Red Carpet Rosters Podcast
Your hub for film awards fantasy advice, betting advice, history, and the Oscars themselves.
Red Carpet Rosters Podcast
Guest Appearance with Paulo from Oscars Death Race Podcast
Paulo from the Oscars Death Race Podcast joins me as we talk about some potential fantasy contenders that have come out already along with what should be on our radar when film awards fantasy season kicks back up in October.
We also scratch the surface of international films breaking into the Best Picture nominee race.
Thank you to Paulo for being an awesome first guest. You can find him at the following links.
Letterboxd: https://boxd.it/1gyyX
Oscars Death Race Podcast: https://open.spotify.com/show/1H4k4ojRI8gDdE0JANfvAV?si=Z5zxx_OcQFePR7PDlXFR8g
Box Office Watch Podcast: https://open.spotify.com/show/3Ny5dDxQquInt5YKizlzdi?si=OOd1DFU5TPqAnwAUZ8lGYQ
Follow me on Twitter: https://twitter.com/RedCarpetRstrs
Email: admin@redcarpetrosters.com
Website: https://RedCarpetRosters.com
Blog: https://RedCarpetRosters.com/blog/
Red Carpet Rosters Fantasy Leagues FAQs: https://redcarpetrosters.com/faqs-rules/
Welcome to Red Carpet Rosters podcast, your hub for film awards, fantasy advice, betting advice, some history and the Academy Awards themselves. I'm your host, John Richards of Red Carpet Rosters.com, and I am thrilled to introduce you to my first guest ever to that Red Carpet Rosters podcast. He is host of the Oscars Death Race Podcast.
Paulo:Paulo.
John:Paulo, welcome. Tell us a little bit about your podcast.
Paulo:Hey, John. Glad to be on. Honored to be your first guest. Yeah. So I'm the host of the Oscars Death Race podcast. We just wrapped up our fourth season. The Oscars Death Race is essentially an online challenge to try to watch every film nominated for the Oscars. Not just the best picture winners, not just best picture nominees, not just the above the line nominees or winners. Everything down to production, costume, even all the movies for original song, even though you could just listen to the song, which I don't know why I do that to myself, but we do. There's a thriving community called the Academy of Death Racers, which kind of spun off of the Oscars Death Race subreddit. It's a way for me to make myself think a little bit more deeply about the films I'm watching for the Oscar's Death Race. On top of that, I also have some other podcasts, I think, notably maybe coming up later in the conversation. I also have the Box Office Watch podcast where we keep track of how much money movies are making and why, which I find is like an interesting way to look at the industry through two lenses, right? You have the one lens, which is like the artistic side of the industry, but then you also have the business side of the industry through the Box Office Watch and kind of how the two sometimes intersect or sometimes they don't. So it's a really interesting way, I think, for me to more deeply explore my love of film.
John:Oh, nice. Yeah, we'll definitely be getting into a little bit of box office Numbers later on. So, yeah, glad to have you on. And I love your slogan where you try to watch all the Oscar nominees or die trying. I know that I've almost died trying for that. And it's also worth mentioning that you are commissioner of the Parasite League for Red Carpet Rosters League, a league I was also honored to be in. I won't ask us how we did in that league because I don't want to lose a little bit of credibility, but we both did not win the.
Paulo:Final, so you were fine, right? I was the one who made a bad call. I thought Greg Fraser would make it into, as did everyone, right? Which cost me my first playoff round.
John:That's rough.
Paulo:Shout out to Nico for being a super active player in the league. He was really in there making lots of trades and waiver wires. So shout out to you, Nico.
John:Yeah, nico was the most active manager, I think in any fantasy sport I've ever been across the board. So shout out to him. So let's go back to the Oscars Death race. I know this year you're cutting it a little close, so I have two questions for you. What movie did you end the Death Race with and how much time was there between the end credits of that movie and 08:00 when the Oscar ceremonies began?
Paulo:So, this is a tradition that I have. It comes from the first season I did the Oscars death Race, where the first year I did the Oscars Death Race was the parasite year. And that year I was still figuring out how exactly do I want to do the Death Race? And it ended up being that the big one that was holding me back was breakthrough, which was the obligatory Diane Warren song for best original song was this Christian film of this kid drowning and the power of prayer bringing him back. Not a great movie, but I was like, well, do I need to watch the whole movie for the original song? So I essentially put it out to the community, right, and essentially got the feedback. Look, if this is the only film that you have left to watch and it would cause you to not complete the Death Race by watching everything, you have to watch it. So the first year, I mean, I got up to everything and then breakthrough was left, so I had to watch breakthrough. So I call it the breakthrough rule where you have to watch all the films for original song. So from there, it just kind of became a trend that maybe it's just kind of the nature of the way I do my death racing where I try to watch the films that have majority like a lot of nominations up front, leaving the films that maybe one or two nominations in the back, which usually tend to be some of the technical films, in particular, original songs. So it seems I've always ended on an original song film. So the next year, I believe, was Eurovision was a fun one to end on as the only original song nominee. But then the year after that for my third year, ended up being another Diana Warren song for Good Days, which wasn't that bad. Honestly. The Milo Kunis performance in that one was actually not that bad. But that led to this year where of course, at this point, it's just a thing, right, where I end my death faces on Diane Warren. So this year was tell it like a Woman, which forcefully came out online. So I was able to watch it there. But I also have a tendency to I think just because of the way that things have come out on streaming lately, I get a little bit overconfident. I was like, oh, yeah, I'm totally going to be able to catch all of these. I don't have to worry about going out of my way to some random theater in the middle of Connecticut to watch this. It just ends up that I end up then basically getting overconfident and have to watch a bunch of stuff in the last week. I think this year I had to watch nine features and ten sorts in the last three days, which was I kind of doing things myself. But then at the same time, it makes for a great story. I ended up finishing telling like a Woman as the credits were rolling with eleven minutes left, I actually had a bet with somebody on the server, because last year, previously with Four Good Days, I finished with seven minutes left. So the bet was, will I finish with more or less time than last year? So I actually won that bet. I actually beat my seven minutes.
John:Well, yeah, I definitely take you over there because seven minutes, that is not a lot of wiggle room.
Paulo:I mean, we were calculating it out and it was actually getting very down to the wire, actually.
John:Oh, wow. Yeah, no, we did an impromptu trip to La. To watch tell it like a woman. And that was before Sam Goldwin dropped a trailer on Valentine's Day. It's like, hey, it's coming streaming on Friday. It's like, oh, well, jeez, good that it got out. And you mentioned Connecticut, that we took a little train to Stanford, connecticut made a weekend out of it, and the hotel had Netflix on it. So we also crossed off two other movies. I Think I Lost My Body and Klaus were two Netflix animated features that year. So I'm glad we made the trip. And that's kind of the fun of the Oscars Death Race, right, is going to these extreme links to find that white whale of movie.
