for like, over a decade. And then also, we have the end of like the Cold War and we're not quite to the Iraq situation. So we're kind of in this weird, like, moment of overall, like, quote unquote peace, at least in the the popular idea. and I think you can kind of see that like, we're seeing a lot of, fun action movies the fugitive, uh, in the line of fire. Like, there's these, really, fun over the top action films that, that just feel very light hearted and kind of, like, not overly political, which is not something that you always see in, in Oscar films. So I think that's some interesting context, for the year.

Parker:

I love that. Yeah, wonderful.

Kemari:

It's a good time. The 90s were a good time.

Parker:

Which, I mean, speaking of, we'll see Whitney Houston at the ceremony,

Cam:

sure will.

Parker:

we'll also see Bill Clinton pop up in one of the, one of the films, which, uh, so that was, those were great cultural moments to

Kemari:

they were very present. Yeah, they're very present in the culture and in the movies. Alright, the 66th Academy Awards, March 21st, 1994, at the Dorothy Chandler Pavilion, we have After four years in the role of, of some Crystal, we're getting, we're getting Whoopi Goldberg. Uh, the first black host and the first solo woman host. Uh, she's here. Really, Crystal had a little bit of, bad reviews. For the 65th Academy Awards. They weren't loving him back then after four years in a row. So they kicked him out and they were searching for somebody to replace him and they landed on Whoopi Goldberg, They wanted Tom Hanks, which is, which is interesting to me.

Cam:

I yeah, I saw that. That is interesting.

Kemari:

especially this year since he won his Academy Award this year.

Cam:

What if, it feels like a, conflict of interest to him.

Kemari:

yeah, it feels

Parker:

yeah, that's a good start for it.

Kemari:

you're too big of a star right now, Tom Hanks. Like, chill out. I'm sorry why you denied it. you got someone like Steve Martin, Bette Midler, Johnny Carson, those are all people that were offered, but they turned it down and landed on Whoopi Goldberg, which I feel like it's an inspired choice.

Parker:

Oh, Yeah, absolutely.

Kemari:

Yeah, I don't know. Something about Whoopi. I love Whoopi. I'm a big Whoopi fan. especially like this era of Whoopi and like before, like all, all of it leading up to this. I'm like, this is like, Whoopi was a movie star. Like, she was like a, she was a cross sectional movie star. Like, everybody loved her

Cam:

Yeah, because she was what? This, this is the year that Sister Act 2 had just come out, I want to say, this year. So she was like,

Kemari:

Act 2,

Cam:

of on top of the world, it feels like.

Kemari:

Yeah, Sister Act 2, Back in the Habit, Sister Act 2 was the year before that in 1992,

Cam:

Okay,

Parker:

just won her Oscar, like, three years ago for Ghost. I mean, like, she was riding high.

Kemari:

yeah. and then but you also have like she's like did like, adult romance movies like she did like kids movies Like she did like a lot of different types of that's like she's one of those people that at this time everybody loved her kids families You know, you know everybody loved her And, I think that and that and for that reason she was, a great host because she is She's kind of non confrontational in that way, even though she has a very confrontational

Parker:

Well, yeah.

Kemari:

You know, She has a very, like, that's what she's known for is her, but she's, I don't know, she, at the same time, was very, uh, universally loved, which is, I think, a hard line to toe, but she did it.

Parker:

Yeah, she describes herself during the ceremony as an equal opportunity, offender. And I, I think there's a part of that, that, that comes across like, we're, all, you know, I'll, I'll make some quips and, and jabs, but like, we're, we're all here to celebrate film. And I think that was like, she sell sold that as an undercurrent to her hosting. And, and that was, that was, that was really nice. I love whoopie.

Cam:

yeah. She had a great sense of self awareness, too, that I think her kind of jokes, even the ones that felt like, a little bit, Over the line at times, it helped them, I don't know, sit better, I think, with people. It was kind of like, very self aware that she was hosting an award show. Like, there were several times where she would make a joke and then be like, Did you get it? you know, so it's,

Parker:

Yeah. Some of them didn't land very

Cam:

They didn't.

Parker:

but she's a professional, you know, she, she comes from comedy, like, like, you know, she, she was in her, she's in her bag doing

Kemari:

Yeah, she's used to like that, kind of thing. Like she's on one woman show. She's done act like acting. She went to school for acting. Like she doesn't understand comedy. Like she like exists in the world where she can, you know, land a joke and not like she can hit a joke and it doesn't land and she's like, okay, let's keep going, we'll keep, we'll live, you know, we'll survive. And as we've talked about before, there's like a theme. Usually sometimes they pick a theme, even though it's, loose, more loose than others sometimes, but this year. It was people behind the camera and I think they did a pretty good job at making that, uh, pushing that to the forefront.

Cam:

I think so too. I thought it

Kemari:

We have that amazing opening number.

Parker:

Oh, the opening is so, so

Kemari:

a great opening number. Bring back opening numbers.

Cam:

podcast listeners, if you

Kemari:

We talked about this on

Cam:

opening number, We've, this is the second time we've talked about this

Parker:

Yes, yes, y'all did. Yes.

Kemari:

Yeah.

Cam:

Okay, You have to go watch it, guys. You have to go watch it.

Parker:

it's, uh, Bernadette Peters stinging her heart out to a edited, version of Putting It Together from Sunday in the Park. And it's just, It's joyous. And there's a montage of, people behind the camera and, and it's, it's

Kemari:

Like, this is what, this is what it's all about. Like, this is a celebration right here. this is what I need. Every Oscar ceremony.

Cam:

It's so good.

Kemari:

should we dive into these categories?

Parker:

I think We gotta get

Kemari:

got the, we got the set up,

Cam:

gotta get into it, right? Okay.

Kemari:

we gotta talk about it. let's do it. Let's start off with Best Art Direction. our nominees here. Adam's family values, the age of innocence, Orlando, the remains of the day, and we have our winner Schindler's List. As we all know, this is a Schindler's List sweep,

Cam:

This is the year. Yep.

Kemari:

a kind of sweep, kind of sweep, but, I actually think that I would give this to the Age of Innocence,

Parker:

I,

Kemari:

off like being kind of

Cam:

You're like actually.

Parker:

listen, and I can't wait to talk about Age of Innocence more because this is one of the films of this crop that really surprised me the most. But um, just in regards to art direction alone, I, I think some of those, um, some of those sets and like complete, like super ornate and really put you in the time and place that So well, but I, I love the, I love the win. for Schindler's List though, because it's, it's un, it's more understated, which is not always the, obvious pick for, uh, you know, a, a production design or a costume design or something. So I, but it, Yeah. I, I, I still like it as a, as a win.

Cam:

Yeah. And Schindler's List, particularly the the art design or art direction. I feel like had a very kind of old Hollywood feel to it in, in, in the sense that, I don't know, Maybe it's, just the color, honestly, but it just feels very like old school Hollywood in the set design of it. and so it, it does feel to me a little bit like there's, it's almost like a nostalgia win on top of the fact that it's, it's such a great film. You know, it's one of those things where it's like, this is a masterpiece, so it's hard to not want to give it everything, you know? Like, it's like, oh, it's fucking Schindler's List, like

Parker:

yes.

Kemari:

and that's the thing too. Yeah, it's, I think it's a very smart art direction. and like the Age of Innocence is very gaudy and over the top and wondrous and beautiful. but Schindler's List is just so smart and it's because Steven Spielberg is a genius. Like he's a genius filmmaker, everything is just so well intentioned. Like, I think specifically everything, every single time we see people transported in trains, the barbed wire like on in the little windows to the train. I'm like, that's just like, so I mean, it's real. It's what was there, but it's just seeing that and like seeing that in juxtaposition of like the people looking through and like reaching through. It's like, is that that's just so powerful. It's just such powerful visual storytelling. And that's really what like makes this movie. So heartbreaking and like, you know, it just just what we see alone. Um, yeah. So yeah, I think it's definitely deserved, but the age of innocence is, and even the remains of the day, uh,

Parker:

Yeah. Oh, absolutely.

Kemari:

are two that I just, I mean, the remains of the day I'll talk a little bit about I just watching that I was just kind of like gobsmacked at how I found that movie so beautiful and I was surprised and like what I'm seeing is really just mundane stuff. It's like cars driving down roads or like a person talking but like everything I don't know, it just, It just has such a beautiful air to it that, I was like gobsmacked I was just taken by it.

Cam:

I think that, speaking to The Remains of the Day, that's, the art direction felt very smart to me because I think that, at least in my experience, it genuinely had an emotional impact on me that, like everything was in the exact right place of everything and it made me feel like I was going to like Have an anxiety attack almost in a weird way. It was kind of like oh It's so constrained and so perfect and then like there are those few moments when things are like slightly out of place, you know I, don't know. It's a smart way to Kind of, to show the underlying themes of that film, I think. And to show the character's inner voice in a way.

Parker:

Yeah, it's intentional. It really puts you in that, in, in that headspace really well. So, I, I, yeah, I would say the same about Remains of the Day.

Kemari:

it also helps because the, the house is like a character, you know what I'm saying? So

Parker:

Yeah, that. that

Kemari:

that. It, yeah, it adds to the idea that the production design and art direction is like at the forefront because we care so much about the house because they make us care about it. shall I move on?

Cam:

Adam's Family

Parker:

Yeah, I didn't see, I haven't seen the first Addams Family, so I, I didn't, well, I didn't watch Addams Family Values?

Cam:

You haven't seen Adam's Family Values?

Parker:

I haven't seen, I haven't seen either.

Cam:

that movie.

Kemari:

it's great. It's good. It's good. It's good. Our direction. It's it's, I mean, it's

Cam:

I just wanted to mention It because I love that movie, and it doesn't come up again, so I just wanted to I love that film, I'm happy

Kemari:

shout It out. I don't think it compares at all to,

Cam:

It doesn't, but

Kemari:

Reigns of the Day, Schindler's List, and I feel like those three we talked about are like in their own category separate from the other two, but, uh, I digress.

Cam:

Best Visual Effects, are we ready? We moving on? Let's so our nominees for Best Visual Effects we have Cliffhanger, The Nightmare Before Christmas, and our winner Jurassic Park.

Parker:

I mean it was locked up. It was not a question,

Kemari:

it's game changing. It's world shifting it's you know, it's, it's history making.

Cam:

It's history making.

Parker:

I mean they're they're full fledged like cold blooded characters in this you know I mean they're and they feel that way they feel threatening because of how they're how well they're constructed in the computer like it's really neat getting to watch that

Kemari:

I, think this also was kind of like, the, beginning of shifting into, people like, okay, we're going to be honoring Spielberg tonight. this is like,

Parker:

this, was the beginning

Kemari:

this is Spielberg's big night. He gave you one art direction. They're winning visual effects. We're gonna, Yeah. this is his night. Um, and I'm going to keep going back to how incredible it is that he made. I mean, I think it's known, I don't think it's anything else to talk about, the fact that he made Jurassic Park and Schindler's List and they released it the, same year, it's just. Like, it's,

Cam:

It's kind of crazy.

Parker:

incredible

Kemari:

it's mind blowing. it's Two masterpieces, I, like, and, and having to work, like, film, be, like, be filming Schindler's List and then, go and do post production on Jurassic Park that, day, I, I can't even fathom the, crazy.

Parker:

it's amazing.

Kemari:

I will always, I will always just respect him and hold him into the, in the in the upper echelon,

Parker:

Yeah, yeah, yeah, yes.

Kemari:

Because, just, he's just so, he just makes such vastly different films, but they all feel like a Spielberg film, no matter what.

Cam:

sure. I'm sorry, I just want to quickly talk about the actual, like, announcement of this, little baby Elijah

Parker:

yeah, can we talk about Elijah Wood?

