Calling All Oscar Buffs︱Jeremy Bond

Do you identify as an Oscar buff? Are you fascinated by the history and lore surrounding this annual cinematic event? If so, this episode is for you! Kate, Kim, and Christy sit down with special guest, Jeremy Bond, to chat about all things related to the world-renowned Academy Awards. Pull up a comfy chair, grab some popcorn, and get inspired to celebrate the best pictures of 2024!

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Transcript

Welcome to Middletown Strong, booking up with Russell Library. I'm Kate McCarthy Bond and I'm here with Kim Spotman and Christy Billings and we're here to talk all things Oscars. It is Oscar Awards season and many movie fans are gearing up to find out who the nominees will be and preparing for movie marathons.

Today we'll be talking about the Oscars and some of the history and lore behind it with our special guest. And someone very dear to my heart, my husband, Jeremy Bond. Jeremy, this is the time that you're very focused on seeing as many of the Oscar nominees as you can. You've introduced our family to a lot of good movies, and I love how you and Chaley have really developed a love of those movies together.

Can you talk about your interest in the  

Sure. Well, I, yeah, I, I absolutely love talking about this. It's very special to talk about it, uh, with my wife. And, um, I like how you refer to, you know, the family connection there because it has. That's been really neat, um, over the years. I've kind of brought the family into it. 

Um, I think one of the reasons, uh, I'm, I became kind of fascinated by them is they've gone on a long time, but they're also within a scope that is manageable. So it's, you know, we're almost at a hundred in a few years, we'll hit a hundred years of, of Oscar years. Um,  and so it's hard to grasp, you know, Uh, hundreds of years of art and, and everything.

But this is something that's actually kind of a manageable amount. So I, yes, I get into the Oscars every year, but I've also kind of built an interest in Oscar nominees from the very beginning.  So part of that is having an interest in the history of film. So, uh, we've taken our daughter Chaley. Or I have.

Um, ever since I think she was about seven when I took her to see, um, Singing in the Rain on the big screen.  And then over the years, I continued taking her to, say, uh, All About Eve, to, uh, North by Northwest, Rear Window.  Um, and it, it kind of developed, you know, it, it helped her develop an appreciation for the history of film.

And so, I see the Oscars the same way. I'm kind of a nerd when it comes to when they show those kind of histories.  Clips of the Oscars over the years because I just think it's, it's interesting rather than just focusing on the here and now.  

And, and how did the Oscars get their start? You mentioned they've been  happening for almost a century now.

Yeah, and the Academy of Motion Pictures Arts and Sciences is larger than the Oscars themselves, but Um, there was a desire 95 years ago to, um, honor, kind of honor it as more of an art form. I'm not an expert anyway, I'm just a, an interested, um, fan. But, uh, it can certainly be, people can read about it. But, um, so, the, it wasn't so much a spectacle at the beginning, but it was a desire to kind of recognize this as an art form.

Um,  And I think that's important. So the first year was more of a, rather than this big audience, this big auditorium was more of a dinner.  And that would have been 1929, the first year that, um, the Oscars were recognizing was 1927 1928. So right now,  we go year to year. So the 2000 the 2024  awards will honor films from 2023.

But in the first few years, they actually did it by, they split up the years.  So the first Oscar year was 1920, half, halfway through 1927 to halfway through 1928. The second year was halfway through 1928 to halfway through 1929. And eventually, They caught up and said, okay, we'll just do it year by year.

It's just easier that way. And, and the Academy does a lot more than, um, the Oscars themselves, and one thing that I'm excited about that maybe someday we'll make it to Los Angeles because there is a whole museum that they have that's new and that would be really fascinating to see the history of that.

The first year also The, I believe the winners were known beforehand, so that's something that's changed. It became pretty, pretty quickly after that. I think it was maybe only the first year that they didn't know. Um, in the second year, they, um,  didn't have official nominees.  So it, and then, but I think by the third year or so it became, you know, more standard. 

Um, there were other changes through the years, which we could talk about too, that are kind of nerdy if you want to talk about those. Yeah, the details. Absolutely. Well, for example, um, yeah, the, the,  you know, there were only, say, a couple. The first year, um, the best actor and best actress won for, uh, a body of work, not for a specific movie.

So they were each, one of them won for, the actress won for, um, Janet Gaynor won for, Three different movies,  and the best actor won for, um, two different movies.  That's 

interesting. And some people would say that that still happens. 

Yeah. That 

people don't recognize Baha'i Oscar for a career as opposed 

to just an individual.

Yeah. And so, there's Oscar controversy over the years because.  It's like, why did they get it for that one and not for that? And it's like, oh, that was making up for the fact that they didn't get it for that one or something. So the interesting thing about looking at it historically is I'm less, um, Picky about that?

About, oh, this is the one they should be awarded for? Because I look at, when you look at almost a hundred years of Oscar history, you're more concerned that they, someone gets recognition at some point, not necessarily that it gets recognized right at the best, right for the best movie or the best performance, because a lot of that is so subjective anyway. 

Um,  But what the interest in having history,  what the interest in the history of Oscars allows for is exposure to films that I would have had no idea ever existed. So going back to the very first year, um,  I'm probably mispronouncing his first name, but he, uh, Emil Jamnings is how it's spelled. But I think you say his first name, uh, Heal or something like that.

That was the first best actor winner. And one of the films that he was one for is Lost. Um, there's only a few minutes of footage that I saw once.  So that's kind of amazing when you think about it, that these films could ever be lost, but that's the way it was back then. Interesting. Um, the other film has survived, and it's called The Last Command, and it's a really fascinating movie.

And I would never know it existed if not for the fact that it had been the Best Actor winner, so I sought it out. I think I rented it from the Hartford Library.  I mean, we could go more into that, but it's just a really interesting film.  

Well, and I like your point that the framework of the Oscars really has endured, and it is, it is an interesting way to, um,  approach the year, and, um, discover things you haven't necessarily 

seen before.

Yeah, and, uh, the controversies, you know, continued, you know, in terms of, oh, how come that person won, and how come that didn't win. There's also, over the years, um,  They're, you know, a good critique of the whole idea of competing against one another. So, um, one of the most, there were two famous refusals of Oscars in the early 1970s.

