The Coppolas and The Academy [Oscar's Special]

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ACAST. ACAST.com. Welcome to Cajidin Presents, the Coplers and the Academy, a look back at several Oscar ceremonies in which the Copler family had a hand in films which are nominated, and in some cases, won some shiny gold pieces. I'm your host for the evening, Petros Petcellibus, and joining me to question if the Academy got it right, celebrate the Copler family, and inevitably wade through some murky waters of these awards is the Mario Puzo to my Francis Ward Copler, the Marlon Mrando to my Martin Sheen, the John Casale to my Gene Hackman, the leaving to my Las Vegas, the Bill Murray to my Scarlett Johansson, the Donald to my Charlie Kaufman.

Ladies and gentlemen, welcome to the stage, Will Chitch. How are you today, Will? I'm great, thanks for having me. It's just an honour to be with us even.

Yeah, the inaugural, I don't know what these would be, the Copies, the KGs, the Cajies, the the Caj, the Academy Awards, I don't know, the Caj, Geny Awards, who fucking knows? We're rolling. What on it? First thing I've got to ask you, Will, especially when talking about the Academy Awards, is what's your relationship with the Academy Awards?

Are you an ardent watcher of these prestigious awards? What's your kind of feelings towards them as well? Have you played an interest? I am ashamedly.

Love it. Love it. Since I reckon probably the first one I would have stayed at Mwosh was probably when I was quelled, like, stayed at Mwosh because I am a cool guy. So yeah, I've always been a cool guy.

So yeah, I've always, yeah, always said Mwosh, I think I'd say I've missed a handful. I mean, I love it. I'm talking the red carpet, the full works. Love it.

What are like, are there any particular ones that you've seen that stand out to you, like, kind of years where there's been major upsets or kind of like... Well, have you ever guessed them all? Have you ever liked, do you have any of the major categories? Have you ever managed to guess them?

Never, I don't think every single one. But I'll make a list. Of course I do. Make a little list, write a little list of my predictions or who I think we'll win and who we should win.

I mean, yeah, I'm ready for... I mean, I've got work six to 30 Monday morning. So I'm just planning to stay awake. My thought was, don't watch it this year.

Don't be silly, well, you don't need to. I wasn't going to watch it last year. But I did. Absolutely furious if I missed it.

So, yeah, so I'm going to watch it. But I love it, yeah. Yeah, it's a fascinating kind of spectacle, isn't it? Because obviously it's like...

What is it? This is it. I mean, I get the whole awards. This means nothing.

It's not the best film. You'll get the people like, oh, it's ridiculous to come. No, I need it. And it is a spectacle.

It is a thing. You have... Jack Lick has another friend every year. I mean, someone will do something completely embarrassing or something like that.

Not every year, but this is why I can't miss it. It's almost... Yeah. Well, we should say for the audience as well, we're listening to this.

We are currently suited and rebooted for this evening. You yourself are channeling Jack Nicholson right now, which is an absolute delight. You'll see in the artwork for this episode, Mine and Wheels outfits. We are...

I look more like I should be selling copious amounts of cocaine in the 1980s, but... Hey. I love it. If Francis Ward Coe can wear a orange suit to the Academy Awards, I think I can look like one of Tony Montana's henchmen.

It's a strong look for you. I love it. I think you should do more often. Yeah, suited a boo-ed.

Got the old bubbly on the goal. That's right. I think so. Yeah, it's Jack Nicholson's still that kind of elder statesman.

Somebody's taking his place in recent years. I think he's still... Well, I don't know because I don't know because he's pretty much retired now, isn't he? I think Jack's done.

So I don't know. But I don't know who it would take over from... I mean, he is such an iconic thing of him in the front row with the Oscars every year. The sunglasses.

They... So I don't know who it would... I can't think of anyone who could take his place. Well, you kind of got an element of like Denzel doing a bit of like...

Do you know what I mean? Like, Daddy-ing to be a luscious? Yeah. The way he kind of like stepped in with the whole Wilkes-Miff debacle.

I mean, that incident, we got to mention this before the Oscars, was absolutely... And the World Cup is like, I'm not a sports guy. The World Cup is like, I don't know what's a sports thing. The FA Cup final for me.

I love it. I stay up. I get the beers. I watch it.

That's like a... One moment. I was so close to waking up and going, oh, you're not going to believe what's happened. I didn't.

I resisted. But what was fascinating about that whole thing was, like I said, I stay up and watch it. We had the full footage. So you can imagine Twitter went into the next down.

But because in other places, I think in America they carried out. So we didn't see the Will Smith swearing. And it was happening over you. And so what's happened is it a bit is a bit...

Oh, see, it was an incredible moment. A peach, regardless of what you think of it, it was... Yeah, and I think that's the way I kind of look at the Academy Awards. They are very much a show.

And inevitably, it's all fairly meaningless. Do you know what I mean? Do people like me and you? What the Academy are doing?