Cam:

Little

Parker:

I didn't know he was, I didn't know he was famous at this time. Like, I didn't know he was awards presenter

Cam:

walks out. he announces this award, and then also one thing I thought was hilarious was when they won and all of these guys walk up and all at once they just start shouting this like, thank you, like over the top of each other, like you can't understand what any of them are saying, they're just thanking random people, and then that's it and they walk off the stage. It was like, what's going on?

Parker:

A plus comedy. It's, it's really good. Uh, go watch it if, if y'all haven't list, listeners.

Cam:

it was funny. Yeah. So anyways, shout out baby Elijah Wood.

Kemari:

let's go to Best Supporting Actor.

Cam:

Parker, would you like to do

Kemari:

Oh yeah, yeah, you

Parker:

sure. Let me yeah, yeah,

Kemari:

on the dock.

Parker:

Let me go about the yeah, I, I I, I was reading the intro, I, I

Kemari:

ha.

Parker:

Alright, best, best supporting actor, Leonardo DiCaprio, what's eating Gilmore Grape, as Arnie Grape. Ralph Fiennes, Schindler's List, as Amon John Malkovich, in the line of fire, as Mitch Leary. P. in the name of the father, as Giuseppe Conlon. And Tommy Lee Jones, the fugitive, as U. S. Marshal Samuel Gerrard. How are we, how are we feeling about

Cam:

Tommy Lee! Tommy

Kemari:

of feelings about this category. Okay.

Parker:

so as do

Kemari:

I'm going to be very to the forefront about my feelings. I have a lot of feelings about every single acting category this year. Like, a lot. Uh, but I loved

Cam:

I love him so much in this

Parker:

great, right?

Cam:

He's so good.

Parker:

It's amazing! Like, you, you think about this category, and you think like, Oh, Ralph Fiennes, or like, Oh, little Leonardo DiCaprio. But then you watch Tommy Lee Jones. Every line he delivers is like magic.

Kemari:

It's just one of those good old, like old school Hollywood badass come in and just do the fucking work performances.

Cam:

He just destroys

Kemari:

in and just says his lines and does them. Like, I'm like, this is just it. This is all you have to do.

Cam:

Yeah, I was like, watching this movie, I was feeling bad for Harrison Ford. I was like, this is your movie? And Tommy Lee Jones, is showing you up so He had, first, well he did have like, definitely 100 percent the best lines in the film. The most iconic lines. I adored this performance. I will talk more about The Fugitive as we get into it, but This performance? Yes.

Kemari:

who, who do we want to shout out? That's not Tommy Lee Jones. Cause I, I could say more about him, but who, who stood out to you?

Cam:

Uh, Ralph Fiennes

Parker:

Fiennes, yeah.

Cam:

was really, really good.

Parker:

phenomenal. Like, he's really I would have loved for him to have an Oscar for this, if it were not for Tommy Lee Jones, he's so, like, glauze in his, menacing evil. It's so despicable, like, in his performance, but it's so, like, ingrained in every little move. Um, yeah. He's he's so great.

Cam:

I was really blown away by his performance. Honestly, I think he did a really fantastic job. Um,

Kemari:

a big Ray Fiennes fan and He's just, yeah, I have nothing else to say. he's so good. he's he's incredible. I want to shout out Pete Postlethwaite. I can't say his name.

Parker:

Also, Thwaite! He's

Kemari:

Postlethwaite. I think he is fucking incredible in

Cam:

Yeah, he is good. Aw, he broke my heart.

Kemari:

love that movie. I was not expecting to love that movie. I was not expecting to love that movie and They kicked my ass. They were kicking my ass. I was over there like hold, struggling to hold it together. That yeah, he, and he's the heart, he's the

Parker:

it's it's really a story about father and his son

Cam:

for sure, for sure.

Kemari:

absolutely. I'm happy that he got a nomination. cause it seems like, like he was kind of known as his character actor before, like and this was kind of, I think there was another movie that helped him kind of cross over into mainstream, the usual, uh, no, no, it's the usual suspects. No, Alien 3. Alien 3 first, but he was in Usual Suspects. but yeah, I think Alien 3 was this big kind of, uh, crossover and then he got this in 94, this nomination. And then, Yeah. I think he's just so good. I'm glad that he, uh, kind of had a crossover moment because he's very, very talented.

Parker:

Yeah, he really kills it. Um, and I mean, listen, I mean, we can go through all the like, John Malkovich is, really great.

Cam:

John Malkovich is really good.

Parker:

I feel like in the line of fire is Pretty good. but when you watch it next to the fugitive, like if you're talking like cat and mouse action thrillers, it just didn't

Kemari:

above.

Cam:

I had, I struggled with In the Line of Fire. Maybe it is that, maybe it's because I just, I really really enjoyed Defugitive. I wasn't as into that film, but I will say John Malkovich was, was hands down my favorite part of that film. Um, his performance is, is really incredible. I I think I like John Malkovich though. I think he's overall a very talented person. So, um, I think it's a well deserved nomination.

Kemari:

I've heard takes that people think that this should have been Leo's Oscar.

Cam:

that as well.

Kemari:

What are we thought? What are our thoughts?

Parker:

I mean, if I'm giving him an Oscar, I'm going to give it for, uh, uh, Wolf of Wall

Cam:

Same, Yeah. I think that Leo is one of those actors that I really do genuinely think he has gotten better with age.

Parker:

Yes.

Cam:

I think he's good in this movie. It's literally like his, one of his very first performances. And I think that and I think that that helps the performance, honestly, his youthfulness, but also I don't think that I'm happy that he got, I'm happy for him, but I don't, I don't think he should have taken it. I, don't know. What are, what are y'all, what are your thoughts on this film

Parker:

Well, I, I, I hadn't seen Gilbert Grape before before this. Yeah. and and honestly, I, I, I skipped through it a bit, uh, just because it was one of those, but I, um, especially it's only nominated here. So I was like, Oh, let's just see what Leo does.

Cam:

Yeah.

Parker:

You know, it's, it's, it's fine. I think it's, I don't know. I don't have much to say about It

Cam:

I think in 1993 it was, you know, It probably felt a lot different than I think a modern audience. Like if that film were to come out again and no one knew what it was, I feel like we would all have a different feeling about

Parker:

Oh, for sure. it. plays a lot better in 93 than 2023, for sure.

Cam:

But if you think about the Oscars as like actors celebrating actors and people in the industry celebrating people in the industry, I think that like Leo had the narrative of like You know, he did this research. He like you know, there is a narrative in there for him. So I get it.

Kemari:

Sure. Yeah. Uh, I do want to just like hop at, hop back to Ralph Fiennes real quick for a second. Just, I think it's really cool that this was so early in his career. I mean, it's like his third big, this is his third stream performance. Ever. You know what I'm saying? Like,

Cam:

So good.

Kemari:

and It's just I don't know, it's just really crazy because I feel like He is kind of playing against type in his first big role. He's playing this kind of like evil villain, and then afterwards, for a while, he plays like kind of more, you know, charming ingenue type guys. and then kind of goes back to playing evil villains with like Voldemort and stuff. You know what I'm saying?

Parker:

He goes

Kemari:

interesting. He goes back and forth. I mean, He really is a transformative actor. He can play a lot of different types of things, but, it's, it's cool to see how, how this kind of put him on the map. And then you have him like today and he's doing all like completely different types of roles with like working with like, you know, Wes Anderson and like the Kingsman and stuff like that. It's like, you know, it's just so interesting to see like. I would have never thought if I would have like been there in 1994 seeing him be nominated for this, I would have never thought that is where he would go. I'd be like, Oh, he's just the evil character guy. You know, um, he's done really good with, choosing a lot of variety, like a lot of variety in his roles.

Cam:

I also want to briefly say that his is a performance that something that I think is really challenging and is indicative of someone who I, who I think is Just an incredible performer is like he captivated me from the first

Kemari:

Yes. Yes. In the back of that car. In the back of that car Yes.

Parker:

got a shirt up over his nose.

Cam:

Why is the the top down? It's fucking freezing or whatever. He said it's just like so good. I'm like, yeah, he had me from the beginning.

Kemari:

the scene with like Helen, it's the scene with Helen and he's like, That is just like, so, you know, it's just so much mental gymnastics that this guy is working through. And, you it's terrible, but it's wonderful to watch as a viewer because it's like, he's really just making a fool, a fool person before our very eyes. It's really cool.

Parker:

Absolutely. Agreed.

Kemari:

Okay, Let's keep it pushing. Best Makeup. Best Makeup, we have some nominees here, which are Philadelphia, Schindler's List, And the ultimate winner, which is Mrs. Doubtfire.

Parker:

This is a cool year Because it's the first year that Along with makeup That hairstylists were Included, and They talk about that in the speech a little bit Which I think

Cam:

and and that is neat. They were like, yeah, we need to all we're all part of this team, right? You Who would Miss Doubtfire have been without her wig, okay?

Parker:

Correct.

Kemari:

okay, I'm a big Philadelphia fan, and I would have given this to Philadelphia, personally. Maybe, I think the reason Philadelphia lost is because of that bad beard that they put Tom Hanks in towards the beginning of the film. It looked really bad and fake. When he had the bus bus get in the

Cam:

And the little, like,

Kemari:

The stubble, the stubble beard looked really bad, um,

Parker:

Otherwise, otherwise, it's very good. when he's, Yeah. when he's getting sicker and looks pale and

Kemari:

but That's not to shit on Mrs. Doubtfire's win. I think that that was, I think that was very, cool, I guess, you know, I think that was cool for, looking at a full transformation and, you know, the Academy loves the transformation and Robin Williams did indeed transform.

Cam:

Indeed.

Parker:

Yeah.

Cam:

He sure did.

Kemari:

All right, let's go to best sound effects editing

Cam:

Let's do it. so for best sound effects editing, our nominees are cliffhanger, the fugitive, and our winner, jurassic park.

Parker:

Woo.

Cam:

Jurassic park.

Parker:

And listen. I mean, when you make an, when you make a sound that's so iconic as the the T-Rex like roar. You deserve every award, ever, for that.

Cam:

How do they know what t rexes sounded like?

Parker:

Well, they probably don't sound like this is the thing,

Cam:

How did they know?

Parker:

they get a time machine,

Cam:

They got

Kemari:

probably a time machine. Yeah When

Cam:

So really, the dinosaurs should be winning this award.

Parker:

Yeah, yeah, actually, I

Kemari:

you put it that way I

Parker:

But no, I mean, did, did y'all, either of y'all watch Cliffhanger?

Cam:

I Did not watch Cliffhanger.

Kemari:

I don't know a school finger. No

Parker:

mean, you don't have to, it's like it's

Cam:

It's a helicopter, yeah?

Parker:

it's a rock climbing, action film starring our man Sly Stallone. he's, he's, it's like Die Hard on a mountain,

Cam:

Oh!

Parker:

And it's fine, it's fun, um, I'm just, I'm just, I know it hates that Jurassic Park got nominated this year because it was nominated for three things, and it lost all three to the

Cam:

to Jurassic

Parker:

Jurassic Park. one.

Kemari:

I mean, that's the thing. They're going to put all of the, the action y movies in the craft categories. They're going to go to the sound and the sound editing and, you know, they're going to lose Jurassic Park. That's just The way it goes.

Parker:

Yeah.

Kemari:

In 1994.

Parker:

And that's okay.

Kemari:

And that's fine because Jurassic Park deserves it.

Cam:

Yeah, Jurassic Park definitely deserves it.

Kemari:

do, you want to do best animated short and best live action short, Parker

Parker:

Yeah, yeah, I would love to. Alright, let's see. Best animated short, we've got Blindscape, The Mighty River, Small Talk, The village, and the one I saw, which is the winner, The Wrong Trousers!

Kemari:

you may be the only one who's watched The Wrong Trousers. Did you watch the Wrong Trousers, Cameron?

Cam:

I didn't, but it, but I, I know, you know, iconic characters.

Kemari:

Okay, tell us about The Wrong Trousers, Parker.