Paulo:Yeah, honestly, I think for me, like I said, I think nowadays, with the way that things are coming out a lot more frequently on streaming now, even right. Even Telling a Woman, which previously only appeared in a single film festival in Italy and then in La. For one weekend or whatever, right. Previously, that would have not have been something that would have gotten out. But it seems that the distributors are getting a little bit more wise. There's an audience for this kind of thing. So I think even though if they're putting it out a little bit more easily and you don't have to make the crazy cross country trips to see a film in a random theater, I think for me, honestly, it's more the community. And having this group of people all trying to achieve the same thing that makes Death Masing worth it.
John:Oh, yeah, I absolutely agree. All right, so let's shift gears a little bit and talk about some movies that have been released this year. So, last episode, I highlighted some films that could offer some fancy value, including Sundance Grand Jury prize winner. 1000 and 1001 comes out, I think, next week. But do you have any preliminary thoughts on this one, Paulo? Maybe Tyanna Taylor is worthy of a draft pick after her mass singer victory.
Paulo:Yeah, I don't know. Right. So it's really hard to call anything especially coming out of Sundance. I mean, obviously the last two years the Best Picture winner has been something outside of the typical fall festival film festival circuit. Right. Koda from Sundance releasing Then I Believe on Apple TV in August and then Everything everywhere. Being the first south by Southwest premiering film to win Best Picture. That being said, right, do we know who's distributing 1001?
John:Oh, gosh. Is it focus?
Paulo:I think it's focus. Right. So the thing is, I don't think Focus has had that much success, honestly, with pitching best pictures. And frankly, right. I was doing an analysis I was doing these analysis last season on the Oscar race subreddit just about like, what's a good predictor for whether a film will mostly be nominated for Best Picture. And it ended up being that. It turned out to be that. Yeah, you basically need to debut, at least appear, if not debut at at least one of the major fall film festivals or appear at Cance. Again, obviously, Koda and Everything Everywhere kind of being exceptions to that. But even then, Koda had the benefit of being Apple TV's first really big push for Best Picture, which is kind of like a curveball there. And then everything everywhere right. Had this huge narrative around it. And even if they didn't screen at various film festivals, a 24 still had the presence, right. Getting legacy awards for Michelle Gio and so on. Right. So they did a very good job at keeping top of mind. I'm not confident that 1001 is going to have that same late. This is releasing way early in the season. Now, as far as a draft pick for Red Carpet rosters, it could right. I mean, it could be one of those films that release a little bit early, does decently picks up, maybe not first round, but maybe late round pick for some of the critics film festival, the critics awards for director or directorial debut. I think it's her directorial debut or whatnot? Or actress. But yeah, I don't think it's going to be a major player, at least for the Oscars.
John:Oscars, sure. Yeah. So maybe something like a Gotham or Independent spirit. But AV Rockwell is the writer director of 1001, so she might double dip on points. And it's her feature debut. I talked last episode about two other debut feature directors. We have Jesse Eisenberg for writing and director, A 24 when you finish saving the world. And Michael B. Jordan for acting and directing. Creed three. And now we have AV Rockwell who wrote and directed 2001 last year. Charlotte Wells was the big sleeper pick writer director for After Sun. And I was fortunate enough to draft her in the 11th round. And she carried my team throughout the league and she went out drafted in some other leagues. I mean, there's always at least that one first time director who makes a lot of points. Looking at those three. Jesse Eisenberg, michael B. Jordan Avery Walkwell. Are you drafting one of those for breakthrough points? Which one? Which one is it?
Paulo:I think Michael B. Jordan probably could be actually a really good one just because the weekend we're recording this, john Wick Four comes out and it's looking to actually debut more it's looking to debut more than John Wick Three does, which is a rare case of a film growing in box office receipts each successive sequel.
John:Right.
Paulo:Another sequel that has done that, another series that's done that is the Creed franchise, which is actually now Creed Three is the highest grossing Rocky film of all time.
John:Oh, wow.
Paulo:Yeah. I mean, Michael B. Jordan making his directorial debut there and acting in it. I could very well see him getting a lot of points there. I also do want to shout out some other particularly Asian American I'm Filipino. Some other Asian American first time directors who I think might get maybe not get to the Oscars, but get some buzz as first time directors. Celine Song with past lives from a 24 gotten a lot of buzz. I believe that's coming out in May. And then we have Randall Park actually making his directorial debut for his film Shortcomings. A little bit less well reviewed, but still interesting to see his first time debut. And then there's another one called Nida Manzur with a film called Polite Society. She's a Indian British director. And the film looks really interesting. It's like a story about this younger sister who's upset that her older sister is getting married and tries to break up the wedding, basically. So it looks like a little bit of a comedy, little bit of a Hijinks type thing over there. Could play in a similar space to everything, every weird. But also the fact that she's British could also play well with the Baftas.
John:True. And get some breakthrough points there. And who knows, five of those names might just be the DGA first time director. Noms.
Paulo:Also, do you know who is a first time director this year?
John:Who?
Paulo:Michael Jelenik and Aaron Horvath. Do you know what they're directing?
John:No.
Paulo:The Super Mario movie.
John:Oh, my goodness. That's true. Because Domi, she got some breakthrough points for turning red. She won't get the DGA. Nom. Or they won't get the DJ. Nom. Because for some reason animated movies aren't good enough for those guilds. But yeah, who knows?
Paulo:Yeah, I'm just interested to see how the Mario movie does overall. I also bring up stuff later. There's a lot of good animated films coming out this year.
John:Oh, good. Looking forward to that. So we'll talk about future movies a little bit later. But right now. Are there any movies that have already been released this year other than the ones we talked about that might be on your radar come fancy draft time in October?
Paulo:Yeah, obviously. I think Creed, like I mentioned with Michael B. Jordan, has a decent start and I could see maybe getting like a sound in there for Creed as well. We'll see the Creed Francis has only had one nomination in the past and that was for Sylvia Sloan as support. So I don't know if it'll carry on to the other technicals, but let's see. We have cocaine bear, actually, which I just saw this past weekend. I think it has an outside sought at visual effects just because the bear is visible effect. They even kind of poked fun at it at the actual Oscar ceremony. I think honestly, it has a better sought at getting visual effects, I think, than Antman at this point.
John:I would agree because at least a short list because the visual effects branch likes creatures.
Paulo:Yeah, I mean, honestly, the visual effects branch, what they care about is actually are you doing something new? Not just how impressive it is, but are you doing something new with the visual effects is what really they're looking for. And I don't know if there was something new with cocaine beer, but the fact that the bear was out and about and in broad daylight I feel like if it's a lower budget film and they try to hide the CG in darker, the fact that they're doing the beer out and about in the daylight speaks a lot. The other one, I think I was looking through the list of films that came out. Nothing really stands out except for John Wick four perhaps. I could see it hasn't had a nomination yet. I'd love it to get a nomination for maybe Sound, perhaps with the bang bangs going on. But we'll see there and then, of course, our obligatory Diane Warren film 80. 80. So I would not be surprised if we see Diane Warren get her 15th.
