January 27, 2025 • 43 mins
Today's episode - Awards season is here and the drama in the movie industry is completely changing all predictions on possible winners. The undisclosed use of AI tools to enhance certain performances in front runners such as 'Emilia Perez' and 'The Brutalist' has now put their Oscar chances in jeopardy. Let's talk about why the use of these tools can be very problematic while I try to predict which movies may now take the upper hand in this Awards season (the Oscars specifically).
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hey, welcome to the Overshare pamphlet.
(00:25):
My name is Rob and I am the host of this one man show.
I'm going to be talking to you every Monday at 6am UK time.
Yeah, hello.
I sort of got every single intro of my episodes is just me giggling and cackling and doing
whatever.
But today, today, as you can see from the title I guess, we are going to be talking
(00:50):
about the Oscars, the Oscar nomination specifically, but also a bit of like drama, I guess, and
some controversy that has recently ensued in the movie space and specifically right
around this like award season.
(01:10):
So it's something that is quite concerning to be fair.
Like it really deals with, you know, specifically if you've been aware of the sag after strikes
and you know, the strikes that have been happening will happen last year and the year prior in
the movie industry, specifically regarding the use of AI and, you know, many workers
(01:36):
being very concerned about the possibility of being replaced by this new type of technology.
So it's yeah, and this whole discussion has, you know, reignited because it was reignited
because of the recent controversy surrounding two major movies that are well, where at least
before this scandal front runners for this award season.
(02:00):
So yeah, but yeah, so I'll basically be talking about the controversy, what it entails, what
are the consequences, what are the possible consequences of this and why people are so
up in arms about this.
And also I will be checking out the categories and the nominations of the Oscars and just
(02:21):
giving y'all my wish list of who should win because at this point I was about to like
do like a prediction of who is going to win.
But at this point, I think after this controversy, it's pretty much all up in the air, I guess.
And it's difficult to predict as well because of how unusual the situation is.
So we'll get into that.
(02:42):
But anyways, first off, you already know Sunday week, you can find these songs, by the way,
in my playlist of the month called the overshadow pamphlet, songs of the week dash January
2025.
So it's on Spotify, you can go check it out.
It has all the songs of the week for each.
Well for this month, but there's plenty of other players for each month.
(03:06):
So go and listen at your own risk.
First off, first off, first off is actually, you know what?
I want to start with this one.
I don't care sports car, take me great.
I am so fucking obsessed with this song.
I cannot like tell you how many times I've really listened to this.
(03:27):
It came out of the it came out this Friday.
I'm recording on a Sunday and I've listened to this so many times.
I cannot stop playing this song.
I'm not kidding.
This is probably going to be definitely will definitely going to be like the most streamed
song of the month for me already.
But she has the potential to be a big, big song for this year for me.
(03:50):
But yes, this is a new single from her upcoming studio album called So Close to What.
We already had two other offerings from this, which were two hands and it's okay.
I loved it's okay.
I'm okay.
I'm indifferent to two hands personally.
I don't really know.
I don't really like the song that much, but it's okay.
(04:11):
I'm okay was a good, good song, but I still think this is the best song as of now that
came out of this project.
And I think this should have been the first single personally or maybe the second one.
I don't know, but definitely not so like late.
I mean, to be fair, it's still the month.
The album is still like one month away from being released.
So there's still plenty of time, but I think this song is just pop perfection.
(04:37):
Like it's just so good.
And honestly, I'm surprised that the song feels quite complete despite being two minutes
and 40 seconds is definitely better than Greedy.
Greedy was like literally a ringtone, like two minutes and 10 seconds or something.
This feels more like a complete song, I guess because like there is a proper outro, like
(04:59):
the, I guess the bridge and the outro are like linked in a way.
Like there's no third verse, like third chorus, of course, but the outro and the bridge being
linked sort of makes it feel like it's a complete song and a full length track.
But I love it.
(05:19):
This is Greedy 2.0, but I think I would dare to say it's even better than Greedy.
Like I really love it.
This is definitely like in the same vibe though, in the same sphere of Greedy, like that Timberland
type of production, like the very Y2K type of production.
The Britney influence is very big.
I've seen people talking about also buttons by the Pussycat Dolls in terms of like precautions
(05:43):
and everything.
And it is also giving that, I guess it's very sultry, very sexy, very, very fucking good.
Let me just, I'm just gonna talk a bit about this song because like it's, I've been listening
to it so many times and I try to understand why I like it so much.
And I think I'm like there, like I understand what it is.
It's a combination of like many things.
First off, the production I would say is stellar here.
(06:06):
Like it's so good.
The precautions are like the, what is it called, the sync drums or something.
Like that type of like Timberland percussion is just so good.
The bass work in this one is incredible, especially in the bridge slash outro part.
Where she goes almost like, oh my guy, you don't want to waste my time.
(06:26):
Anyways, but that part is the bass there is just going fucking crazy, insane.
Synth is just incredible.
Ryan Serra I think produced this.
So finest work ever done.
He collaborated with so many like pop artists already.
So he's a very well seasoned producer.
So incredible.
It was also behind Greedia I think.
So that makes sense.
But this is probably the best collaboration I've ever had.
(06:48):
Like this is the best track they've done.
So the production is one big thing of course.
But I think also the vocal performance in this and like the melodies used in the song
are just out of this world.
Like they're just like so perfect.
Like they're so sultry for the subject matter as well.
(07:09):
And I think also the lyrics are actually very, very good for once.
Like it's not supposed to be like a very deep song anyways, but I think it's just like very,
you know, sexual without being too direct, which is probably sometimes even the best
thing ever about it.
But I don't know, like the first verse just so cool.
Like hey cute jeans, take mine off me, you know, that stuff.
(07:31):
Incredible.
We can share one seed.
You know, like so good.
But also, yeah, as I said, like her delivery is just impeccable, like so sultry.
And then it goes into like the very high pitched falsetto pre-chorus, which is perfect for
in terms of contrast with the chorus.
(07:51):
The chorus is instead like very, it's a whispered chorus, like yin yang in the song basically.
It's so, so good.
So good.
And the best part is that also the first chorus and the second chorus are slightly different
in terms of I guess vocal stacking.
(08:11):
Like the first chorus is very bare in that sense vocally wise.
Like it's just one or two maybe vocal stacks and that's it.
But then the third, sorry, the second chorus, which is repeated, is just so good, so intense
and like so many different vocal layers, just like different high pitches and like low pitches
as well.
So it's just so good.
And then you get into like very explosive bridge outrush.
(08:35):
It's just incredible.
And then the synth at the beginning and at the back is just like so, like the siren sound
is just...
And then the video.
The video compliments the song in a very weird way.
The only thing I have to say about that is that she talks a lot about, well the song
is called Sports Car, but not in a single frame of the video, you see a sports car.
(08:57):
So what are we doing there?
Like you had a sports car in the previous video, Two Hands, but it should be this one.
I'm just saying.
But anyways, go stream it.
This is the best song I've ever created.
I don't care.
Like I knew this in every playlist I could ever make basically.
So so so damn good.
(09:19):
Yeah, then I have a lot here.
I started making like a house playlist on my profile and I came across this K-pop track
called Official by iChillin and it is so nice.
(09:42):
If you like house music, you love this track.
It's just pure house music and it's just, it's like the good combination between like
house and K-pop because it's like still very much like out there in terms of K-pop melodies
and production, but it's still very much house, western house music, you know, like British
house I guess music, European house.
(10:03):
I don't know, but it's just incredible.
I have to also give a side note to this group.
Miami also another track by the same group in the same EP, I believe.
Also super good.
So I'm keeping an eye out for this girls.
Like these two girls, this group is like, I don't know, I think it's made out of seven
people or something, but girl, what are we doing?
(10:26):
It's just incredible.
Like I am so impressed and they have very few streams on Spotify, so I'm surprised,
but this song is just generally like house perfection.
I just cannot recommend any better song than this one right now.
So yes, Van, Legendario by Nathy Beluso is just so good as well.
(10:54):
Pop music just rocks.