Um, in 1971. Uh, to honor the 1970 movie Patton, George E. Scott, uh, refused his best actor award for playing George Patton, and his belief was that actors don't,  we don't compete against each other, that doesn't make sense.  Um. Two years later, the other even more famous refusal was Marlon Brando refusing for The Godfather.

Now, he had won an Oscar already for On the Waterfront in 1955, the, the movie itself came out in 1954,  and, um, he accepted that one. I guess he didn't have an issue when he was around 30 years old, but, but, uh, 18 years later, he refused, and that's a whole other interesting story behind that because he had a,  Another cause that, that he was promoting that was, um, it didn't have to do with the Oscars themselves, but how, how Native Americans were portrayed in the Oscars.

Um, in movies, I'm sorry, not in the Oscars.  

And he had a, an indigenous actress accept the award. Right. The award on his behalf. 

Right, which was amazing. Yeah. And she got so much flack.  for, um, the way everything rolled out. She got, she, you know, people were very cruel.  It did not go 

well for her. Yeah, so she passed away, uh, not too long ago, a couple of years ago maybe, and, and she was, um, kind of re, re, um, re looked at in terms of, wait a minute, was this kind of unfair to her at the time?

Um,  cause it was, I think it was, um, Well, we could look into that, but I think it was, what, it was, uh, Not Charlotte Heston, maybe John Wayne, who kind of like I think John Wayne, I think you're correct. Yeah, yeah, threatened to attack her, got, got very 

Oh my gosh, that's awful.  

Yeah, it was, 

it was Yeah, especially nowadays when you think about how much we try to lift up voices that are indigenous and also  Oscar, so white.

Right.  We're much more aware now of how  film is not representative of  

Right. People. 

Yeah, that's the tricky thing about, um, and by the way, sorry to name Charlton Heston first. He didn't have to do anything to do with that, so  I would have to leave him out of the conversation. Other things regarding him later on in his years, but that's unrelated to this.

Um, yeah, I mean, one of the things about loving classic film and going back to classic Hollywood to see the old Oscar nominees is  It can be embarrassing, um, because you have, you know, a very white,  um, dominated medium, um, where  indigenous actors certainly, um, and black actors and actresses and, and, um, Latino actors and actresses were not honored in the same way.

It is interesting to see, and it continues, right? It is interesting to see,  the the breakthroughs in that. So 1939 famously, uh, in 19, 1939, famous movie, Gone with the Wind. The award was in 1940 for  Uh, the, the first, uh, Best Supporting Actress Award, uh, given to a, a black actress. Yeah, Patti McDaniel. Yeah, and that, um, was groundbreaking.

And if you go to YouTube, you can find the, um, her acceptance speech. How cool. And she mentions, um, and it was, um,  it's interesting because it, it was, it was.  She was introduced by Claudette Colbert who had won in, uh, 1935 for It Happened One Night, which we actually watched a couple of weeks ago at home.

Wonderful movie.  That's a pure example of a Oh, right, that's the Yeah, with the hitchhiking. Yeah, with the hitchhiking, yeah. It's a pure example of, oh, if you have to reintroduce every generation to great movies, It Happened One Night.  Romantic comedy from 1934. It won best actor, actress, director, um, screenplay, and picture.

Only  three, only two other movies have done that since, which is, uh, One Flew Over the Cuckoo's Nest.  And, um, Silas and the Lambs, which are three movies that couldn't be more different from each other.  But, um,  but anyway, it's a wonderful film because it's a romantic comedy and you think, Oh, this has been done so many times since.

And yes, it was groundbreaking, but we've probably seen it all since. And so it doesn't. It might not impress anymore, and it still does. It really holds up. Mm-Hmm. . Anyway. So, um, Claudia Colbert. Five year, uh, yeah. Five years after winning. Best actress for it happened one. I introduced Hadie McDaniel for the 19, uh, 40, uh, Oscars, which nominated, which awarded the 1939 films, 1939.

Considered the golden age of Hollywood. Um, maybe it's best year ever. At that point, they had 10 nominees, um, I believe, or 12 nominees, maybe. Um, and any of those could have won besides Gone with the Wind and would have been, you know, an acceptable alternative. Especially given the era that we live in where we see Gone with the Wind in a very different light than it would have back then.

Or it was even, um, 30 years ago when Turner Classic Movies was formed, my favorite  channel. Um, the first film they ever showed was Gone with the Wind and, um, it was a favorite of Ted Turner's. And so it has It's, it's very important in film history, but it's problematic in a lot of ways today. But if it's seen, what TCM and,  and what, um, other outlets can do is show these films because they're important,  but yet show them in certain contexts and say, this is the context of the time.

This is what we know today. And, uh, that's important, I think, but anyway, so Claro Colbert, uh, Um, introduces Hattie McDaniel and it must have been where she already knew the winner because Claudette Colbert is telling about how wonderful it is that, how wonderful we are in the Hollywood community to be so inclusive.

I mean, whatever word she would have used in 1940. And then Hattie McDaniel comes up in his emotional accepts the award and says, you know, I'm glad to be a, um, credit to my race and, and kind of wince when you hear that. Cause it's like, as if, As if she was responsible for that, you know. Um, and she had to sit in the back.

She wasn't sitting where everybody else was sitting. So it's, you know, they were patting themselves on the back while they were still being, you know, segregation. And, um,  And so, when was the first best actress black winner? Uh, 2002. Very long time. Right. I mean, crazy that it, it. So, it's very slow in coming.

The first black, uh, black actor who won was Sidney Poitier in 1964. Look who's coming to dinner. Well, he won for Lily's the Field. Oh, thank you for that. In 1963. Okay, nope. Um,  but guess who's coming to dinner?  By the way, it was the same year he did, um. Um, he did, he starred in the Best Picture winner that year, which was, um, In the Heat of the Night.

So, you know, a lot of Fascinating.  He was, like, so much was on his shoulders, you know. Um, incredible actor though, incredible history, and, um, luckily was recognized fairly early by the Oscars in terms of  Him individually being deserving. And you look at Lily's of the Field, by the way, a cute little movie.

It's almost a comedy. It's about him, um, dealing with a bunch of nuns. And, uh, it's, there's a lot of I'm 

not familiar with it at 

all, which is 

wild. 

It's a cute, it's a cute movie. Um, but it's a small movie. So it's kind of nice when the Oscars do that. When they award something that's not this big grand epic.