John:Nomination this year and maybe first win her last movies. You mentioned, like, four good days and breakthrough. I mean, those movies are questionable at best, but 80 for Brady. And she also has another song called Found from a Netflix animated movie called The Magician's Elephant. She might even be a double nominee this year because Netflix has a good history with animated movies at least being nominated at the Oscars. But no, I just have a feeling Diane Warren is more like a draft and stash. You know she's going to get a nomination.
Paulo:Yeah, she's like a Jenny Beaven for costume.
John:Right. But I might be willing to spend a draft pick on Diane Warren.
Paulo:Oh, yeah, no, definitely. Definitely sees worth a draft pick. Just if only for the Oscar nomination, right?
John:Oh, true. Yeah. And we'll see because the Hollywood and Media Awards come out pretty early and they're not that good of a litmus test. But I mean, there'll be some good insights.
Paulo:They nominate a lot of stuff.
John:That's true. It's more of a census than anything else. Also, the Berlin Film Festival was last month and I will admit I haven't seen any of those awarded films, but the Golden Bear went to a Fritz documentary called on the Ottomont. It's a little rare to see documentary when best film at anything, including film festivals. So I imagine this documentary will appear on a lot of prediction lists that come out in October at least or September early in the season. So if it becomes France's official submission for the best international category in the Academy Awards, it has potential of becoming a double nominee. Two years ago, Flea, of course, was a triple nominee.
Paulo:I think Honeyland.
John:Yeah, Honeyland was a double nominee as well for North Macedonia, I believe. And of course, I haven't seen it. But what are your first impressions on seeing on the ottoman winning? Should on the ottoman be worthy of a draft pick for documentary?
Paulo:Yeah, it's hard to say. I mean, obviously we had last year Aldo Beauty and bloodset winning the Venice International Film Festival, being one of the first documentaries in the world to do that. Obviously got nominated for documentary eventually as well, even though it didn't win. I don't know. Looking historically, though, I was looking at the Golden Bear winner stats and they actually haven't been nominated at the Oscars since 2017 when Hungary's on Body and Soul was nominated. You do have some winners getting some buzz last year, particularly for the international category. Alcaras from last year was Spain's entry for international feature. Did get nominated. Bad luck. Banging or looney ****. Romania 2021 didn't get nominated. So I think Berlin is just a little too early in the season to really have an impact lit for kind of unfortunately, the recency bias to some degree. I mean, the fact that it is a documentary probably puts it at an early start to the list. But I mean, again, there's so many stuff that's going to there's so much stuff that's going to come out between now and then. It's hard to really say that it'll keep that momentum going.
John:That's true. Last year you mentioned Alcaros winning the Golden Bear and that win got it on quite a few prediction lists early in the film war season and it was drafted in most leagues because of those predictions. But it was a bust. That was a narrative feature, not a documentary. And you mentioned all the beauty and bloodshed. Yeah, it didn't win, but it scored a lot of points for being a documentary. And then last year Silver Bear winners didn't really register for fancy purposes either. I think we probably have to wait until the official submissions start coming out. But of the Silver Bear winners, Germany may submit a fire, portugal may submit Bad living if those two countries submit those movies, maybe it will turn into some fantasy points, but that's way too early to determine, right?
Paulo:Yeah, like I said, if films show up at international film at film festivals in the Falls, like Toronto Telluride or so on, if they show up there not even as a main competition film, but just are screened there to keep it on mind for critics. I think that's probably a better indicator of which films have the best chance.
John:Yeah, I agree. So let's talk some Oscar history. You started the Death race with Parasite year. That's the 2019 2020 season. Parasite broke the one inch barrier and became the first foreign language film to win best picture, had six Oscar nominations and was only the 6th best picture nominee to also be nominated for best international best foreign language film. I ended up winning four Oscars, best picture, best original screenplay, best international feature, and the other two nominations were best editing, which went to Ford versus Ferrari and best production design, which went to once upon a Time In.
Paulo:Hollywood before I even planned on death racing. I was actually at the New York premiere of Parasite at the IFC and Bong Jun Ho actually came out and did the Q and A afterwards. So I think he actually referenced that at the Independence Theater Awards, where he mentioned like, I was in the theater in New York and I saw this rat running around. I'm pretty sure that was the theater that I was in. But, yeah, that was honestly wanting to see how Paris I did add the best picture and it was like, I want to see if I wanted to win, I had to be intelligent about not just be a biased fanboy for I want this film to win. I want to see all at least the best picture nominees. And I discovered the whole death might as well do everything since it's getting nominated for so much. So, yeah, that's how that happened in 2020 2019. So, actually, I took a break from death racing. Well, kind of I had a trip to the Philippines, actually, and I posted on the Oscars death race submitted, like asking, hey, I'm on this flight overseas. What films should I try to watch that might be nominated? This is before nominations came out that might be nominated later on. And Dakota from the Contra Zoom podcast, friend of the so actually, this is where I first started interacting with him on the subreddit. He was pitching like, oh, you should watch Downtown Abbey for costume design, ad astra for sound, which did get nominated, and then Gemini Man for visual effects, which did not get nominated. It was not a great movie. So, yeah, I kind of gave one for three there. Yeah, I gave the code a little bit of **** for making me watch Gemini Man.
John:Oh, my goodness, that reminds me. So I don't do this anymore. And I might get back into it. But as part of the Death Race, I would also read or listen to audiobooks or something of the source material of the best adapted screenplay nominees. So I had to sit and really pick and choose, because if you listen to an audiobook, I listened to the audiobook for First Man, and I mean, that's like an eleven hour audiobook. And so I was like, I got a hit on all these. I don't regret any of them, even the ones that didn't get nominated. When Logan came out and got a nomination, I was thrilled to read the comic book Old Man Logan to fulfill that part of the Death Race that year.
Paulo:I'm cutting it close as it is. I don't know if I could.
John:Read five, but some years it's just a previous movie or previous script or something I may have already seen, or maybe it's like a newspaper article or something like that. Only 15 films have been nominated for best picture, and that was also mostly spoken in foreign language. However, of those 15, you could make the claim that three of those shouldn't be counted. I don't agree with that, but at least some could make that argument. Those three films are 2020s Menari and 2006 is Babel and Letters from Eogima. All three of those films were American produced and do have a fair amount of English in them. Then again, Menari did win some fancy points that year for best foreign language film. And if I'm not including Alejandro inuritu's Babble or Clint Eastwood's Letters from Irojima, then we can't claim that the 79th Academy Awards is the only ceremony to feature two foreign language films. That's right. No ceremony except for that disputed one had more than one foreign language film nominated for best picture. So what are the 15 films nominated for best picture? The first best picture nominee was the 1937 French film grand Illusion at the 11th academy Awards, because that was before there was a true academy voting body. A little bit tidbit. The best years of our lives from 1946. That was the first year that the Academy as we kind of know it today, was born. Before it was just voting anyone working in the industry. There was no real true Academy, and that was also before there was a separate best foreign language category. The next film, the 1969 French film Z, was the first film to be nominated in best foreign language film, a category that was created 13 years before that at the 29th academy Awards as well as best picture. It won best foreign and best editing that year, the 1972 Swedish film The Immigrants. This blew my mind, and I hope it hopefully it blows your mind, too. Really, it's two pieces of trivia because of the rules at the time. The Immigrants was nominated at both the 45th and the 44th academy Awards. It was nominated for best foreign language film as Sweden's official submission at the 44th Academy Awards, but lost to the garden of the Finzi Cantinis. It was then subsequently nominated the year after for four Academy Awards at the 45th Academy Awards, including best picture. It didn't win any of those either, but it had some stiff competition that year and best picture, The Godfather ended up winning that year. The Immigrants is also the only film to be nominated in the same year as its own sequel. Yes, it's a sequel. The New Land got nominated for best foreign language film that didn't win either. Instead, the French film The Discreet Charm of the Bourgeoisie won that year for best foreign. So The Immigrants, although not winning any Academy Awards, does have the distinct honor of being nominated in two separate Academy Awards ceremonies and being nominated alongside its own sequel. So, how do you like that?