I'm so sorry, but Nathy Beluso, she's a Latin American singer and she has always been on
my radar anyways, because I have been listening to her.
Like she has a very interesting approach to music.
She's in between of a rapper and a singer and she's very dramatic in the way she performs
(11:20):
and all.
Like listen to Mafiosa, for example, by Nathy Beluso and you'll understand what I'm talking
about, but she is very charismatic as a performer and everything.
So I am always looking out for her songs.
My favorite track by her in general was Delito.
(11:45):
That was one of my favorite songs ever, but now she came out with a new album recently
and this is called, well, Grasa I think is the album name, but Legendario is my favorite
track on that album.
I'm sorry, but it is, it is.
So go listen to that if you want a bit of that Latin pop in there.
So production wise it's more pop and almost hyper pop.
(12:12):
Not really hyper pop, but kind of.
That bratty sound is there definitely.
Also apologies for the sound in the background, but I need to keep my window open because
I am hot.
That's it.
So I think I also want to include this track called, oh, I Want You Yesterday by Wallace
(12:47):
the Jester.
The visuals for this are crazy.
They remind me a bit of, for this album in general, of Cry Baby by Meli Martinez, but
this song is like interesting.
Like it has that circusy production at the beginning and throughout the song, but she's
just like very, I don't know if I would categorize her as, well this might be a ballad hopefully.
(13:15):
I don't know, I'm not entirely sure, but this song is really, really good.
And I need to check out the album I think because I am intrigued by, I like to also
flash in a pan.
So yeah, I need to check out the Jester as soon as I can.
But I Want You Yesterday is my favorite track as of now.
I need to check out the album as I said.
It seems like she's getting into that singer-song-writery camp, probably in a very unique way sound-wise.
(13:43):
So I'm intrigued.
I'm intrigued.
I'm sad.
I'm sad.
I'm sad.
I'm sad.
So yeah, these are the songs.
I have so many that I saved in that sense because of the, actually you know what, did
I talk about this one already?
I can't remember.
Let me see if I talked about this like the other time.
What was it?
(14:03):
But yeah, the songs are decided, like you can find them in the playlist.
It is a big, big playlist to be fair already, even though I started like a bit late.
Actually yeah, I need to, I haven't talked about this.
Fergie, what the fuck?
I never thought I was going to talk about a Fergie song, but Tension by Fergie is just
(14:29):
such a good house track.
I think it is house.
I would classify it a bit as a house track.
So like typical house, but it's really, really good.
And it gives me brat vibes a bit.
I don't know why.
I said on my stories like RIP, on Instagram, RIP Fergie, You Would Have Loved Brat, because
this song is sexy and bratty and just really, really good.
(14:53):
I think Fergie would fit so well into the hyper pop scene.
I cannot stress it enough.
So yeah, like thank you for this track, honestly.
Like so good.
I'm going into it.
It's very, very good.
I am impressed.
It has a very like electric guitar-y type of production as well.
(15:15):
Very cool, very cool stuff.
But yeah, without further ado, let's get into this topic.
Well, interconnected topics, I guess, but it's just one big topic, I guess.
So I think I want to start first with the controversy, the drama here, and then I want
(15:37):
to get into the Oscar nominations because I need to first explain why I'm not going
to give you guys my predictions specifically.
So what happened?
Very recently, an editor for the movie called The Brutalist had an interview with a news
(16:04):
anchor recently, a news tech, I don't know, tech news website or something, I don't know.
And it was probably like last week basically.
And he, by the way, this website is like very low key.
It's called Red Shark News.
So basically this is a news website that is not really popular in that sense.
(16:29):
It's not really like a big trade as of now, but it gained so much traction because he,
well this editor started spilling so much stuff on this movie that shouldn't have been
said out loud.
He admitted that basically while he was editing the movie, The Brutalist, he used an AI software
(16:54):
to amend the accent of the two actors, of some of the two actors in some scenes.
And the reason is because this movie, The Brutalist, is basically about a Hungarian
architect that started the Brutalist movement basically.
(17:18):
And it's just like a full story about that.
But the main actor playing this role is British.
And he had to put on an Hungarian accent while speaking in English.
And it wasn't, according to this editor, as authentic as it could have been.
And so he used this software called Resspeacher, I think, and basically amended the accent
(17:45):
of the two actors actually in a dialogue.
And now you may think, what's so bad about that?
Why is that such a big deal?
And isn't it the same thing as using autotune or whatever, all those things?
Like, well, it's not.
(18:05):
Like let me explain specifically why.
First off, the context here is that for the past two years, or almost three, I think,
the entertainment industry has been in the pits of hell because a little strike, a little
big strike happened not too long ago about specifically the usage of AI in film production
(18:33):
and movie production.
And there were so many concerns from the workers of being replaced by AI, so many people losing
jobs because of these tools used to basically automate a bunch of stuff that was done by
previously by humans, by human people.
And so actors, coworkers, and everyone involved in production and everything else went on
(18:53):
strike for a long time, which caused further delays in the production of movies, which
also then therefore caused a lot of losses in earnings and all that stuff.
It slowed down the entire business.
It was a catastrophic event for many movie productions and many people involved.
But it was for the best in the sense that the strike itself, because they really needed
(19:17):
to strike a deal in terms of contracts and on how AI tools are used and for usage of
that, which is still not completely satisfactory, to be fair, because there are still so many
great areas and AI is such an interesting area that is developing so fast.
And legislation, as I said, also in one of my many episodes about AI, is not unfortunately
(19:39):
keeping up with the advancements in this field, just purely for the way the law works in general.
It takes a long time to have laws come into place and all that stuff.
So that strike itself was vital for the longevity, I guess, of the industry and the workers included
in that.
(20:00):
And so you would think that after this whole mess, these accidents would be avoided.
And again, why is it so big?
People are saying, oh, it's just a tool.
No one has been fired.
Like this person used an AI tool.
No one was replaced in that sense.
But this is just an incident that can cause a major leeway.
(20:22):
It can lead to way bigger issues down the line, like way bigger issues.
And the very important matter here is that the brutalist is and was, before this accident,
a major front runner for the award season.
So if this movie won, it already won so many awards at the Golden Globes before the controversy
(20:45):
happened, basically.
And so if the next few award ceremonies award this movie as well, despite the controversy,
then any movie is going to be, from then on, any movie producer is going to be tempted
to use AI to perfect their movie.
And it's going to be, oh, if I want to win a Grammy, an Oscar now, I have to start using
(21:10):
AI.
Or like, if I want to win any awards, I can actually use AI now and no one will care.
So completely defeating the purpose of the, you know, of the structure in the first place.
So that's major.
That's a major, major incident.
This shouldn't have happened, or at least if it happened, it should have been kept on
the wraps.
And this is not the only movie also in the run for Best Picture and others, like the
(21:33):
Indie Fart Runners as well as Critically Acclaimed that has been exposed to have used AI tools.
The other one is, of course, Amelia Perez, which also used, well, I think the editors,
the vocal editors there used AI tools to enhance the musical performance, the singing performance
of one of the main actresses to make her reach higher notes.
(21:58):
So yeah, the problem here is like, people are just defending like these projects are
saying like, oh, it's just like, it's just a tool.
No one has been replaced.
We're not talking about replacement.
There's still judgment behind these things.
People are using these AI tools as only tools and there's no automation completely here.
But that's what I'm saying.
(22:19):
Like first off, if that was the case, it should have been made clear from the beginning.
Why was it kept on the wraps then?
You know, like, you know, Loki, you've done something wrong or like you've done, you've
gone against your peers with, you know, I've gone on strike for so long, you know?
And second, again, I said today is just like a matter of an accent being fixed or tweaked
(22:42):
and or like a high note being extended or like a pitch being altered.
Tomorrow it's going to be everything else, even actors themselves being replaced by,
you know, and it's already happening with like, you know, deceased actors and all that
stuff.
So oh, God knows where this is going to lead us.
You know what I mean?
(23:02):
So what I am saying is one is not a simple movie that no one cared about.
It's a major front runner that is being awarded for, you know, it's, you know, incredible
cinematography and everything else and performances.