Parker:

It's the Wallace and Gromus short about, they need some extra money, so they let out Uh, a room in. their house to, an evil penguin. Uh, And, uh, he's, he's causing a, a ruckus. And, they've got these, uh, automated trousers that the penguin traps, Wallace in. And Gromit has to, Gromit has to save the day. it's just delightful. It's, it stopped motion. It, it's, it's Clay Mated. I, and it's, it's just you, you can feel the texture on it, and all the scenes look so real and sweet, And the animation is so fun And crisp. I, I love it. I'm a, I'm a big walls and grommet fans.

Kemari:

I love that. YouTube?

Parker:

uh, it's somewhere, I know I watched it so,

Cam:

it, it, it's

Parker:

I think it, yeah, I think it is on YouTube,

Kemari:

shorts are always very hard to find so I, I, guess I get

Parker:

yes, I'm sure the others might be somewhere as well, and they might be good, even, too, but I, I, I wanted to watch The Wallace and Gromit one.

Cam:

Yeah. That's fair.

Parker:

And then we have live action short, Down on the Waterfront, The Dutch Master, Partners, The Screw, parenthetical la vie. And the winner, Sportfahrer, or, or, or Black Rider. I did watch Black Rider.

Kemari:

What do you think about Black Rider.

Parker:

For, for our listeners who have, who don't know what I'm saying, it's a German, black and white short film about, a black man in Berlin who, who gets on public transportation and is accosted by an old German woman is, who is spouting. racial, racial things at him. but then he, he gets his comeuppance in the end. It's like 12 minutes long, uh, and and it made me laugh out loud at the end. I will say that.

Cam:

Wow. Okay.

Parker:

Very satisfying. It's a cutie.

Cam:

I feel like your pronunciation is so correct and I love it.

Parker:

Yeah, we're, yeah, that's, that's, that's real German right there.

Kemari:

I love it. Well, Congratulations. to Pepe Pepe Dinkart and Nick Park

Parker:

and Nick Park! Woo!

Kemari:

shots at her and the wrong trousers. best

Parker:

You're not going to believe this.

Kemari:

who won

Parker:

well, well, well, let's go through the nominees first. Best, well, Best, sounds.

Kemari:

Let's be respectful here.

Parker:

Liffhanger, The Fugitive, Geronimo, An American Legend,

Kemari:

Woof.

Parker:

Schindler's List, and our winner, Jurassic Park.

Cam:

Oh, oh

Kemari:

Was that a raptor sound?

Parker:

It was it was something.

Kemari:

It was close. I liked it. Okay, Yeah, we'll add a raptor sound in. Cam, can you do that?

Cam:

yeah. I

Kemari:

Okay.

Cam:

I think I can manage

Kemari:

it, yeah, it makes sense. Best sound editing, best sound. This is before the categories were combined. so it makes sense that we're, we're wanting to, uh, honor the, same film in both categories. And it's just adding to Bill Burr's big night. This is his big night, his films are

Cam:

Both of his films were nominated in this one.

Kemari:

Yeah, it does both of the songs. The Fugitive, I'm trying to think if the, Fugitive had a very memorable sound. It had A very loud score, I do remember that. A very loud and present score that? happened a lot of the time.

Cam:

yes, for sure. And also, The Hoover Dam was quite loud as well.

Kemari:

Hoover

Parker:

Yeah. And they have to yell over each

Cam:

Yeah, that's a great scene

Parker:

I didn't kill my wife. I

Kemari:

I don't care.

Cam:

It's so good!

Parker:

Oh,

Kemari:

the, he's like, he should have definitely died. He, he survives too many things in that movie. Can we talk about that? I

Cam:

it doesn't, make sense.

Parker:

But he's Harrison GD Ford. All right. That's what he does.

Cam:

So good.

Kemari:

right. Okay,

Cam:

it.

Kemari:

supporting actress.

Cam:

Let's do it. All right. So for Best Supporting Actress, our nominees, we have Holly Hunter for The Firm as Tamara, Tammy, Hemphill, Rosie Perez in Fearless as Carla Rodrigo. Winona Ryder, The Age of Innocence as Mae Welland. Emma Thompson. In the name of the father, as Gareth Pearce, and our winner, Lil Baby Anna Paquin, in the piano, as Flora McGrath.

Parker:

Well, baby.

Kemari:

I'd

Cam:

Lil Baby!

Kemari:

to unpack this.

Cam:

Oh, okay.

Parker:

I would I think I would as well.

Kemari:

I'd like to unpack why did Anna Paquin win? I'm not saying she doesn't deserve to win. I want to just, I just want to discover and, and

Cam:

You want to understand.

Kemari:

understand the reasons why she won in

Cam:

And the thunder struck, and my father cried out, and What

Parker:

No, that's my mom's

Kemari:

the, accent work? Was it the accent work that got her the

Parker:

Well, the accent,

Cam:

her accent, isn't it? Oh, no, She's Scottish. She plays Scottish in the movie. I'm sorry. It's based in New Zealand, so.

Parker:

I, I, I want to talk about the accent. Because I, I really like the piano. I really, this is my first time watching it. And, I, I was, I thought it was really unique and I was really struck by it. But, I couldn't get past her little forced Scottish accent

Cam:

like ten.

Parker:

I well, I know and, And I, think she

Kemari:

Talk about the Oscars here, Cameron. We're not talking about the kid awards. Talk about the Academy Awards, goddammit.

Cam:

She's a

Parker:

He's right. He's right. You know? and, but also like Harvey Keitel's accent was,

Kemari:

I don't know what he was doing,

Parker:

I don't know what that was. And I, I want to talk about it. No one's talking about it.

Kemari:

I think we forgive it. I think we forgive it.

Cam:

forgiven. I

Kemari:

I think we forgive it for Jane's sake, but I think it is something to bring up, because Anna Paquin's accent is all over the place, and she is 10, but,

Parker:

10. And, and

Kemari:

but when, but when, fucking, uh, Michelle Pfeiffer's acting her goddamn ass off in The Age of Innocence and she doesn't even get a nomination, I don't wanna talk

Cam:

true. That's true.

Parker:

Pfeiffer here?

Kemari:

When she's fucking crying and looking beautiful and being pretty.

Parker:

Why isn't, um, if we're talking about, um, uh, what's Eating Gilbert great. why isn't the mom here?

Cam:

Yeah.

Parker:

She's great in that movie. I mean, she, she, uh, Darlene Cates. Why is it here?

Kemari:

Or even, uh, the other, the character actress from Age of Innocence,

Cam:

The,

Kemari:

name?

Cam:

ma the matri the, aunt or whatever,

Parker:

yes. Um, um, what's her name? She's great.

Kemari:

I'm thinking of Mark. Yes. Yes. Yes. I'm like, even throw her in

Parker:

ticket dogs.

Kemari:

you know, I, I do want to also highlight the fact that, both Holly Hunter and Emma Thompson are double nominees and

Parker:

We haven't talked about it

Kemari:

yeah, that's really cool. I think, I think that, and they are like in a very small group of people who have done that. I mean, it's only like 15, I think it's 12, it's 12 actors and actresses in only. Like half of that are actresses. So pretty cool that two of

Cam:

cool. in The same year,

Parker:

year. I mean, it's really neat.

Kemari:

I did not watch The Firm, but I will say at least for Emma Thompson, I think it is extremely deserved for both roles.

Parker:

Yeah. I mean, she just, she, Emma Thomas is the type of person that'll show up And Like, do the

Cam:

And just destroy, yeah.

Parker:

Yeah,

Kemari:

the thing is, I don't think I truly understood Emma Thompson. And what I mean by that is

Cam:

Explain. Just as a, as a human?

Parker:

I

Kemari:

me explain, let me explain. I don't think I understand her. No, I, I think she's great. Like, I think she's a great actress, but I don't think I, you know, there are some actresses or actors who you never like saw them in their prime.

Cam:

Mm hmm.

Kemari:

like I never,

Cam:

Nanny McPhee.

Kemari:

I think Nanny McPhee, I think like her roles that I've seen her in, in the past, like 15 years since I've been like, You know able to watch movies with a brain intact, you know what I'm saying with a functioning brain But like this is emma thompson like at her prime and she is like very fucking good So like I understand now that this is what people think of when they think of like emma thompson the actress And that's different than what I had thought of when I thought of emma thompson the actress, you know what i'm saying? So like having that like contextualizing it that way makes me have a like newfound respect for her because she's just fucking Really good in both of these movies

Parker:

Oh yeah, and I mean she's hot. She just won her Oscar for

Kemari:

this?

Parker:

last year for Howard's End which was also a

Kemari:

Merchant Ivory, yeah, um, and, and, I will say just for the, her supporting actress nomination in the name of the father, she is in such little of this movie,

Cam:

She really is,

Parker:

she, I wanted more of her to be honest

Kemari:

yeah, I did, I did two, because the thing is it starts with her, it opens with her, she goes away for like an hour and like,

Parker:

Yeah, yeah, I forget she's in it, then she

Cam:

you just get

Kemari:

she'd come, you get glimpses are like listening to something, listening to a tape driving, she comes back. She's not really a big figure when she comes back, but then she has that one scene in the courtroom, which I think is really what got her the nomination. And usually I'm like, you know, whatever one scene gets in my nomination, whatever. But I, that, that one scene truly deserved her, got her a nomination. Like she was, she was amazing. She moved me. Like, she's like, and she's very understated. She's not doing too much. She's just sitting there asking the questions to the judge and getting like, it, she, she, she's becomes like the audience surrogate at that point. Because like the whole time we're like, this is unjust. Why is this happening to him? Why is This happening to them? This is not right. And she really just like channels all of those emotions, our emotions in herself and Like goes off in the judge. And it's just like, it's just very cathartic and, beautiful. And I

Cam:

Yes.

Kemari:

great.

Parker:

absolutely. Yeah, and, and, God, I mean, this whole category, like, Winona Ryder, I, I think does some really great work, which I wasn't expecting from, from her, because she's, you know, Well, she's good. She's good. But like next to Michelle Pfeiffer and Daniel Day Lewis, I was like Lil Baby, Winona?

Cam:

Yeah. she

Kemari:

we think, do we think Winona over Michelle? Like for real?

Parker:

Um, no, I would put Michelle Pfeiffer. Well, maybe she'd go in like best actress,

Kemari:

Oh, maybe actually. That actually does make sense. I didn't think about that.

Parker:

you know, spread the wealth around. but I think she does really like that character, Maywell, and it's so complicated

Kemari:

it is. Yeah.

Parker:

and has such a you know, grows so much,, but is still understated. And she does a really great job.

Cam:

I love Wynonna Ryder, so.

Parker:

Oh, I do too. I love her. I think

Cam:

I have great love for her. And, and, like you said, like, she's working as, you know, from my, the context of my life. Like, she's just a baby in this. And up against Daniel Day Lewis in most of the scenes, either Daniel Day Lewis or Michelle Pfeiffer, like, that's a challenge in itself because you're working with, you know, some of the greats. And I think she holds her own in a really interesting way and also maintains power in a really interesting way, particularly with Daniel Day Lewis, which I was really impressed by.

Parker:

there's so much great character work in that. Film and I can't wait to talk about it with Daniel later, but also also shout out Rosie Perez I I flipped I I flipped through fearless for her role

Kemari:

I didn't watch Fearless. Was she good? Was she, was she performing?

Parker:

I mean, she's she's she's performing I mean,

Kemari:

She's always good

Cam:

I like her, yeah.

Kemari:

like,

Parker:

she's great. I mean she lost her kid on a in a plane crash and Jeff Bridges is trying to you know, get her out of her funk

Kemari:

Is it romance?

Parker:

No, not, well, it's

Cam:

That scares me if it

Kemari:

I'm just asking questions now. I'm just like, what's this movie about?

Parker:

well, well, I, again, I. I, missed a bit, I

Cam:

You're like, I

Parker:

it,

Cam:

through it.