Paulo:That would be free for a very interesting death race if it's like, wait, I just watched this last year, right?
John:You completed one movie of the death race, like a year prior. Yeah, and I can't imagine well, it's so rare to see any movie come out with a sequel the same year. There was that movie, Trank Landon that was released in two parts.
Paulo:I mean, we do have this year, we have what's? It X and Pearl.
John:True. That's true. And neither of them got nominated. And, yeah, you're right, pearl could definitely be a sequel to X or prequel or whatever. But, yeah, it's just so wild to me that a sequel got nominated alongside its predecessors. The next two films, the 1972 Swedish film Cries and Whispers and the 1994 Italian film The Postman, were the only two films since the creation of the best foreign language Oscar to earn best picture nominations. Despite not being their country's official submission, sweden didn't bother submitting a film in 1972 and Italy picked La America instead of The Postman that year. The 1997 Italian film Life is Beautiful won three Academy Awards, including Roberto Benini, as he was so excited that he jumped on top of the seats. So any kind of a highlight reel, you see the Oscars, it's probably him jumping on those seats. That was the year that life is beautiful. Won three Academy Awards. The 2000 film Crouching Tiger, Hidden Dragon, another shout out to Michelle Yeo, became the first film spoken in Mandarin to be nominated for best picture and was actually Taiwan's submission to the Academy Awards. It went on to win four of the record breaking for foreign film at the time. Ten nominations it got, including best foreign language film. I spoke briefly about the Babble and Letters from Iojima from 2006. They were American produced, but are the only pair of nominees, mostly spoken in a foreign language, to be nominated for best picture in the same year. The 2012 French film Amore won best foreign language film. The 2018 Mexican film Roma, it was the. Favorite to win best Picture, but the Netflix bias was too great for it to overcome. The controversial best winner green book. It did win Alfonso Coron a best director and best cinematography. Academy Award. And that year, Alfonso Crone was the guide to be on your fancy team because he got so many points for writing, directing, editing, and shooting roma that earned Mexico its first foreign language Oscar. Then the 2019 Korean film Parasite, of course, became the first to get a best picture win. And since we've had menari drive my car and then last year's All Quiet on the Western Front, the latter two winning best international film who. So, Paolo, let's change the history books. If you had a magic wand and could put one or more foreign language films into the best picture nominees for any year, what would it be?
Paulo:All right, well, if you don't mind me expanding a little bit outside of best Picture, I think one anime films for animated features need a lot more recognition. Sure. At this point, it's mostly just studio Ghibli films. I think there's like one which is from what's his name, mama Hosoda for Marai for his films. But I mean, we had the Makoto Sinka's film, Your Name, for example, not getting the nomination. It was submitted as Japan submission for best International Film and didn't get either animated or animated feature. So, obviously, I think I'm a big anime fan in addition to my other two podcasts, have an anime podcast. So a bit of a bias there, but would love to see more anime films. I think Korea, even before Parasite, has had a lot of really good films that have gone unnoticed this year. Unfortunately, decision to leave was the big snub, I think, for international feature with Park Chen Wook. Personally, part of the reason I lost in the playoffs was I went no Guts, no Glory and actually put in Park Chan wook as my no guts, no Glory guest for director and screenplay and best picture, which obviously didn't pan out.
John:Oh, wow.
Paulo:But some people were saying that, hey, maybe he should have gotten nominated for past films. Maybe old Boy was a little bit too far ago. Right. But even like his film Handmaiden a couple of years ago was that other films from Korean directors, you have a burning a bit of a slow burn film like the year before Parasite. I watched that shortly after Parasite won. And that was actually, I think, would have been a best picture worthy nominee.
John:And Stephen Young just turned out a great performance there. And he himself got snubbed.
Paulo:Yeah, for sure. And then SOP lifters right. If I'm a different director, hirokazu Coreyeda was a great film. I believe that ₩1 the Cannes Film Festival, actually. And so I love all the core Ada's work. I still have to see his new film Brokers, which stars the actor of Parasite. Yes.
John:Hong Kong Ho.
Paulo:Right. Yeah. Hong Kong Ho. So that was one obviously, you also have this year RR getting left out of anything except song because I think it was some internal politics within the India nominating committee choosing last film. So over RR, which I can understand why they went for that call, probably wasn't the best call strategically. But like I said, there's some stuff going on in there. And in the same way that box office wise, anime has really been growing in the past couple of years. I mean, the highest grossing film of 2020, pandemic year, was actually an anime movie worldwide, the Demon Slayer movie. Obviously, that wasn't going to get any best picture nominations at all, right? But the fact that it's more and more relevant in the box office, I think will maybe, hopefully see more in the future. Similarly, this year RR did a lot of money. This year we have a couple of films. We have Pathan, which is kind of like Missile Impossible meets Fast and Furious, starring like Bollywood's biggest star, as well as similarly, you also have a couple of years ago, Bahubali, which is like this crazy two part, three hour film, each Indian epic, kind of on a similar scale of RR. If I'm not mistaken, they might be the same director. Actually, I had to double check that.
John:Oh, wow.
Paulo:So, yeah, those are a blast to watch. I watched them in theaters in Madness, and then I don't know if or when it's going to get nominated, but also, obviously, being Filipino, I'd love to see a Filipino film, even if not get best picture, get nominated for get past the submission phase for best international feature. One director I think to keep an eye on is this Filipino director called Mikhail Red, who this up and coming director who has some really interesting kind of thriller type films. I saw a couple of his films. I saw him live, actually, at the New York Asian Film Festival. We had a couple of films, so a couple of years back. So, yeah, definitely. Those are just some of my picks for who I'd like to see get a little bit more recognition.
John:And yeah, those are solid picks. And going back to shoplifters, some can claim that shoplifters kind of paved the way for Parasite to break into the best picture. There's many parallels between shoplifters and parasites. So if you're listening and you've seen Parasite and love it, go watch shoplifters if you haven't seen it.