And what films have nominated mean something to us? And imagine a lot of people listening to this. But I think your man on the street... No, it doesn't really care if there's a thing on the poster that says...

It's like Oscar-winning movie. Like, no. And then also I suppose... I love my films, I watch a lot of films.

I'm not a massive film. But it probably is films that have been nominated for Oscars and things in the past. Especially when I was younger, that I wouldn't have watched. I did not be in part of the ceremony.

So I would make it even as a cool teenager. I would make an effort to watch as many of the films I could in as many of the categories. So there's lots of things I probably would never have seen. Had it not been for the Oscars.

Yeah, you're right. It doesn't mean shit to most people. Oh, yeah. I love it.

And it's got its big issues, right? It's like they've awarded and we'll get to. We'll get to problematic people who have been awarded Academy Awards when... They probably shouldn't even be in the running.

There's obviously Oscars so white. And we're really combating that tonight by being too straight white men talking about the Academy Awards and talking about family, which are all white. But that is the cards we are dealt talking about the Co-Pla family. But before we get to talk about the Co-Pla family at the Oscars, I wanted to ask you, which family extended family do you think has the most Oscar wins?

I thought about this. I wondered. Because I thought I'm not going to look. The fonders must be up there.

It says Jane thought fonders, but I would imagine as a couple of those. So they're not the fonders. They're quite far down the list. But we will get to the...

Who stands? Again, lower than the Co-Plaas, the Houstons. But I think the Co-Plaas are not number one either. So Co-Plaas are fourth on the list.

No, no, no. No, they are joint second on the list. They have less nominations than other families, but have 12 wins. And I think that is just on them personally as opposed to like films that have been involved in, like having nominations.

Obviously we'll get into that when we get into the films we are discussing. But the number one family is the Shearer family. So Douglas Shearer, Norman, and Norman Shearer, and Howard Hawks is an honorary... He's a brother-in-law to that family.

So yeah, he gets in there. Number two on the list is the Newman family. So Alfred Newman, Randy Newman, Newman, and Lionel Newman. And they have a whopping 76 nominations with 12 wins.

Followed again by the Farrow family, again 12 wins. The members that included that, John Farrow, Frank Sinatra, Adrian Previn and Woody Allen, a class called in that list. They've got 43 nominations with 12 wins, followed by the Coppola family, with 12 wins off of 29 nominations, which feels like a kind of like... As a law of averages, they kind of almost trump the Farrows and the Newmans because they've got less nominations but still managed to win.

Yeah, I mean, they basically won 40% off their 29 nominations. I think if you've got dad's percentages, the Coppola is definitely second. So... Yeah, so we have a brief look at the overall nominations that the Coppola family have had.

So Francis Ford Coppola has had five wins, 14 nominations, and one honorary relationship, which I'm not sure what that is. I think he might have got the honorary one last year with the Godfather telling 50. Okay, that would make sense, yeah. Yeah, I think he's just got one for services to act, but he'll do directing, basically.

Spike Jones is included in the list because he has won one Academy Award for her and then four Academy Award nominations as well. So Fia Coppola, three nominations, one win, Carmine Coppola, two nominations, one win, David Shire, two nominations, one win, Nicholas Cage, two nominations, one win, Patricia Rakea, again, one nomination, one win for her Rowan Boyhood, which is post-air involvement in the Coppola family, but still... Still hard. Yeah, and then Roman Coppola as well was nominated for co-writing, Moonrise Kingdom, but unfortunately lost out.

So I believe... I think what that year would have been. Maybe Quentin Tarantino? I can't remember.

It was... Not believe... Quentin Tarantino is doing original script. He normally wins it, right?

He's in it. Yeah, so how do we want to tackle the films we're going to talk about, which are... So the nomin... Yeah, the kind of Oscar ceremonies we'll be discussing tonight, the 1975 ceremony in which the Godfather and the conversation were nominated, the 1980 award ceremony, which would have been for the film from 1979, so that is the year that Apocalypse Now was nominated, the 2004 ceremony, which Lost in Translation was nominated for four Academy Awards, 1995 or the 1996 actual award ceremony with leaving Las Vegas and the 2003 ceremony in which adaptation was nominated.

So how do we want to do this? We want to mix it about and kind of like, do you want me to just pick them at random and then we go through them? We're gonna make you go for it. Okay, well, let's jump off and talk about the year in which Apocalypse Now is the first Apocalypse Now was nominated for the Academy Award.

It feels like a film that was had so much drama going into it and was nominated for a whopping eight Academy Awards. How many Academy Awards did this film win-willed, do you know? Was it? Well, I know it didn't win Best Picture, which is absolutely mental, considering what it did win for, what did win that year.

I mean, I didn't... Because I do watch the Oscars, but I don't remember, like, what is up again. I always remember the winners, but I was absolutely shocked to see what it lost against. So, let's...

The sex wins. It was two wins out of eight nominations. Two wins. Two wins.

