The Oscar nominations are getting announced today. Earlier I listed my favorite movies of 2017. This isn’t a list of Oscar predictions. I’m terrible at those. This is a list of who I think should win each of the categories.
Even though I did see about 80 movies this year, some categories are omitted because I didn’t see enough of the nominations to weigh in on them. For example, I really wish I had caught more of the animated films.
Best Costume Design – Wonder Woman
- No other costumes have been spoken and written about more this year. It’s serendipitous that a movie praised for it’s less revealing take on a character came out as Professor Marston and the Women, a movie about how the character was originally created as a fetish piece.
Best Visual Effects – Okja
- The end sequence. That’s all I want to say without spoiling anything. My heart melts and breaks for a giant mutant pig that’s ultimately just a series of ones and zeroes on a computer.
Best Sound Mixing – Matthew Wood (Star Wars: The Last Jedi)
Best Sound Editing – Matthew Wood (Star Wars: The Last Jedi)
- I’m putting these both together because honestly I don’t understand the category enough to know why they’re two separate categories. The moment of silence near the end was so unique that AMC theaters had to put up a sign to let viewers know it was intentional. Brilliant and daring!
Best Makeup/Hairstyling – The Shape of Water
- The fact that makeup was used instead of CG for the creature in The Shape of Water, and he looks simply amazing, makes this a no-brainer for me. Unless of course, this isn’t what qualifies as hair and makeup. If that’s the case, then I, Tonya did an excellent job of capturing an authentic 80s/90s look without being a parody. It looks genuine.
Best Supporting Actress – Laurie Metcalf (Lady Bird)
- I already wrote about how captivating her performance is in this when I listed my favorite movies of 2017. She is electrifying.
Best Supporting Actor – Rob Morgan (Mudbound)
- There is so much emotion being communicated with his eyes every second he’s on screen. His performance is a master class in understated acting.
Best Actress – Sally Hawkins (The Shape of Water)
- Hawkins’ wordless performance is simply brilliant. Like Morgan, on the surface it’s small, but there is just so much depth.
Best Actor – Willem Dafoe (The Florida Project)
- He’s the favorite to win Supporting Actor, but really Dafoe leads this movie. He disappears completely into his role without the aid of expensive prosthetics or anything other than sunglasses and a tan.
Best Original Screenplay – Get Out
- A perfect script. What more needs to be said? There are so many subtle jokes and hints throughout. There isn’t a wasted word on that page.
Best Adapted Screenplay – Mudbound
- This was a powerful story that I’ve never seen on screen before. Every single character is a fully fleshed out human being. It’s a shame Netflix didn’t put this in more theaters.
Best Director – Edgar Wright (Baby Driver)
- That opening sequence to get coffee alone is the most visually and technically amazing few minutes of cinema all year…no…this decade!
Best Foreign Language Film – Raw
- It’s the only foreign language film I’ve seen, but it’s the best changing of a protagonist into an antagonist since Breaking Bad. I still wanted to list it because I do think it’s a film people should see.
Best Original Song – This is Me (Greatest Showman)
- I listened to an episode of the Song Exploder podcast where the composers talked about how songs in musicals are “verb songs” because they move a story along and pop songs are traditionally “adjective songs” because they make you feel a certain way. Like their songs on La La Land, they manage to combine the two masterfully here.
Best Cinematography – Barry Ackroyd (Detroit)
- I don’t love Detroit. In fact, I really disliked it, but you can’t discount the cinematography that really trapped you in the hotel with those victims. Apparently he had small cameras hidden on the set so the actors weren’t even aware of them when doing takes. It was such a visceral experience for a middle class white guy to feel.
Best Editing – Lee Smith (Dunkirk)
- George Lucas talks about how hard it was to edit the Jabba’s Sail Barge scene because you had multiple action beats happening at the same time. Dunkirk does a great job of hopping between the multiple stories in a way that movies the movie along pretty quickly too.
Best Documentary – Casting Jon Benet
- I am endlessly fascinated by show business both large and small. This really reminded me of the delusional extras I’d encounter on many, many sets. Kingdom of Us is the best 2017 documentary I saw, but unfortunately it isn’t eligible for an Oscar because it went straight to Netflix.
Best Production Design – Blade Runner 2049
- Blade Runner 2049 really opened up the world from the original movie in a way that was both completely original and tonally true to the source material.