Parker:

but her scenes are not really, like, they have a connection because they have, like, shared, you know, experience of this tragic event of, like, a plane crash, but um,

Cam:

I see.

Parker:

it's Peter Weir, who y'all talked about

Kemari:

Yeah.

Cam:

did.

Kemari:

Peter Weir. Master Is that Master and Commander? Oh, oh, we love it. Okay.

Parker:

but anyway, also Holly is great in the firm I, I.

Kemari:

Yeah, she's a,

Parker:

The firm is good, I, I, but ha

Cam:

I have to confess that I tried to watch that movie. I really, I really tried.

Kemari:

an attempt for you.

Cam:

and I, I, I didn't succeed. I wasn't, I did not. Draw me in at all. Yeah, and so it got to a point in the film because it's also pretty long where I was like I could either like muscle through and finish this or I could stop it and watch the whole thing one of these other movies, and so I chose to do that instead.

Kemari:

I felt that way about a couple of these. I was like, I can't finish it, but it's

Cam:

so,

Kemari:

have to finish everything.

Cam:

I'm sorry. I'm sorry, Holly. But I love Holly Hunter. Deeply. And I love her other nominations, so

Kemari:

all right, let's go to best costume design. So we have Orlando, Sandy Powell, the piano, Janet Patterson, the remains of the day, Jenny Beaven and John Bright, Schindler's List, Anna B. Shepard, and our winner, the age of innocence, Gabriella. Suchi, which I think is extremely deserved. Um,

Parker:

Oh yes.

Kemari:

beautiful cost.

Cam:

Beautiful. Beautiful.

Parker:

Ha

Kemari:

every time I, I would just look and be like, wow, that's just like Michelle Pfeiffer is just wearing this so beautifully. I like, that would be the focus of the scene for me. It wouldn't even be the scene where I just be like, wow, she's in this gorgeous gown incredible.

Parker:

Yeah. And I'm, I'm, I'm very glad that Age of Innocence won something. Because, Yes. it's hard to say that a Martin Scorsese movie is, is like underrated or underappreciated, but it's, it's, it doesn't get talked about at all. Like I hadn't, I hadn't seen it or heard anything about it until

Kemari:

It's different. it's like a different, it's different for him. You know, it's like a

Cam:

different Especially in this era of, of his films.

Kemari:

Yes.

Parker:

Yeah, this is right after like, you know, Goodfellas.

Kemari:

It's truly like he's trying to do something different He's trying to, but it's still New York.

Parker:

a different era,

Kemari:

Still New York at its core, but you can even see in the way that. he films it, not to go too hard in, in on it right now, but you can see that he's trying new things. Even the editing, like Thelma is like trying new ways of cutting, like new, like the fades are so much different than what usually Scorsese does. He's gonna like do like a lot of like long, like fades into different shots. Like it's softer, more romantic. Um, and they go fully into it. And

Cam:

Yeah.

Kemari:

that.

Parker:

Yeah, agreed. It's a lot to marvel at. It's really captured me, like emotionally and the, just the filmmaking of it.

Kemari:

I'll shout out the piano in the remains of the day as two other ones that I really like the costumes for.

Cam:

Yeah.

Kemari:

I'll probably say, I want to say the piano edges out the remains of the day for me and just

Cam:

the costumes in the

Kemari:

Yeah. Yeah. They're pretty iconic too. Like I feel like that kind of like look that image of like her on the beach with the get like the black dress and the hat, you know, that just is kind of a very stark image that is iconic.

Cam:

Best Documentary Short Subject. Our nominees, Blood Ties, the life and work of Sally Mann. chicks in white satin, and Defending Our Lives, which took it home. Congratulations,

Parker:

I, I, I, I'll just say for a second, cause I did, I did watch this one. it's, it's, uh, it's on YouTube. And it's, um, it's a, it's a, it's a nice little. Documentary short, it's about, it's, it's done really well. It's about a, a group of, women who have been abused in relationships that are imprisoned for, for murdering their abusers, basically. And it just kind of gives them space to, to talk about how traumatic that is, but also like the injustice of them being imprisoned for retaliation. Um, and, uh, It's, it's well done. Um, I would say, listeners, check it out on YouTube. You can watch it for free.

Cam:

defending our Lives.

Kemari:

Congratulations to Margaret Lazarus and Renner Vonderlook.

Cam:

yes, congratulations. And then we have our best documentary feature categories. So our nominees are the broadcast tapes of Dr. Peter, Children of Fate, Life and Death in A. Sicilian Family, For Better or for Worse, The War Room, and our winner. I am a promise, the children of Stanton Elementary School. I saw a little cheer, Parker, do you have a

Parker:

Well, I, I, um, okay, well I tried to, what I wanted to do when I set out for this is watch all the winners. But You can't watch I Am a Promise the Children of Stanton Elementary School anywhere. You can't watch it Which is a shame for a movie that's only 30 years ago and is an Oscar award winning film. Can't. I can't stream it. That's pretty crazy. Why physical media is so important.

Kemari:

Exactly, this is why. Thanks,

Parker:

but I did, I did watch the War Room, uh by, uh, I love D. A. Pennebaker. he, did the, original cast album, Company Recording,

Cam:

Oh my god!

Parker:

I love. He also did the Bob Dylan Don't Look Back documentary. Um,

Cam:

okay.

Parker:

guy's prolific. uh, War Room Chronicles, the 92 Bill Clinton presidential campaign, and it's super entertaining.

Cam:

And very on the pulse.

Parker:

Yeah, yeah, I mean, it's fresh, uh, fresh, politics, so, and it, yeah, it's really, like, it's super cool to get a peek behind the curtain of, like, you don't, you don't see a lot about, like, the, the underbelly of presidential campaigns and, like, what it. really takes to get somebody elected president. Yeah. Yeah. Yeah. And, uh, some neat personalities, I I some cool footage, I, I highly recommend it, it's on HBO, you can stream it.

Cam:

Ooh! Yeah, I'm a Promise. I tried to watch it, like Parker did. Couldn't find it. it is about a school trying to help inner city kids. And so it looked really interesting. Susan Raymond and Alan Raymond. I could have seen it.

Parker:

Well, congrats to them.

Cam:

Congrats.

Kemari:

Susan and Alan. Thank you for your work and thank you for your contributions to the film.

Cam:

Yes.

Parker:

Yes. absolutely.

Kemari:

Best original score.

Parker:

yes! No, no, I was gonna, I was gonna barrel ahead, like I, like I'm a host here, I

Kemari:

Yes, You are! you go ahead

Parker:

Best original score the nominees are The Age of Innocence, Elmer Bernstein, The Firm, Dave Grusin, The Fugitive, James Newton Howard, The Remains of the Day, Richard Robbins, and our winner, Schindler's List, John Williams.

Cam:

boy.

Parker:

He

Kemari:

Johnny boy. Williams, deserved.

Parker:

Oh, like, completely deserved.

Cam:

I think there's a part of my of my, like, in my head, I honestly thought that he had gotten nominated for both. Schindler's List and Jurassic Park, and that's not true.

Parker:

You would think, right?

Cam:

That's such an iconic soundtrack, or like, score I mean.

Kemari:

See, in my head I thought that the piano was nominated for best original

Parker:

You would think that as

Cam:

So, this is something that we, that we talked about, Kimari, on our

Kemari:

there goes

Cam:

about, about the piano, because I, I think that That Piano should have won this category. In my personal opinion. It's one of the most moving and emotional and like, it's so in sync with the film. I think that it's phenomenal. Schindler's List is a great scorer. John Williams is a master at his craft, obviously. So I'm very happy for him. Um, but yeah, I think that, I think that Piano

Kemari:

The fact that somebody could be like, give me the piano score right, now. And I could just like done, done, done,

Cam:

No, exactly. it's

Kemari:

that's just like it's stuck in my head forever. Like, that's just, it's just so beautiful and moving and beautiful. So, um, I don't like the score for the fugitive.

Parker:

Well, I I

Cam:

You just don't like the mixing.

Parker:

Yeah, yeah, that might be your issue.

Kemari:

I was like, guys, leave me alone. Like I get it. It's an action movie.

Parker:

I don't like I don't like the score for the firm it's like It's this like well, it's this it's supposed to be the Thriller like, you know twisty turny mystery thing and and but it's like this jaunty jazz piano

Cam:

Because it's Memphis, because it's based in Memphis.

Parker:

I don't

Cam:

That's why,

Parker:

I don't

Cam:

that is.

Parker:

All right,

Kemari:

lick.

Parker:

but speaking of the best original score category, something cool that they did was they had all the pieces laying out and they had dancers from

Cam:

that was so cool!

Parker:

like dancing troops come perform internationally. And it was really neat. Bring That back.

Cam:

was cool. Why don't they do that, that kind of stuff anymore? That was so cool. It was

Parker:

Because they don't care about film anymore.

Kemari:

the movies, the movies, they don't care about the movies. What's happening?

Cam:

It was so cool.

Kemari:

about the movies again, Hollywood.

Cam:

Come on, Hollywood. Come on the Oscars.

Kemari:

Come on, the

Parker:

It was so, it was so neat, it was such a cool way to highlight those, because they always have the performances for the best, best original song.

Cam:

songs, Yeah.

Parker:

The score, I mean,

Kemari:

I like the Age of Innocence too. I'll just put that out there. Uh, that was really beautiful and moving and

Parker:

lush,

Kemari:

yes, very lush, evocative. I liked it but of course, congratulations to John Williams, The Master. of film music.

Parker:

And Itzhak Perlman on

Kemari:

yes, yes, yes, yes. yes. Another feather in the hat of Mr. Spielberg

Parker:

Yeah.

Kemari:

this great night for him, sweeping it up. Best Cinematography, we got Farewell, My Concubine, The Fugitive, the Piano, Searching for Bobby Fischer, and our winner, Schindler's List, by Janos Kaminski, which is a very long time collaborator of Steven Spielberg. I think he does, like eight literally every single one of his movies. I don't know if he's, I don't know if he stopped somewhere in between there, but he's done

Cam:

He did a lot, yeah,

Kemari:

a lot of them. I know he did West Side Story and The The Fable Men's most recently. Uh,

Parker:

And this was, I believe, this was his first collaboration with, with Spielberg. I,

Kemari:

oh, really?

Cam:

secret sauce! He's the Spielberg secret sauce!

Parker:

going

Kemari:

Oh, this is his first collaboration with Spielberg. Yeah. Wow. It's really, really cool. it

Parker:

because he's Polish and I, I feel like he got a lot of, you know,

Kemari:

yeah.

Parker:

is, is like Polish as well. And he got a lot of that perspective, which I think is, really works for the movie.

Kemari:

Well, I think it does, The cinematography for this film is fucking incredible. I think that's like one of my favorite parts about it, honestly. Well, it's a mixture The thing about it is, like, Steven Spielberg, you cannot separate his direction from the cinematography, because his direction is cinematography. Literally, all of Spielberg, his directorial, like, thing is just movement of the camera and framing and lighting and shadows. And like, that's literally all his brain. You can see it from JAWS. Like, you know what I'm saying? Like that's just how his brain works. It's like the camera moving. And I feel like this film does it in such an evolved way, but I feel like you can see where it's still like the, the semblance of like, like even like things like Indiana Jones, like you see like some of those Roots and like jaws, but it's just so much more refined and you can tell that he's like he's like It's more intentional and like he's making, he's making like the movie that in his brain. Like this, this is Like the serious movie that I'm making. This is like the, the big movie for myself, for my career. You can feel that because every single shot is just so well intentioned and so well thought out and like, Oh, it's just, it's just such so joyful to watch. It's not joyful to watch, But it

Parker:

It's absolutely heartbreaking,

Kemari:

but it is,

Cam:

As

Kemari:

watch, like,

Cam:

cinema,

Kemari:

yes, like, it's just cool to see the expression of his passion and his care through visual, like, visual storytelling, because that's what he's fucking, that's what he's a genius at.

Cam:

Yeah.