And, uh, then we could talk about that too.  But yeah, those Oscars have not, have still been working on being more inclusive. Um, it's the Golden Globes that have come under more fire because of that, but, um. I was 

going to say, because we watched the Golden Globes, and it was like, it seemed like a lot of winners, and some of the people who were accepting awards were of, You know, different races, and it seemed a little more inclusive and 

a 

little more Well, they've been working on that, so they actually took a year off because in the during a  controversial period when they, they hadn't It was discovered that there were no people of color who were even not Nominated.

Right. Who were even voting. Who were even voting very Who were even on the board. Exactly. So, yeah, so they, they had work to do too, but, um The Oscars are kind of the, the end of a long period of That's important to recognize too. It's not just about the Oscars. There's, these same actors and actresses and directors and, and other, um, film, uh, editors and all these different categories, already go through a series of, of awards season where there's a whole bunch of different, um, ones that aren't televised that we don't all know about.

But if you go on  Online or in certain film communities, you learn about, you know, the Director's Guild and the Screen Actors and all these pre awards that kind of portend with the Oscars. are going to award.  But there's always surprises. 

So by the time the Oscars come around, this, that whole app, you know, the entertainment community must be exhausted. 

Yeah, well it's, it's,  yeah, it, it takes away from some, for those who actually follow all those, it takes away some of the, uh, suspense, so, I think the Golden Globes this year kind of took away some of the suspense.  It seems like Oppenheimer is,  you know, a contender for best picture more than any other. But you never know.

There's always surprises. And those are the fun things, the surprises. Exactly 

right. Exactly right. Yeah. The Golden Globes were really fun to watch and it was like, wait a minute, what? 

Because like the holdovers was a real surprise, kind of came from behind. Yeah. I haven't seen that one yet, but it, um, it was sort of funny that, you know, this little Holiday movie was winning  up against some of these really big 

films.

Yeah, so like a few years ago an example of kind of a little movie to come from behind was Coda, you know. Yes, that was a good one. There was a grand,  that I believe was the same year as 1917, the movie 1917. Which was a war epic and, and kind of like the film. to win, and then CODA was nominated for three awards, including Best Picture, and won all three.

All of them.  So, um, I think, and every year there's, um, the community who are more hoity toity who think, you know, the grand films deserve to win. There's, the, the critics often have entirely different, um, Like, like the Oscar nominations tend to be their second choice of things, you know. They have a whole other list of the best movies of the year and they don't necessarily follow the Oscars.

So, while it's important to see the whole Oscar history, uh, in films throughout the years, it's important to note that Oscars miss so many, and so they're not necessarily representative of what you want. Especially when You're we're talking about diversity, um, and especially because they're focused on America, but they're not, they're not, they don't have to be just America, but they tend to be American films.

Um, so, uh, they, they are a snapshot, but they, they don't represent everything. Right, right. Mm-Hmm, . 

So 

there's like also animated films. It's the Oscars, right? I mean, the Oscars aren't simply about like the. The movies like Hoda and Harvey and Oppenheimer.  Films, I know we've gotten to see some of the animated ones.

We're hoping to see the Boy and the Heron. 

Yeah, so well, there's animated shorts and there's the animated, um, feature length. It's, it's remarkably that it took until 2001 to have an animated feature, best animated feature of the year. That was like 60 years overdue. I mean you think of they should have started having that back in the days of Bambi, you know? 

So, that's nice to see. Um, but, because they had animated short categories all those decades, um, so it's like, why didn't they have animated features? But that's the great thing about those shorts. So there's, um, currently, over the years it's changed, although it's been the same for the last few decades. 

Animated shorts, um,  Live action shorts, which means non animated, and a documentary short.  And the great thing about those is, again, an example of something that most of us ordinary folk who don't work in film wouldn't normally see. It's exposure to these small filmmakers. Many of the great filmmakers started with shorts.

Um, you know, Martin Scorsese started with something very small. You know. Um, so it's great that they get to be in the same room on the same carpet as Meryl Streep, you know, it's wonderful. And I think that's, so when we're talking about where Oscars aren't inclusive, I think having those part of the main ceremony is very important.

So there was some controversy in recent years when they tried to relegate the smaller awards to another ceremony that wasn't part of the main. Oh, right. It wasn't televised. It wasn't televised live. Right. So they had not, they showed clips of the. Um, of those awards, you know, during the ceremony.  They've changed that back because there was so much pushback from the various guilds and from the, you know, unions or whoever was representing these different groups. 

Because that's the other great thing about the Oscars is you, it recognizes  the, all what goes into a movie, the cinematography especially. That, that was really striking that you would ever relegate cinematography to any  that anything, uh, but the main, because that's, that's how the thing is filmed, right?

Mm-Hmm. , we had CI at home, we had citizen cane on last night. We, we, um, admittedly we're only half watching it because then we continued our cooking, right?  . But, um. It was on Turn Across Movies, and who, because they were doing a great, they, they've been showing this great documentary, um, series, uh, over the next few weeks, where they show some of the great movies, and then have a documentary before it talking about some of them.

I don't think 

I've seen that whole entire movie. Yeah. I won't, I think I've only seen. Scene, like the end. And so I didn't realize, so 

I was like telling the family, okay, watch this beginning. See how there's no, no opening credits. That was like not done then That was totally innovative, you know, like, yeah.

Um, yeah. And then you were talking, he, Jeremy was talking about this other scene where he's like. Okay, see the scene, like there's a scene with the window and the three journalists are looking out 

and he's like, that was on 

the cover of a journal. Oh yeah.  And he uses that. And so, Chaley, uh, you know, our daughter asked, you know, oh, so what did, or somebody asked, what did it win?

I said, only best original screenplay, can you believe? One of the great, considered one of the greatest Hollywood movies ever made. Only one best original screenplay.  Hollywood movies that never won a thing, so, or even were nominated for a thing. Well, 

I just want to say, it's 

like, it's interesting to watch movies with you because it's very much, you know, you, you have all these, you have an analytical eye to it, and you're very into, like, These movies.

And, and I think that's why it's so cool that you've introduced especially our kids to it. Um, you know, one year we saw My Octopus teacher. 

Oh yeah. 

Was it that one? Yeah. A new movie. It was a new movie. It 

was a new movie, yeah. 