But also, I think specifically it's very weird for both movies, for both, for both, you know,
(23:23):
I mean, that Perez and the brutalist that I was used here in a very interesting way,
like that defeats the entire purpose of both movies.
So for a minute, Perez, which is a musical, by the way, they used as I like a tool to
like alter the pitch of one of the same one of the songs sung by one of the actresses
(23:44):
of the movie.
Right.
So meanwhile, you have another movie like Wicked that as far as we know, of course,
I don't know if there's any controversy about that, but only use live recordings, like live
recording, no alterations, no autotune, nothing to, you know, to have these performances in
the movie is just incredible.
Right.
(24:04):
But they've not been awarded and instead in the Golden Globes, I mean, Perez took home
a lot of those nominations should have, in my opinion, gone to Wicked then, knowing the
controversy.
So why are we celebrating something that has been edited and over edited so many times
when the whole point of a musical is also the songs and the voices, right?
When there are already movies are doing the same job in a very good way.
(24:28):
Right.
So that's already, you know, that defeats the entire purpose of, you know, a musical.
Right.
So that's one thing, or at least a very well made and like, you know, naturally, like,
you know, a natural, I don't say not fully intelligent actress, because I'm sure they're
all very, very, you know, talented, of course.
(24:48):
But you know, it defeats the purpose, in my opinion, it's quite a big accident there.
This should have not happened or it should have been made clear from the beginning because
this is not nice.
But anyways, and for the Brutalist, the Brutalist is basically a movie about, you know, architecture
and like the human expression and through architecture and art.
(25:13):
Right.
And this also the thing is, they used some AI tools to create some images during the
movie.
So like, what is human about that?
Where is the human expression in that it's made by a robot, a tool is not even made by
an artist like it would have been different if it was an artist making a, you know, a
graphic or whatever on computer or whatever.
(25:36):
It was literally made by a robot.
So that defeats also the purpose of that movie, in my opinion.
So it's a big stinker.
And people are now saying that maybe they are.
They are.
Well, I think they're saying that both movies now have completely been derailed by this
and they're no longer the front runners.
They may have lost the chances of taking on many awards at the upcoming awards, awards,
(25:59):
any more ceremonies.
So we'll see about that.
It's still, of course, not set in stone because these things change all the time in conversation
and are like, of course, going in all different directions.
But yeah, so that's why I'm also saying like that is a big, I mean, alteration to this
(26:21):
year's Oscars, because who knows?
I mean, I think we had a sort of an idea that it seemed already from the Golden Globes that
Amina Perez and the Broderlies were going to be the main from runners and like the main
awarded movies in that sense at the Oscars and every other place.
But now after this, it really is all up in the air.
We don't know what's going to happen.
(26:42):
We don't know what the different boards are going to vote for in that sense.
And I think also another big problem here is that, I mean, people are saying like all
the Oscars have already nominated them anyway, so they're going to win.
No, the nominations and the shortlist was done before this as well.
And they came out, the shortlist came out after.
But the voting has not happened yet for the Oscars at least as far as I know.
(27:05):
So I'll be surprised to know what happens there.
And it really depends on majorly the Oscars, because that's still the biggest show anyways,
like the biggest award show.
So whatever they set to do and whatever they decide to celebrate at the award season, it's
going to be a big game changer, I guess, for the long run and for the future of the industry,
(27:29):
I guess.
Because if they do allow these movies to win despite this controversy, then they're just
opening a floodgate and a kind of warm side is not going to be pushed back anymore.
So yeah, it's going to completely invalidate what happened at the strike.
(27:50):
So I am on this occasion siding with the technophobes.
Because I think it is also very weird.
You want AI tools to help you get your routine in check and all that stuff to help you with
(28:11):
your routine, but you don't want AI tools to replace your jobs.
You know, that's what we want.
We want AI tools to help you clean the house or whatever it is.
You don't want AI tools to replace your job so you will have to clean the house yourself.
You know what I mean?
So it's very important.
It's very crucial.
Like I don't know, I cannot stress it enough.
It's like not a simple silly game in that sense.
(28:32):
So anyways, I'm getting so dramatic today, but I love the drama personally.
I love the drama.
I love the drama.
But yeah, let's talk about nominations.
Let's see what I'm going to tell you basically what I think what I wish should win at these
awards.
I'm not sure what's going to happen, as I said, but we'll go with that.
(28:54):
We'll go with that.
So yeah, best picture.
Anora, The Brutalist, A Complete Unknown, Conclave, Doom Part II, Emilia Perez, I'm
Still Here, Nickel Boys, The Substance, and Wicked.
First of all, I am so impressed for The Substance being nominated.
That's such a such a good turn of events.
(29:16):
And I already made an episode about The Substance, so go check it out.
You know, I'll look at The Substance in retrospective and how there may be a chance that now because
of these recent events, you might also have a shot at getting this award specifically.
But I'm really rooting for either The Substance, to be quite frank with you, or Conclave.
(29:39):
Like also don't get me wrong, I love The Brutalist, but I also think that we should take a stand
here.
A stand in that sense and like not for that.
Anora also may have good chances, but also again here, there's a bit of an issue with
the actress, Mikey Madison, talking about having no intimacy coordinator again.
(30:01):
So again, if the Academy wants to, not the Academy, like the Oscars want to celebrate
this type of movie, they're going to send a very specific message to other people.
So we shall see about that, we shall see about that.
But yes, I am rooting for either The Substance or Conclave, because Conclave was so good
(30:29):
and it seems like both movies are like done at a very...
Also yeah, just to bring back that topic, The Brutalist also was done with a very small
budget, but now it's clear, people are starting to question why is this movie done at such
a low cost?
Also it doesn't have any crazy scenes in there, but it has very gorgeous shots and very interesting
(30:52):
visual effects in that sense and visual representations, right?
So is it because AI tools have been taking down the costs in that sense of producing
the movie and editing the movie and all that stuff?
Is that the case?
People have been saying that's the only way that this movie can compete with bigger blockbusters,
(31:15):
that movies like these need AI to control the prices and all that stuff for making a
movie and I don't know man, that's so weird.
I really hope that there's no more information coming out of this because it's just getting
weirder and weirder because it turns out that most of this movie was also done through AI
tools and many people actually, it was a very exclusionary type of production because of
(31:40):
the way the tools work basically, only a few people can be in their room, that I'll be
so pissed personally.
But yeah, Conclave and The Substance also pretty low budget, but it seems as of now
that they were both done without the aid of any AI tool.
At least I'm putting my money down for The Substance because I've seen the interviews
and the behind the scenes and I know for a damn fact everything was actually made with
(32:05):
props.
So that explains low cost in my opinion, but also it's also testament of how you can still
navigate this whole shebang of the AI advent in that sense.
So yeah, The Substance I'm rooting for you, but also you Conclave.
I really would be happy with both.
(32:25):
Now best actor, Adrian Brody for The Brutalist, Timothy Chalamet for A Completely Unknown,
Norman Domingo for Sing Sing, Ralph Feeney for Conclave and Sebastian Stan for The Apprentice.
Here now, The Brutalist and Adrian Brody won the Golden Globe I believe and if I am, well
at least I'm expecting Hollywood to take a stance against this whole thing, they're not
(32:49):
going to award him anymore.
So I personally think, and to be fair, I watched the movie The Brutalist, I really enjoyed
it, but I would say out of all these performances, I loved Timothy's the most.
And I actually think he may have a good chance this year.
If he wins, I'll be so happy.
I think Timothy in A Completely Unknown was revolutionary for me.
(33:10):
I've seen his ranges here a lot, like in Wonkai as well, even like last year, whatever, and
then, you know, Dune and all these other movies, but I think A Completely Unknown really showed
me the extra step that he's willing to take and like how much of a chameleon he is and
how he can like interpret so many different types of characters.
So I think he deserves this win.
(33:32):
I'm sorry, but he does.
Then, best actress, here it gets very interesting.
Demi Moore, The Substance, period, period.
Mikey Madison in Anura, Carla Sofia Gasson, Emmie De Perez, Cynthia Erivo, Wicked, and
then Fernando Torres.
I'm still here.
Um, do I say already?