Parker:

Yeah, so intentional, really, I mean, the to make it black and white, you know, which hearkens to, you know, neorealism, and, I think they described it as, like, documentary footage from the time, like, to hearken back to that, and just the absence of light, and the absence of color, absence of humanity, being an absence of color, it's just,

Kemari:

And when we do see those pops of color, like, when we do see that, like, it's just that, those are the iconic moments, those are, like, what we remember because it's just so well set up. That's the poster. That's the, you know, it's, Yeah. it's beautiful. I mean, what's there to say? It's

Cam:

think, I think, part of the genius of this film. Yes, it's a story, it's, it's a historical story of this group of people, but when you think about it as a film, like, it's also very much a character study, I think, and a, an evaluation of this man and the journey that he goes on, because Schindler is not the same person at the beginning of the film that he is at the end of the film. And I think that the is so smart in the way that it captures his, his, uh, journey throughout the film. You have like immediately what sticks out to me is like there's a scene very early in the film where he's having this very self indulgent monologue and the camera's Fully focused on him like all the way around his face and then as you move, you know, in that final scene, Like, he is in this wide, community of people. It's just is so smart in like how the camera is working with Liam Neeson, with Spielberg, with all the people to tell the story the way that it needs to be told. Not, not, not just from a historical context, but also from like, just an interesting film. context. Like,

Kemari:

yeah, true, truly. Like, I mean, It's it truly, it's not a lot of directors. Direct like Steven Spielberg does. like every single one of his films. He does this too. It's not just like Schindler's List He's like I'm trying to pull out all the stops. He does that in Jurassic Park. He does that in Jaws He does that in Ready Player One. He does that in The Fableman's. He does that in West Side Story like every single film He directs in Munich in fucking AI like it's always like so Well, intentioned and like It's just what? he does. He's brilliant. He's a brilliant man.

Cam:

And that's right here with our cinematographer.

Parker:

Janusz!

Cam:

Congratulations.

Kemari:

Congratulations. Kaminsky. Best foreign language film.

Cam:

Best foreign language film. our nominees, we have Farewell, My Concubine from Hong Kong. We have Hedveen, Hedwine. I don't know how to say that. It's Welsh, so it's probably Hedwine. United Kingdom. Um, the Scent of Green Papaya from Vietnam. The Wedding Banquet from Taiwan. and our winner, Belle Epoque. Don't know how to say that, I'm so sorry. Is that

Parker:

Well, and you know what? I, tried to watch it,

Kemari:

I tried to watch this too and I wanted to watch Penelope Cruz act.

Cam:

too!

Kemari:

too! much to ask for Penelope Cruz acting on a screen in front of me.

Cam:

Oh,

Parker:

can find the DVD for like 50. you, can have it shipped to you, but yeah, I, I, I, I'm sure it's great. I'm, you know.

Kemari:

We do have two time academy award winning director Ang Lee.

Cam:

I did re watch that. I did re watch The Wedding Banquet because

Kemari:

a good movie.

Parker:

it

Cam:

it so the thing about it is Okay, obviously Ingley is an incredible talent. I know that you personally, Parker, love Brokeback Mountain. I know that's one of your faves. Um, and what's so interesting about The Wedding Minguit, and I enjoyed that film. I think it was really fun. It's, it's like a, a, it's like a romantic comedy, a gay romantic comedy. Very quirky, whatever. It's fun. I mean, there's like some sadness to it It's, knowing Brokeback Mountain, it's like interesting to see Ang Lee working with, um, And I'm gonna say this, actors that are not that great. Like,

Parker:

Uh huh, okay.

Cam:

it's like his vision is there. And I'm excited for what his career has in store for him after this, because he gets to work with like, some really incredible talent. The Wedding Banquet, not the greatest cast I've ever seen. But that's not to say that it wasn't great. enjoyable, and I think that it's worth watching because I think that the story was interesting, um, the script was really interesting, kind of like a, I don't know, did, did you watch it Kamari?

Kemari:

Yes. Yeah, I've seen it before. I didn't watch it again for this, but I've seen it before.

Cam:

Like, weird plot that I feel like they ignore of like, that happens in it, but like we're

Kemari:

Yeah. Yeah.

Cam:

it's just a weird so basically like The wedding banquet the main character is is gay and he his parents are like very traditional like Chinese People and they're pushing for him to you know, marry a chinese woman So he comes up with this scheme to like marry this woman who he knows who is trying to gain citizenship in the united states and So, they get married, and things happen on their wedding night, and again, this is a gay man who does not, is not attracted to. women, and she ends up pregnant, because she wanted, that, that happens, I don't know. And it just kind of like, glossed over, like, for the rest of The film, he's just kind of like, yeah, things got out of hand, and I don't like, I don't know, it's 1993, I don't know if we're just not talking about things. like that.

Kemari:

1993. Yeah. I think that's really just it.

Cam:

It's just like, it's not even, it's not like, I watched it with my, you know, 2024 brain, and I was like, we're just not going to mention this, but none of the characters were bothered by it, even like, the lead who this happened to So yeah, I don't know. It could use a rewrite.

Parker:

interesting. Yeah. I guess it's a different time, but seems pretty, uh,

Cam:

Yeah.

Kemari:

I do want to say The Scent of Green Papaya is directed by Anh Hoang Tran, who is the director of the 96th Academy Award French entry, The Taste of Things.

Parker:

yes, I wanted to bring that up. Um, I haven't seen either of them, but I've heard, I've heard, such great things about The Taste of Things. It looks gorgeous.

Kemari:

Yeah, didn't get a nomination, but it was an entry.

Parker:

Yeah.

Kemari:

but still very cool. And it's always cool to see, uh, you know, Vietnamese director, especially, you know, being a French submission this past year too. That's really dope.

Parker:

I, do want to say real quick that, um, the, the acceptance speech that. Fernando Treba gave, he has a quote, I'd like to thank God, but I don't believe in God, I just believe in Billy Wilder. So,

Kemari:

And I agree.

Parker:

so great. That

Kemari:

Honestly, what a beautiful thing. That's actually

Parker:

was so charming. I was, I was so struck by that. I was like, you go,

Cam:

And then everyone just like applauds like it was so

Kemari:

We should thank Billy Wilder in every single Oscar acceptance speech, frankly.

Parker:

should be thanked. Yeah.

Kemari:

this is a side note. I'm sorry, this is really off topic, but do you see they're making a Billy Wilder movie with Kristoff Waltz as Billy Wilder?

Parker:

What?

Cam:

see that.

Parker:

know

Kemari:

Yes, I'm like very excited for It I think it's probably gonna win a third Oscar, honestly, but, we'll, we'll talk about that when we, when we get to it in like,

Parker:

yeah.

Kemari:

like, two years, maybe, I don't know, we'll see. let's do best, let's do best film editing, Parker Pacasperry.

Parker:

Yeah, I'll do it. best film editing, The Fugitive. Dennis Verkler. David Finfer. Dean Goodhill. Don Brochu. Richard Nord. And Dov Hoenig.

Kemari:

It makes sense, it makes sense this movie had seven editors,

Parker:

I mean,

Kemari:

sense.

Parker:

this is my editing team, David, David, Dean, Don,

Kemari:

right.

Parker:

and Dov.

Kemari:

the last 15 minutes, and we'll figure it out when we get to the when we get there. Like, that's exactly how it feels.

Parker:

In the name of the father, Jerry Hamblin. In the line of fire, Anne B. Coates. the piano, Veronica Genet. And our winner, Schindler's List, Michael Kahn.

Cam:

Congratulations,

Kemari:

deserved. deserved. The editing is gorgeous.

Parker:

Yes. Just to construct. So many different little narratives that, that line up so well throughout the movie, but support this cohesive whole.

Kemari:

Yeah,

Parker:

Really well done.

Kemari:

it does. This is not, this is not to downplay anything, but it does feel long.

Parker:

Oh yeah, it feels epic. You

Kemari:

it was epic. Yeah, it's long and it feels long. I guess what I mean. and, but that's not just, it's not a bad thing at all. It just, you know, it is long movies three hours.

Parker:

Sure. Oh yeah, absolutely.

Kemari:

And I felt all three hours, uh, because it's like so harrowing, you know, it's like such a tough watch and it's like I need to take breaks. I was like, let's stop it here and then finish it later. But,

Cam:

I feel like In the Name of the Father felt longer to me than Schindler's

Kemari:

that movie went by for me like

Cam:

Really?

Parker:

I, I, I found it a little long as well.

Kemari:

interesting.

Cam:

it. I I really, really enjoyed it. at one point was like, man, how long have I been watching this movie? You know?

Kemari:

I guess that's true. Yeah, I mean, cause 15 years passed by

Cam:

yeah. It's

Kemari:

and It's, like, yeah, it's like, we were talking about 12 years of slave. It's like, this is like a life of like, it's like a whole life we're experiencing right now. Daniel Day Lewis goes from like a young, like a youthful man to like a grown adult.

Cam:

Yeah.

Kemari:

Grizzled,

Cam:

I'm just gonna continue to shout out the piano. The piano editing is really fantastic as well.

Kemari:

it is very beautiful. It's poetic. It's like, flowery and like, uh, you know, it's, it's very good. Alright, Let's go on to the best original song which is a category I haven't made any thoughts on.

Cam:

Oh my god. Okay. Well then,

Kemari:

I have strong opinions here. Again, from Poetic Justice. The Day I Fall in Love from Beethoven's 2nd, Philadelphia from Philadelphia, A Wink and a Smile from Sleepless in Seattle, and Streets of Philadelphia from Philadelphia, which got Bruce Springsteen his Oscar.

Parker:

The boss!

Kemari:

on it first? Let's talk about it.

Parker:

I love Bruce Springsteen. And I, I'm, I'm glad that he, he got an Oscar because he's such a cool guy. Like you watch his acceptance speech and he's like, he's like, thanks for inviting me to y'all's party, man. Yeah. And I think the song is really like moving as well. I think it sets the tone really well as the, it's like the opening credits song. What do you think, Kamari?

Kemari:

I think this was the wrong choice. I think Philadelphia. by Neil Young should've won this. It is the song that plays at the end of Philadelphia, when it's like, all of the VHS tapes. I think that song is fucking beautiful. I think it's better than Streets of Philadelphia And, that's how I feel.

Parker:

and I'm glad, I'm glad you think so.

Kemari:

have won. Neil Young should have won. Because it's a better song, first and foremost. And it has a stronger emotional tie to the film. Streets of Philadelphia is just a credit song. Literally, it's just Shots of buildings and the song is playing.

Cam:

I think that it's The 90s and it's Bruce Springsteen. That's what I think. You know what I mean?

Parker:

I think you can't really compete, unfortunately.

Cam:

I have an opinion about a different song

Kemari:

Okay.

Cam:

And that and it's solely based on the performance at the oscars.

Parker:

Yes.

Cam:

Janet jackson sounded crazy. I'm, sorry

Parker:

It

Kemari:

She sounded bad.

Cam:

Why did she sound like that? Why?

Parker:

sleepy, and she was

Kemari:

god.

Parker:

through that number. I

Cam:

a lot from her, honestly. I was excited to watch her performance.

Parker:

love Janet Jackson, I do,

Cam:

I'm like, what did they do to her? Did someone drug her before this performance? Like I don't

Parker:

the song's not good, The performance wasn't good, but you know who blew her out! of the water? The Beethoven second song,

Cam:

Yes! Dolly!

Parker:

and Dolly! Like, why was that so good?

Cam:

good.

Kemari:

the day I fell in

Parker:

thing I fully love! the

Cam:

come out at the end. So good.

Parker:

out!

Kemari:

You cannot have the dog for the sympathy vote. You cannot bring dogs out on stage.

Cam:

Parton

Parker:

They had a whole montage

Kemari:

like bringing

Parker:

dogs.

Kemari:

during your Cheetos number.

Cam:

Yeah, but that was terrifying.