Paulo:Right. And one thing I will say again, for me again, I'm Filipino. So Asian American, and I'm kind of a little bit more tuned into, like, Asian American media spaces. There is a group called Goldhouse, which does campaigning. They actually were very critical and they were key part of the everything everywhere rollout when it came out. They basically hosted a bunch of screenings in New York and La. When it first came out to help build buzz for the film. And they've been partners for it throughout the entire awards campaign season. Right. They also helped campaign for RR. They campaigned for Elephant Whisperers, both of who won their categories as well. Obviously, they're not 100% win rate. Right. They campaigned for menari who only came away with supporting actors, for example. That was a very tough year to try to win anything, but for me, personally, I keep a close eye on what Goldhouse is pushing. You know, shout out to them just to see, you know, Asian Americans are getting more and more representation in in the industry. So, you know, I think it should be expected to see a little bit more, especially if Goldhouse is pushing a particular film.
John:That's good to know.
Paulo:Yeah.
John:And if I had the wand, I go back to Japan and nominate Seven Samurai, I think all time great film. One of the best films of all time, a Kirkur Karasawa. That year was around the world in 80 days. So that's like a no brainer replacement to get Seven Samurai in there as not only the nominee but a winner. Over, hey, look what we can do with film now. And just basically landing in random cities and singing a song and then going about their merry way. So, yeah, for me, Seven Samurai is.
Paulo:My pick in the off season for the Oscars death is podcast. I actually do something called the best picture marathon, where I'm going to go through and watch all the previous best picture winners. So at some point, unfortunately, I'll have to watch around the World in 80 Days. Maybe I should watch and prayers instead.
John:Oh, man. I mean, it's a spectacle, but oh, wow, the story is thin. But anyway, now, foreign language films, only 15 have been nominated for best picture, but they have been nominated in something more years than not. But that's across all categories throughout history, which there's a lot of them. The first Oscar nominee from foreign language film was the French film Enula Liberte, which was nominated for best art direction. That's the equivalent to best production design as we now know it. The first to win an Oscar was the Swiss movie Marie Lewis, which was the first foreign language film nominated in original screenplay and then went on to win it. That sort of opened the opportunity to have other foreign language films to be nominated for the screenplay categories, since for the next five years featured a foreign original screenplay nomination. That's just scratching the surface of the international films in the Oscars. But I do want to talk about the last best original song winner. You brought it up a little bit. It happens to be from a foreign language film, and I'm talking, of course, about not to not to from RR. I technically watched it, but Netflix does not have the original version spoken in telgu. We watched the Hindi version with subtitles. I mean, eventually z five. That's a streaming service, apparently, that has it in its original telgu language. But what about you, Paula? How do you watch RR? And more importantly, and I know the answer to this, what do you think of it?
Paulo:Yeah, I had actually been putting off watching RR. I've been putting it off because I wanted to see it on the big screen. Right. I've been told that was kind of like the best way to watch it. So I've been putting it off. Luckily, the last week of December, I saw that they were rereleasing it in theaters and luckily there was a theater here in New York that was doing it. So I actually was able to watch it there in the original language. And I mean, yeah, it was a great blast of a film. Right. Obviously, it's kind of like the typical three hour epic Indian film. But it was highly enjoyable and very stylized. I probably wouldn't take it super seriously, but it was well crafted, it was well done, and I enjoyed it overall.
John:Oh, yeah. It was one of my favorites of the Cheer because it's just so ridiculously over the top and I was literally cheering at some points. I'm not going to give any spoilers over here, but there's just so many memorable scenes. It's such an epic movie and it's meant to just watch and have fun. It is what movies should be.
Paulo:So I mentioned earlier there was a film called Pathan that came out. When you get a chance, you should look up Pathan in theater reaction because there are just people just screaming and dancing in front of the screen. And my wife actually hasn't seen RR yet, but I was showing her, right. Like some footage of people reacting. There's a video of people in the Hollywood theater or the Chinese theater in Hollywood where they were showing RR, people cheering at the screen, getting up and dancing during not to not to influence.
John:That's great.
Paulo:Yeah. I believe actually, fun fact, the Pathogen film that I mentioned a little just now, actually was the first film to beat Avatar's daily take at the box office this year. So Avatar making the most money, obviously, since it released the first film to actually beat it on the total for that single day when it came out, which I believe was like a Wednesday, obviously several weeks after Avatar came out. But it was pathan. The Indian community comes out hard for these films.
John:Oh, yeah. So one of my neighbors is of Indian heritage and I learned something from her and it really reminded me of how little I actually know of Indian film. The first word that comes to mind when I say India film, it's Bollywood. Right. And like the ignoramus I am, I just assume that any Indian film comes from Bollywood. That's not the case. And I learned that just this week. So I'm excited to tell everyone about it. And shout out to Natasha if she's listening. But anyway, so northern India is where Bollywood is. Most of the movies coming out of there are spoken in Hindi and not telgu. And RR is not a Bollywood movie. So if you remember, Jimmy Kimmel said, in lieu of music cutting speeches off, it'll be Bollywood dancing them out. It actually annoyed quite a few southern Indians where RR was made. Director SS Roger Muli himself said, RR is not a Bollywood movie, it is a Telugu film from the south of India, where I come from. So I also learned there's quite a bit of colorism in Bollywood cinema. RR actors and actresses are a bit darker than their Bollywood counterparts. Bollywood movies often star actors and actresses who have lighter skin. And for darker skinned actors and actresses, work is hard to come by. Quite frankly, northern India also tends to kind of look snub their nose at southern India films. And that might partly explain why RR was not India's official submission as they chose. As you said earlier, the last film Show, which is a Hindi film, instead actually correct.
Paulo:Last films was a Gujarat film, which is from the West India.
John:Oh, I see.
Paulo:Okay. Yeah.
John:Okay, good to know. So at the very least, RR crossed into the mainstream but did so as a Telugu film and not a Hindi film. So I ask you, we talked about Indian cinema. You seem pretty familiar with it, RR. Does that pique your interest in more films coming from India? Hindi telgu west Indy. What do you think?
Paulo:So Rajimi did actually, in fact, direct Bahubali, which was the film I mentioned that's like the three hour epic, okay, he does the big films. And then that was also a Telugu film. So, yeah, I mean, I was a film, so the official, it's called Hollywood to a P tollywood is kind of like the swordhand for the Indian for the Telugu language films. And, yeah, I think I did an episode probably a couple of years back at this point on my box office podcast about kind of the biggest film market. And, yeah, I was researching this. And, yeah, the Indian film industry is kind of very diverse. It's kind of like here in the US. It's all out of Hollywood. But imagine, right, like, if there was a Hollywood film industry and then a New York film industry and then a Florida film industry and then like, a Kansas film industry, wow. That would be distinct from each other, right? It's kind of like culturally like that, right, where there's very distinct types of films being made there. And like I mentioned before, right, part of the reason that people were speculating RR didn't get the nomination was kind of like the intercountry politics around the films. There's progress being made here, but also obviously still a lot of progress left to make in terms of diversity at the Oscars.