Well, I don't know.
(33:52):
But anyways, I am rooting for Mikey Madison or Demi Moore, like Mikey Madison in Anura
was so cunt, cunt, but also Cynthia.
Cynthia Erivo was also incredibly wicked.
I don't know, man.
The girls have killed it.
I would say, but if I have to be completely honest, I would want Demi Moore to win this
(34:16):
award.
Like she was, first of all, overdue flowers for her, but also, I mean, and also Golden
Globes already awarded her for best actress in drama or whatever in the movie.
She deserves this win.
She was so good in this movie.
She literally did so much, but also Cynthia Erivo pretty much did the same.
(34:39):
Like both of these people, both of these two women did a lot of very impressive stunt work
and like went through a lot of transformations for this movie and also the performances were
incredible.
So I would say Demi, I think it's between Demi Moore and Cynthia Erivo.
I actually would love to see Cynthia as well win, to be fair.
I would be happy with either of them, to be quite frank with you.
(35:01):
My personal bias is Demi Moore just because I love the movie so much, but either way,
it's gonna slay.
Best supporting actress Monica Barbera, A Complete Unknown, Ariana Grande, Wicked,
Felicity Jones for The Brutalist, Isabella Rossellini, Gunn-Clave, Zoe Saldana, Emilia
(35:21):
Perez.
Now here, what do I want?
This is a tough choice.
Ariana Grande was incredible in Wicked, I would say, so good.
She was made for that role.
But I think, just because like I think it's also her very first role, role that gets,
you know, a spotlight, I don't know.
I want to see more of her range, I guess, because that's one of the first movies that
(35:45):
I've seen of hers that where she shows like proper, like a probably maybe it's like actually
the first proper movie, like I'm talking about a big theater release movie, but she was incredible.
So I am not sure.
Isabella Rossellini in Gunn-Clave was so, Gunn-Clave, she was so cunh.
She was so good.
(36:12):
Personally would want, if only like Felicity Jones and Zoe Saldana were not linked to those
two movies.
You know what, Ariana Grande, that's what I'm saying.
I'm going to say that.
I'm going to say Ariana Grande.
I'm going to say Ariana.
Arianko, best supporting actor, Yura Borisov for Anorah.
(36:35):
Yes.
Karen Culkin, Ariel Payne, Edward Norton, a completely unknown, Guy Pearce, The Brutalist,
The Dirty Strong, The Apprentice.
Yura, 100%.
I cannot stress enough.
He was so good in this movie.
He needs to win that.
Even though I don't know if he's going to win, but they'll be so good.
The best director, Jack Aldeard for Emilia Perez, Sean Baker for Anorah, Brady Corbyn
(36:59):
for The Brutalist, Cora Lee for Ja, For The Substance, James Mangold, a completely unknown.
Now this is interesting because Sean Baker, very interesting director I would say, but
also Cora Lee for Ja, For The Substance.
She honestly really did that in this movie.
If you go and watch, like the way she also did it, the full movie was mostly shot in
(37:22):
France, I did my previous episode, and she add everything down to the smallest detail.
She literally sketched every single scene in this movie.
Maybe give it to her.
Maybe give it to her.
I don't know.
I'm going to skip the screenplay awards in that sense.
(37:45):
Oh, best original score, The Brutalist, Conclave, Emilia Perez, Wicked, and The Wild Robot.
I think Wicked is going to win this one to be quite frank.
Wicked cannot win in best original song because there's no original song in Wicked.
They were all taken from the musical.
So I would say for best original song, maybe we'll go to one of the Emilia Perez songs
(38:06):
to be fair.
So where is, oh no, those are not a completely unknown either to be fair.
It's not original song.
So maybe that will be one of the Emilia Perez songs to be fair.
It might be one of the winners.
Best animated feature, I want to talk about that.
(38:28):
Flo, Inside Out 2, The More of a Snail, Wallace and Gromit, Vengeance Most Feral, and The
Wild Robot.
Now here, I think it's going to be between The More Wild Robot and Inside Out 2.
And I think there might be actually a good chance, even though I honestly loved Inside
Out 2 More compared to The Wild Robot.
The Wild Robot has had such a big, like critical acclaim that I think it might have a big chance
(38:54):
of winning it.
So I think I'm going to put my bets on The Wild Robot, but I loved Inside Out 2 More,
just saying.
Costume design, Wicked, Nosferatu, Nosferatu!
I could be unknown, Conclave, Gladiator 2.
I think it's going to be Wicked to be fair for costume design, but I think also I could
be unknown in terms of costume design.
(39:16):
Conclave, Slay, but also I don't know, I don't think it's going to win that.
Gladiator 2, whatever.
And Nosferatu.
Nosferatu honestly should also be allowed a little grace here, because it's so good.
Best makeup and hair styling, A Different Man, Emilia Perez, Nosferatu, The Substance
and Wicked.
Makeup and hair styling, makeup and hair styling, makeup and hair styling.
(39:36):
I loved Wicked to be fair for that, and costume design as well.
But also the work that they've done for the makeup and hair styling in Nosferatu, like
the very 1830s look there was incredible.
I don't know man, there's so much.
(39:57):
Best production design, Wicked, Brutalist, Doom Part II, Nosferatu, and Conclave.
I think Doom should win something, Doom Part II.
Cinematography, oh yeah there it is.
Best cinematography, Brutalist, Doom Part II, Emilia Perez, Maria, and Nosferatu.
I think Doom Part II should win this one, to be quite frank.
I would've said The Brutalist, but now I want Doom Part II to win.
To say that, Doom Part II or Nosferatu to be fair, because Nosferatu was that girl.
(40:21):
So yeah.
Best visual effects, Alien Romulus, oh period, period.
Better Man, Doom Part II, Kingdom of the Plants of the Apes, and Wicked.
Visual effects, Wicked, Wicked 100%, or Doom Part II.
One of those two has to win, I don't care.
So yeah.
And I guess that's it.
Whoa we really went through this quickly.
(40:43):
I mean, these aren't just my opinions, don't comfort me.
As I said, these are all my wishes now, because in the main categories, I really don't know
what's gonna happen.
I don't know what they're gonna go for, what they're gonna try to support now that this
whole drama has been engulfing the cinema, the film industry.
(41:05):
But yeah, very interesting stuff.
I would recommend, in any event, watching all these movies, in the main categories at least,
because they're all very good.
I think 2024 was overall an incredible season for the movie industry, for the film industry.
There were so many great, great movies, and you can see here, even though none of them
(41:26):
were like big blockbusters in terms of numbers and everything else, and traction.
But yeah.
Overall I'm satisfied with the nominations, even though my big, just one thing I wanna
share, my big disappointment was not having challengers in any, any category at all.
(41:51):
Not even best score.
Like are you kidding me?
Like what?
And for that I blame Recency Bias, I would say, because that movie came out very early
on in the year, like in 2024.
But I don't care.
The movie was incredible, man, incredible.
It is, as I said, my favorite movie of the year.
I don't care, and I'm so pissed that it got no nominations whatsoever.
(42:14):
Like I loved the acting, cinematography was impeccable, the way, like the shot of the
tennis ball as well was incredible.
The score, are you kidding me?
Are you kidding me?
Even to be fair, even the costume designs were incredible, but I think also the performances
were just so good, direction wise well, it was just impeccable.
(42:35):
I'm just so mad.
Louis Vuitton, you know must have been so pissed, and I bet they also sort of were not
impressed by Queer.
It should have been the other way around.
I think Queer should have come out first, and then it should have led the season with
uh, with uh, challengers.
Challengers, the challengers should have been the movie that should have come out during
(42:57):
the awards season and it should have won everything.
I don't care.
It was so damn good, and I'm so pissed about it.
Like come on.
Anyways, I'm gonna leave this episode with this like angry note, but justice for challenger,
justice for Luke, I don't care.
He deserved the world.
(43:18):
But yeah, look out for the um, other award season, uh, award shows that are like about
to air in the coming weeks.
The Oscars are so far away, I think they're like airing on the 3rd of March.
So far away, so far away.