Kemari:

can't do this.

Parker:

Don't bring her into this.

Kemari:

well, congratulations, Bruce Bernstein. It's a fine song. Actually, it really does slap, but

Cam:

a good song.

Parker:

It's a

Kemari:

I'd rather, I'd, I'm dragging it. I'm dragging it. Because I think Because Neil Young put his good work in. He put his whole foot into that song. He put his whole guitar into Philadelphia. And Tom Hanks was dying of AIDS. And little baby Tom Hanks was on screen and I was crying. And I didn't, and that song didn't win, but shots of Philadelphia won.

Parker:

I'm sorry.

Kemari:

sorry.

Parker:

do it. Okay? Don't

Kemari:

here.

Cam:

Exhale.

Parker:

All right, guys, let's move on now to best screenplay written directly for the screen. The nominees are Dave by Gary Ross, In the Line of Fire, Jeff McGuire, Philadelphia. Ron Niswainer, Sleepless in Seattle, Nora Ephron, David S. Ward, and Jeff Arch, and the winner, the piano, our woman, Jane Campion.

Cam:

Jane Campion.

Parker:

Come

Cam:

Yay.

Kemari:

dun, dun, dun, dun, dun,

Parker:

a category. I mean, what a varied set of films in this category.

Kemari:

Yeah, it is varied. It is

Cam:

It's Vari read. Dave can we talk about Dave real quick?

Kemari:

Sigourney Weaver.

Parker:

It's Sigourney Weaver

Kemari:

Kevin Costner.

Cam:

Kevin Kevin Kline,

Kemari:

Klein. Oh, I mix up my Kevins.

Parker:

I love me some Kevin Kline. And him

Cam:

gotta say, I gotta say, I I, I felt obligated to watch Dave because The director is Ivan Reitman, the father of the director I'm currently working with. And, and I thoroughly enjoyed that film.

Parker:

It was

Kemari:

enjoy

Parker:

pretty, it

Cam:

I, enjoyed Sigourney. Like, it was, fun. It was funny. It was,

Parker:

had a romance. You know, there was emotion.

Cam:

it was a flick that I enjoyed. It wasn't overly long. Like it, was a good length.

Kemari:

Okay, do you prefer Ben Kingsley and Dave or Ben Kingsley and Chris Williams?

Cam:

In Schindler's List, for sure. I actually, I should have, I, I, I, I would have been happy if he had gotten nominated. I

Kemari:

forgot about that. I

Cam:

I forgot to mention

Kemari:

that he wasn't nominated.

Parker:

Yeah, he should have been. We, yeah, we didn't even talk about him, but

Kemari:

Maybe that's why he didn't get nominated because we just forgot to talk about

Cam:

We forgot to talk about him. Damn it. Sorry, Ben.

Parker:

Sorry, Ben.

Cam:

But he was, he was funny in Dave. I think he was good. I think the piano is a great script. I think Sleepless in Seattle

Parker:

I, I I love that script. I really do. It's so charming. It

Cam:

I love,

Parker:

light.

Cam:

is so good at writing

Parker:

so good! Damn it, she's so good!

Cam:

good.

Parker:

and I mean, the Philadelphia script is also, like, so full of, like, empathy and light. There's so much to it. All those monologues for Denzel Washington, and then I don't know why In the Lime of Fire is here, but

Cam:

I also don't know why. Why?

Kemari:

Like put the fugitive. I guess fugitive is based on something though.

Cam:

Yeah, it is. Yeah, I don't know. I don't know about that one. What would you, what would you have replaced that with?

Parker:

What else was, what else was nominated this year? I don't know. I don't know what else I would put here. Jurassic Park? No, no, that was, that was based on a

Kemari:

It's based on a book. Yeah.

Parker:

that's a book.

Cam:

Hmm.

Kemari:

Famously a book shall we move on to best screenplay based on material previously produced or published? All,

Cam:

Yes.

Parker:

Woo!

Kemari:

the Age of Innocence, Martin Cortese and Jay Cox, based on the novel by Edith Wharton. In the name of the father, Jim Sheridan and Terry George, based on the autobiographical book Proved Innocent by Jerry Conlan, the Remains of the Day. Ruth p Jala, based on the novel by Kazuo Ishiguro. Shadowlands, William Nicholson based on his play. Schindler's List, Stephen Zalen based on the fictional book by Thomas Keneally. Schindler's List is the winner,

Parker:

I mean,

Kemari:

know.

Cam:

I

Parker:

stacked, as

Kemari:

This is a great little category, yeah. I think these are all pretty solid scripts.

Cam:

think it's important to note that like, in the Name of the Father is like famously kind of controversial in the fact that it, like, yes, it's based on this story, but they take a lot of, like,

Kemari:

yeah.

Parker:

creative

Cam:

privileges.

Parker:

all over that.

Cam:

but it still is based on, on a true story and on the book, but yeah.

Parker:

yeah, yeah, cause like, him and his dad were not in the same, cell

Cam:

But it made for such a good movie for them

Kemari:

it did

Cam:

it, so,

Kemari:

good drama. I was into it.

Parker:

as a dramatic offering.

Cam:

yeah.

Parker:

succeeded in so many ways.

Kemari:

I come to the movies for the drama. and they're giving me drama.

Cam:

That gave me drama,

Parker:

Giving drum. Did y'all watch Shadowlands by chance?

Kemari:

I did

Cam:

watch Shadowlands.

Parker:

well

Kemari:

she good?

Parker:

we can

Kemari:

Is it good?

Parker:

but Yeah, it's

Cam:

I can only watch one Anthony Hopkins movie a year.

Parker:

anthony hopkins like on a british estate\ I scrubbed through Shadowlands and I was like,, this is kind of a snoozy.

Kemari:

Newsfest.

Parker:

Yeah, he, he's like, he's C. S. Lewis and got his little, his wife's getting cancer and then she, she dies and it's Deborah Winger.

Kemari:

Oh, Debra Winger is always dying.

Parker:

yeah, she, yeah, she

Kemari:

What's up with Debra Winger and dying?

Parker:

next next

Kemari:

will. Yeah, Absolutely. Absolutely. Absolutely.

Parker:

But, um,

Kemari:

Absolutely.

Parker:

they have some, like, witty repartee, because they're both and stuff, but it's, I was, I was a little like,

Kemari:

Yeah, yeah. Well, they can't all, they can't all be Schindler's List.

Cam:

They

Parker:

no, they can't. I mean, what, what a powerful script.

Kemari:

oh yeah.

Cam:

Also, The Remains of the day, I think is a really strong script as well. I think that

Kemari:

uh,

Parker:

So subtle.

Cam:

Yeah, that's what it is It's like, it's like none of the lines that they're actually saying are really what the story is about, you know? And so that makes for a really intriguing experience

Kemari:

Especially, I think Anthony Hopkins, and we'll talk more about him, but I think his character is so well written. Like, when they have all these conversations about like, Oh, did you, did you work at, I don't forget the name, Darling, Darlington. I think it is like, did you work at Darlington estate? And he's Like yes, I worked there. He's like, did you work for Darlington? I heard he was like a Nazi. And he's like, oh no, I just served him. Like, I, he's like, do you believe in what he, do you believe what he stood for? He's like, I don't believe him. I just worked for him. I served him. That's like all these conversations about like, you know, morals and like, he doesn't have any belief in him. Like he doesn't have any beliefs himself, but he also like, he's just a servant. He's like, that's his whole life. He lives in. the work. And it's just so,

Parker:

He's repressed everything, and every amount of his personality is based in his, work and his gentlemanly code, and that makes for such, like, interesting character

Kemari:

absolutely. Absolutely. speaking of, should we go to best actor?

Cam:

Let's do it.

Kemari:

Any

Cam:

Have our nominees, Daniel Day Lewis in In the Name of the Father as Jerry Lawrence Fishburne in What's Love Got to Do, Got to Do This. As Ike Turner. We have Anthony Hopkins in The Remains of the Day as James Stevens. Liam Neeson in Schindler's List as Oscar Schindler. And our winner, Tom Hanks in Philadelphia as Andrew Beckett.

Parker:

Can I just, like, I would give it to Any

Kemari:

one of them. This is a crazy category. This is a stacked category.

Cam:

yeah,

Kemari:

It's beautiful though. It's so beautiful to See, all these actors acting their asses off.

Parker:

like, I watch Philadelphia and I want Denzel to be here as well,

Kemari:

Yeah,

Parker:

and I'm like, I don't know who I'd replace, cause like, Lawrence Fishburne is like,

Cam:

He's so good in that movie.

Kemari:

See, I think Daniel Day Lewis is so good in In the Name

Parker:

He's so good. Maybe. he really

Kemari:

Uh, I mean, he's just so beautifully nuanced in the transformation that he gives, but I also think Okay, I want to pose a question. If it was not Tom Hanks, who would you give it to? Who's your winner this year?

Parker:

I would vote for Liam Neeson.

Kemari:

Okay,

Cam:

I think I would give it to Daniel Day Lewis.

Kemari:

I think I would give it. to Anthony Hopkins.

Parker:

Wow, guys. I mean, that's how close this is. I mean,

Cam:

wow. Mm-Hmm.

Parker:

is.

Kemari:

Yeah. I, I genuinely, yeah, I think that, I don't know, something about Anthony Hopkins to me, I think, especially with playing those two different times, he's playing the before, and the after. So you really get to see the transformation. You don't get to see the in between, but you get to see like the, the two extremes of it. And I think that is just so impressive to see. I mean, and this is after, um, His win for Sons of the Lambs,

Parker:

That, I mean, this is two years later,

Kemari:

this two years later, Howard's end was the year before, like, he's been, like, it's just, he, it's his prime, and he's giving something so different here, he's not just doing, I don't even know if this is just an Anthony Hopkins thing, he's just incredible in everything, but like, he's genuinely just, he's being like a fully developed, unique character that he's meeting, here. It's not something I've seen before from him or afterwards. It's just so, so good. He's just a loyal person to the craft, to his work, um, and repressed, but also wants, oh, the scene that just keeps coming to my brain is a scene where he's reading the book. And Emma Thompson like, corners him in that corner and he's just like literally shrinking, making himself so small, trying to not give this book away. She takes it away from him and he's like, she's like, oh, it's just a romance novel. He's Like this is time. Please don't, please don't bother me in my private time.

Cam:

Oh, it's so

Parker:

It's devastating, and I think about, too, Like, his reaction to his father dying upstairs, while he

Cam:

the.

Parker:

in the middle of this,

Cam:

or whatever, yeah? I

Kemari:

and he's working

Parker:

that he is, he is, and, and yeah, he, he completely stifles any amount of emotion

Kemari:

Yeah,

Parker:

in service of his position, and it's, It's devastating. powerful.

Cam:

mean, this is literally a movie about a butler who is so stuffy and so much of a butler that He won't even admit that he's in love with somebody.

Kemari:

Yeah,

Cam:

he ruins his life

Kemari:

he ruins his own life through his own decisions he makes. Yeah, it's fucking beautiful.

Cam:

It's the most British film ever made.

Parker:

very, British.

Kemari:

I think that, I also just think that? Like, well we can, well it wasn't even nominated for, was it?

Cam:

For what? Okay,

Kemari:

Um,

Parker:

Oh, yeah, yeah, we'll talk about it.

Kemari:

And then Day Lewis is just, I mean, he's incredible in everything, but then you have these two varied performances in this, and then you have the Age of Innocence, which are just like,

Parker:

great in Age of Innocence, too. Like, the same kind of like, you know, stifled emotions and having to, you know, stay in societal standards at the time. Yeah. It's really neat and it's cool to see this and In the Name of the Father, which are both very different in regards to how big he is, but he's so great

Cam:

I was just really impressed with the journey that we go on with the character of Jerry Conlon in The Name of the Father. I also want to say that when I first watched this movie, like, I had the realization that like, in my head, I don't think I've, like, ever consciously seen Daniel Day Lewis as, like a young person. I was like, oh.

