88th Academy Awards

The Never Ending Gender Gap in Entertainment by Roxanne Teti

Joy, 20th Century Fox (2015)

Before addressing Hollywood, I want to begin this post discussing professional sports and the blatant gender pay gap that exists between men and women—so blatant we're talking about the difference of millions of dollars. For example, in 2015, WNBA players received salaries between $39,000 and $110,000. On the contrary, NBA players were paid anywhere between $525,000 and 17 million. I can already hear the opposing argument to this disparity—“no one watches women’s basketball, it’s a supply and demand thing, women don’t compete at the same level as men”. Ok, let’s examine one of the most recently controversial pay gaps in sports history—the 2015 Women’s World Cup. The U.S. Women’s National Team was awarded $2 million in prize money for winning the esteemed world championship meanwhile Germany’s men’s team was paid $35 million for their victory. Even the U.S. men’s team took home a bigger check—racking in 9 million dollars for coming in a whopping 11th place. The Women’s World Cup was one of the most watched sporting events of 2015—gaining over 25.4 million viewers. The event accomplished significantly higher ratings than the Stanley Cup (7.6 million) or the NBA Finals (13.9 million). Wait a second, I thought this was all about money. Sports, especially televised events, are another form of entertainment. Keep in mind these are numbers talking, not the rhetoric of some third wave feminist agenda. 

U.S. Women's National Soccer Team (2015)

An enormous pay gap between men and women also exists in Hollywood. For example, female actresses, directors, writers, and producers are still paid significantly less than their male counterparts. For instance, it was reported that in 2015 the highest paid actor was Robert Downey Jr., making 80 million bucks. On the other hand, Jennifer Lawrence was the highest paid actress but made $52 million. Looking at box office numbers, nearly 50% of the top 15 grossing films had stories with female leads (i.e. Star Wars: The Force Awakens, Inside Out, The Hunger Games: Mockingjay-Part 2, Cinderella, and Pitch Perfect 2) Similar to the Women’s World Cup case study, there’s something else going on here. The audience, the customer, is clearly "buying" female driven stories—remember it’s numbers, it’s economics. 

Finally this discussion brings us to our most recent controversy —the 88th Academy Awards and the heated debate concerning Hollywood’s gender pay gap and lack of diversity for minorities. Specifically looking at female driven plots or female leads, this year’s 8 Best Picture nominations featured only 3 films with a female lead—Room, Brooklyn, and Mad Max: Fury Road. However, the Academy did have the opportunity to nominate some other films of quality cinema, it's not like the content didn't exist. For example, some snubs include: The Diary of a Teenage Girl, Star Wars: The Force Awakens, Joy, Carol, and Suffragette, to name a few. 

Moving on... the Best Director nominations featured no female directors. ZERO nominees are women. This is 2016 not 1950. At least the Documentary Features and Documentary Shorts nominations have one or two female directors. The categories for Original Score, Cinematography, Sound Mixing, Visual Effects also have no female nominations. The individuals that earn awards for these categories in film production and post-production are typically known to require a more “technical” skill set, perhaps a skill set the woman's brain doesn't possess (???). It's sad, a female Director of Photography has never been nominated for an Oscar in the history of time. Then we look at the Costume Design category and 4 out of the 5 nominees are women. That’s interesting isn’t it? Not taking anything away from the artistry of Costume Design by any means but come on those are some interesting numbers... With that being said we should at least celebrate and root for writers, Andrea Berloff (Straight Outta Compton), Phyllis Nagy (Carol), and Emma Donoghue (Room) for their screenwriting accomplishments and nominations. 

For those who are hosting an #AltOscarParty, why don’t we have an alternative vote for Best Picture of 2016? Click this survey and submit your response! 

My Oscar 2016 Predictions by Roxanne Teti

The Revenant, 20th Century Fox (2015).