And, um, but it, it, why did we watch it? 'cause it was nominated for docu best documentary.

Right, right. And one, I believe, yeah. Um, I thought it was an 

animated, 

I wasn't.  Like, I didn't realize that it was actually about this, you know, this guy who goes and learns about this octopus, and, you know, I'm sure many people have seen it, but he spends a year in the life of this octopus, and it was really, really cool, and so we all sat and watched at home, and, um, but it's just really interesting to, especially last night when we were watching, um, Citizen Kane, and just, I would just like to hear you talk about those little pieces and see how this, how that works and see how like the scene is so, and there was one, another scene where you were talking about the camera angle and how Orson Welles wanted that to set, I mean it's just really fascinating to hear you like, especially at home, talk about all these little 

aspects 

of film.

Yeah, there's a picture of that scene being filmed where the Orson Welles actually had them, um, had the camera below the surface of the floor because it wasn't enough to show them from below, but it had to be way below.  So it's an example of, talk about being outside the box, literally Pulling up the floorboards.

Being beneath the box. Yeah, 

yeah.  But I forget where I was going with Citizen Kane. It all 

comes back to Citizen Kane in so many ways because it is such a, you 

know, a touchstone. Yeah, and it's important to note that not everything is for everybody. There are some who watch Citizen Kane and think, what's the big deal?

It's interesting because we were, um, We, we, yeah, we had a project to finish baking these things, uh, garlic knots. Um,  and I was thinking, it's the funny thing about Citizen Kane is that in the middle, it's a lot of, um,  it's, it's kind of an ordinary movie.  So it's kind of framed within this brilliance, the brilliant beginning and the brilliant conclusion. 

What I learned something new last night was that, and that's a great thing about TCM is that it has these little tidbits, Um, Orson Welles was so impressed with his cinematographer, which I think is Greg Toland, and we can correct that later.  And, um, That he, he took, you know how best directors, or the director of the movie usually gets the big credit at the end.

He didn't have any opening credits, which was totally innovative, so he did them all at the end. And he listed himself at the end as director, but he had the cinematographer along with, alongside him on the, on the credits, because he thought it was as equally important as, as himself. 

That's great. Wow, it doesn't 

happen either.

And that was Greg Tomlin, who was the cinematographer, so.  Because you were talking about how, um, you know, the awards recognize all people who are involved with the film, whether that's costume designers, cinematographers, editors. Editors can have a huge impact. 

Yeah, so the Oscars is Is the means of the general populace to get exposed to all these?

There are these awards for each of these  fields that we never see. And I'm saying we, talking about, you know, if there are those who are listening to this who are within the field, they're like, Oh yeah, I'm all part of that. But most of us in the general public don't see the editor's awards and stuff like that. 

But so the Oscars is that one exposure. So even though when, when, you know, two famous people come up and kind of say in monotone, read the, you know, the, the script and monotone about this is why sound is important. They don't have, always have a lot of, sometimes they tell jokes about it. Sometimes they don't have a lot of enthusiasm for it.

It's still a great education for people, um, that movies are.  Such joint efforts that when we review films and sometimes give bad reviews of films, that doesn't take away from the expertise of everyone who is involved, the, the sound editing and everything. Um, even if you didn't like the movie,  you know, they, they put their all into it and that those are the people who, you know, the, the Meryl Streep's, the, the, you know, famous, um, the George Clooney's, the famous people.

Make up a tiny, tiny bit of who goes in the movie. Most of these are people who are making normal, not extraordinary salaries who have to get by. Um,  and, and that's, I think, one thing the Oscars do really well is at least,  at least, with some glitches lately where they tried to pull some of them off the main, uh, in some other separate, uh, award,  Um,  is recognizing that all these things are important, um, and, uh, that it's not all about, um, the movies that make all the money. 

It's 

interesting to me that, like, often a movie will take best picture. Best actor, best actress, and not 

best 

director.  

So, what the trends have been really interesting is there used to be a lot of, um, That's the interesting about looking at it historically, because there was a period when there was a split between best picture and best director.

But when we were growing up, or I don't know how old everybody is, let's say when I was growing up in the 80s,  Best picture and best director more or less were always the same. So when they nominated, when they announced the best director, you knew who the best picture was. There was no, um, suspense. 1989, there was a split between, uh, Born on the Fourth of July, Overstone won for best director.

Best picture was, um, Driving Miss Daisy, which, that's an example of where the Oscars don't necessarily represent what lasts. Um, and that's actually the TCM. Series it's on now is about why the first episode was about why certain movies last  Do the right thing was also done was also in 1989. That was not a nominee for a couple of awards and Spike Lee for for Screenplay and and and Danny Io for Best Supporting Actor.

That's the movie that will forever  Belongs on the greatest. I think the great one of the greatest American films list I don't know that it's reached that that whether the America as a whole understands that yet, but I think in the long run it will.  It's groundbreaking. I mean, I'm glad it was nominated for something. 

But, um, Spike Lee was quoted as saying no one talks about, and he used a profanity in here, he said no one talks about driving Miss Daisy anymore, and he added an adjective in there somewhere. You know, and his point was, you know, I mean it, it told the story, because it told the story in a way that was palatable to the majority white populace, but it, it didn't tell the, True story.

Yeah. Um, but anyway, so that was unusual in 1989 for Best Picture and Best Director to split. Lately, it's been happening at least half the time, and it's made it a lot more interesting, in my opinion. I do think it's worth asking,  well, how can, if it is the best picture, how can it not be the best director?

But I, I think At least it gives more films an opportunity to win the big awards by splitting it up. And it also reveals what I think about Best Picture, which is that it's the most elusive award. Like, how do you even, how do you even quali what's the best movie of the year? I mean, you can't possibly qualify that.

There are some years where it seems like, oh, I can get it. Like, Schindler's List seems like In  1994, when it won for the 1990, as the 1993 Best Picture, it seems like, yeah, you kind of get why, right?  But a lot of movies, like CODA, a cute film, but it's not, is it the best picture of all, probably not. But, but it just won people's hearts and that was good 

enough.

But it 

also, it also highlighted a community of, you know, the deaf community. And, you know, bringing that. community to the forefront, which was amazing. I mean, you're in there and you're like, you expect, most movies, there are sound and there's, so you kind of really get a feel for what it's like to live in their world and how they communicate and what life is like for them. 