Parker:

Yeah, sure.

Cam:

I was like, Oh, Oh, you're like, he's like, yeah, like in my head, It's like, he's just always been an old man.

Kemari:

It's the same, like, it's the same Emma Thompson thing for me. It's like, this is the first time I'm seeing him, he won My Left Foot Oscar, like, five years before this, something, it was close. It was like, the 80s, like, late 80s, I think. Um, so like,

Cam:

Mm hmm.

Kemari:

Yes. yeah, exactly. Um, so like, it's like, this is his prime as well. This is like when people are, this is when he was becoming considered the greatest actor of our time. You know what I'm saying? It's cool to see that see like a timestamp of that moment for him. Cause I mean, two huge movies one year. and crazy great performances. That's just, you know, that's really cool. And then fucking Tom Hanks, who was like he's the dude.

Parker:

the comedic actor for so long in, you know, Bosom Buddies and then, you know, like, the birbs and then, like, the, and they did big and, and now, the, such a dramatic turn to do Philadelphia,

Kemari:

Sleepers in Seattle the same year.

Cam:

Sleepless in

Parker:

yeah, same year, which He's, he's super sweet and charming in that too.

Cam:

Sad. He's sad and not too though. He's a sad boy.

Parker:

love Tom Hanks. He's, he's one of my favorites.

Kemari:

he is really good. This movie. I honestly don't like, Tom Hanks that much. I'm sorry, Parker. Oh, that hurt. That broke my heart. That face broke my heart just in a sense of like, but I'm also not super. I'm not super learned on Tom Hanks. I'm not. he's not an actor that I've ever studied. Like, I've never like gone through his filmography. I just know Tom Hanks from what I know him of in the past couple years. I know like the post. And like Toy Story, I'll send the post. I don't know why I started with, I don't know why I started with the post, like, that's such a crazy

Cam:

Like

Kemari:

Um,

Cam:

Like?

Parker:

Which

Kemari:

no, the post. Um,

Parker:

Hanks from the post,

Kemari:

uh, but no, he's really, really, really, fucking fantastic. I love Philadelphia and the scene where he's like monologuing to like the gods with opera playing is like

Parker:

and he's, yeah, he's

Kemari:

gorgeous. It's gorgeous. It's like fucking magical. It's like, it's like, it gives me like, like that, the, the like same kind of energy of like, Like that kind of like queer fantasia,

Parker:

completely.

Kemari:

I don't know. It was just so magical. And he, that was his Oscar clip. Like that was his like moment. The whole thing is an Oscar clip, but like that was really the moment where he got to like transcend just the basic idea of like playing a gay character with AIDS. Like he really got to become something else. And I thought that was really beautiful.

Parker:

It's, it's a well deserved win. And I I'm, it's in a such a strong category. I feel really good about

Cam:

Yeah. No, me

Kemari:

Yeah.

Cam:

For sure.

Kemari:

All right. Shall we go to best actress? Best actress. Best actress. Angela Bassett, what's love got to do with it? Stalker Channing, Six Degrees of Separation? Emma Thompson, The Remains of the Day. Debra Winger, Shadowlands. and our winner, Holly Hunter, the Piano.

Cam:

This is a controversial category. I feel like this year.

Parker:

Why,

Kemari:

is it?

Parker:

why is, why is Darker Channing here? let's, let's, let's let's put it all out on the table.

Kemari:

let's be honest here,

Parker:

what's Darker Channing doing? I, I think she's great and I'd love to see her do this on the stage.

Kemari:

fine.

Cam:

a fine movie. it's It's a fine movie

Parker:

fine, I like to play, but, and Will Smith is against type, you

Kemari:

yeah.

Cam:

in this movie. I was like, what am I watching?

Kemari:

This is the year, of playing gay characters, I guess.

Cam:

I guess so.

Parker:

I guess.

Kemari:

I guess so.

Cam:

No, I would, I, I'd say that this is controversial because a lot of people say that this is the year that Angela Bassett really should have

Kemari:

Well, if this was the year she should have won, but, but, and, but comma and Holly Hunter in the piano.

Cam:

Buttcoma and Holly Hunter and the piano.

Parker:

I think Holly Hunter is, is pretty spectacular and

Cam:

She's so good. Tch. Tch.

Kemari:

I just can't, I don't even have the words. Like literally that's the thing. her little, her performance is one of those that just like. I feel similarly, I, truly feel similarly with her performance and like Anthony Hopkins performance in The Remains of the Day. It just, it just touches me so deeply, like on a level that's not spoken. Like it's just like, they are just feeling these emotions that are just so unspoken and so like, Under the surface. And like, it's just, it's so cool to see emotions like that on screen that like, you know, we don't, you know, that aren't like every day we talk about like, Oh, somebody's in love with somebody. Like, what about desire? What about like, you know what I'm saying? Like, what about desire that you're not supposed to talk about? Like, what about that? That's interesting for me to watch, you

Cam:

Yeah.

Kemari:

that's what, that's what's, that's, what's there. It's so cool.

Cam:

I think Angela Bassett is, is good. in, what's Love Gotta Do It.

Parker:

think she's great. I I I can't get past the, the lip syncing though. For me, it, i, it makes it harder to appreciate because it, it's, she does a great, she does a great job, but it's, it, you can always tell a little bit

Cam:

It's also like, it's Tina Turner, you know what I mean? Like, it just feels like such a, like, big part of her

Kemari:

Yeah.

Cam:

to not be, not that I'm expecting Angela Bassett to necessarily sing, but yeah, I agree. Like, it feels Like it should have been a little bit more in tune with her performance. that's not necessarily her fault though, but

Parker:

No, no, it's just the, the, the choices and, and in, in the filmmaking process. So I, I, I think, yeah, I, I think Holly Hunter, I think this is well deserved.

Kemari:

I love how funny Emma Thompson is and everything.

Cam:

she's

Kemari:

Like she just, brings a sense of comedy to every one of her roles. like, I mean,

Cam:

She's an off

Kemari:

for me, yes, very off culture. Like in, in this end, in the, in the name of the father, she's always just adds a moment where she's like, kind of like, like, just kind of like funny, like that's like something awkward and like goes around the corner. Like, I'm like, why are you so funny? I love you. It's so endearing. It's so endearing. It makes her so charming and lovable. it makes her just, yeah, it just makes her stand out as like, oh, she's a unique leading lady. She's not just like, you know, I don't know. Yeah. She's, she's really cool. I have a crush on Emma Thompson. I think now after, after watching these two films.

Parker:

hard not to. I

Kemari:

I think she's really cool. she has a academy award for writing. I think that's so cool.

Cam:

Yeah,

Parker:

for sense and

Kemari:

I think that's such a badass. Like, you're just like, I won my Oscar for acting. Now I'm going to just write.

Parker:

I got one for acting.

Kemari:

to literally like, come on. I don't know. This is so dope. Parker, wanna go to Best Director?

Parker:

I would love to. The nominees are Jim Sheridan in the name of the father, Jane Campion, the piano, James Ivory, the remains of the day, Robert Altman, Shortcuts. And the winner, Steven Spielberg, Schindler's List.

Kemari:

Woohoo!

Parker:

now, now, I watched Short

Cam:

How did you watch it?

Kemari:

did you watch? I looked

Cam:

I couldn't find it.

Parker:

I found it. um, illegally. But I

Cam:

I literally tried so hard to find that movie. Thoughts?

Parker:

Uh, it's sprawling. And it's, cause it's it's, it's based on, like, twelve, Carver short stories. Like, all interlocked and interweaved together to form, like, one suburban American tragic comedy. And it's, I mean, I mean, you respect the direction, because there, it, it's a lot, that's a lot to make cohesive into, like, one, three hour product. Um, I wasn't, I wasn't, I wasn't blown away, but it's not really my, my kind of speed. He has a great film, The Player, which is more like about Hollywood. It's, it's kind of like a laid back ensemble, mystery noir, Hollywood comedy hangout thing. It's really good. It's got Tim Robbins stars in it, and it's great. Um, but, and Robert Altman, you know, he's been around forever, and he, you know. Nashville, and, and he's the guy, so I get why he's, you know, I guess, I guess I get why they nominated him, but it's such a weird, like, bone to throw,

Cam:

In the middle of these

Parker:

like, right at the end, like, here's your one nomination, Shortcuts, but otherwise, I mean, it was never going to be anything but Spielberg,

Cam:

Oh yeah,

Kemari:

it was his year.

Cam:

Yeah.

Parker:

it's true, and we've, we've sung his praises enough, but

Kemari:

I'd love to shout out James Ivory, because I think that The Remains of the Day is wonderfully directed and genuinely just super, it's just such a, so well crafted. It's just, it just feels I don't know. It's just, I think what it is, is it's all these Merchant Ivory films, which is like the production company of James Ivory and his longtime partner, Ismael Merchant, which is Like Cool. Cause they were, he was a producer. They were like gay lovers, partners for life, but they were also like conduct like film partners for life until his death. So it's just, I don't know. I just think it's a really cool thing that they made all of these movies that were doing really, good at this time. I mean, you have a room with a view

Cam:

Mm hmm.

Kemari:

of the day.

Parker:

yeah, it's a time and it's a, it's a time and place, you know, like, this is a big powerhouse, like,

Kemari:

Like these, these like big, like sprawling British period pieces, That dealt with all these really complex emotions usually had like Anthony Hopkins or Emma Thompson or Maggie Smith. Like they had like this, the recurring cast of characters in every single one, Helena Bonham Carter. And you also have like, Ruth Jablava, who's like writing these films too, like a screenwriter. I don't know, it's such an interesting combination of things. Uh, this one team making all of these movies that just do so well is at the Oscars and the Academy. It's really cool. Just want to

Cam:

That is cool. Yeah.

Parker:

Yeah. And obviously we can shout out Jane Campion, and I'm glad that she's got her best director, Oscar, because her eye for composition, It's really, like, unique. It feels that way when you watch it. Like, I'm in a

Kemari:

Absolutely.

Parker:

world.

Kemari:

She's an artist. She's like, a true like visual That's, I think it's really cool that she was up against Spielberg this year and they were up against each other. again when she won because they really do have a similar, knack for visual storytelling like telling the story simply like the scripts does its work but through the visuals alone And through the movement of the camera through the framing telling a story in itself like turning like the sound off and just seeing something And being able to tell what's happening they are both like masters. so I think it's really cool to see them, compared, I guess, these, in these years when they're up against each other.

Cam:

Yeah. And, and just being able to celebrate each other too, I feel like is is cool.

Parker:

yeah, like, one for you, and one for

Kemari:

yeah, and the name of the father isn't really the father kind of reminded me of monster a little bit. And that sounds really weird, but I mean, in the way that it was directed is kind of like anonymously directed like it's like it wasn't like super flashy or anything like that. Uh, it was just kind of like a cool, like procedural crime story, like very no flares, no craziness, just kind of like, let's tell the story, which, you know, it did the job, but

Cam:

mean, when you're telling stories that are so insane, you know what I mean? Like, you don't really need add anything to that,

Parker:

Yeah, I mean, if anything, I would put, like, Jonathan Demme for Philadelphia in here, because

Kemari:

completely agree.

Parker:

I knew you would, too.

Kemari:

completely agree.

Parker:

Because there's some sequences where he has actors talk to the camera a whole lot, which

Kemari:

Yes.

Parker:

really it's so Demi, and

Kemari:

Demi. This is the thing about, I love Jonathan Demi, cause he, the thing about him is like, his films are so, on the surface level they're kind of plain, but they're kind of like, just a story about a guy and doing something. But he has his own style that's so like, subtly unique, and like, it's him though. Like, all of his films always feel so like, lived in. I feel like he does this thing where he always like, Fills the world with like all these little characters and it makes it

Cam:

hmm.