But it will be interesting to see what's gonna happen with the other award shows as well,
to see what direction the critics are going towards.
(43:41):
So yeah, keep an eye on that.
I'll be covering any new stuff that comes out of this, of course.
So yeah, see you in the next episode.
Bye.
Hey, welcome to the Overshare pamphlet.
(00:25):
My name is Rob and I am the host of this one man show.
I'm going to be talking to you every Monday at 6am UK time.
Yeah, hello.
I sort of got every single intro of my episodes is just me giggling and cackling and doing
whatever.
But today, today, as you can see from the title I guess, we are going to be talking
(00:50):
about the Oscars, the Oscar nomination specifically, but also a bit of like drama, I guess, and
some controversy that has recently ensued in the movie space and specifically right
around this like award season.
(01:10):
So it's something that is quite concerning to be fair.
Like it really deals with, you know, specifically if you've been aware of the sag after strikes
and you know, the strikes that have been happening will happen last year and the year prior in
the movie industry, specifically regarding the use of AI and, you know, many workers
(01:36):
being very concerned about the possibility of being replaced by this new type of technology.
So it's yeah, and this whole discussion has, you know, reignited because it was reignited
because of the recent controversy surrounding two major movies that are well, where at least
before this scandal front runners for this award season.
(02:00):
So yeah, but yeah, so I'll basically be talking about the controversy, what it entails, what
are the consequences, what are the possible consequences of this and why people are so
up in arms about this.
And also I will be checking out the categories and the nominations of the Oscars and just
(02:21):
giving y'all my wish list of who should win because at this point I was about to like
do like a prediction of who is going to win.
But at this point, I think after this controversy, it's pretty much all up in the air, I guess.
And it's difficult to predict as well because of how unusual the situation is.
So we'll get into that.
(02:42):
But anyways, first off, you already know Sunday week, you can find these songs, by the way,
in my playlist of the month called the overshadow pamphlet, songs of the week dash January
2025.
So it's on Spotify, you can go check it out.
It has all the songs of the week for each.
Well for this month, but there's plenty of other players for each month.
(03:06):
So go and listen at your own risk.
First off, first off, first off is actually, you know what?
I want to start with this one.
I don't care sports car, take me great.
I am so fucking obsessed with this song.
I cannot like tell you how many times I've really listened to this.
(03:27):
It came out of the it came out this Friday.
I'm recording on a Sunday and I've listened to this so many times.
I cannot stop playing this song.
I'm not kidding.
This is probably going to be definitely will definitely going to be like the most streamed
song of the month for me already.
But she has the potential to be a big, big song for this year for me.
(03:50):
But yes, this is a new single from her upcoming studio album called So Close to What.
We already had two other offerings from this, which were two hands and it's okay.
I loved it's okay.
I'm okay.
I'm indifferent to two hands personally.
I don't really know.
I don't really like the song that much, but it's okay.
(04:11):
I'm okay was a good, good song, but I still think this is the best song as of now that
came out of this project.
And I think this should have been the first single personally or maybe the second one.
I don't know, but definitely not so like late.
I mean, to be fair, it's still the month.
The album is still like one month away from being released.
So there's still plenty of time, but I think this song is just pop perfection.
(04:37):
Like it's just so good.
And honestly, I'm surprised that the song feels quite complete despite being two minutes
and 40 seconds is definitely better than Greedy.
Greedy was like literally a ringtone, like two minutes and 10 seconds or something.
This feels more like a complete song, I guess because like there is a proper outro, like
(04:59):
the, I guess the bridge and the outro are like linked in a way.
Like there's no third verse, like third chorus, of course, but the outro and the bridge being
linked sort of makes it feel like it's a complete song and a full length track.
But I love it.
(05:19):
This is Greedy 2.0, but I think I would dare to say it's even better than Greedy.
Like I really love it.
This is definitely like in the same vibe though, in the same sphere of Greedy, like that Timberland
type of production, like the very Y2K type of production.
The Britney influence is very big.
I've seen people talking about also buttons by the Pussycat Dolls in terms of like precautions
(05:43):
and everything.
And it is also giving that, I guess it's very sultry, very sexy, very, very fucking good.
Let me just, I'm just gonna talk a bit about this song because like it's, I've been listening
to it so many times and I try to understand why I like it so much.
And I think I'm like there, like I understand what it is.
It's a combination of like many things.
First off, the production I would say is stellar here.
(06:06):
Like it's so good.
The precautions are like the, what is it called, the sync drums or something.
Like that type of like Timberland percussion is just so good.
The bass work in this one is incredible, especially in the bridge slash outro part.
Where she goes almost like, oh my guy, you don't want to waste my time.
(06:26):
Anyways, but that part is the bass there is just going fucking crazy, insane.
Synth is just incredible.
Ryan Serra I think produced this.
So finest work ever done.
He collaborated with so many like pop artists already.
So he's a very well seasoned producer.
So incredible.
It was also behind Greedia I think.
So that makes sense.
But this is probably the best collaboration I've ever had.
(06:48):
Like this is the best track they've done.
So the production is one big thing of course.
But I think also the vocal performance in this and like the melodies used in the song
are just out of this world.
Like they're just like so perfect.
Like they're so sultry for the subject matter as well.
(07:09):
And I think also the lyrics are actually very, very good for once.
Like it's not supposed to be like a very deep song anyways, but I think it's just like very,
you know, sexual without being too direct, which is probably sometimes even the best
thing ever about it.
But I don't know, like the first verse just so cool.
Like hey cute jeans, take mine off me, you know, that stuff.
(07:31):
Incredible.
We can share one seed.
You know, like so good.
But also, yeah, as I said, like her delivery is just impeccable, like so sultry.
And then it goes into like the very high pitched falsetto pre-chorus, which is perfect for
in terms of contrast with the chorus.
(07:51):
The chorus is instead like very, it's a whispered chorus, like yin yang in the song basically.
It's so, so good.
So good.
And the best part is that also the first chorus and the second chorus are slightly different
in terms of I guess vocal stacking.
(08:11):
Like the first chorus is very bare in that sense vocally wise.
Like it's just one or two maybe vocal stacks and that's it.
But then the third, sorry, the second chorus, which is repeated, is just so good, so intense
and like so many different vocal layers, just like different high pitches and like low pitches
as well.
So it's just so good.
And then you get into like very explosive bridge outrush.
(08:35):
It's just incredible.
And then the synth at the beginning and at the back is just like so, like the siren sound
is just...
And then the video.
The video compliments the song in a very weird way.
The only thing I have to say about that is that she talks a lot about, well the song
is called Sports Car, but not in a single frame of the video, you see a sports car.
(08:57):
So what are we doing there?
Like you had a sports car in the previous video, Two Hands, but it should be this one.
I'm just saying.
But anyways, go stream it.
This is the best song I've ever created.
I don't care.
Like I knew this in every playlist I could ever make basically.
So so so damn good.
(09:19):
Yeah, then I have a lot here.
I started making like a house playlist on my profile and I came across this K-pop track
called Official by iChillin and it is so nice.
(09:42):
If you like house music, you love this track.
It's just pure house music and it's just, it's like the good combination between like
house and K-pop because it's like still very much like out there in terms of K-pop melodies
and production, but it's still very much house, western house music, you know, like British
house I guess music, European house.
(10:03):
I don't know, but it's just incredible.
I have to also give a side note to this group.
Miami also another track by the same group in the same EP, I believe.
Also super good.
So I'm keeping an eye out for this girls.
Like these two girls, this group is like, I don't know, I think it's made out of seven
people or something, but girl, what are we doing?
(10:26):
It's just incredible.
Like I am so impressed and they have very few streams on Spotify, so I'm surprised,
but this song is just generally like house perfection.
I just cannot recommend any better song than this one right now.
So yes, Van, Legendario by Nathy Beluso is just so good as well.
(10:54):
Pop music just rocks.
I'm so sorry, but Nathy Beluso, she's a Latin American singer and she has always been on
my radar anyways, because I have been listening to her.
Like she has a very interesting approach to music.
She's in between of a rapper and a singer and she's very dramatic in the way she performs
(11:20):
and all.