And I know, um, J. Leeler has, is She knows some ASL, and she's pretty good at it, so it was interesting to watch the movie with her, you know, because she, I think she could understand some of the, there was, there were some scripts, right? 

Yeah, it's kind of like, Best Picture is sometimes like the Pom to Or, you know, for,  um, where it's, it's, um,  it's kind of a recognition of something that was really cool.

Yeah.  Sometimes it's the big grand picture that wins, and sometimes it's the little,  We could go on and on. I will just say quickly,  there are different categories of best picture. There's the epics, and then there's the little films. And then there's the, the, the art, more art film that kind of surprised, like, uh, Moonlight from a few years ago was beau absolutely beautiful and it stunned people when it won, and not only because they  announced the wrong,  

the wrong 

picture, which was the biggest Oscar for pot in history, which was fascinating to see.

But what I think that covered up was how amazing it was that that film actually won, um, an example of, and then, and then two years later for Green Book to win, which is kind of the small, very, another small film, but one that, that kind of is palatable  to white audiences.  It almost contradicts itself year after year, but in a way that's a good thing because it shows that you're, you're trying to appeal to as many people as possible. 

I 

want to hear what your thoughts are for this year.  

Well, it's funny, when I was invited on here, I did warn, I said, I can't speak to all of them because I've only started. They haven't even announced the nominees yet. Correct. So I did, I did give a caveat that I, that I couldn't, I couldn't. I won't speak to the nominees yet because, um, I, once people hear this podcast, I think they'll know the nominees.

Right, because they come out the 23rd. Right, right, right. Um, but you're hearing us from the past. Um, we know that, so. We won't put you to anything. I hope the weather is good in January, later in January.  But, um,  uh, I would be surprised if, say, Oppenheimer, and Barbie, and, uh, Killers of the Flower Moon, and, you know, these are going to be not. 

It seems like a year when, say, Oppenheimer, you know, there's a big enough movie to win. Um. But, uh, there is also a year when we saw, we did see The Color Purple, and, um,  and that's a movie where, oh yeah, it'll get nominations, and whether any, whether it'll win anything kind of depends on some of the technical categories, kind of depends on who else is nominated.

I was talking to, 

um, Shannon Beverly about The Color Purple, and, um, how,  It's a musical, and you would think, oh, musicals like happy and like, but I think that the intensity of the subject and the, what is happening to everybody, the, I think that it's interesting because I think that Having it as a musical does kind of take away a little bit of the intensity and then not in a way where it's like, hey, we're, you know, think bad things are happening and you know, it's just the dancing and the music and just it really kind of.

I, I think it gave a little highlight and pulled some of that intensity out into how they portrayed the story through music and song, yet having those moments where there was intensity and seeing how, you know, these, these characters are living. But, um, I was worried about that. I was like, oh gosh, the co operative. 

I haven't read the book, but I know it can be, the story is 

very intense. Yeah, and it's interesting because Alice Walker, I believe, was actually interviewed about Um, the movie of the musical compared to the movie, which had its own share of controversy when, when it first came out. Um, but she said that there were things that they were able to do in the musical and that they accomplished in the musical that were actually more effective  than in the, you know, um, the more conventional, um, movie version, which I thought was really interesting.

Yeah. Who was the, we were just talking about the other, the podcast from a couple of years ago that, um. Oh, Michael Sloan. Yes, yes. One thing he said, which I thought was interesting, was, um, cause he'd written about Ruben Mamoulian, and he mentioned a movie called Love Me Tonight, which is from 1932, which is It was never nominated for anything,  but it is now in the National Film Registry, which, by the way, is great for capturing not only the great Oscar winners, but the great forgotten films that people need to know about, and the small things that nobody's ever heard about. 

And he mentioned how, uh, so that's a musical. And it's, musicals have fascinating history with Hollywood, American film in particular. And that's a wonderful movie to see that if you haven't ever heard of it, um, so that's one thing to mention. Um, 

I'm sorry to interrupt, wasn't that one of the first applications of Technicolor? 

I think that was something else. I, I was part of that interview. Oh, okay. And I said something about the fact that even though it didn't win awards, it was, it was quite an innovation 

in and of itself. Well, it's the opening scene of the sound. You have to just see it. Yeah, yeah. But anyway, um,  musicals  have, you know, they used to be very common in Hollywood, and so there were a lot more musical, uh, nominees and awards.

They tended to be, dramas have always been, when you're talking about the Oscars, I've been like, those are the most important movies.  That's the wonderful thing about it to happen one night because it, early on, they said, no, comedy is just as good and just as worthy. Um, and, uh, you, you, And so, like, Seeing in the Rain, considered by some as the greatest American musical, uh, Hollywood musical, um, was not even nominated for Best Picture, you know?

Now it's like, how could that have been? Um. So yeah, so musicals have an interesting history, because the other thing Michael mentioned was, um, what Ruben was able to do with film that you couldn't, that he couldn't do on stage.  And that's something that also stands out, is unique to the film, um, film as an art, is that there, there are things that you, you can't replicate, um,  so.

That you can with a musical score.  

Yeah, yeah. 

Um, Well, and also just visually, yeah, visually he was quite innovative too about, um, capturing something about the musical that, that he couldn't quite do on the stage. And I think, I remember in 2003 when Chicago won the award for best picture, I mean, one of the things about that that was very innovative was the fact that historically, movie musicals were very much, um, filmed as if you were seated in an auditorium or a theater watching what was going on on stage.

Where Chicago really took you into the world of the musical in a way that was cinematically very different.  

That's interesting, because I was thinking how, he was mentioning Reuven Ramouli and how he was doing things that you couldn't, you could only do on film. And, uh, another, um, ah, now I'm, I can't think of it. 

Um, there was another kind of innovator at the time, it was, um,  Doing that sort of thing, whereas filming things from above as a choreographer. Um, which you can't,  rather than looking at the stage. So, um, so that was, there was some innovation early, but I hadn't thought of that. Thanks for mentioning that, because you're right.

I'm picturing kind of the way that film begins. And it's. And it's also able to flash between scenes, which of course we, we saw Chicago on the stage in, in New York and, uh. It would be New Earth, right? Yeah, yeah. Oh, that was awesome. And so, it's funny because necessarily after seeing something like that on Broadway, you're never going to quite be as satisfied with the film.