Best Score – A Ghost Story
- Baby Driver’s soundtrack was, for me, the best use of making the music of a film as important as any of the visual elements, but since that soundtrack was largely pop songs, I don’t think it qualifies. I just watched the mostly silent A Ghost Story and the score of that, by John Congleton, carries that film. It was beautiful.
Best Picture – Get Out
- This is a film I believe will be studied for years to come because it is absolutely perfect. It’s the movie that I think people will look back on to represent film in 2017.
The following is my list of my favorite movies of 2017. I’m not saying I think they were the best movies of 2017. Arguably Dunkirk is a finely crafted piece of film, but with only a couple of the characters being named on screen, it just didn’t connect to me emotionally. I’m sure Phantom Thread is fabulous as well, but I have zero interest in it.
Get Out – It was the first movie I saw this year, and it’s stuck with me all year long. There are so many subtle hints and jokes within this film, that I discover something new all the time. It’s a master class in screenwriting and storytelling. I read the screenplay too, which has a completely different ending than either the theatrical or the alternate Read the rest of this entry
In this episode, Allyson Hood and I try our best to convince my cohost Sam Gasch that Goonies is a perfectly fine movie.
Or listen HERE!
The Box would have been way better if Frank Langella wore his Skeletor makeup.
My writing partner and best buddy DJ Dangler and I will be launching a fun little podcast in the next few weeks. While writing, we end up having sometimes silly, sometimes introspective conversations. We decided to record them. In this first one, we talk about our favorite living wrestlers. We hope you like it.
The art is from my friend Joe Apel.
The intro music is from the Mutants.
Sam and I dissect Robocop and figure out how to make the ultimate remake!
My friend, screenwriter/improviser Sam Gasch and I have launched a brand new podcast. The trend in movies these days is that just about every big budget feature is a remake of something else. So every other week we will look at an old movie and figure out what’s the ideal way for Hollywood to remake it.
Here’s a link to the preview episode. Please subscribe in your podcasting catcher of choice and write us a review so we know how to improve the show.
In a city of a thousand planets, surely there has to be something better to watch.
I like Luc Besson. Problably more than I should, considering he’s kind of a creep. Luc Besson is the Woody Allen of France. I also really like weird French and Spanish sci-fi and fantasy. Those can also be kind of creepy by our American standards.
Next week will be the first time in about two years that I’ll be back in Michigan. I miss it a lot. I miss my friends. I miss my family.
I’m incredibly grateful Go Comedy is letting me have a show there on Thursday the 8th. Time is incredibly limited this trip because we’re coming back to wedding plan. This show is a good opportunity to get to see a bunch of friends all at once! So, if you’re going to the show, it will be over with by 9:00, we can all go down the street to a bar afterwards and hang out. What’s that? You didn’t know about this show? Well click HERE for more info. And if you still need tickets to the show, just click HERE.
This year the In Memoriam section of the Oscars is going to be longer than the award ceremony.
I’m writing this shortly after hearing about Carrie Fisher dying. Yeah, I’m a Star Wars fanatic, so of course I dig Carrie Fisher. But to me, she was something more. When I found out that she was a script doctor and wrote screenplays, that was the first time I really considered screenwriting as a cool endeavor. She was sharp and funny.
So that’s why I’m here in Hollywood. I want to write. I want to be like Carrie Fisher and be known for both my writing and my personality. She was amazing, guys. Yeah, she was also bat shit crazy, but aren’t we all?
Here is a more in depth look at my favorite films of 2016. I’ll steer clear of spoilers.
Starting with a cheat…
Here’s what’s going on…all in one convenient place!
I write best with a partner. I’ve tried a few different ones over the years before finding one who I really click with. And I found him completely by accident.
The hardest thing I found about writing with a partner is that one person is always going to be more motivated than the other. Some days you may be the motivated one, while other days it may be them. No relationship is truly 50/50 all the time.
Whenever I write something, I send it out to a bunch of people to get feedback. Very few people actually ever get back to me. DJ Dangler always does. And when he does, he’s thorough. The first thing I remember critiquing was a spec script I wrote for Bob’s Burgers. We went through it line by line picking apart dialogue that didn’t feel true to characters and moments that didn’t feel like the show. It was incredibly helpful.
I’ve been fortunate over the past year to shadow an established television writer as he works on various pitches for his own shows. He works predominately in procedurals and political dramas, while I’m mainly a comedy guy. But I knew the fundamentals I was learning were universal.
He always starts with a brief, but catchy biography about himself and why that makes him the best person to write what he’s pitching. His origin story has become like folklore. He was a Washington DC speech writer, but some of the details change a little bit here and there. Most importantly, the drama amps up in a way that always hooks you right out of the gate.