Kemari:

fleshed out. It makes it feel like a full real world. The same thing with Sons of the Lambs. It feels like that, like the little side character that fucking Jodie Foster's friends with. It's like, why is she there? Like, why is she a character here? But it's like that, that's what makes me feel like these people are people. The whole, like, Tom Panks whole family. Like, why? Like, we don't need that. We don't need to have, like, his mom and his sister and sister in law and brother and his pregnant sister. Like, we don't need to have all that. But, like, those are the touches that I feel like Demi adds that makes it feel like a real world. I, love him. I think he's great.

Parker:

well you know, shout out Demi, but Steven Spielberg, it was always going to be you,

Cam:

Yeah. It's just, congratulations Spielberg. You, you made a masterpiece. Shall

Parker:

we get to sing its praises, and we'll continue singing its praises right now, but.

Cam:

we move in to our final category?

Kemari:

Let's do it.

Cam:

We have our Best Picture nominees. The Fugitive, directed by Andrew Davis, written by Jeb Stewart, David Twohy, based on The Fugitive TV series by Roy Huggins, with a budget of 44 million, starring Harrison Ford and Tommy Lee Jones. it Got one win for Tommy Lee Jones and seven nominations. The Fugitive! Woohoo! Up next we have In the Name of the Father, directed by Jim Sheridan, written by Terry George and Jim Sheridan, based on Proved Innocent, the story of Jerry Conlon And the 4 by Jerry Conlon, and, also the real life story of the Guildford 4. it was shot on a budget of 13 million, and it stars Daniel Day Lewis, Pete and Emma Thompson. And it did not win any Oscars this year, but it was nominated for seven awards. It's tough, a tough year. Um, up next we have The Piano, directed and written by Jane Campion. It was shot on a budget of 7 million, and it stars Holly Hunter, Anna Paquin, Harvey Keitel, and Sam Neill. And It won three Oscars, for Holly Hunter won for Best Actress, Anna Paquin won for Supporting, and Jane Campion won for Best Screenplay, And it was nominated for eight Oscars. Awards overall. we have The Remains of the Day, directed by James Ivory, written by Ruth Prower Juvvala, based on The Remains of the Day by was shot on a budget of 63. 9 million dollars. Feels like so much money. Um, it stars, sorry, that's like, based on the other ones. It stars Anthony Hopkins, Emma Thompson, Christopher Reeve, and Hugh Grant. And it did not win anything this year. But it was nominated in eight categories. And finally, we have our winner. We've been singing its praises this entire evening. Schindler's List, Directed by Steven Spielberg. Written by Steven Zian. Based on Schindler's Arc by Thomas Cane with a budget of$22 million. Starring Liam Neeson. Ben Kingsley fines. Carolyn Goodall, Jonathan Sagel, and Beth Davids. It won seven awards. Best Picture, Best Director, Best Adapted Screenplay, Best Original Score, Best Editing, Best Cinematography, and Best Art Direction, and it was nominated for twelve different categories.

Parker:

woo.

Cam:

Oof. Schindler's List.

Kemari:

I have an opinion.

Parker:

Okay.

Kemari:

I think Philadelphia should've been nominated for Best Picture.

Cam:

are you knocking out?

Kemari:

I'm knocking out Fugitive.

Cam:

I knew you were going to say that. I just feel like it's so iconic that that got nominated, like,

Parker:

I,

Kemari:

is good, but it's a it's an action movie. It's the movie I see like, it's just like blockbuster, go to the movie theater, watch a fun movie. It's not like

Cam:

I know.

Kemari:

guess these other ones.

Parker:

I, I, think it rocks so hard though, but I I do, I do think Philadelphia is a better movie, so I would probably agree. Or I think, I mean, you know, put Age of Innocence in here somewhere. Well put Jurassic Park in here. I don't know. It's just that there's, so

Cam:

can't get nominated for two different movies in Best Picture.

Kemari:

can't he?

Parker:

why, why not?

Cam:

Can we

Kemari:

he?

Cam:

we spread the wealth a little bit, you guys?

Kemari:

No. no, I think, The Fugitive is a great movie, but, it's very kind of like hokey sometimes, you know, it's like, it's kind of like, oh, like the script is kind of bad at some points and,

Parker:

it's awesome.

Kemari:

the, plot is kind of actually,

Cam:

but it's so awesome.

Parker:

now we're ragging on FUSIONOOF? What's happening now?

Cam:

No, we're not. Don't listen to him.

Kemari:

They're like, they're like, I saw the one armed man. He's like,

Parker:

He had one arm!

Kemari:

like the plot hinges on like, them thinking he's crazy. Cause he's like they're like one armed man. What are you talking about? And he's like, he's like, that's him. That's the one arm. Like, there's like 30 minutes of the plot where he just goes like seeking people that have one arm.

Cam:

yeah, he like goes to the hospital for where

Kemari:

one armed people. It's literally Parker literally, Parker just took one arm into his shirt and for the, for the listeners. Um,

Parker:

Oh yeah, I forget this

Kemari:

so this isn't visual so yeah, it just kind of gets silly at some point it feels like a, like a, like a book. is, it a book is based on a book or a movie or a

Cam:

series it's based on like a cheesy 80s Cat and mouse

Kemari:

that makes sense. Like, I could see the one armed man working in like, uh, an 80s TV series, but the one armed man did not work for me in full fledged feature film. But, it's still a great movie, and Tommy Lee Jones is, he, it hinges on his greatness, and Harrison Ford is really good too. I think we should put some respect on his name, because he didn't get a nomination, I feel like it's easy to forget him, but is the true lead.

Cam:

He no he is the true lead I He's fine. Harrison, uh, Harrison Ford?

Kemari:

He's

Cam:

He's fine, Tommy Lee Jones is amazing.

Parker:

all of these great films, but, I mean, Schindler's List, Spielberg, and Steven Zalian, and, I mean, all these people, like, they made something bigger than itself

Cam:

Yeah.

Parker:

Schindler's List.

Kemari:

do you think that Schindler's List is Steven Spielberg's masterpiece?

Cam:

Yes.

Parker:

I think it's either this, or, I mean Jurassic Park. Like, I think it's, it's amazing that it's, that he's shared a year because like, I, I, I've watched both and I'm in awe of the filmmaking prowess and the work that he puts in, in both extremes of like high drama and also like this, you know, summer blockbuster, uh, dinosaur movie. Like, He is directing, you know, and like, and the script is amazing, and like, I, I, think so highly of both,

Kemari:

If we ever do a Spielberg pyramid, we gotta bring Parker Perry back, because I want to know your rankings, because that's, that's interesting. I'm interested to hear more Spielberg opinions from Parker Perry.

Parker:

but, but I, but, I'm so glad that Schindler's List, I, I mean, it's, it's so, adept at showing both the horrible tragedy on display, but also the humanity.

Kemari:

Yeah, And The Hope.

Parker:

And that perseveres through, throughout,

Cam:

Mm hmm.

Parker:

and it's, it's so, it's such a marvel, I haven't cried so long watching something

Cam:

my god, I sobbed.

Parker:

Neeson

Cam:

That scene when he's like What is this worth? This, this button, it would have been, oh! Oh my

Kemari:

That's the thing too, I feel like Spielberg is known for like, being, I don't know, I feel like people kind of rag on Spielberg sometimes because they're like, he's very, uh, what's the word? I don't know, I feel like they kind of make him out to be like, sentimental. Yeah, very like, he's like, he's a sentimental guy. He's like the family, kids, like sweet stuff guy. And I feel like, This is just so anti that but then you have like a moment like that, like the breakdown scene, which I feel like could easily toe into the territory of like, oh, like be overly sentimental, but it's not. It just works so well. It is so grounded and it Feels like a build up of another person, another character who's like very repressed. Um, doesn't really, doesn't really show his emotions very much throughout the entire thing kind of like hides the fact that he really does care for these people and want to help them. And then in this moment when he thinks it's too late. He lays it out on the table and like it's, it is like it's too I mean it's the end it's like, you know, it's.

Cam:

So, brilliant.

Parker:

And then it opens up to the very ending, the epilogue of all of these, the actors With their real life counterparts. Like, visiting Oscar Schindler's grave and putting rocks on it,

Kemari:

And you can feel the Spielberg all in that. Like, you're like, okay, this is Spielberg, just like, let's let's put an end to this thing and, and just really like, knock it out of the park. Do you have anything else to say about any of these other Best Picture nominees?

Parker:

No, I mean, I, I, I think we've gotten to talk about so much, and

Kemari:

through them.

Cam:

I've said my feelings.

Kemari:

Well, Parker Podcast Perry.

Cam:

Parker Podcast,

Parker:

Oh, and one thing I didn't even mention that I, I would like to just throw in, Tom Hanks speech when he won Best Actor is so powerful.

Cam:

cry, actually.

Parker:

His speaking power, I mean, that speech alone is amazing, but it also, this is the only Oscar ceremony that inspired a feature length film of, its own. Do you know this?

Kemari:

what

Cam:

I don't know

Parker:

The, the movie In N Out, starring, uh, Kevin Kline, is about a, a, um, man who is outed during an awards speech. As, as gay, um, and it's based on Tom Hanks speech of, of being like, oh, my, my teacher my acting teacher from back In the day, uh, who happens to be a gay American, um, but the premise is like Kevin Kline is like married with a wife and a kid and he's like, uh, I want to thank my, my acting teacher and he's gay and he's like, what? And then it's about his, like.

Kemari:

That's really interesting.

Parker:

but yeah, uh, Directed by Frank Oz. there. There ain't no Muppets In there, but that neat?

Kemari:

I do want to mention too, I think, which I think is really cool. I think it's hard for us to kind of like contextualize and think about, but Philadelphia is really one of the first films that portrayed gay characters in like a positive light and portrayed like the AIDS epidemic in like, like this light, like a not negative, super crazy. And I think that it's kind of hard to like think about that because we've had so much gay media after that. But I think it really was like a revolutionary thing to have a film with a movie star like Tom Hanks and like a movie star like Denzel Washington directed by Jonathan Demme, like in being like, be so and also be unapologetically about being gay with Antonio Banderas is it?

Cam:

hmm.

Kemari:

Like, as his gay lover, like, beautiful couple they are, and they're like, not phoning it in, I don't think, I don't think they're playing it super, like, I don't think they're phoning it in, they're not hamming it up, they're just being, like, people, and they have a really pure, like, true love together, I think it, like, and it rides a lot on that love between them, and it's really, it's really beautiful.

Parker:

Yeah, I I respect philadelphia a lot and I especially during this this time it is it's it's cool to Contextualize that in in the 90s and to have like, you know, neil young and bruce springsteen and

Kemari:

exactly. So, you know, maybe like risky at the time for people's careers, but I mean, It seemed like it all worked out, which is good.

Parker:

Yeah, thank, thankfully.

Kemari:

well thank you guys so much. This was fun.

Parker:

Hey, that was the 66th Academy Awards!

Kemari:

This is a long one guys.

Cam:

Yeah, this was a long one. Thank you, Parker, for, for hanging in there with

Kemari:

Yeah, I appreciate you.

Parker:

I wouldn't want to be anywhere else talking about movies with anyone else. What a night. Thanks so much for having me, y'all.

Kemari:

Thanks for being here.

Parker:

It always is.

Kemari:

You know this already, but you are welcome back anytime. Um, we'll keep you we'll keep you With a running list of what we're talking about next and you can just decide when you want to come.

Parker:

I can't wait, personally. And I can't wait to not have to watch 20 movies.

Kemari:

it's a lot like it's, I don't know who I don't know whose idea this was this is just. Thank you all so much listeners for listening to this episode and listening to our Oscars series. We will be back at you next week. With the 56th Academy Awards, where we will go into the eighties, baby. We're going to dive in.

Cam:

Thank you. so much for listening. Let us know your thoughts. Let us know what you thought about Schindler's List. What do you think about the 66th Academy Awards? who should have won? And thank you so much for listening to Club 3000!

Parker:

always wanted to do that.