So we will get into this. So this is, yes, the 52nd Academy Awards, which were hosted on April 14, 1980 at the Tour of the Chandler per million. So let's get into some of the awards. The host for this one was comedian and talk show host, Johnny Carson.

I wanted to bring up the hosts for them because one of them is fucking hilarious, considering the film that's the board that year. So, which... Yeah, so the categories in which it was nominated, and I'll let you pick the first one, Will, is Sound Editing, Cinematography, Art Direction, Best Adapted Screenplay, Best Actor in a Supporting Role, Best Director and Best Picture. Which one would you like to litigate first?

So, for the listeners, we are going to go through and kind of see if time has been generous for this film. Do you mean, have the sounds of time proved that this film probably should have won the Academy Award? Did the Academy get it right, essentially? So which category are we picking first?

Let's go with Sound. Best Sound Editing. Let's go for it. So, best Sound Editing is...

Oh, you've picked a doozy here, my friend, because the nominees for this film are The Rose. Meteor, the Electric Horseman, 1941, and Apocalypse Now. Which film do you think won this category? Apocalypse Now.

Yeah, baby! I mean, too, didn't it? I mean, a little eyeshore apocalypse now, quite a long time ago, probably too young to appreciate it properly. And then when they released the final cut, I went to see it.

I thought it was showing... Well, they don't tend... We got two symptoms. They don't tend to do the re-issues and things, but Apocalypse Now was showing.

Right, I'm going to go. So, me and my mate went, and I said, bang, I'm in it. It's so good. And this...

And the sound of it is sound. Because it's getting incredible. My friend would appreciate me telling this story, but I'm going to tell it anyway. He had a panic attack in Apocalypse Now during the long amount of time, because he was so intense.

He just disappeared. So, I thought, I thought he's got this weird time to go to the toilet. Gone. 20 minutes later.

He came back and sat down. So, he came out. And he was like, probably. Didn't that?

Two intense. Two intense. And he had a full act to get out with it. Wow.

So, and partly so much, because he was just so... The sound and stuff was so impressive. It was just... It was really quite small.

And yeah, it's just... So, yeah. I don't understand why it worked. That's the mark of it, right?

So, the people responsible for the sound in this film are longtime Francis Ford Coppler collaborator, Walter Murch, Mark Berger, Richard Beggs and Nat Boxer. I think I'm going to say that, yeah, time has proven that this was the right. Was the right. Cool.

So, in 1941, I don't think I've heard of any of those other films. And some of that is probably my ignorance, Jeremy, like the 1979 movies, but there are other films nominated in this at these awards that I'm a lot more I'd fave with than I am with any of those really. Yeah. 1941, is that the Spielberg movie?

No. Yes. Yes, it's the Spielberg movie. Oh, yeah, of course I was thinking, yeah, yeah, yeah, yeah, is comedy.

Yes. Is flop. Yeah. Yeah.

Comedy and the moves is possible to it. So, where shall we go next? Shall we go for best adapted screen? So nominees for well, best screenplay based material from another medium are normal Ray, a little romance, the catch a falls, which is the original which bird cage, the bird cage is based off.

Yeah, so, and Kramer versus Kramer and apocalypse now. What do you think won this category? Well, I think apocalypse now should have won. But I don't think it did.

This category went to Kramer versus Kramer, which is a bit of a Oscars is a bit of a tradition where you can kind of judge if it's a that screenplay is a way to that screenplay. There's a solid chance always, but there's a bit of a chance as it's going to go on to win Best Picture. I didn't have this case, but whether I lost some of you there, Will. Oh, sorry.

Yeah. So, but normally this is the best adapted screen play tends to go on to win Best and Best Picture, which quite often is not the correct decision. And as we just learned that this Kramer versus Kramer won best adapted screenplay. So, yeah.

Well, I don't want to. No, I'm not going to go through that line of thought because it ruined the proceedings. You know what? I'm going to admit I've never seen Kramer versus Kramer.

No, I should, but there's something about it. Like I said, what? I think about divorce and as a child of divorce. I'm not sure if it's like.

It's not apocalypse. Now is it? You know, that is true. No, I don't think I.

Well, if I have seen it, it hasn't stuck in my mind. Therefore, you know, I can't remember much about it. I'm afraid of being the divorce that the kids with the kids fell with. That's all I know got it.

So speaking of Dustin Hoffman was best. Yeah, it was nominated for best actor. Let's go to best actor in a supporting role. So the nominees for this category are Mickey Rooney and the Black Stallion, a film which was produced by Francis von Kopler and had music by Carmine Kopler, Justin Henry in Kramer versus Kramer.

Melvin Douglas in being there. Robert DeVal in Apocalypse Now and Frederick Forest in the Rose, which actor do you think won this category? Will. No, I haven't checked, but I thought it was Robert DeVal.