Right, right. It's very different. But, um, but yeah, you're right, there are things that it could do. 

So,  

as we're talking about being drawn into movies so much, 

um.  There, we saw Beloved years and years ago,  and that was one of those 

movies that we were sitting there watching, and I completely forgot myself, and I was drawn into this world, and I was like, coming out of that movie was like, Oh my god, what is going on?

Like, it was just so, like, emotional, and you, you feel like you're a part of this world. I mean, obviously it wasn't a musical, but there was another movie like that that just drew me in. And for that time period that we were in the theater, I was transported into a whole other world. And it just drew me in.

It's amazing. And, and to me, those are the kinds of movies that are really effective in storytelling. And, um, yeah, I just.  Even though Beloved was like, oh my god, it was just so devastating, it was a devastating movie. But I do love movies like that, that take you away from wherever you are. You're transported into this world.

Yeah, and that's an example of a movie that's not for everybody, because it's very strange. And, um, if you wanted me to mention at least one current nominee that I've seen.  Poor things, uh, that are. I can't wait to see them. Yeah, so. 

I missed it 

all. So, um,  it's, it's, so it's, I mean, very different movie than Beloved, but it kind of reminds me of the sense that this movie maker is saying, I don't, this isn't for everybody.

I don't really care whether you like it or not. It's going to be very, it's going to make you uncomfortable. And I think that's, um, Beloved kind of was like that too. Yeah. Um, so yeah, it's, Yeah. Be prepared, . 

Well, those are the kinds of movies that take us out of ourselves, right? Mm-Hmm. . The ones that make us think differently or transport us someplace else.

And that is, to me, why we watch the Oscar movies is because probably most of these we may not have seen any other way. Mm-Hmm. . Um, I know there's. We didn't cut touch on the politics and things like that and the amount of money that's poured into You know some of these nominees where there could have been a better film that was put up, but because it's political Um, uh, it started back with Shakespeare in Love and um, uh, it was back then it was much more, um, I think you had much more a fighting chance  , 

um Right.

'cause it went up against saving private, right? Yes. And everybody was just stunned. 

Yes. And so that was a split director picture 

split. Yes. Yes. That was part 

of which was ven was still unusual in the nineties. It was still not happening very often. So, one little quick rule to mention is of course, you know, from 1943 to 2009,  there were only five, or up to 2008, there were only, um, Five best picture avenues.

Now there's 10, could be 10. They increased it to 10. Could be 10, right? They increased it to 10, officially 10 for a couple years, then they said five to 10  . And then, and then, and so it's like a, it's a, a certain system of scoring system where there's second and third, they pick second and third place, and that's how they end up.

So that's how they're, they're. So as a result of that, there's more surprises and there's more films being nominated. So the fact that. Everything, Everywhere, All at Once won, I think, an Oscars? Oh, that was actually It 

was amazing. It was actually 

pretty surprising because that's very rare for anyone to sweep anymore.

Right. So, we're just not going to see that very much. It could happen this year with Oppenheimer. But in general Or Barbie. Yes, or Barbie. But in general, it allows, it allows, um, more films in. And I personally like that. I mean, some might For those who want to make money off the Oscars don't like it because they think back at  The 1998 Oscars were titanic, just swept everything and so that they've never been able to compete with that, with that, um, audience share and so they don't want all these little films. 

So it's hard, but as a film lover, I like all that stuff getting 

in. Absolutely. And it's just so much fun to, to see the stars, but also to see the, the actual. Presentation where they thank people. I love that because it's always interesting to see who they thank and I don't remember who did it this year at the Golden Globes, but somebody thanked like the assistants  and I thought that's so cool because obviously these are the people that are doing all the running and all the work. 

So it was 

very thoughtful. Um, so I'm looking forward to the award season for sure. 

Yeah, I appreciate that you, you like that. I think the speeches are the best part. Yeah.  There's so much attention to the host and the, you know. And what they're wearing. And what they're, yeah, I, I like the red carpet part. 

Or what they're not 

wearing. 

Yeah, in the case of Timothee Chalamet who came without a shirt 

last year. Who can forget Cher? What happened with Cher? So this was in the 80s for, what was it called? What was the movie that won for Moonstruck. Moonstruck. That's right. Giant headpiece, right? So she came, it was Bob Mackie, and it was this giant sparkly headpiece but also a dress that left.

that left. Uh, not much the imagination , but she had a shawl over it, and apparently she said that if she won best actress, she would take off her shawl, and she did. And so it was, people are like, this is not fashion. This is, you know, publicity stuff. But I thought it was fabulous. Absolutely. But 

she's like an 

entertainer.

Oh yeah. Right. I mean, she's known for, and Bob Mackey is, I mean, he's artist, the GL artist and glamor an artist. Yeah. He's, I mean, if you. Going for understated, you're not hiring Batman. Right. Or Cher, 

to be honest. For that matter.  

Admittedly, the, what they're wearing is the least interest on my part,  but I like the red carpet for the little interviews, because it's always interesting to see, you know, oh, that might be, for those of us who aren't watching all the little awards before the Oscars, it's like, nice to see what they think about their character or whatever.

That's, that's kind of cool.  

You know, it's an opportunity, actually, for people to acknowledge fashion designers, not always the big names, but some of the smaller labels.  People do get traction, like Monique Lalier was known mostly as a bridal designer, but when she started getting acknowledged on the red carpet, it really changed her career.

So, it's another opportunity.  

Well, that's a good point, so thank you for that, because I don't want to dismiss that at all.  It's funny because we were just talking the other day about After seeing Color Purple and seeing Barbie a few months ago or so,  our daughter and I were actually having,  I started a conversation about, Hmm, that's competitive for costume design. 

It's great to have that conversation more about. Not what just a celebrity is about, but these particular fields.  All these 

layers. It's fun. Yeah, absolutely. And costume design is so important for the actor kind of being able to experience the character. Um, a good costume designer is thinking about way more than just the clothes. 

Yeah, that's, wow. Because 

you sort of put them on and put yourself into the 

character. Absolutely, and if you think about a period, you know, a period piece, you know, a person who is wearing a corset, or who is wearing wings, or who is wearing, you know, a man who is wearing a heeled shoe, it really gets you into that time and place in a way that is just, um, you know, it goes beyond words.