From there he goes into the teaser for his show. If you don’t know, that’s basically the thing you see before the first commercial that, if done right, keeps you from changing the channel for the next thirty or sixty minutes. My mentor is great a teasers. Political drama and procedurals are pretty much at the bottom of the list of things I like to watch, but more often than not, his teasers grab me.
Then he talks about the pilot episode while giving pertinent information about all of the key characters. He gives you enough of their backstories to get you to really know who they are as people. Sometimes if the teaser doesn’t grab me, his ability to create interesting characters does. His characters are always flawed. They feel real. Most importantly, they’re interesting. We always know what their needs are and why they need it.
After he gives a pretty detailed beat by beat run down of the pilot episode, he goes over story beats for the entire first season of his show up to the cliffhanger ending. He wraps up by touching on the themes of further seasons so that whoever he’s pitching to knows he’s thought through this entire world.
Off the top of my head, I’ve sat through seven very detailed pitches in the past year from him. He’s a work horse. In addition to learning how to pitch, I learned how to manage time and projects. I’ll write more about that in the future.
So that brings me to our pitch.
Along with comedian DJ Dangler and artist Axel Ortiz, I created an animated show. My friend Joe Apel has been working in animation for the past ten years and directed me to someone at a network who might be looking for something maybe along the lines of what we created. I sent an email and a meeting was set up pretty quickly.
DJ spends most of his time on the road making his living off of stand up, while I’m currently choosing to take a little break from the road and focus my attention on California right now. When the meeting was set, DJ decided to fly back to not only be there for the meeting, but to make sure we were prepared.
Axel is just as much of a work horse as the aforementioned television writer. He’s a veteran of the pitch meeting, but pointed out earlier that if we had a star attached to our show, that would give us an advantage. Over the past six months, I’ve been working on getting the biggest name I know attached to it. The week before our pitch, we got him. He looked at what we were going in with and said that he was happy to be part of it and if it lands, we can hammer out the details then.
I researched the person we were pitching to. She was a guest on a comedy podcast and spent an entire hour talking about the pitching process. In that interview, I also found out that she, like DJ, is from Indiana and her wife, like me, is from Michigan. She and I both nerd out over character actors too. So I knew we had a conversation opener and I wasn’t going to have to overly explain things like if I said, “Oh this character is a little bit like Miller from the movie Repo Man, played by Tracey Walter”, she was going to know who Tracey Walter is. For the record, many of the scripts I’ve written have characters that I imagine Tracey Walter playing. I know why Jonathan Demme puts him in every movie, because Tracey Walter is a national treasure! I once told DJ that I would be more excited about meeting Tracey Walter than I would be about meeting George Lucas or Harrison Ford. I think Tracey Walter lives within a mile of me too. And if you think every time my girlfriend and I walk around the neighborhood, I’m not on a constant look out for Tracey Walter watering his plants, then you’re wrong!
Axel went in to pitch on another show three weeks prior to our meeting and told us what the executive asked from them. DJ and I wanted to make sure we were over prepared. We had a pilot script. We had ideas for story beats for our first season and I knew what I wanted to happen in the final episode of the entire series. But DJ and I detailed out episode by episode the entire first season of our show. We knew the story beats and what themes each episode would explore. A friend of mine who works in printing made us a really nice pitch packet too.
The idea of writing stories with an overall point of view or theme is something that I would accidentally sometimes hit, but other times missed completely. DJ and I have a mutual friend in comedian turned television writer Nick Anthony who really hammered into us the idea that we sometimes missed that. So when DJ and I started the conversation about each episode of our show, we started with what was the theme for that episode. It really helped us figure out where the other characters were going to be in their individual arcs.
The night before our pitch, DJ and I walked home around five miles from West Hollywood to the far eastern side of Hollywood really exploring every character we created. We knew their strengths, their weaknesses, their desires, their backgrounds, and their secrets.
So going into our pitch I knew we created something cool, timely, we have a big name attached and we were prepared.
The meeting was great. I told her that I enjoyed the podcast she was on and we found out her dad and sister both went to Purdue, same as DJ. Her wife and my girlfriend are from the same small suburb of Detroit. She asked how DJ, Axel and I knew each other. DJ and I have a fun origin story where we both showed up early at Nick Anthony’s home to go do a show in San Diego. Nick wasn’t there yet. I was parked on the street waiting. A guy pulled up on the other side of the street, got out of his car, put a large pizza on the roof and just ate the entire thing in front of me. I couldn’t take my eyes off of it. He was so full of unadulterated and gluttonous joy. From that moment I wish I could be that guy’s friend. That guy turned out to be DJ. We hit it off that night and have been friends ever since. Axel and I met at San Diego Comic Con last year and our origin story gave me a chance to really talk about how much I love his work and why he was the perfect person to design our show.