Like listen to Mafiosa, for example, by Nathy Beluso and you'll understand what I'm talking
about, but she is very charismatic as a performer and everything.
So I am always looking out for her songs.
My favorite track by her in general was Delito.
(11:45):
That was one of my favorite songs ever, but now she came out with a new album recently
and this is called, well, Grasa I think is the album name, but Legendario is my favorite
track on that album.
I'm sorry, but it is, it is.
So go listen to that if you want a bit of that Latin pop in there.
So production wise it's more pop and almost hyper pop.
(12:12):
Not really hyper pop, but kind of.
That bratty sound is there definitely.
Also apologies for the sound in the background, but I need to keep my window open because
I am hot.
That's it.
So I think I also want to include this track called, oh, I Want You Yesterday by Wallace
(12:47):
the Jester.
The visuals for this are crazy.
They remind me a bit of, for this album in general, of Cry Baby by Meli Martinez, but
this song is like interesting.
Like it has that circusy production at the beginning and throughout the song, but she's
just like very, I don't know if I would categorize her as, well this might be a ballad hopefully.
(13:15):
I don't know, I'm not entirely sure, but this song is really, really good.
And I need to check out the album I think because I am intrigued by, I like to also
flash in a pan.
So yeah, I need to check out the Jester as soon as I can.
But I Want You Yesterday is my favorite track as of now.
I need to check out the album as I said.
It seems like she's getting into that singer-song-writery camp, probably in a very unique way sound-wise.
(13:43):
So I'm intrigued.
I'm intrigued.
I'm sad.
I'm sad.
I'm sad.
I'm sad.
So yeah, these are the songs.
I have so many that I saved in that sense because of the, actually you know what, did
I talk about this one already?
I can't remember.
Let me see if I talked about this like the other time.
What was it?
(14:03):
But yeah, the songs are decided, like you can find them in the playlist.
It is a big, big playlist to be fair already, even though I started like a bit late.
Actually yeah, I need to, I haven't talked about this.
Fergie, what the fuck?
I never thought I was going to talk about a Fergie song, but Tension by Fergie is just
(14:29):
such a good house track.
I think it is house.
I would classify it a bit as a house track.
So like typical house, but it's really, really good.
And it gives me brat vibes a bit.
I don't know why.
I said on my stories like RIP, on Instagram, RIP Fergie, You Would Have Loved Brat, because
this song is sexy and bratty and just really, really good.
(14:53):
I think Fergie would fit so well into the hyper pop scene.
I cannot stress it enough.
So yeah, like thank you for this track, honestly.
Like so good.
I'm going into it.
It's very, very good.
I am impressed.
It has a very like electric guitar-y type of production as well.
(15:15):
Very cool, very cool stuff.
But yeah, without further ado, let's get into this topic.
Well, interconnected topics, I guess, but it's just one big topic, I guess.
So I think I want to start first with the controversy, the drama here, and then I want
(15:37):
to get into the Oscar nominations because I need to first explain why I'm not going
to give you guys my predictions specifically.
So what happened?
Very recently, an editor for the movie called The Brutalist had an interview with a news
(16:04):
anchor recently, a news tech, I don't know, tech news website or something, I don't know.
And it was probably like last week basically.
And he, by the way, this website is like very low key.
It's called Red Shark News.
So basically this is a news website that is not really popular in that sense.
(16:29):
It's not really like a big trade as of now, but it gained so much traction because he,
well this editor started spilling so much stuff on this movie that shouldn't have been
said out loud.
He admitted that basically while he was editing the movie, The Brutalist, he used an AI software
(16:54):
to amend the accent of the two actors, of some of the two actors in some scenes.
And the reason is because this movie, The Brutalist, is basically about a Hungarian
architect that started the Brutalist movement basically.
(17:18):
And it's just like a full story about that.
But the main actor playing this role is British.
And he had to put on an Hungarian accent while speaking in English.
And it wasn't, according to this editor, as authentic as it could have been.
And so he used this software called Resspeacher, I think, and basically amended the accent
(17:45):
of the two actors actually in a dialogue.
And now you may think, what's so bad about that?
Why is that such a big deal?
And isn't it the same thing as using autotune or whatever, all those things?
Like, well, it's not.
(18:05):
Like let me explain specifically why.
First off, the context here is that for the past two years, or almost three, I think,
the entertainment industry has been in the pits of hell because a little strike, a little
big strike happened not too long ago about specifically the usage of AI in film production
(18:33):
and movie production.
And there were so many concerns from the workers of being replaced by AI, so many people losing
jobs because of these tools used to basically automate a bunch of stuff that was done by
previously by humans, by human people.
And so actors, coworkers, and everyone involved in production and everything else went on
(18:53):
strike for a long time, which caused further delays in the production of movies, which
also then therefore caused a lot of losses in earnings and all that stuff.
It slowed down the entire business.
It was a catastrophic event for many movie productions and many people involved.
But it was for the best in the sense that the strike itself, because they really needed
(19:17):
to strike a deal in terms of contracts and on how AI tools are used and for usage of
that, which is still not completely satisfactory, to be fair, because there are still so many
great areas and AI is such an interesting area that is developing so fast.
And legislation, as I said, also in one of my many episodes about AI, is not unfortunately
(19:39):
keeping up with the advancements in this field, just purely for the way the law works in general.
It takes a long time to have laws come into place and all that stuff.
So that strike itself was vital for the longevity, I guess, of the industry and the workers included
in that.
(20:00):
And so you would think that after this whole mess, these accidents would be avoided.
And again, why is it so big?
People are saying, oh, it's just a tool.
No one has been fired.
Like this person used an AI tool.
No one was replaced in that sense.
But this is just an incident that can cause a major leeway.
(20:22):
It can lead to way bigger issues down the line, like way bigger issues.
And the very important matter here is that the brutalist is and was, before this accident,
a major front runner for the award season.
So if this movie won, it already won so many awards at the Golden Globes before the controversy
(20:45):
happened, basically.
And so if the next few award ceremonies award this movie as well, despite the controversy,
then any movie is going to be, from then on, any movie producer is going to be tempted
to use AI to perfect their movie.
And it's going to be, oh, if I want to win a Grammy, an Oscar now, I have to start using
(21:10):
AI.
Or like, if I want to win any awards, I can actually use AI now and no one will care.
So completely defeating the purpose of the, you know, of the structure in the first place.
So that's major.
That's a major, major incident.
This shouldn't have happened, or at least if it happened, it should have been kept on
the wraps.
And this is not the only movie also in the run for Best Picture and others, like the
(21:33):
Indie Fart Runners as well as Critically Acclaimed that has been exposed to have used AI tools.
The other one is, of course, Amelia Perez, which also used, well, I think the editors,
the vocal editors there used AI tools to enhance the musical performance, the singing performance
of one of the main actresses to make her reach higher notes.
(21:58):
So yeah, the problem here is like, people are just defending like these projects are
saying like, oh, it's just like, it's just a tool.
No one has been replaced.
We're not talking about replacement.
There's still judgment behind these things.
People are using these AI tools as only tools and there's no automation completely here.
But that's what I'm saying.
(22:19):
Like first off, if that was the case, it should have been made clear from the beginning.
Why was it kept on the wraps then?
You know, like, you know, Loki, you've done something wrong or like you've done, you've
gone against your peers with, you know, I've gone on strike for so long, you know?
And second, again, I said today is just like a matter of an accent being fixed or tweaked
(22:42):
and or like a high note being extended or like a pitch being altered.
Tomorrow it's going to be everything else, even actors themselves being replaced by,
you know, and it's already happening with like, you know, deceased actors and all that
stuff.
So oh, God knows where this is going to lead us.
You know what I mean?
(23:02):
So what I am saying is one is not a simple movie that no one cared about.
It's a major front runner that is being awarded for, you know, it's, you know, incredible
cinematography and everything else and performances.
But also, I think specifically it's very weird for both movies, for both, for both, you know,
(23:23):
I mean, that Perez and the brutalist that I was used here in a very interesting way,
like that defeats the entire purpose of both movies.