John:Oh, I agree. Absolutely. I'm missing out on so much because I just didn't know.
Paulo:Yeah, I mean, that's kind of similar. Right. When Parasite came out, people kind of, quote unquote, discovered Korean cinema. Right. But obviously Korean cinema has been around for decades.
John:Exactly.
Paulo:On the bright side right. It's kind of, oh, we have so much more to learn. But on the bright side, if you look at the bright side, there's so much that we can dive into to dig into and learn. Right. For example, there's so much Hollywood action films starring Michelle Yo, right. Or that type of film.
John:Yeah. No. And that's kind of the spirit of the Oscars death rates. It's kind of as problematic as the Hollywood industry is and as problematic as the academy is, there are some bright spots in that just exposing you to different ways of thinking, different film, parts of the world. It's not just franchises and it's not just sequels and it's not just these blockbusters that we see. There's a rich culture of film everywhere and the Oscars death race kind of just scratches the surface and gives you a peek into what you can be exposed to later on.
Paulo:For sure.
John:So let's talk about some movies this fantasy season, if anything, should be on our radar. Last weekend, we saw Shazam Fear of the gods opened to number one. Two other notable films, moving on, starring half of the 80 for Brady crew, Lily Tomlin and Jane Fonda, and Inside, starring Willem Defoe also opened. Do you think any of those three are worth any fancy value next season?
Paulo:Not a shot.
John:All right. Maybe Willem Defoe for best actor because he's, like the only one on screen and frankly, he's the only one that.
Paulo:Could have pulled that off. I would not seriously consider most films, especially from very small distributors.
John:Yeah, fair enough.
Paulo:Until at least September coming out.
John:Yeah, fair enough. I'm not going to waste a draft pick on any of those, maybe as a late round flyer for Willem Defoe.
Paulo:But if there's other stuff coming out this year, why not?
John:Yeah, sure. If we're having our draft now for only movies that have released. Sure. So, yeah, this weekend we'll see the premiere of John Wick chapter four in theaters right now. Also being released are The Lost King, starring Academy award nominee Sally Hawkins. Directed by Stephen Freers. Co written by Steve Coogan. And those names should sound familiar because they're all Oscar nominees, at least. And they were also behind a best picture nominee of a few years ago called Filamena, which was a little bit of a surprise. Best picture nominee, but a wonderful film. He also directed Florence, Foster, Jenkins, Victoria and Abdul. Films that do have Oscar nominations. Florence Pugh and Morgan Freeman star in a Good person with a limited release before going wide. Written and directed by Zach Braff, famous from Scrubs and the film Garden state from, I think, two decades ago by now. So do any of those three spark any confidence for you, Paulo?
Paulo:Yeah, I mean, John Wick, like I mentioned before, could maybe pick up a sound nomination. Hopefully. That's more hopeful than actual prediction. I think The Lost King actually released last year in the UK. And they're just getting the US. Release now, so I'm not sure if that would be eligible.
John:Yeah, it might not be.
Paulo:And then Florence Pugh, Morgan Freeman and a good person. Probably not for the Oscars. I could see it maybe getting into the Independent Spirits Award, perhaps.
John:Okay, yeah, maybe for Florence Pugh because she's very popular among the indie branch that goes to those films. Yeah, no, John Wick is just so fun. I have yet to see it, but I will see it. I'll probably see it by the time this episode airs. But the nice thing about John Wick is that it's a series. It's not a reinvention. It's another season of episodes. The very first conflict. He's still battling the fallout from that in chapter four.
Paulo:It's all taking place, like, within the week in universe time.
John:Yeah.
Paulo:Shout out rip to Lance Vidic.
John:Absolutely. Yeah. There are also a lot of blockbuster films being released this year and there are certainly some Oscar Beatty films, even if I hate that word, films to be released later this year. It's only March, Paulo, but what films are you keeping an eye on to make a splash at not only at the Academy Award, but more importantly, the film awards? Fancy season.
Paulo:Yeah. Okay. So let's start with the block. I kind of have my list broken out into two categories. We have what I would call the stuff that's coming out. So basically the way I do my box office watch is I similarly have seasons. Right. If you ever want to make a box office fantasy league or whatever, hit me up. But my seasons run from January through April, which is kind of like the spring season, kind of like post Oscars to some degree. And then the big one, obviously, where a lot of money is made is the summer blockbuster season, which for me runs through May through August. Right. August kind of being traditionally a bit of a dumping ground for weird films that may or may not be successful.
John:Sure.
Paulo:September through December ends up being kind of like the more prestige films. Right. So the thing is, stuff that is truly going to be Oscar competitive will not actually we don't have dates for those yet. Those won't be dated until, for the most part, until the film festival releases come out. Right, yeah. And then the Tributos get a sense of who is actually going to be a major player if they actually were received well. For example, Bardo was thought going to be a big player that kind of ended up having a bit of a flop at the film festival, ended up not being a major contender. Yeah.
John:Then people started seeing it and it's like, oh, well, never mind.
Paulo:Yeah, exactly, right. Or the sun, for example. Right, if I recall correctly, was supposed to come out months early. It came out ended up coming in January just because it got pushed back so far because it did not have good reviews earlier on.
John:Yeah, and that was supposed to be like early on when those announced, that was supposed to be like Hugh Jackman's Oscar.
Paulo:Yeah, exactly. So it's hard to say, the Oscar Beatty type film. So just going through my list, though. So let's go with first the summer blockbuster season. I don't think there's much coming out between well, okay, so starting from this week and into the Oscar season, so we mentioned John Wick next week we have Dunstan and Dragons movie could potentially, if it's received well, be a VFX contender. Also coming out the week after that, we have Air, which actually apparently has gotten a lot of good buzz out of south by Southwest. That one is the, I think, Matt Damon film about the story of Nike starring Viola Davis and some others, right?
John:Yeah. And Viola Davis and could be not a legacy non, but maybe a makeup for it for the Woman King. Maybe she gets the best supporting. And don't doubt Ben Affleck at the Oscars. I mean, look at Argo. Yeah. I wouldn't necessarily count out Air next season.
Paulo:Air one of the ones I think actually has a legit shot at continuing its run. And then we have the aria. Oscar. Joaquin Phoenix film, Beau is Afraid, which the poster looks really weird on this one. But that, I think, screams Oscar. There. And then we have Sevillier, which every year there's a film that comes out in the early part of the year, like in April maybe, that just screams, this is going to be a production costume nominee a couple of years ago. It was cruella, right? You saw that. You knew it was going to be nominated for costumes, right? Yeah, exactly. The year before that was Emma, actually. I saw that. That was like one of the last films I saw in theaters before the pandemic shut everything down. I saw that. I'm like, this is going to get Oscar nominated for sure. So, yeah, I think Sevillier, which is like this French Revolution era film with Marie Antoinette and all that, I mean, that screams costume production design. Let's see. And then most of the stuff during the summer will be visual effects. So Guardians of the Galaxy Three could get in there. Transformers the Rise of the Beast If the VFX are good, there flash, depending on box office. If it ends up being a flop or not, then we have Wes Anderson actually coming out of the film, which there's a running joke between me and Dakota. I actually have not seen a Wes Anderson film aside from fantastic Mr. Fox before. So Asteroid City might be the film to get me to watch all of the Wes Anderson films. Finally, Indiana Jones. I could see maybe getting a production nomination based on the trailers and the sets. Similarly missing impossible seven post the Tom Cruise Renaissance, if not best. I don't think best picture, really, but I could see it getting a production nomination, potentially.