This year's nominations have been difficult to predict. Between the "Oscars So White" controversy and the polarized array of genre driven films, The 88th Academy Awards will either be an interesting or an overwhelmingly boring ride. Below are my predictions for every category. 


Best Picture- THE REVENANT

This revenge film is a safe pick for Best Picture as it possesses both critical acclaim and box office success. 

Potential Upset: The Big Short - Winning several top notch awards including the PGA's Outstanding Producer accolade makes this film a threatening candidate for a dark horse triumph.  

Who I Want to Win: Mad Max: Fury Road - Miller and company did an excellent job of bringing this fantastical cult hit to life.

Painful Snubs: It's still beyond me that SuffragetteStraight Outta Compton and Carol were absent from Best Picture consideration. 

Best Director- Alejandro Gonzalez Iñárritu

Iñárritu (The Revenant) could most definitely take home his second Oscar after winning Best Director for Birdman last year

Potential Upset: George Miller, Mad Max: Fury Road. The Academy secretly loves Miller and his perseverance as an artist. 

Who I Want To Win: George MillerMiller's unconventional genius and distinct style deserves recognition one day.

Painful Snubs: Ridley Scott (The Martian), Suffragette (Sarah Garvon), Quentin Tarantino (The Hateful Eight), and Todd Haynes (Carol)

Best Actor- Leonardo DiCAprio

DiCaprio's gristly embodiment of Glass in the The Revenant will most likely earn Leo his very first Oscar! 

Potential Upset: Michael Fassbender (Steve Jobs). Fassbender delivers Steve Job's pulsating energy with a riveting performance that carried the film and it's various holes in story.

Who I Want to Win: Give Leo an Oscar already. 

Painful Snubs: Michael B. Jordan (Creed), Johnny Depp (Black Mass), Will Smith (Concussion). 

BEST SUPPORTING ACTOR- SYLVESTER STALLONE

A clear favorite here! 39 years later Stallone plays the heroic film icon Rocky better than ever—showing his softer, vulnerable side as he fights new battles of survival.

Potential Upset: Tom Hardy (The Revenant). Hardy is a walking metaphor for manic savagery.

Who I Want to Win: Christian Bale (The Big Short).  Bale's layered portrayal as Michael Burry captured not only an eccentric persona of a real life man but also personified the foreboding intensity of the market's looming crash. 

Painful Snubs: Idris Elba (Beast of No Nation), Steve Carell (The Big Short).

Best Actress- Brie Larson

Room is an important film regarding the psychological repercussions of abuse at the highest level and Larson's performance brings this important issue into the spotlight. Her depiction of a deeply hurt victim, courageous survivor, and loving mother gave viewers permanent goosebumps. 

Potential Upset: Saoirse Ronan (Brooklyn). Ronan does an excellent job captivating a gamut of emotions including homesickness, romance, and freedom. 

Who I Want to Win: Jennifer Lawrence, Joy. Lawrence is a natural talent and I don’t care if she’s America’s sweetheart. She delivered another incredible performance—capturing the passion and persistence of a real life person that should inspire all women to pursue their dreams. 

Painful Snubs: Helen Mirren (Trumbo). Cate Blanchett (Carol). Yes, Blanchett was’t snubbed a nomination but she will be snubbed an Oscar and not because her performance isn't worthy. Blanchett will be automatically overlooked because she won two years ago for Blue Jasmine and the Academy failed to nominate Carol for Best Picture. 

Best Supporting Actress-KATE WINSLET

Kate Winslet (Steve Jobs) did an excellent job mastering a difficult accent and playing opposite and against Fassbender's erratic and often robotic facade. 

Potential Upset: Alicia Vikander (The Danish Girl). I think we can all agree, Vikander did a beautiful job but she should have been nominated for Ex-Machina

Who I Want to Win: Rooney Mara (Carol). This is Mara’s best performance to date and it deserves the Oscar. Her transformation of character was not only well crafted but the way she captured Therese’s subtle intrigue with looks and movements engrossed in subtext is not easy stuff. 