So for a minute, Perez, which is a musical, by the way, they used as I like a tool to
like alter the pitch of one of the same one of the songs sung by one of the actresses
(23:44):
of the movie.
Right.
So meanwhile, you have another movie like Wicked that as far as we know, of course,
I don't know if there's any controversy about that, but only use live recordings, like live
recording, no alterations, no autotune, nothing to, you know, to have these performances in
the movie is just incredible.
Right.
(24:04):
But they've not been awarded and instead in the Golden Globes, I mean, Perez took home
a lot of those nominations should have, in my opinion, gone to Wicked then, knowing the
controversy.
So why are we celebrating something that has been edited and over edited so many times
when the whole point of a musical is also the songs and the voices, right?
When there are already movies are doing the same job in a very good way.
(24:28):
Right.
So that's already, you know, that defeats the entire purpose of, you know, a musical.
Right.
So that's one thing, or at least a very well made and like, you know, naturally, like,
you know, a natural, I don't say not fully intelligent actress, because I'm sure they're
all very, very, you know, talented, of course.
(24:48):
But you know, it defeats the purpose, in my opinion, it's quite a big accident there.
This should have not happened or it should have been made clear from the beginning because
this is not nice.
But anyways, and for the Brutalist, the Brutalist is basically a movie about, you know, architecture
and like the human expression and through architecture and art.
(25:13):
Right.
And this also the thing is, they used some AI tools to create some images during the
movie.
So like, what is human about that?
Where is the human expression in that it's made by a robot, a tool is not even made by
an artist like it would have been different if it was an artist making a, you know, a
graphic or whatever on computer or whatever.
(25:36):
It was literally made by a robot.
So that defeats also the purpose of that movie, in my opinion.
So it's a big stinker.
And people are now saying that maybe they are.
They are.
Well, I think they're saying that both movies now have completely been derailed by this
and they're no longer the front runners.
They may have lost the chances of taking on many awards at the upcoming awards, awards,
(25:59):
any more ceremonies.
So we'll see about that.
It's still, of course, not set in stone because these things change all the time in conversation
and are like, of course, going in all different directions.
But yeah, so that's why I'm also saying like that is a big, I mean, alteration to this
(26:21):
year's Oscars, because who knows?
I mean, I think we had a sort of an idea that it seemed already from the Golden Globes that
Amina Perez and the Broderlies were going to be the main from runners and like the main
awarded movies in that sense at the Oscars and every other place.
But now after this, it really is all up in the air.
We don't know what's going to happen.
(26:42):
We don't know what the different boards are going to vote for in that sense.
And I think also another big problem here is that, I mean, people are saying like all
the Oscars have already nominated them anyway, so they're going to win.
No, the nominations and the shortlist was done before this as well.
And they came out, the shortlist came out after.
But the voting has not happened yet for the Oscars at least as far as I know.
(27:05):
So I'll be surprised to know what happens there.
And it really depends on majorly the Oscars, because that's still the biggest show anyways,
like the biggest award show.
So whatever they set to do and whatever they decide to celebrate at the award season, it's
going to be a big game changer, I guess, for the long run and for the future of the industry,
(27:29):
I guess.
Because if they do allow these movies to win despite this controversy, then they're just
opening a floodgate and a kind of warm side is not going to be pushed back anymore.
So yeah, it's going to completely invalidate what happened at the strike.
(27:50):
So I am on this occasion siding with the technophobes.
Because I think it is also very weird.
You want AI tools to help you get your routine in check and all that stuff to help you with
(28:11):
your routine, but you don't want AI tools to replace your jobs.
You know, that's what we want.
We want AI tools to help you clean the house or whatever it is.
You don't want AI tools to replace your job so you will have to clean the house yourself.
You know what I mean?
So it's very important.
It's very crucial.
Like I don't know, I cannot stress it enough.
It's like not a simple silly game in that sense.
(28:32):
So anyways, I'm getting so dramatic today, but I love the drama personally.
I love the drama.
I love the drama.
But yeah, let's talk about nominations.
Let's see what I'm going to tell you basically what I think what I wish should win at these
awards.
I'm not sure what's going to happen, as I said, but we'll go with that.
(28:54):
We'll go with that.
So yeah, best picture.
Anora, The Brutalist, A Complete Unknown, Conclave, Doom Part II, Emilia Perez, I'm
Still Here, Nickel Boys, The Substance, and Wicked.
First of all, I am so impressed for The Substance being nominated.
That's such a such a good turn of events.
(29:16):
And I already made an episode about The Substance, so go check it out.
You know, I'll look at The Substance in retrospective and how there may be a chance that now because
of these recent events, you might also have a shot at getting this award specifically.
But I'm really rooting for either The Substance, to be quite frank with you, or Conclave.
(29:39):
Like also don't get me wrong, I love The Brutalist, but I also think that we should take a stand
here.
A stand in that sense and like not for that.
Anora also may have good chances, but also again here, there's a bit of an issue with
the actress, Mikey Madison, talking about having no intimacy coordinator again.
(30:01):
So again, if the Academy wants to, not the Academy, like the Oscars want to celebrate
this type of movie, they're going to send a very specific message to other people.
So we shall see about that, we shall see about that.
But yes, I am rooting for either The Substance or Conclave, because Conclave was so good
(30:29):
and it seems like both movies are like done at a very...
Also yeah, just to bring back that topic, The Brutalist also was done with a very small
budget, but now it's clear, people are starting to question why is this movie done at such
a low cost?
Also it doesn't have any crazy scenes in there, but it has very gorgeous shots and very interesting
(30:52):
visual effects in that sense and visual representations, right?
So is it because AI tools have been taking down the costs in that sense of producing
the movie and editing the movie and all that stuff?
Is that the case?
People have been saying that's the only way that this movie can compete with bigger blockbusters,
(31:15):
that movies like these need AI to control the prices and all that stuff for making a
movie and I don't know man, that's so weird.
I really hope that there's no more information coming out of this because it's just getting
weirder and weirder because it turns out that most of this movie was also done through AI
tools and many people actually, it was a very exclusionary type of production because of
(31:40):
the way the tools work basically, only a few people can be in their room, that I'll be
so pissed personally.
But yeah, Conclave and The Substance also pretty low budget, but it seems as of now
that they were both done without the aid of any AI tool.
At least I'm putting my money down for The Substance because I've seen the interviews
and the behind the scenes and I know for a damn fact everything was actually made with
(32:05):
props.
So that explains low cost in my opinion, but also it's also testament of how you can still
navigate this whole shebang of the AI advent in that sense.
So yeah, The Substance I'm rooting for you, but also you Conclave.
I really would be happy with both.
(32:25):
Now best actor, Adrian Brody for The Brutalist, Timothy Chalamet for A Completely Unknown,
Norman Domingo for Sing Sing, Ralph Feeney for Conclave and Sebastian Stan for The Apprentice.
Here now, The Brutalist and Adrian Brody won the Golden Globe I believe and if I am, well
at least I'm expecting Hollywood to take a stance against this whole thing, they're not
(32:49):
going to award him anymore.
So I personally think, and to be fair, I watched the movie The Brutalist, I really enjoyed
it, but I would say out of all these performances, I loved Timothy's the most.
And I actually think he may have a good chance this year.
If he wins, I'll be so happy.
I think Timothy in A Completely Unknown was revolutionary for me.
(33:10):
I've seen his ranges here a lot, like in Wonkai as well, even like last year, whatever, and
then, you know, Dune and all these other movies, but I think A Completely Unknown really showed
me the extra step that he's willing to take and like how much of a chameleon he is and
how he can like interpret so many different types of characters.
So I think he deserves this win.
(33:32):
I'm sorry, but he does.
Then, best actress, here it gets very interesting.
Demi Moore, The Substance, period, period.
Mikey Madison in Anura, Carla Sofia Gasson, Emmie De Perez, Cynthia Erivo, Wicked, and
then Fernando Torres.
I'm still here.
Um, do I say already?
Well, I don't know.
(33:52):
But anyways, I am rooting for Mikey Madison or Demi Moore, like Mikey Madison in Anura
was so cunt, cunt, but also Cynthia.