Am I incorrect? Yes, it was Melvin Douglas in being there. A film which was produced by Jack Swartzman, so has a couple of connections to it. OK.

So Kopler did kind of benefit this in some way. But being there is the Peter Sellers movie. Yeah. Peter Sellers, yeah, yeah.

And it is a good movie. And I think you can probably more deserving, right? Because Melvin Douglas is in that film a lot more than the values literally in it for like a scene. He delivers a speech and then it's gone, right?

OK. OK. Yeah, he's nominated for a great scene, more than a support and role really. He's like, I know that does happen quite often as well.

Well, as we look at this year and obviously this episode will be going up. Exactly. But we've got Judd Hirsch nominated for an Oscar. Yeah.

Who is fantastic? It's fantastic in the Fablemans for the short time. He's in it, but he's in the film less than maybe 10 minutes. Yeah.

I mean, it happens quite often. And again, like you say, it's funny if I'm with the politician today, I go just literally last night, I saw Fablemans and actually loved it. But he is not really a supported role. Like he's he's nominated for a great scene.

And he's kind of getting the nomination, the Judd Hirsch nomination for being Judd Hirsch, which does happen occasionally because I'm saying anything for this, a chance he may not be nominated again. So it's a performance he's given. So let's let's nominate him. And that happens.

But there's nothing wrong with that. But he's not going to win. And I suppose it's a similar situation here, you know, it's the Robert Devalle Ward for being Robert Devalle being great. And I believe Robert Devalle has got one, right?

He's surely got to have an Academy Award. You must do it. Surely. So which ones do you want to pick next?

Editing, cinematography, art direction, director or picture? It's Skurl. Cinematography. Cinema, Sogre.

Hey. Sorry, you've got the sound of a man scrolling through the internet right now. So the nominees for this category are Apocalypse. 1941, all that jazz, the black hole and Kramer versus Kramer.

Any films on that list stick out to you? Because I recently watched all that jazz. I'm not sure if you've seen that, the Bob Fosse movie. Don't think I have.

No, it is fantastic. It's Roy Shider. Is it? Yeah, I picked it up in like a CX on DVD, real cheap.

And it's it's essentially Roy Schneider playing a fictionalized version of Bob Fosse directing a movie whilst directing a like Broadway production at the same time. He's kind of got like dependencies on prescription drugs and stuff like that. And this is amazing moments every day. Like when it's like a new day, you just have this him popping his pills, getting ready for the day.

And he just looks in the mirror and goes, it's showtime, folks. And it's like kind of ice. It's Roy Schneider as you've ever seen it, Jeremy. And it's like kind of like quite flamboyant and kind of like upbeat and like a complete kind of contrast from Jaws.

And it's yeah, it's fantastic. And it's kind of like this fanciful dream. Yeah, it essentially descends into like an extended dream sequence for the last like 45 minutes. And it's kind of part musical, part kind of drug doubt, daydream, dealing with death and like working yourself to the bone, which I think is like, even if you aren't a film director and a like a director of Broadway is totally relatable, especially like living in the times we're living now, it's like, you've got to work every hour under the sun, baby, to get that money.

No, so I'm going to watch that. I don't know. On that description, I don't know why I haven't watched it. I think I thought it was probably a different type of film.

So yeah, I watch it. So yeah, yeah, yeah. Yeah. So which of those films do you think won for the Academy Award for the best in the topic?

Not on that description because they don't all that as well. No, that would have been a real savvy move. Like, it's got great. It's an amazing thing.

It could have easily won. No, the, yeah, go on. The winner was the Victoria Storaro for Apocalypse. No, Apocalypse.

It was a problem. I don't know this. That doesn't make total sense. For some reason, I had you my head that didn't win, but yeah, not that is the correct decision.

So that takes another one off the board. Obviously, well, it's two wins are off the board. So let's get into some serious litigation and we'll work up from editing, art direction, director and picture. We'll work up in that order just because it seems to be, yeah, not the least important because that is diminishing those categories.

But like, especially in popular parlance, that seems to be the way, I mean, some years they don't even broadcast the technical. So let's let's be ourselves like the broadcasters of the Academy Awards. So best editing went to all that jazz, which I think rightfully like it's got some fantastic editing in it. It's kind of really frenetic.

And yeah, as I said, like, it's got this through line all the way through. And it kind of froze you off at the beginning. It has Roy Schneider sat with Jessica Lane in these kind of Jessica Lang in these, I don't know, it's like an old abandoned theatre just having these conversations. And it's basically his character, like speaking to like the angel of death, essentially.

Like, and it kind of you have like these weird flashes between that and like what's going on and stuff like that. And it's just kind of, yeah, it's some fantastic editing. So great. Why haven't I watched it?

Because you thought it was an old tap dance or single dance musical? I did. I thought it was more about jazz and tap dancing. Not a fan of jazz.

It's got dancing in it. I'll give you that. But I do my dancing and I've put dance into jazz. It's got some very sexually charged dancing in it.