John:Oh, sure, yeah.
Paulo:And Oppenheimer obviously is going to be a big tech player for Sarah, as.
John:Are all Christopher Nolan films.
Paulo:Right. And then double feature with that Barbie, which is people still in the eye. I'm actually in a bet right now about the box office of Oppenheimer versus Barbie, but I do think Barbie will get some nominations at the Oscars. Screenplay is an opportunity. Directorating is an opportunity. Supporting actor for Ryan Gosling or Margot Robbie, potentially, though we know how we thought about Margot Robbie for this year for Babylon. We'll see. So those are stuff coming out during the summer, moving into the fall. Next goal wins by TaikaWaititi, I think, has a very good thought. Obviously, he had success with Jojo Rabbit a couple of years ago. And then this was actually originally supposed to come out, I believe, next month in March. But then Search, like moved it back to the fall festival season, which I think indicates that they're hoping this will be a big awards player for them. Obviously, we have Doom part two kind of being the main competition for Oppenheimer for the various texts. Hopefully Villanue can actually get his directing nomination this time instead of after getting Snubbed last time.
John:Yeah, I think he will.
Paulo:Yeah. We have wonka starring Timothy Salome, who could be a player for maybe best actor, maybe production, some various texts as well. And then we have The Color Purple getting a musical adaptation, which I believe for many people is kind of like the front runner for various nominations or one of the front runners.
John:Yeah, I would also agree with that.
Paulo:Yeah. We have Aquaman, Lost Kingdom again, maybe visual effects, maybe not. And then stuff that doesn't quite have a date yet. Killers of the flower moon. Obviously. Martin Scorsese, Apple TV Plus. Leonardo DiCaprio, jesse Clemens. I mean, that one's going to be a major player if things hold as they are. We have Maestro, which is a film from Bradley Cooper, martin Scorsese from Netflix. We have Ferrari, which I believe is a Netflix film for Michael Mann starring Adam Driver and Penelope Cruz. We have Napoleon from Apple TV Plus, which I believe is Ridley Scott's film.
John:And you brought so many movies. This year is absolutely stacked with big names. And I do want to go back to Barbie because don't count that one out. I mean, you can't bet against Greta Gerwig and her husband. Noah Bomback is a co writer of the screenplay, putting it smack in the screenplay race. Costumes, costumes. Jacqueline Duran is the costume designer, multi oscar winner. Jacqueline Duran, multi production designer, I think is Sarah Greenwood. Alexander Despla is the score composer who.
Paulo:Is I mean, the question is, one, will it or Oppenheimer make more money? And then two, will it or openheimer get more noca nominations?
John:Oh, man, that is a hard question. I might go against the grain and bet for Barbie for box office and but I think they tie. I think they tie for Oscar nominees.
Paulo:So for me, I think open, heimer. So my current bet right now, I have a parlay bet going on with somebody in the server. The parlay bet I believe is openheimer has the better opening weekend.
John:Okay.
Paulo:Because my logic is it has all the premium large format IMAX screens, right. And also people are still going to be weirded out. Is Barbie good or not? I think Barbie is going to have good word of mouth meaning in the second weekend, the second part of the parlay bet is that it will have a better second week drop, meaning it'll drop from whatever it is to the second weekend less than openheimer drops.
John:Okay, that's a solid bet. I take that bet.
Paulo:And then the third part of the parlay is that at 45 days, barbie will have made more money than Oppenheimer. Now, that's where the parlay stops. But I did offer more on the parlay, which is that over the course of the entire one through December, oppenheimer makes more money even though Barbie is ahead at 45 days because Chris Nolan has 100 day theater exclusivity.
John:Yeah, I think I agree with all of those things.
Paulo:These are the things I think about for the box office before, though. That a couple of other films to keep an eye on, I think, for the year. I think in a national film, the only one that as of right now, I'm keeping an eye on is Hirokazu Korea ada. We mentioned him before. He has a film coming out this year called Monster, which I believe is coming out around the Cans film festival period. So that could be another Cans contender, actually, from him.
John:I see.
Paulo:And then I mentioned earlier animated films. This is a very good year for animated films, right. So, obviously next month we have the Super Mario movie, which I mentioned already. We also have Spiderman across the spiderverse.
John:I can't wait for that.
Paulo:We have Elemental, which is the obligatory Pixar film. What if elemental feelings.
John:Right.
Paulo:Skipping ahead to August. Have you seen the trailer for Teenage Mutant Ninja Turtles? Mutant mayhem from Seth Logan.
John:Oh, I've only heard of it, but I will be fair and say that I tend to avoid trailers as much as I can.
Paulo:The animation in the trailer looks really good. It kind of reminds me of the Puss and Boots animation, actually.
John:Okay.
Paulo:Yeah. And then we have one of my most anticipated films of the year. Did you ever watch Chicken Run? When? You were younger.
John:Oh, yeah. No, those are great movies.
Paulo:So 20 year sequel to the Chicken Run film, which, by the way, the Chicken Run film came out before animated feature was a category. Actually, it has been a while. So this is a chance for Ardman to get a best animated feature nomination for the Chicken Run franchise.
John:And now we have the stop motion barrier broken this year.
Paulo:Exactly. And it's also a Netflix film as well.
John:They'll put a lot of weight behind it. Yeah.
Paulo:And then we also have how do you live? Which is Hayao Miyazaki's return to directing. Major concern there.
John:And I think that's his final film. If I read that right, I keep.
Paulo:Saying it's his final film. We'll see.
John:I knew I'd get you on that one.
Paulo:Yeah. Let's see. We have Trolls Three, which I don't think will maybe be an Oscar contender, but still will be a big player. Wis, which is Disney's 100th anniversary animated film, Illumination, has another film coming out in December called Migration. We also don't yet have a date on studio like us. Next stop, mostly animated film. Wildwood may or may not come out this year. We'll see Pneumonia, which is this much anticipated film based on the popular graphic novel was supposed to be by Blue Sky Studios. Blue Sky Studios got shut down, so Netflix ended up rescuing it, actually. So they'll be coming out this summer. And then The Peasants, which is by the same production team as Loving Vincent, using the same kind of oil painters technique. So, yeah, there was a lot of great animated films to see. I honestly don't know who to pick here.
John:Yeah. And with only five nominees, that's a crowded field. I wouldn't know where to begin on that.
Paulo:Honestly. I think the only one for sir might be Miyazaki. I have heard. Welllink, people maybe say he might get director, might get screenplay. We'll see. That might be some hopefulness there. I think Miyazaki is probably the safest bet of this.