It's just how, you know, you build the character and build another time and place.  So 

we would love to do this after the awards and like maybe do an in depth dive because it's so much fun. And we appreciate our listeners that are like humoring us to talk about all this because it is fascinating. And I hope some people go back and watch some of these older films for the cinematography, for the, um, for these other actors and actresses that maybe have not been, um, have been lost to time, have not been, you know, known so well now. 

So we hope that we can regroup and maybe do another discussion, like a part two.  

Sure, and I guess my one closing, if we're closing,  is um,  is see the documentaries, see the shorts.  Plug for Real Artways that shows those shorts. There are ways to see some of them online. Um, as well. Um, those are the ones that the Oscars give attention to and, and, uh, you know, Barbie doesn't need any more attention.

True. Yes. 

So, 

um. Much easier now to see some of those than it used to be in the past. I mean, we would get them all here at the library, but it would be after the fact. So now, yes, it's much easier to see them before the 

awards. Oh, and a shout out to the Russell Library because before, um, I think even before you were working here, I would, I would, um. 

I would use it as a, it was a great resource for when I was kind of going through old Oscar lists and saying, Oh, this library has this film. And it's just a great collection here. So that's awesome too.  Absolutely.  

So thanks Kate and everybody for coming together and doing this. And hopefully we'll, uh, we'll reconvene maybe after the February awards and, and do some other discussion.

Yeah, 

about March 10th, I think so. Yeah.  

March. Yes, that's right. Super Bowl in February, Oscars in 

March.  They've been in February too. It's funny because in 2020 they were February 9th, the earliest ever. And, uh, good thing they were because it was 2020 and had they been when they would normally have been Right.

It wouldn't have 

happened. Something bad would have happened. Right. 

Right. Absolutely.  

All right. 

Well, thank you, Jeremy. Thank you, 

Christy. Thank you, 

Kim. And we'll see you at 

the Oscars. All right. See you at the Oscars. 

Um, hello and welcome to the segment we're calling Turn That Sh Up! Projects at Russell Library that are too good to keep quiet. It's cold outside, but it's warm in the library. And we are showing documentary films, we are doing yoga for little kids, we have art on the walls, you should definitely come visit.

Um, we've got a lot of great things going on. And, um, Shannon is, Vera Larry from our Digital and Emerging Technologies Department is here. Hey Shannon. Hey everybody, how's it going? So do you watch the 

Oscars? I do. I haven't the past couple of years though. I haven't kept up with the movies that well. I don't know why.

Um, Oh, maybe because of COVID. Cause nobody was really making.  sustenance, and I feel like now, finally, because we have more of the ability to, um, there's some good movies out there, like, I'm gonna be cliche, but I did not do Barbie Oppenheimer  the same day, I watched Barbie in the film, at the theaters, and then Oppenheimer in my house, but, you know, there's a lot of other good things going on that I still actually need to find out about.

Well, you know, I, my husband and I just watched Oppenheimer, um, in New York city. He wanted to watch it on 70 millimeter IMAX. It really was. And I can't imagine watching both of those movies on the same day. No, they're very good, but very different. Totally speaking, speaking. Maybe that's the point. Yes. You know, I think the whole Barbenheimer phenomenon was like, people are coming to the 

movies.

Yeah. We needed that again. Like Top Gun did it. Yes. Or Maverick. Top Gun Maverick, they brought people back to the theater, but this also did because we need to bring people 

back there Yeah, and I think you make a good point. I mean a lot of the Entertainment that was being made over the pandemic by necessity had to have a different feel  But there is something really great about sitting in a movie theater together having that shared experience  Eating 

popcorn  

It's a must.

Every time I smell that smell, I'm like, yes, I've arrived. Exactly. 

I always get the large, so then you can refill it because you go through it before you 

even get to the movie. Thank you. And I do not share. I'm going to shout out to my husband. I'm sorry, honey, I don't share popcorn at the movie theater, but I love you anyway.

You just have to have your own. You 

do. You really do. You can't. It's like, this is mine, that's yours. Because you're just sitting there. And a movie like Barbie and Oppenheimer, they weren't like totally popcorn films. No, but  

They were still just good. Yeah, and Oppenheimer was stressful. So the crunching was helpful 

Well, then the sound itself in the film was amazing.

It was. Was it Hans Zimmerman?  Did I say it right? I 

don't know. I think it was Hans. I think it was Hans Zimmerman, but it was beautiful. Yeah. It was beautiful. I mean, the entire sound design, I was definitely appreciating it more since my conversation with Jeremy. I'm just really thinking about like, if this doesn't win for sound editing, I don't know what should, to be honest with you.

Um, so yeah, I mean, and as Jeremy pointed out, the Oscars are a great time to catch up with films that you may not have, um, sought out before. Um, one of the things I didn't get to talk about, uh, during our interview that is interesting is actually, um, the reason why the Academy Award is actually called the Oscar.

Oh, why? Do you know this story? No. It's, it's actually really interesting. So there are several people who take ownership for calling the first, the Academy Award the Oscar the first time. Of course they do. Yes.  So Betty Davis, um, said that, uh, she thought the backside of the Oscar looked like her husband, um, Harman Oscar Nelson.

Um, very loving. A little too much information, Betty, but thank you.  

I love Betty Davis. She's awesome. She's the best. She really is. I was listening to Kim Kerns.  Song, Betty Davis Eyes. So 

good. Oh my God. Yes. And you know exactly.  That's a Betty Davis 

Eyes. 

Sorry, the honk.  It's coming out full force today.  

Well, you know, and she and, um, actually, nevermind. I'm going to start again. So continuing with the story, um, pick up here.  So colonists. Sidney Sklosky, uh, said, is, said he gave the award its nickname, but, um, most people believe that it was actually a librarian who came up with the name Oscar.

So Margaret Herrick, uh, was the Academy's librarian. She went on to become its executive director. And when she saw the, uh, award on somebody's desk for the first time, she said, Oh, that looks like my Uncle Oscar. Oscar.  So, um, and apparently the, the name stuck. Um, Uncle Oscar was actually, I think her cousin, um, and he was a farmer.

Wow. So, yeah. So he had nothing to do with the entertainment industry, but he has been immortalized forever,  um, as part of its lore. 