I'll tell you that for sure. It's kind of extended sequence in the middle, which is like, oh, you're putting your collar because it's heating up, heating up, sold. I kind of want to watch all that jazz again now. I've kind of talked myself, talked myself into it.

So art direction. Let's look at the nominees for best art direction. So we had Star Trek, the motion picture, the China syndrome, Apocalypse now, Alien, and the winner for this category was all that jazz again. Kind of talked about editing in it.

Yeah, it's got it's got an Asian art direction as well. Like, as I've explained, like that kind of abandoned theatre. And when we get into like the dream sequences, it's kind of like on a sound stage and stuff like that. And it's all really crazy and fun and ridiculous.

Yes. You can see why that got it. Best director. John has a guess who won best director just on just on the conversation we've had so far.

Now, it's whoever directed cream versus cream, right? Well, let me let me take you through. So we have this. Edward had Moloneiro for the Kajala for Peter Yates for breaking away.

Francis for Coppola for pocket now Bob Fosse for all that jazz and our winner, Robert Benton for Kramer versus Kramer. See, this seems to me from like I didn't know that I didn't know much about all that jazz. I knew about Apocalypse now from what you said about all that jazz. It would be between all that jazz and Apocalypse now.

And neither one, because from what I know about Cray versus Crayman. I mean, it's what else weird Oscar things. I mean, Apocalypse now is directed the shit out of. You know, it seems just this is a film that has a you and it was obviously let's do what we need to do with the other films and then give it to the divorce film.

Yeah. Well, it's like the ultimate Oscar-baity film. Right? It's emotionally charged.

It's like a, I mean, in moments you imagine it's like a two-hander, three-hander between Dustin Hoffman, Meryl Streep and the kid, you know what I mean? And these talk, it's basically, it's basically 1970s marriage story. Do you have a minute, mate? Even if not, even not having seen it, it sounds, it's got Oscar written all over it.

Streep, Hoffman, divorce. Corrums, Jimmy's got courtroom drama, man. It's, it's, yeah, it, yeah. But I mean, I suppose maybe with the Apocalypse now, and the issues surrounding it and the controversy with it, maybe that doesn't help on occasions with these things.

But yeah, you do have used where it's a nailed on thing where you go. You can go down the list of them. Yeah, that's, yeah, that's your Oscar film right there. Well, there's an element with it.

And I remember a front-sword copler, there's an amazing clip of him on set. And like, imagine when that, when stuff like going on with the set went back to the, that Jimmy, like the LA press and the kind of, the Academy, essentially, they probably thought like, like, you know, like this guy's got his lead actor on the heart attack on set and stuff. And it's like, clip of him saying like berating somebody, being like, I can't believe this has got back to the US and this has happened. Like he's like, he's like, he's like, he's like, if he dies, like, I don't want you to say anything to anyone until I've told you that he's died.

I don't know if you don't tell me that he's died. I tell you that he's died kind of thing. And it's like, I imagine that probably went against him because of the sounds of the production. They're probably like, is he the best director?

Like, you know, maybe two years in the jungle, like losing his mind, which like, arguably, you could say the fact he managed to come out of that alive. Joe's that maybe maybe he was a pretty solid director, but at the same time, like, he's not really frugal with money and kind of went on a grand folly to do that film. But what a fucking film. It's a great film.

I think the fact it didn't win. Yeah, I should have mentioned it when we talk about editing. The fact it didn't win best editing. I think even Francis Ford Coppola would probably agree with that because what he's chopped the film up twice since.

I mean, he did the really nice. And now he's done the final cut. So even he wasn't happy with the film at the time. It's the final cut I saw.

And I know I've been telling you what cut I saw before that. I think probably Redux, maybe. So, yeah, I think it goes like theatrical is like a cut that like, do you mean, like the most cuts? Redux is just everything in the kitchen sink back in.

And then final cut is somewhere in between. Do you mean, like, yeah, that's kind of the. So I went to see it again, the final cut. I bought the Blu-ray box set with, I think it's got, I think it's got three cuts in it.

So I was doing this, the theatrical Redux and then final, that must be. But I've only ever seen the final. I might go back and watch what I was thinking about today, when I was looking at these things, I saw on the shelf that I could or I would watch it again, maybe watch a different cut. Yeah.

I definitely recommend it. So best picture, the nomination, the nominations, the nominations, the nominees for this category are Norm and Ray, for educating away, Apocalypse now, all that jazz and Kramer versus Kramer. What do you think won this category? Well, I think it was Kramer versus Kramer.

So on paper, this looks like a year that it's Kramer versus Kramer versus all that jazz, because they're both the most highly nominated films, both of the nine nominations between them. So both of them, Trump, Apocalypse now, which is it's fucking crazy, right? Because I imagine if you ask people out of all three of those, which film has stood the test of time most, I know that Kramer versus Kramer has got its like ardent supporters. But if you if you did like a kind of family fortunes poll in the street, I think the top answer is going to be Apocalypse now.