Cynthia Erivo was also incredibly wicked.
I don't know, man.
The girls have killed it.
I would say, but if I have to be completely honest, I would want Demi Moore to win this
(34:16):
award.
Like she was, first of all, overdue flowers for her, but also, I mean, and also Golden
Globes already awarded her for best actress in drama or whatever in the movie.
She deserves this win.
She was so good in this movie.
She literally did so much, but also Cynthia Erivo pretty much did the same.
(34:39):
Like both of these people, both of these two women did a lot of very impressive stunt work
and like went through a lot of transformations for this movie and also the performances were
incredible.
So I would say Demi, I think it's between Demi Moore and Cynthia Erivo.
I actually would love to see Cynthia as well win, to be fair.
I would be happy with either of them, to be quite frank with you.
(35:01):
My personal bias is Demi Moore just because I love the movie so much, but either way,
it's gonna slay.
Best supporting actress Monica Barbera, A Complete Unknown, Ariana Grande, Wicked,
Felicity Jones for The Brutalist, Isabella Rossellini, Gunn-Clave, Zoe Saldana, Emilia
(35:21):
Perez.
Now here, what do I want?
This is a tough choice.
Ariana Grande was incredible in Wicked, I would say, so good.
She was made for that role.
But I think, just because like I think it's also her very first role, role that gets,
you know, a spotlight, I don't know.
I want to see more of her range, I guess, because that's one of the first movies that
(35:45):
I've seen of hers that where she shows like proper, like a probably maybe it's like actually
the first proper movie, like I'm talking about a big theater release movie, but she was incredible.
So I am not sure.
Isabella Rossellini in Gunn-Clave was so, Gunn-Clave, she was so cunh.
She was so good.
(36:12):
Personally would want, if only like Felicity Jones and Zoe Saldana were not linked to those
two movies.
You know what, Ariana Grande, that's what I'm saying.
I'm going to say that.
I'm going to say Ariana Grande.
I'm going to say Ariana.
Arianko, best supporting actor, Yura Borisov for Anorah.
(36:35):
Yes.
Karen Culkin, Ariel Payne, Edward Norton, a completely unknown, Guy Pearce, The Brutalist,
The Dirty Strong, The Apprentice.
Yura, 100%.
I cannot stress enough.
He was so good in this movie.
He needs to win that.
Even though I don't know if he's going to win, but they'll be so good.
The best director, Jack Aldeard for Emilia Perez, Sean Baker for Anorah, Brady Corbyn
(36:59):
for The Brutalist, Cora Lee for Ja, For The Substance, James Mangold, a completely unknown.
Now this is interesting because Sean Baker, very interesting director I would say, but
also Cora Lee for Ja, For The Substance.
She honestly really did that in this movie.
If you go and watch, like the way she also did it, the full movie was mostly shot in
(37:22):
France, I did my previous episode, and she add everything down to the smallest detail.
She literally sketched every single scene in this movie.
Maybe give it to her.
Maybe give it to her.
I don't know.
I'm going to skip the screenplay awards in that sense.
(37:45):
Oh, best original score, The Brutalist, Conclave, Emilia Perez, Wicked, and The Wild Robot.
I think Wicked is going to win this one to be quite frank.
Wicked cannot win in best original song because there's no original song in Wicked.
They were all taken from the musical.
So I would say for best original song, maybe we'll go to one of the Emilia Perez songs
(38:06):
to be fair.
So where is, oh no, those are not a completely unknown either to be fair.
It's not original song.
So maybe that will be one of the Emilia Perez songs to be fair.
It might be one of the winners.
Best animated feature, I want to talk about that.
(38:28):
Flo, Inside Out 2, The More of a Snail, Wallace and Gromit, Vengeance Most Feral, and The
Wild Robot.
Now here, I think it's going to be between The More Wild Robot and Inside Out 2.
And I think there might be actually a good chance, even though I honestly loved Inside
Out 2 More compared to The Wild Robot.
The Wild Robot has had such a big, like critical acclaim that I think it might have a big chance
(38:54):
of winning it.
So I think I'm going to put my bets on The Wild Robot, but I loved Inside Out 2 More,
just saying.
Costume design, Wicked, Nosferatu, Nosferatu!
I could be unknown, Conclave, Gladiator 2.
I think it's going to be Wicked to be fair for costume design, but I think also I could
be unknown in terms of costume design.
(39:16):
Conclave, Slay, but also I don't know, I don't think it's going to win that.
Gladiator 2, whatever.
And Nosferatu.
Nosferatu honestly should also be allowed a little grace here, because it's so good.
Best makeup and hair styling, A Different Man, Emilia Perez, Nosferatu, The Substance
and Wicked.
Makeup and hair styling, makeup and hair styling, makeup and hair styling.
(39:36):
I loved Wicked to be fair for that, and costume design as well.
But also the work that they've done for the makeup and hair styling in Nosferatu, like
the very 1830s look there was incredible.
I don't know man, there's so much.
(39:57):
Best production design, Wicked, Brutalist, Doom Part II, Nosferatu, and Conclave.
I think Doom should win something, Doom Part II.
Cinematography, oh yeah there it is.
Best cinematography, Brutalist, Doom Part II, Emilia Perez, Maria, and Nosferatu.
I think Doom Part II should win this one, to be quite frank.
I would've said The Brutalist, but now I want Doom Part II to win.
To say that, Doom Part II or Nosferatu to be fair, because Nosferatu was that girl.
(40:21):
So yeah.
Best visual effects, Alien Romulus, oh period, period.
Better Man, Doom Part II, Kingdom of the Plants of the Apes, and Wicked.
Visual effects, Wicked, Wicked 100%, or Doom Part II.
One of those two has to win, I don't care.
So yeah.
And I guess that's it.
Whoa we really went through this quickly.
(40:43):
I mean, these aren't just my opinions, don't comfort me.
As I said, these are all my wishes now, because in the main categories, I really don't know
what's gonna happen.
I don't know what they're gonna go for, what they're gonna try to support now that this
whole drama has been engulfing the cinema, the film industry.
(41:05):
But yeah, very interesting stuff.
I would recommend, in any event, watching all these movies, in the main categories at least,
because they're all very good.
I think 2024 was overall an incredible season for the movie industry, for the film industry.
There were so many great, great movies, and you can see here, even though none of them
(41:26):
were like big blockbusters in terms of numbers and everything else, and traction.
But yeah.
Overall I'm satisfied with the nominations, even though my big, just one thing I wanna
share, my big disappointment was not having challengers in any, any category at all.
(41:51):
Not even best score.
Like are you kidding me?
Like what?
And for that I blame Recency Bias, I would say, because that movie came out very early
on in the year, like in 2024.
But I don't care.
The movie was incredible, man, incredible.
It is, as I said, my favorite movie of the year.
I don't care, and I'm so pissed that it got no nominations whatsoever.
(42:14):
Like I loved the acting, cinematography was impeccable, the way, like the shot of the
tennis ball as well was incredible.
The score, are you kidding me?
Are you kidding me?
Even to be fair, even the costume designs were incredible, but I think also the performances
were just so good, direction wise well, it was just impeccable.
(42:35):
I'm just so mad.
Louis Vuitton, you know must have been so pissed, and I bet they also sort of were not
impressed by Queer.
It should have been the other way around.
I think Queer should have come out first, and then it should have led the season with
uh, with uh, challengers.
Challengers, the challengers should have been the movie that should have come out during
(42:57):
the awards season and it should have won everything.
I don't care.
It was so damn good, and I'm so pissed about it.
Like come on.
Anyways, I'm gonna leave this episode with this like angry note, but justice for challenger,
justice for Luke, I don't care.
He deserved the world.
(43:18):
But yeah, look out for the um, other award season, uh, award shows that are like about
to air in the coming weeks.
The Oscars are so far away, I think they're like airing on the 3rd of March.
So far away, so far away.
But it will be interesting to see what's gonna happen with the other award shows as well,
to see what direction the critics are going towards.
(43:41):
So yeah, keep an eye on that.
I'll be covering any new stuff that comes out of this, of course.
So yeah, see you in the next episode.
Bye.
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