Then she wanted to know about our characters. DJ and I were able to speak passionately and deeply about each of them. I like writing female characters. This show features two really strong female characters. The main character is, in some ways, man boy with arrested development not completely unlike DJ or myself. One of the women in the show is his daughter, the other is basically his boss. Both are strong. Neither of them are bitchy. Both of them are just as cool and quick as he is. They’re strong women, but they’re perfect. They’re deep and rich characters. I can see how it would be an easy trap for a guy writing a woman to over compensate by trying to make her too perfect. Ours aren’t at all. They both have real human foibles. Also, I’m hoping I just used the word “foibles” correctly.
At the end of our meeting she asked us what our roles would be if the show were picked up. I explained that when Garth Ennis created the comic book Preacher he gave artist Steve Dillon co-creator credit because he felt the look of it was just as important as the story. I believe in that. When I asked Axel to draw the characters, I told him very little. And aside from changing the hair color on one of them, I didn’t have any changed. I love his art. DJ and I are great at writing jokes and character, but we still struggle with story and conflict. An analogy a script reader gave us of a screenplay that we wrote was that there’s “a lot of icing, but not much cake”. That’s fair. So I said DJ and I care a lot about our characters, but if the show were picked up, it would probably be best if we were teamed with a producer who was better at breaking stories. So I think that showed that we were flexible and going to be easy to work with.
There’s another show, which I can’t name, where the creators were fired because they were way too difficult and had very unrealistic expectations of what they were entitled to. Hollywood is a city built on collaborative art. Nothing here is a single vision. You have to be willing to trust others to help you create the best product possible.
According to the podcast our executive was on, because she sees so many people, her pitch meetings rarely go more than thirty minutes. Ours went 45. She laughed a lot and seemed engaged. There’s nothing I would have done differently about our meeting. We gave her our book with the character art and descriptions as well as additional information about the show. We’ll know more in a couple weeks.
Yes, at this stage a hundred things would have to happen for this to be a show any of us would ever get to see. We’re going to move forward and continue pitching to other places too. But on the flipside of this meeting, I thought it would be nice to share some of the tips that I learned.
- Know as much about the person you’re pitching as you can. As they say, “knowledge is power”.
- Be prepared to explain why what you’re pitching is important to you personally and why you’re the best person to write it.
- Television is a medium based on characters. Make sure you have interesting ones and you can talk about them.
- As with any speech writing, pepper in a joke or two if it suits the mood. I don’t think I’d try to make anyone laugh if I were pitching Schindler’s List: The Series.
- Keep it pithy, punk. Metallica songs are like three hours long and feel like they include every idea that everyone in the band had. In the time it takes to listen to two Metallica songs, you could listen to seventeen Ramones songs. Be a Ramone. Leave them wanting more.
- Don’t just talk. Listen. We were prepared to talk nonstop for 15-20 minutes, but were totally able to let our exec lead the pitch in a much more conversational and informal manner.
- Television is a flexible art. We didn’t get any notes in this first meeting, but my mentor has. He digests them all and if he has complaints, he does it later to his manager, not in the room.
- Know what you’re talking about inside and out. DJ and I know every in and out of our show where it stands right now. And if you had a question for us that we didn’t know the answer to, we’d make something up. We have an alien character who is the last of his kind. What planet is he from? Zaphodbrock. He’s a Zaphoid from the planet Zaphodbrock. I just made that up. It’s one part Hitchhiker’s Guide to the Galaxy and one part late singer of Gwar. If you wanted me to talk about Zaphodbrock, I could. And DJ could jump in and we’d piggy back on each other’s ideas. Executives want to feel safe. The words, “I don’t know”, has never instilled security in anyone.
- If you can’t come up with ten items, don’t just make stuff up to fill time or space. See #5.
So there you go. I’m far from an expert, but I know a week or two ago I’d love to have this information compiled in one place. I hope this helps or at least makes for some interesting reading.
After the release of the Rogue One: A Star Wars trailer last week, I posted on Facebook five IMDB message board thread titles that I felt really showed the best/worst reaction.
The fanboys aren’t happy.