Yeah. Again, also with this, I mean, Apocalypse now is an amazing film, but it's also Black shit. I mean, there's there's some stuff in there that is really out there, which is not especially maybe maybe not as much now, but the Oscars, the Academy, don't tend to go for the bad shit stuff. And I mean, it's a long old mad film Apocalypse now.

It's mad. So it kind of makes sense that doesn't make sense. The popular is an incredible film and I have no interest in ever watching Kramer versus Kramer. It's just, well, I can see how it went in the eyes of the Academy.

It's got doesn't offer in it. It's got a male street in it. It's, they say it's an issues film and I would imagine, like I can't imagine, but I can't imagine there's many freecouts in a jungle in Kramer versus Kramer. So yeah, it makes sense.

It's wrong, but it makes sense. Perfect. Well, yeah, I think we've we've established with that one, the film that stands in the test of Time Out of All Those is Apocalypse now, like you said, it's kind of in the canon of some of the great one of the greatest movies ever made. So yeah, I think the Co-Pill is even though it only got two awards, kind of time has proven that Francis won that.

Do you mean like? So let's now move to the 68th Academy Award ceremony, which would have taken place on March 25th, 1996. The award show was hosted by Whoopi Goldberg for her second time. And the again was held at the Dorothy Chandler Pavilion in Los Angeles.

The most nominated film was Braveheart with 10 nominations. But the film we are here to talk about is Leaving As Vegas, which was nominated for four Academy Awards, including Best Director, Best Actress, Best Adapted Screenplay, and Best Actor for our boy Nicholas Cage, which of the categories would you like to go for? First, should we hold off on the one that we know is a short five bet? Let's go.

Yeah, quite a stress, I think. So yeah, let me say, hold off on the big one. But I guess so yeah. So actress in this award is the nominees are Emma Thompson in Sense and Sensibility, Meryl Streep in the Bridges of Madison County, Elizabeth Schu, or leaving that, I guess, Sharon Stone in Casino, Susan Surandon in Bed, Walking.

Would you like to hazard a guess as to the winner of this category? Sharon Stone to Cino. No, it's actually Susan Surandon in Bed, Walking. They thought Sharon Stone went on as well.

I think Sharon Stone, again, is probably playing into my career. I don't think I've ever seen Bed, Walking. I know it's directed by Tim Robbins, people. Yeah, but yeah, I have seen Bed, Walking.

And it is, again, not say it, but yeah, it's an Oscar performance. I think, if I remember, I'd be, you know, Susan Surandon is, yeah, I can get. I just, for some reason, I thought Sharon Stone won for Casino, but obviously not. Which you would have thought it would have been the case, right?

Because she has died in that film. It's much as like Elizabeth Schu, it's fantastic. Yeah. Yeah, in leaving Las Vegas.

Because it's like one of those, I guess it's something we see a lot more now, right? Somebody who's been pigeonholed into a certain genre, like, she was kind of like this teen idol. And then like did something where it's like super dark, different. And like, it's definitely the type of thing that grabs the academy's attention, right?

So I'll be like, oh, yeah, I'm not, it's like, no adventures in babysitting anymore. Do you know what I mean? This is like adventures in taking care of an alcoholic. Yeah, you forget with Elizabeth Schu, it was funny because we were watching a karate kid who was on because of watching.

And you forget that it's a little bit of a shoe and how many of those, like, say, teen things she was in and that was a thing. And then, yeah, so leaving Las Vegas is a departure from that. And she's great. She is because I haven't seen the Olympics for a long time.

And I watched it last year, maybe, but for some ages, and she is great in it. Yeah, she's fantastic. I love her. And yeah, she I don't know.

I don't know. I don't know. I think just because I've seen the Sharon Stone performance in casino a lot more and that kind of lives rent free in my brain, like, yeah, I feel like that's how it's going to be forwards is big. Yeah.

It's something the academy. It's like we do stick in your mind. Yeah. But it's always something that the academy doesn't like, right?

Because she is big. She's brash. So it's kind of like a weird one. It kind of feels like the safe bet is either like an epitomence of the sense of sensibility or narrow, streeping the bridges of Madison County.

Do you mean like they're kind of they're very awardsy? Sunday afternoon movies like that. You imagine that would lap up. I'm not saying this is the case.

But you again, you do have these Kasons where someone is nominated and possibly should be nominated for something else. And they say, I just go, well, we do love it. And so it's almost the Susan Saran then a war for being Susan Saran. Yeah, we should.

As well. Yeah. It's the classic, the part in school says, yeah, right? It's like, we should have we should have really given you this years ago.

But we'll do it to you. Same with that. It's Washington. I mean, train day is great.

He's great in training today. Is it Denzel Washington's best film? Is it his best performance? No, I watch it again the other day.