John:Probably. Or pixar with elemental.
Paulo:I don't know about Pixar, actually. I would say I would put wisp before Elemental, actually. Just because of the 100th anniversary, the 100th anniversary thing of Disney. They're going to put a lot of money behind it.
John:Fair enough. So if we're looking at money lines for Best Picture winner, if we go to live action features, of course Best Picture winner doesn't have to be a live action, but who are we kidding, right? The Killers of the Flower Moon, according to Bet, US is the favorite, but that money line is at plus 500. So that's five to one odds. It's way too early to bet on this, but at least the early buzz for Killers of the Flower Moon, martin Scorsese star studded cast Jesse Plymons will probably get an Oscar nomination there. Probably worthy of a draft pick for Best Supporting. That one is the early favorite, but the early favorite seems to not always pan out. The fable ones was the early favorite last year. So what do you think? What are the killers of a flower moon? What's your chances on that one?
Paulo:Looking at the list? So you have killers of the flower moon color purple, past lives. Past Lives, I think, is a little high. Frankly speaking. It will probably get a directoral. I think it's just releasing a little too early for my liking, I think.
John:No, I agree. But I think Celine Song is probably the Charlotte Wells of this year.
Paulo:Yeah, if that's not AV Rockwell. That's true. I think for fantasy purposes, for betting to get best picture, it's probably not everything. Also, in addition to just also had like the narrative of Michelle Yo narrative of Kihoi Kwan coming in. Right, right. There's so much going on in there that I don't think Past Lives quite has that pedigree behind it as well. I mean, dune. Makes sense. Myersfield makes sense. Haven't heard of blitz, actually.
John:Yeah, that's a Steve McQueen film. Now, as we're looking down this list of more kind of Oscar movies, there's a lot of big names and there's also a lot of big names that are appearing in multiple movies. The first one that comes to mind is Coleman Domingo. Coleman Domingo might be worthy of a draft pick, maybe even the first round because he's in The Color Purple, but he's also in Ruston and it's a biopic. So you know how Oscar feels about biopics. And Colin Domingo is appearing in two very Oscar like movies. He might be making a play there.
Paulo:Yeah, that would be a good one. Yeah. I mean, it's really hard to say. Napoleon. If it comes out has Joaquin phoenix, as does bo is afraid. Yeah.
John:And I'm a little disappointed that the original title, Disappointment Boulevard, wasn't used for Bo is Afraid. I feel like Disappointment Boulevard is just a better title, but who am I to judge? But yeah, walking Phoenix is double dipping. We also have some filmmakers now. Jorge Banthamos is coming out with two films this year. He's, of course, the writer director of the Favorite and the Lobster. But his movies are Poor Things, that's starring Emma Stone and Willem Defoe and who is also appearing in two movies inside being the other one that we talked about earlier and with Hong Chow and Hunter Schaefer and also Emma Stone.
Paulo:I just saw the menu for the first time last night. Hong Chow is great.
John:Oh, yeah. No, it's almost as if she got nominated for the wrong role.
Paulo:I wouldn't say that. I like to roll in the wheel a little bit more.
John:Okay, that's fair enough. Wes Anderson is even coming out with two films. I mean, some of these don't have release dates. No, there's so many big names and then some exciting new names. Emerald FINNELL or emerald FINNELL of promising young woman reunites with Carrie Mulligan and then Barry Keoghan and Roseman Pike with saltburn. So we also get to see Elvis on the big screen again. But the movie is Priscilla. And you can't count out Sofia coppola. She was one of the only women nominees for best director for Lost in Translation, and she's directing Priscilla, starring Kaylee Spainy and Jacob Elordi. Jacob Lordy is playing Elvis and Kaylee Spanie is playing the titular character there. You mentioned Taiki Watiti with Next Goal wins, but Michael Fassbender, he stars in that and he's in a couple of movies this year. His other movie is Netflix's the Killer, directed by none other than David Fincher. There's just so many big names coming out, and a lot of those big names are multiple movie actors and actresses and filmmakers. Sarsa Ronan, I think I mentioned, she's appearing in Steve McQueen's Blitz as well as Foe, which is directed by Garth Davis and stars fellow nominee Paul Mescal. It seems like we're back to movies. Last year we saw a lot of big names and this year I feel like we're seeing even more big names.
Paulo:Yeah. I mean, right now, Mart, it's March Madness, not for basketball, for me, but for all the good movies coming out this March, right.
John:So last question for you before we wrap things up. It's way too early to tell, but if you have the number one draft pick, it's usually good to draft a writer director because they can double dip points and they'll usually get you a lot of points. If you had your number one draft pick and it's between Martin Scorsese, Christopher Nolan, Bradley Cooper and Greta Gerwig, who you drafted number one scorsese, that's a good choice.
Paulo:Yeah. Easily scorsese there.
John:Yeah, probably me too. I would be tempted by Greta Gerwig, to be brutally honest.
Paulo:Yeah, I think so. I think scorsese will depend. Right now, it's hard to say. I think depending on the reviews of obviously the reviews coming out will obviously play a big factor, assuming the reviews are similar to each other. I'm going to go scorsese. If Gerwig has much higher reviews, if Barbie has much higher reviews from the critics right. Metacritic score or whatever, then you'd probably want to go with Gerwig at that point.
John:Yeah. And Mars Chris was not a bad pick for the Irishman, and that's it for us. So tell us lastly, Paulo, where people can find you.
Paulo:Yeah. So, again, I have a couple of podcasts. The ones I think most relevant for your audience will be obviously the Oscars Death Race podcast, which, as I mentioned before, I'm currently on the off season, but I will be doing the best picture marathon this year. I have an episode I recorded last year which I never released. So for the Oscars, where I went over, I think, sound of Music and the original West Side Story, I'm probably going to pair that with watching the original All Quiet on the Western Front, given the nomination of the wins of the All Quiet on the Western Front this year to kind of compare the two. So I'm going to have the Best Picture marathon more or less monthly in the offseason. Might need a little bit of a break after the Oscars and then on a weekly basis, I aim for Tuesday or Wednesday. Lately it's been a little bit later in the week, but I have a box Office Watch podcast. All of those can be found on Spotify, itunes, Google Play, if that's still the thing. As far as online Twitter, I'm not very good at using Twitter, but I'm also in the Oscars. The Academy of Death Racers discord pretty frequently as there as well. So come check us out there. Even if it is the Aussies, there are some people hanging out there talking about movies, so definitely give us a check out. Also, I do have leather box, so if you want to check out what I'm watching, you can check out my leather box, which I'm sure John will link in the Show notes.
John:Oh, thank you, Paulo. And all those can be found in the Show Notes and turn on notification for future episodes of this podcast. Thank you to Patrick Richards for writing the show music exclusively for Red Carpet Rosters podcast. And thanks to Paulo of the Doscars Death Race podcast and the Box Office podcast for being an awesome, awesome first guest. Thank you so much. This is John. Thanks for listening. See you next time.