That's very cool. Yes. Uncle Oscar makes me think of a Muppet character. Yes.  I don't know why. Yes.  But very cool, I like from Betty Davis husband's back behind, now to, um, Uncle Oscar, but from a librarian, 

that's really cool. 

Yeah, so, um, shout out to librarians everywhere. We just know. We know. We know. We know how to coin a phrase. We do. For certain. We totally do. So, um, and libraries, you know, we love media of all kinds, and so one of the things that we're excited about, actually, for, uh, the month of January is This is, um, our documentary showing of The Biggest Little Farm, um, which was on the Oscar shortlist in 2018 for documentary feature.

So, um, this, uh, so Russell will be showing this documentary on January 27th at 2 p. m. And for people who don't know, The Biggest Little Farm follows two dreamers and a dog on an odyssey to bring harmony to both their lives and the land. When the barking of their beloved dog, Todd, leads to an eviction notice from their L.

A. apartment.  So terrible. Um, John and Molly Chester make a choice that takes them out of the city and onto 200 acres of land in the foothills of Ventura County. Um, and they were going to make a farm and, needless to say, they were surprised at the amount of, um, work that was involved. Um, so the film chronicles 8 years of their work, um, as they planted 10, 000 orchard trees and over 200 different crops.

Um, and they had, uh, a menagerie of animals of every kind, including a pig named Emma, who is apparently a star of the movie.  And Emma had her friend Greasy the rooster as a supporting actor. So, um, they do make progress over this time. They, they realize that, um, the land does not follow rules just because you want them to.

They learn a lot and they have to learn a lot quickly. So, um, I'm really excited about this documentary. We're going to have somebody Come afterwards to talk about the film a little bit and the realities of farming. So, um, if you are available on January 27th at two o'clock, um, that's a Saturday. Come check it out.

Yeah. Kim and I will both be here. Yes. Um, it's a great film. I saw it. Did you see it? Yeah. I rented it, I think, at a library.  

We do have it at Russell Library if people are interested. Yeah. 

Um, but it was really well done and it's not.  It goes so much into like the reality of like farm life and how difficult it truly is.

Um, cause I always say to myself, I'm like, Oh, I just want to like live off the land, support myself, like grow my own vegetables. And the reality of that,  I don't understand it always. Like it's a, it's an 

idealistic dream. Yeah. I would be a terrible farmer. Not because of the work, but just because you have to make really hard decisions.

Yeah. And you got a green thumb too.  

Oh, thank you. You 

do. You do all the, a lot of the plants in the library because it can.  

Yeah, and the library is a happy place for plants. Exactly. There are a lot of choices, a lot of windowsills. Yeah. That welcome plants for sure. 

But no, definitely come by. It's a great film.

Um, but also this month. We have a lot of fun stuff going on in our Youth and Family Learning Department. Um, for all of these programs and events, registration is suggested. 

Um, yeah, especially because of the weather. If something is going to be canceled and you're registered, you will hear about it first.

Yes, um, we will continue to host story times throughout the winter, um, Tuesdays at 10 30 a. m. We can join our librarians for family story time for children's ages birth to six years old, along with their families. Um, come to Russell's Hubbard Room to share stories, rhymes, and songs. Our children's librarians will also host story times on Fridays and Saturdays at 1030 AM.

We're also doing yoga 

for littles. This is awesome. 

I love yoga. I am a huge practicer. I am not like a full on yogi. My sister is. She's a certified yoga instructor.  But I love it. And for kids to do this, it's a great way to  get them recognized like being centered. I think with the world and how things have been for the past couple years, I can't imagine growing up this way.

Being it's from one place to another so this is a really good place to center kids.  This is gonna happen on Friday, February 2nd at 11 a. m. in the Hubbard room.  We will focus on mindfulness and movement in this program for kids and caregivers. The session will begin with a focus reading from the library's feelings book bin and then Yoga practice will begin at 11.

15 and drop ins are welcome.  So Kim, we also have something else happening at the beginning of February. 

Yes. So we're getting, we're having a visit from the New Haven Symphony Orchestra in honor of Lunar New Year. So on Sunday, February 4th at 3 p. m. in honor of Take Your Child to the Library Day, the New Haven Symphony Orchestra will perform and it's a special family concert that's going to focus on the Lunar New Year and the Chinese Horoscope.

Participants will enjoy the featured music from a Chinese two string violin, violin and a keyboard. Audience members will learn about the Great Race, which is the story behind the idea of the Chinese horoscope. And they'll also have the opportunity to listen and learn to traditional folk songs written about these featured animals.

Do you know what Chinese sign you are? I 

was just going to ask you that. Yes. Boar? Oh, okay. Or the pig? Right, I'm an ox. You're the ox? Yeah. Because it goes,  94 was the dog, which was so cool, and then 95's the pig. I'm pretty sure. Yeah.  

Yeah, 73 was the year of the ox, and of course a couple of years later my sister was born and she was a dragon, so.

Oh, that's so cool. Wasn't it? Yes. Oh. So, but I am kind of stubborn, so I guess it fits.  So 

through the month of February, for Black History Month, we will be having a local artist. His name is Robert Jefferson. His art is hanging up around the library. He's a freelance artist residing in Middletown. He's multi talented.

He's a poet. He's also a Vietnam artist. Army veteran. Robert has done a one man show at the Buttonwood and his church. He is part of the Russell Library's Veterans Writing Group for many years, and his collection of art highlights his love of Middletown and its people. Everyone can find a bit of themselves in his art, which I agree.

It's fun, it's bright, it's unique. Yeah. Um. It's a joy. So, Christy, uh, Briana, and Sue, I think they're the trio only this time. They have done a wonderful job, and they have made a great 

connection, so. Yeah, and absolutely, um, and I love having art in the library. So I'm so glad we're doing that. Me too. So, um, definitely come see the art, and Russell Library appreciates all the support that we receive from the community.

Thank you for listening, and please visit our website to learn more about our events and resources. Middletown Strong is available on Apple Podcasts, Spotify, and many of the places you listen to podcasts. Please subscribe and feel free to share what you've learned with others. Russell Library has too many exciting things going on to keep them quiet.

Talk to you next time. Talk to you next 

time. Thanks, Shannon. Thanks, Kim. Have a good one. Bye. 

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