And to be honest, it's like, it's one of my favorite Denzel Washington performances. Well, that year, it was the year that we were, they almost the academy went, well, at least it's just you giving Denzel Washington the award. Yeah. So, you know, it could be a case of act with the Susan Saran then thing where it's, it was her turn.

Well, let's let's let's jump to a big category here, which is best director. The nominees for this are Michael Radford for the Postman, Mike Figgis for leaving Las Vegas, Mel Gibson for Braveheart, Chris Newton for Babe. Let's let's not forget that this is the year that Babe was nominated for not only best director, but best picture in the Academy Awards. And Tim Robbins for Dead Man Walking, which film do you think took best director?

Do you know this might be one of the years you watched it, right? It's Braveheart's unit. It's Braveheart's fucking year, baby. Yeah, Braveheart's a co-founder of Five Awards this year.

Yeah. So, I mean, it's a Mel Gibson isn't it? I mean, Mel Gibson, yeah. Yeah.

I mean, yeah, Mel Gibson. So, I haven't seen Braveheart, I haven't seen Braveheart for so Mel Gibson. Interactive film. Yeah, that's it's annoying thing, right?

He's a piece of shit. But he I mean, he is an absolute piece of shit, but he can make a film. I mean, Apocalypse and absolute banger. I mean, it's a fucking great film.

And I'm a Braveheart, I can't say I'm a Braveheart for a long time. Like it's got issues and I mean, it's not the probably not the best film that year. Or best director film that year, but it was the Mel Gibson. It's the Braveheart year and that happens.

A film has a you even watch it and you see it happen and go, OK, really does it? There's a shock when certain categories are one, you go, right, to see what's happening here. So, yeah. So let's talk about best screenplay based on material previously produced or published.

The nominations for this category are the postman leaving Las Vegas, babe, sense and sensibility and Apollo 30, which film do you think won this category? I would imagine sense and sensibility. And you guessed correctly, my friends. Yeah, this is Emma Thompson's big win.

Yeah, Academy Award win. Yeah, yeah, it kind of it's it's ticking all the boxes, right? It's a Jane Austen adaptation. It's kind of it's a bit of Thompson.

Yeah. It was it was going to be when it because, like you say, it's an actual box ticker. It's Emma Thompson. It's British and they like to give us something.

So, yeah, that makes sense. The fact that like leaving Las Vegas even nominated, like leaving Las Vegas is a weird one because I think it is a film in itself that like is something that we see nowadays as well. And I guess it kind of probably has always been a thing with the Oscars where there are a low budget films that kind of like, sleep through the cracks because of the, I don't know, just the actor in the lead role kind of goes through some turmoil. It's the it's the whole like, I don't know, like, yeah, we sit with Brendan Fraser this year.

It's like, like, I mean, he's in a, he's in a fat suit or which I think like Dallas Buyers Club with Matthew McConaughey, he's like, he's got loads of way, like, and you kind of you kind of see it throughout throughout history of like, they love suffering, like the Academy love suffering. And it's like, I guess leaving Las Vegas does kind of tick that box. I imagine Cage wasn't absolutely fucking hammered throughout it. But like, I imagine mentally had to go to some dark places and maybe on his own time, I believe he actually did get shit face drunk to kind of get in that headspace.

I was going to say like, yeah, imagine the campaigning is as much like kind of part of as well, like Cage doing interviews talking about, yeah, like, to get into this role, I just had to drink myself into a stupor. You know, like, people would go, oh, he's a starving artist as an opportunity. The author, I know, I know, I'm a starving artist, I've been an actor. Yeah, they do love, they do love, like, say, a bit of suffering and a quality change or a, yeah, like, that's why it's club.

Anything where someone has really gone through the rigor. It's more, I don't know. Yeah, it's more of a word for the art of acting and going through that than anything else. It's the process.

And more than the product, right? Rose the process. Yeah. It's the process is getting awarded, not maybe the end product, I mean, arguably acting like, I think in its purest form is I don't need the bells and whistles.

I will make you believe it regardless, do you know, like, I will as a, I will, I, as a 10 stone man, I will, you know, like looking at me, I will make you believe that I am really skinny and stuff like that. Obviously, like, for the song and dance of it and for the story, yeah, people have to be the Christian Bale, Germany, like, getting absolutely super skinny, super shredded and all over the place, super fat if the role requires it. Like, yeah, go through the whole full method. The Hoffman route, because he loves a bit of method.

Yeah. Yeah. Try acting, darling. As a joke, you're good.

And I'll have lots of it. Yeah. I'm very, very, very active. Lovely stuff.

Absolutely lovely stuff. Well, let's get to the biggie here, which is best actor and the nominees for this are Massimo, Troisi for the Postman, Sean Penn for Dead Man Walking, Anthony Hopkins for Nixon and Richard Dreyfus for Mr. Holland's Opus, as well as Nicholas Cage for leaving Las Vegas. Shall I just play your clip to show you who won this one this one this will be?

