The Oscar Buzz Celebrates Its Eighth Anniversary!

 

Scene from Hard Eight

Ladies and gentlemen, I am proud to announce that the odometer has rolled over. We're entering my eighth year of running things here at The Oscar Buzz. Boy has life been sweet as I've continued to expand my area of interest here annually, finding new and exciting topics to explore as I wait for each season to start. As I do every year, I try to use numerology to figure out something interesting to explore about myself. This is a moment where I get personal and expand upon what I love about film. With the number "8," I've had a variety of topics to choose from, such as BUtterfield 8 or The Hateful Eight. However, those feel small, not allowing for me to really open up in significant ways that go back more than a few years.

Much like how I chose The Seven Year Itch for 2019 to explore my love for Marilyn Monroe, I have decided to use Hard Eight as an entry point into Paul Thomas Anderson. As long-time readers will know, I started this whole website because of The Master. It all started because I wanted to see Joaquin Phoenix get that Oscar win (seven years late, but we got there!). However, I have reserved criticism of that 2012 masterpiece to a certain upcoming anniversary (guess). For now, I am using Anderson's debut film to better explore the question: why do I love PTA so much? I'm sure everyone from my generation has an answer and those who know me personally likely already will find these key notes predictable. For everyone else, welcome to my anniversary piece, the one where I finally get to the heart of a very specific kind of movie love.

Composing Greatness: #1. Rachel Portman - "Emma" (1996)

Scene from Emma

Welcome to Composing Greatness: a column dedicated to exploring the work of film composers. This will specifically focus on the films that earned them Oscar nominations while exploring what makes it so special. This will be broken down into a look at the overall style, interesting moments within the composition, and what made the score worth nominating in the first place. This will also include various subcategories where I will rank the themes of each film along with any time that the composer actually wins. This is a column meant to explore a side of film that doesn't get enough credit while hopefully introducing audiences to an enriched view of more prolific composers' work. This will only cover scores/songs that are compiled in an easily accessible format (so no extended scores will be considered). Join me every Sunday as I cover these talents that if you don't know by name, you recognize by sound.

Best Song: "We Belong Together" (2010)

Scene from Toy Story 3

Welcome to Best Song, a new weekly column released on Sunday dedicated to chronicling the Best Original Song category over the course of its many decades. The goal is to listen to and critique every song that has ever been nominated in the category as well as find the Best Best Song and the Best Loser. By the end, we'll have a comprehensive list of this music category and will hopefully have a better understanding not only of the evolution, but what it takes to receive a nomination here. It may seem easy now, but wait until the bad years.

Nothing But the Best: "Shakespeare in Love" (1998)

Scene from Shakespeare in Love

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.