I am not worried about Scorcese. He's represented at
the Firm and runs around with a very elite Hollywood
crowd. Do we know for sure he doesn't have a place in
Bellaire? Perhaps Malibu? Beverly Hills? I don't he
doesn't have a place here. By the way, Hilary Swank
lives in NYC 98% of the time.
I love Scorcese and while I enjoyed The Aviator, I
don't think it was one of his best. The timing sucks
for him. He's working on a very high-profile project
with Leo again and it's being filled with major stars.
Scorcese will get his Oscar. He's not over yet by a
long shot.
Toochis
--- Jim Episale <[EMAIL PROTECTED]> wrote:
> Saturday, March 05, 2005
> By Roger Friedman
> Does Oscar Hate New Yorkers?
>
> All week I've been fielding one question about the
> Oscars: How did "Million
> Dollar Baby" triumph over "The Aviator"? It's a good
> question. I don't know
> if there is one answer to it.
>
> First of all, there's no debate about the quality of
> "Million Dollar Baby."
> It's a finely wrought film, particularly the first
> half, which focuses on
> boxing. Some may find the second half a bit sappy
> and Hilary Swank's movie
> family a little stereotyped. But overall, the
> performances are of the
> highest quality. Clint Eastwood continues to
> surprise and awe us all as an
> actor and a director. He deserves all the acclaim
> he's received.
>
> But Eastwood already had a best director statue for
> "Unforgiven." What about
> Martin Scorsese? Why does the Academy hate him? How
> is it possible that the
> director of "Mean Streets," "Taxi Driver," "Alice
> Doesn't Live Here
> Anymore," "King of Comedy," "Raging Bull," "After
> Hours," "Goodfellas," "The
> Age of Innocence," "Gangs of New York" and now "The
> Aviator" has no award
> for his gargantuan achievements? Is it something
> about him?
>
> I think yes and no. You saw on Sunday that the
> Academy had to give a
> lifetime achievement award to Sidney Lumet. Somehow
> they'd managed to ignore
> him previously for "Prince of the City," "Serpico,"
> "Daniel," "Fail-Safe,"
> "12 Angry Men," "Network" and "Dog Day Afternoon."
> Pretty wild, right?
>
> But Robert Altman has no Oscar. Woody Allen has two
> for "Annie Hall" and
> "Hannah and Her Sisters," but not for "Crimes and
> Misdemeanors," "Zelig,"
> "Broadway Danny Rose" or "Manhattan." Crazy, right?
>
> But Scorsese, Allen, Altman and Lumet are all
> considered outsiders by the
> Academy -- New York directors who are not part of
> the purring economy called
> Hollywood. So far, three of Scorsese's five losses
> have been to popular
> actors who dabble in directing: Eastwood, Kevin
> Costner and Robert Redford.
> That's not a coincidence. At various times those men
> have been huge
> moneymakers for Hollywood, where most Academy
> members live and thrive.
>
> How else also to explain Mel Gibson winning best
> director for "Braveheart"
> in 1996 over Mike Figgis, Michael Radford and Tim
> Robbins? Nine years later,
> their work on "Leaving Las Vegas," "Il Postino" and
> "Dead Man Walking" holds
> up as superior in every way to the violent,
> hackneyed swashbuckling in
> "Braveheart."
>
> But those three were all outsiders, and Gibson was
> the blue-eyed moneymaker
> of "Lethal Weapon." He might as well have been
> running for class president.
>
> Scorsese et al. represent a weird cast of
> interlopers who have no vested
> interest in Bel Air mansions, Rolls Royces or Ed
> Limato's buffet dinner to
> the Academy voters.
>
> You can also throw in a bunch of deceased and
> important directors like
> Martin Ritt, John Cassavetes and Hal Ashby, who
> never got Oscars but will be
> long remembered when many winners are forgotten.
> They were also outsiders
> who didn't care what the Academy thought.
>
> In the new generation, add the names of the Coen
> brothers, Quentin
> Tarantino, Spike Lee and Wes Anderson to that list
> as well. Hollywood
> doesn't like 'em.
>
> They'll give them nominations, but the actual award
> is an uphill battle all
> the way. How else to explain "Forrest Gump" beating
> "Pulp Fiction," an
> influential classic, for best picture in 1995?
>
> HBO has the same problems with the Emmys as Miramax
> and other East Coast
> producers have with the Oscars. Even though they get
> rafts of nominations
> every year, the actual awards are hard to come by.
> It was only this past
> fall that "The Sopranos" finally got best drama.
> "Sex and the City" only won
> once in 2001.
>
> Otherwise, the Hollywood TV community likes its
> hometown heroes: "West
> Wing," "Everybody Loves Raymond," etc. It could be
> argued that HBO wins so
> many mini-series and movies-for-TV awards because
> the networks long ago
> abandoned those genres. HBO also makes really good
> ones, which helps.
>
> So don't cry for Martin Scorsese. There isn't a
> serious director in the
> world who wouldn't want to trade places with him in
> a second. Historically,
> and for posterity, he is set. If he stopped making
> films tomorrow, Scorsese
> would still be considered the king of kings.
>
> In the end, he, Altman, Lumet, Francis Ford Coppola
> (save for "The
> Godfather") and Allen don't need any more Oscars.
> They are the Supreme Court
> of directing, the Rushmore-ians, and — as Cole
> Porter might say — the tip,
> tip top. They've already won, and handily.
>
> Current Gallery Exhibit
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