Oh boy. Oh boy. Three and a half million dollar budget, some 60 millimeter film stock thrown in. I'm holding one of these.

I have got to thank the members of the Academy for this, for including me in this group of super talents and for helping me blur the line between Art and Commerce with this award. I, well, I know it's not hip to say it, but I just love acting and I hope that I hope that there will be more encouragement for alternative movies where we can experiment and fast forward into the future of acting. Let me thank the awesome multi talented Mike Figgis, my incredible, my incredible amazing co-star, Elizabeth Hsu. I am going to share this award with both of you and the late John O'Brien who's spirit moved me so much.

Tony Dingman, Annie Stewart, the producers, Annie Stewart, Stewart, Regan, everyone at MGA, MGM, UA, I'm sorry, and Lumiere. I'd like to thank Ed Lamato, my colleagues, Jerry Harrington, Jeff Levine, Richard Lovett, and everyone in my family, my gorgeous wife Patricia. And I just finally want to say hi Westin, it's daddy. I love you.

Thank you. So that was, of course, Nicholas Mcage. And does Oscar Wenwell, what do you think? Yeah, I mean, he is great in it.

Like we said, if he was going to win for anything, it's going to be that film because of the process and it's Nicholas Cage, maybe Nicholas Cage is kind of, I mean, that's not to take away from the fact that he is great in it. He is great in even that's what he is. I think this was really a turning point, it was great. He wasn't particularly like the biggest name in Hollywood at that point.

He was kind of like, I think up until this point, nobody really knew where he's going. Like he's kind of looking at his filmography up until this point. He's still figuring it out. And arguably he's never really figured it out.

I don't think there is like an archetypal, not just Cage role. It's just like this one. He's just quite gold. Yeah, and it's probably, it's probably the, since you're both Nicholas Cage's because that crazy stuff he does to get into the role, like the vampires, kiss stories and stuff.

It's just stuff of legend and bluff. But then it's kind of like the perfect Oscar film as well, because he is doing his Nicholas Cage thing when he got apparently got blind, drunk, to get into the mindset, but also gives a, is given issue performance. So it's kind of the best of both worlds for the Oscars. He's doing something that is an issue film, a serious film, an Oscar-y film, but also doing his Nicholas Cage film when he goes to the hotel room.

Yeah. Yeah. So it takes all the boxes for them to give the world's Nicholas Cage. Well, I love that he's got to be a world for a film.

He's like, a prickly peach or like a prickly pen or something. Well, this is it. Yeah. I mean, it's quite fun.

It's not the free counts, right? It's well, they're in character and they're owned. He still gets to do, he still Nicholas Cage. It's not an understatement.

It's not like he's, it's not an Oscar performance, which you do get sometimes. Wait, so you're crazy. Like, I don't know for example, Jim Carey, he was famous for being Jim Carey, then goes and making my film. That's going to get me an Oscar and he's the dramatic role.

And it's the opposite of what he's known for. So we were, oh my God, it's amazing. He deserves an Oscar for being not him. Yeah.

Whereas this is Nicholas Cage performance, because like you say, he does have those weird lights and he does have these wiggles, but he's also really fucking good and taking the boxes where he, I would say, enjoyed the process. But yeah, it makes sense to be one. Yeah. Right, you feel like a good one for him to win.

Yeah. For those reasons. Yeah. In Chinese.

That Richard Riefus was livid. Well, for me. That is an Oscar film. That is, it's a little film.

It's a good little film, mate. But he would have, like, it's an Oscar bait film. He goes to, Richard, they just goes to a journey. And it's a big, at the end, it's all, he goes to the journey.

And at the end, it's a big, a blifting and students crying, because they get to play Mr. Hans always. I bet he was livid. I mean, he wasn't showing up.

I did it. Good for Nicholas Cage. Yeah. I don't remember seeing if they cut to Richard Riefus on the footage.

Well, I should have checked that. I should have, yeah. I always love that. I always love the, we'll get to a great, a great kind of gag in a kind of losing an Oscar and like, they cut to the reaction, because there's a great one coming up.

But we'll get to it very shortly, because let's now move to the 76th Academy Awards, which took place on February 29, 2004, at the Kodak Theatre in Hollywood. Was Angeles and was hosted by Billy Crystal in his eighth time. Hosting the Oscars. A lot of people always say, bring back Billy Crystal, get him to get him to get him to just host all of them.

Because he's a really smash that. He's a pretty good thing. Yeah, he's good. He's always good.

I can have Billy Crystal anyway. But yeah, he's always good. And the film we are talking about, because this are films that were released in the year 2003, the film we are talking about is Sophia Kablus, lost in translation, which was nominated for four Academy Awards and one. One.

So the categories within which it was nominated were Best Picture, Best Director, Original Screenplay, Best Actor for Bill Murray. Which category would you like to litigate first, Will? Man, man, man. This go Best Actor.