Painful Snubs: Tessa Thompson (Creed), Kristen Stewart (Clouds of Sils Maria

BEST ORGINAL  SCREENPLAY - SPOtLIGHT, Josh Singer & Tom McCarthy

Spotlight will win because of it's well constructed dramatic arc and ability to showcase an ensemble cast with organization and poise. 

Potential Upset: Straight Outta Compton, Jonathan Herman and Andrea Berloff. This was an incredibly creative story that carefully wove together elements of drama, history, and romance with balance and bite. 

Who I Want to Win: Straight Outta Compton, Jonathan Herman and Andrea Berloff. #OscarsSoWhite. 

BEST ADAPTED SCREENPLAY- The Big Short, Charles Randolph, Adam McKay

Randolph and McKay diffuse the density of Michael Lewis’ book with cinematic prowess. 

Potential Upset: The Martian (Drew Goddard). Sometimes it can be a  huge challenge to make an already entertaining book into a movie. It’s even harder to translate written prose describing the character’s inner thoughts into dialogue or a visual metaphor. Goddard gracefully accomplished this and more.

Who I Want to Win: Carol (Phyllis Nagy). Nagy’s beautiful adaption of Patricia’s Highsmith’s The Price of Salt propelled a literary gem into a visual word of film without compromising the story’s emotional arc. The dialogue and it’s poignant subtext is every screenwriter’s dream. 

BEST CINEMATOGRAPHY - The Revenant, Emmanuel Lubezki

Lubezki’s dynamic camera work and focus on the macro made The Revenant’s diegetic world possible and enhanced the story’s epic nature.

Potential Upset: John Seale (Mad Max: Fury Road). While Mad Max relies heavy on special effects, the careful construction of Seale's cinematography should not go unrecognized. He creates a saturated post-apocalyptic tone in which he unifies with a distinct color palette that feels unique only to the world of Mad Max. 

Who I Want to Win: Ed Lachman (Carol). Each of Lachman’s frames are carefully composed to not only reflect the “look and feel” of New York in the 1950’s but also to personify the emotive arc of a forbidden love story. The role of the camera and the “gaze” is also an integral element of the story and Lachman was able to communicate this metaphor without being too pretentious. 

BEST ORIGINAL MUSIC SCORE- The Hateful EighT, Ennio Morricone

It’s Morricone’s year. He’s 87, written over 400 scores, has been nominated 6 times, and deserves an honorary award for his prolific career. His score for The Hateful Eight achieves cinematic bliss—straying from boring tropes and thematic traps. 

Potential Upset: Star Wars: The Force Awakens, John Williams. With 50 nominations under this belt, Williams has set the bar for action packed film scoring. Everything he touches is often gold. 

Who I Want To Win: The Hateful Eight. Morricone should win this one but if he wasn’t 87 and near retiring, I would want Carter Burwell (Carol) to win. This is Burwell’s first nomination and his emphatic score for Carol is enchanting with lush layers of instrumentation. Burwell is also known for his work with the Coen Brothers. 


BEST FILM EDITING- MAD MAX: FURY ROAD

BEST ORIGINAL SONG- "TIL IT HAPPENS TO YOU"

BEST FOREIGN LANGUAGE FILM - SON OF SAUL

BEST ANIMATED FEATURE- INSIDE OUT

BEST DOCUMENTARY FEATURE - AMY

BEST COSTUME DESIGN- CINDERELLA

BEST MAKEUP AND HAIRSTYLING- MAD MAX: FURY ROAD

BEST PRODUCTION DESIGN- MAD MAX: FURY ROAD

BEST VISUAL EFFECTS- Star wars: The force awakens

BEST SOUND EDITING AND BEST SOUND MIXING-MAD MAX: FURY ROAD

BEST SOUND MIXING- the revenant

Best Live Action Short Subject- Shok

Best Documentary Short Subject- A Girl in the River: The Price of Forgiveness

Best Animated Short- Bear Story