Later in the day, I had a talk with a gay Asian coworker about the reason behind the backlash. He didn’t get it. That’s when I realized what it might be. He’s had a lifetime of not seeing himself onscreen in genre films. Most fanboys haven’t.
Straight, white males are used to seeing themselves represented in nerd culture. From Ant-Man to Zartan, comic books and sci-fi are riddled with straight, white male characters. I grew up in a pretty white suburb. When we played Star Wars on the playground, everyone wanted to be Han Solo or Luke Skywalker. No one was calling dibs on being Princess Leia or Lando Calrissian.
If a movie hero isn’t a white male, for the longest time, that movie was a mainstream flop. Granted, Steel and Blankman are arguably terrible movies. But Spawn were decent enough. And Hancock was actually good. The Crow was a cult hit and maybe that’s because Brandon Lee was only half Asian.
To the best of my memory, Val Kilmer in 2005’s Kiss Kiss Bang Bang is the first time I even remember seeing a gay action hero on screen.
It’s been said that video games are the future of entertainment. They don’t have a much better track record, although I always liked to believe that Pitfall Harry was a nickname for Pitfall Harriet, and she was running across the jungle, not in an exercise of futility, but for Civil Rights.
Video games, for the most part, have straight, white male protagonists, unless it’s a game where you can create your own character. When those games offer a possibility where your male avatar can romance another man or your female avatar can romance another woman, it becomes a newsworthy and there’s backlash.
I’ve got news for the conservative parents who insist that Mass Effect made their son, playing a male Shepard, romance that hot male soldier. The game was impartial. Your son banged that dude because your son wanted to bang that dude. And believe me, he had to really work for it, just like I had to work to have my female Shepard bed down with Liara, the blue alien lady.
I like this new era of seeing diversity in our heroes. Any time I’ve played a video game where I could create my own character, I’d create a badass lady hero. And it’s not that I’m such an emotionally advanced and progressive dude. It’s just that if I’m going to stare at the back of someone running for 100 hours of game play, I want them to have a pretty butt. And that’s the same as my coworker who said that any time he can create his own character, he’d create a super hot guy.
The backlash with female heroes seems to be a pretty American thing. Luc Besson almost exclusively heads up his films with strong ladies. Mad Max: Fury Road is a technically an Australian film. And even more so, should have been titled Imperator Furiosa: Fury Road. American genre films, especially Star Wars seems to be the core of sexism and racism in nerd culture.
Was Mad Max any more groundbreaking than Star Wars: The Force Unleashed? Both movies are female lead requels of existing franchises with full realized worlds and cutting edge special effects. Star Wars was woefully snubbed at the Oscars. How many black people are in the entire Mad Max franchise? One. Tina Turner. Star Wars has Finn in a starring role and I really hope that it’s dropped casually and matter of factly that Poe is gay. Star Wars also has a much deeper plot then, let’s drive towards the left side of the screen for an hour, then turn around and drive to the right side.
The Force Awakens was dismissed by many as being a retread of A New Hope. I couldn’t disagree more. They’re similar only in that both stories are about people discovering their calling. Isn’t that kind of the case of all origin stories? A New Hope is basically just Luke’s story to blow up the Death Star. The Force Awakens is mostly about the quest to find Luke Skywalker. It isn’t just about Rey’s journey from survivor to hero. It’s about Finn going against his literal programming to be a hero. It’s about parents trying to fix their part in not being their for their son. It’s a much deeper film than Mad Max and A New Hope.
One of my biggest hopes was that if I ever had a daughter, I’d have a son first, so he could be the protective big brother. But in this age, especially in this Star Wars age, of having role models like Daisy Ridley, Felicity Jones and hopefully a better used Gwendoline Christie, I realize I don’t have to revert to ancient beliefs and hokey old fashioned thinking. If I ever have a daughter, she’ll get to live in a new era of Disney Princesses who don’t need rescuing. She’ll get to live in an era where Disney Princesses wield lightsabers and steal Death Star plans.
In 2014 I made a huge leap of faith from my long time home in Michigan to the great unknown in California. It was and continues to be scary.
This is a place that’s much more open to helping you when you’re a visitor than it is when you’re a resident. When I would visit, I got on the best shows in town because I knew a handful of people and could say, “Hey, I’m going to be in LA the second week in June, can you put me on?” Now that I’m here, there’s no urgency. I’m just another mouse trying to get a piece of the cheese. As far as comedy goes, honestly, I’ve done more here as a visitor than I have as a resident.