#OscarsSoLame

The Academy is old, white and out of touch

The Oscars are under fire this year for once again failing to nominate a single black person in any of the major categories. TTV film critic Joe O’Shansky recently discussed the controversy with James Cooper, president of the Oklahoma Film Critics Circle. Here is their conversation, edited for space and clarity.

Joe: The hashtag #OscarsSoWhite—a reaction to the complete absence of any black nominees at this year’s Oscar festivities—has spurred a plethora of reactions, from boycotts to ill-advised commentary from people who likely don’t believe white privilege is at issue. James, you’re a critic, the president of the Oklahoma Film Critics Circle (OFCC), and a black man. What’s your take? Is it sour grapes, or is there a systemic racism that influences what films and talents get a shot at the gold?

James: Here is my question: are the Oscars relevant? Specifically, does anyone take them seriously? The serious systemic problem is that Academy voters are 94 percent white, 77 percent men, and 63 percent over the age of 63. If any movie wants a chance at a nomination, it needs to appeal to this homogenous group. So, how many of these voters watched “Tangerine,” a critically acclaimed film about two black transgendered prostitutes in LA? Praised at Sundance, shot on an iPhone 5s, and ignored for a single acting, writing, or technical award. Why? 

Ten years ago when I was an undergrad in film school, I caught on to these voting demographics and realized Academy voters mostly watch films they recognize and make them feel comfortable. Is that awarding art or giving statues away to the best marketing campaign? I say this fact not as a half-black man but as a person paying attention to Academy demographics.

Joe: On one side it seems to be considered evil political correctness to make a fuss about it. Charlotte Rampling’s cringe-worthy observation that it’s “racist against whites,” or Michael Caine’s blasé “their time will come” assessment. Is the institution outdated—is this just another way the Academy reveals its irrelevance?

James: The whole institution is archaic and out of touch with most film critics and moviegoers, yes.

Did you read the recent interview Entertainment Weekly did with an Academy voter on “Straight Outta Compton?” The voter, an award-winning director, said, “many Academy members wouldn’t even see the film because it represented a culture that they detest or, more accurately, they assume they detest,” i.e. rap.

Joe: Yeah, I did read that. Conversely, I heard stories about voters nominating and awarding “12 Years a Slave” without watching it.

James: Would not surprise me. Also, on “12 Years,” “Django” is the better film and should have won Best Picture the year the Academy was actually smart enough to nominate it.

Joe: When I see a performance like Michael B. Jordan’s in “Creed” and it’s not up for consideration, I just cease to understand.

James: Yep, I gave up understanding when “Crash” beat “Brokeback Mountain.”

Joe: Oh, God. Yeah, I guess it all began for me when “Goodfellas” lost to “Dances with Wolves.” Just, what? 

James: At best, Academy voters get it right in technical categories occasionally. Best Cinematography is an example this year with “Carol,” “The Revenant,” “Mad Max,” “Sicario,” and “The Hateful Eight.” Beautiful films, simply breathtaking to see.

Joe: I think the technical stuff is easier to get right because their qualities, and leaps forward in technology, are plain to see. I’m starting to think we should agitate for the abolition of the Academy Awards. Not because they’re racist. Just because they inflict actual harm on pop culture.

James: For sure. Also, I support movie critics abandoning the Academy. I mean, does anyone think the Grammys know what they are talking about these days? No way. At best, they sneak in Kendrick Lamar or Arcade Fire, maybe.

Joe: #OscarsCanSuckIt. Pie in the sky question: if they were better, if the demographics of the voters, and their culture changed, would the Oscars be worth saving?

James: How do you change that culture? Honestly, the only movie awards I care about are film critic’s associations releasing their annual lists of the Top Films of the Year, every group from New York to Austin to Dallas to the African American Film Critics Association. These critics watch hundreds of films a year for a living and strike me as considerably more knowledgeable than the homogenous group of older white men that is the Academy.

These critics are black, white, Asian, Latino, gay, straight, Christian, Muslim, Jewish, atheist, middle class, working class, young, old, and middle age. I will throw my lot in with them.

Joe: I usually look to those critics and guild awards when I make my Oscar picks, because I’m pretty sure that’s all the Academy is doing anyway.

James: Oh definitely. Also, I love Film Comment’s annual year-end list, which always includes so many films from across the world.

Joe: Yeah, where the hell is “Mustang,” “Phoenix,” or “White God”? “Tangerine’s” exclusion was a huge oversight. It was my number one pick for the year because it’s flat-out ground breaking.

James: Earlier I said I gave up understanding why the Academy nominates and awards the movies and actors they do. I do understand. Will the Academy, the majority of which are older white men, watch movies shot in Sweden, Russia, Latin America, or the Middle East? To repeat my earlier answer, clearly not.

Joe: It amazes me that I’m watching shit on Netflix that they should be voting on. And not just the films we mentioned, but notably “Beasts of No Nation.” I think Idris Elba made a joke about it when he accepted his SAG award.

James: Netflix, Amazon Prime, Hulu, and YouTube are game changers and have democratized movie watching. Now, we have better access to foreign films, smaller films, LGBT films, black films, etc. If the Academy Awards do not catch up with the culture, that is on them, not the rest of us actually interested in watching the best, most entertaining, and engaging movies we can find.

And, if Oscar voters want to continue ignoring horror and comedy films for Best Picture and other awards, then fine. Let them, and let audiences keep rewarding those films at the box office and on home video. “It Follows” and “Trainwreck” were great 2016 films. Where are they?

Joe: I’m actually amazed that “Mad Max” is up for Best Picture. Not because it doesn’t deserve to be, but because it’s the Academy. 

James: “Mad Max” is incredible and deserves every award. What a powerful film. How it secured a nomination is beyond me. Whether its inclusion is symbolic remains to be seen.

Joe: They almost never go with hardcore genre films like that. The Academy is about prestige. That’s why September through December has become so goddamn annoying. The prestige pictures, which are usually, though not exclusively, about white people.

James: “Chi-raq” is a terrible film, and “Concussion” is, well, whatever. Those two specific films do not deserve nominations, so I find Spike Lee and Jada Pinkett Smith unfortunate messengers for an important message. When Spike talked all his noise on “Django,” calling it racist before even watching the movie, sorry, not interested. Too bad. “Do the Right Thing” and “Bamboozled” are great. What happened to that guy? 

Joe: Exactly. Jordan deserved to be up there. But not everyone. As for Spike, well, his best work is behind him. 

James: Jordan is fantastic. Sad to see the Academy ignore his performance. We all know better, though. 

AND THE AWARD GOES TO...

The Revenant or Mad Max: Fury Road?
Rooney Mara or Alicia Vikander?
Will Leo finally get his Oscar?

We asked four local film connoisseurs to join TTV’s resident movie nerds Joe O’Shansky and Joshua Kline in forecasting the big winners for this year’s 88th Academy Awards, which airs Sunday, Feb. 28, at 6:00 p.m. on ABC.

BEST AWARDS PREDICTOR

Think you have the winners pegged?
Go head to head with Joe. If you correctly predict more wins than him, we’ll throw your name in a hat for a chance to win six passes to Circle Cinema and a $50 McNellie’s Group gift card.

For more from Joe, read his review of "Anomalisa."