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Post by jo on Mar 3, 2018 6:30:06 GMT -5
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Post by jo on Mar 3, 2018 22:00:19 GMT -5
Interesting detailed comments from a lady member ( no age given) of the 1218-member of the Actors Branch of the AMPAS ( total voting members of 7258) on what and why she would or has voted for each category -- www.hollywoodreporter.com/lists/brutally-honest-oscar-ballot-get-filmmakers-played-race-card-just-sick-meryl-streep-1090440/item/best-production-design-2018-brutally-honest-oscar-ballot-2-1090490Re the films involving Hugh Jackman -- Lol - she seems to have misunderstood what the genre can stand for. Maybe she never even saw the first XMen movie - which re-established the moribund comic-book movie genre -- there was not much comedic or fun about it, maybe except for witty one-liners esp from Wolverine. Maybe with her mindset of what the genre stands for, it will never advance to award-quality recognition? Her vote reflects public sentiment, compared to how the movie press has been trying to lionize Remember Me ( no offense meant, but from just what I have observed). I wonder if FOX submitted the movie for awards consideration, if it would have its fair share of AMPAS fans? Jo I thought this would be interesting to read these comments on the appropriate AWARDS talk threads. Jo
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Post by jo on Mar 4, 2018 16:49:34 GMT -5
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Post by jo on Mar 4, 2018 16:59:29 GMT -5
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Post by njr on Mar 5, 2018 10:57:24 GMT -5
I tweeted Keala that the song that won wasn’t even my 2nd choice and that I thought she was fantastic singing on the Oscars!
Nancy
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Post by jo on Mar 16, 2018 22:32:16 GMT -5
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Post by jo on Apr 27, 2018 18:26:50 GMT -5
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Post by jo on Apr 27, 2018 19:37:28 GMT -5
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Post by jo on Apr 27, 2018 19:47:57 GMT -5
There were a number of dance scenes for Hugh/Barnum in THE GREATEST SHOWMAN -- each one spectacular and memorable in its own way. *The Greatest Show -- including the famous silhouette poses at the beginning ( probably the most-copied movements in numerous covers!) *A Million Dreams -- with Charity, on ground and on rooftop. Shades of Astaire and Rogers! At 7'45" --*Come Alive -- the troupe does come alive, with PTBarnum leading the dance orgy.... *The Other Side -- subtle... but those movements were definitely choreographed, some slick and some comedic! And how about the choreography of those glasses and that final dance movements with the bartender? *At the Barnum house -- welcome dance with Charity *Tightrope -- dancing in the shadows with Charity *From Now On -- muscular dancing with the oddities...running and singing in sync... and riding on an elephant( oops- that's CGI and no dancing, but to watch Helen and Caroline on the onstage ballet). Okay - give him the award already!! Jo
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Post by jo on Apr 28, 2018 22:26:15 GMT -5
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Post by jo on Apr 29, 2018 0:03:33 GMT -5
Maybe I goofed Rex Reed is on the Nominating Committee ( I am not sure if the same committee is also the Film Awarding Committee!). Maybe so, maybe not? I guess I don't know how to interpret the press release The wording is a bit confusing. Let's just hope that whichever group of people makes the final decision that they look very favorably at the choreography work and Hugh Jackman's dance accomplishments in THE GREATEST SHOWMAN!
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Post by jo on Apr 29, 2018 0:21:58 GMT -5
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Post by jo on May 7, 2018 8:04:15 GMT -5
kutv.com/news/entertainment/mothers-day-gift-guide-movies-televisionI don't think it was just the poor reception by critics that swayed the AMPAS vote. It was also likely the appeal of the COCO song in light of current political/social inclusivity issues. Also, only the song was submitted by FOX for awards consideration ( including clip and songsheets). There is no word that screeners or scripts were sent out, which would give the song a more proper context and better appreciation. That it should first be staged on Broadway is very debatable and very arguable. I doubt that it could have been done that way and elicited the same kind of response that the film won from its global audiences. Film allows so much more leeway in production values ( cinematography, art and production design, choreography, development of musical score, use of Visual Effects/CGIs, etc) than a stage production. Most importantly, could a stage production draw a cast of Hugh Jackman. Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya and Keala Settle - that would not likely have been affordable! The group was practically-perfect casting for the movie -- their talent, their charisma, and their chemistry together worked so well to the utmost advantage of the movie! What made Greatest Showman's musical score unique was its contemporary tone, given a period story. It was developed like musical theatre ( songs advancing the story and character development)... but... it did not sound all that much like musical theatre music! Save for maybe the ballads ( A Million Dreams and Tightrope and maybe From Now On), the score was a bit more pop. Even Hugh said that it was suggested to him by Pasek and Paul to develop a more pop sound when he sand the songs from the score ( and had to train with Liz Caplan to do that). Would the score have succeeded as much originally with a crowd that favors traditional musical theater sounds? In fact, many of BWW chaterati expressed disdain with the score *rolleyes* Maybe with the succesful soundtrack album, a live adaptation can work well now with Broadway crowds because the songs are now very established hits! But the music is in the context of a movie musical! Also on a pragmatic basis, because the return from film box office grosses ( and collateral business like Digital releases and home videos) are immediate and widespread, a film project will allow a much, much larger budgetary leeway. What Broadway production would have spent $ 84 million in "development-till-ready to stage" costs ( not even sure that all development costs were included in that figure for the film project) as well as the supposed $ 100 million distribution and marketing budget that Variety reported in its article? Also, given the resources -- the musical score was developed over a long period, including workshops with known Broadway names and needed financial support during the gestation period. Moeover, will a music company invest in the soundtrack album even before the stage production has opened -- maybe rarely? Also, given the physical limitations of some of the choreography ( including the aerial show) if staged on a live stage, I doubt that the first version on a stage would have struck the same level of admiration as the film did. Just my thoughts -- but I do not expect that a live adaptation would have been able to incorporate the same artistic performances as the film version. That would be too physically exhausting and may lead to the cast somewhat unable to go through the same rigors daily and twice on matinee days. I wish we could get a 100% or close to it better fit in a live adaptation -- but that may not happen given the difference in mediums and the profitability ability. The only advantage would actually be hearing them sing live and seeing them dance live. But on the other hand, could we see the dramatic impact of such close-ups as Barnum's face almost dumbstruck after hearing Jenny Lind sing, or see the drama in Jenny Lind's face and her body language as she sang Never Enough, or the subtle holding of hands of Philip and Anne as much as the kiss that never happened during Rewrite the Stars! Those are just the examples. What could the stage version have done to improve the award-worthiness of a film adaptation later? I think the basic problem is that many are not able to fully appreciate that the storyline with the musical score of the film already tell an excellent story of how show business came into being! The editing may be fast ( and people may have missed some of the subtleties...as well as the impact of the full lyrics) but it was smart and excellent in keeping people's rapt attention all throughout. The film was one hour and 45 minutes long! Contrast with usual Broadway musicals which usually last over 2 hours ( has to fit in with the usual 8:00 to 10:30 pm showtime on Broadway, with the exception of such works like Les Miserables which is closer to 3 hours). Just my random thoughts.
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Post by jo on May 20, 2018 22:01:27 GMT -5
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Post by jo on May 20, 2018 22:08:24 GMT -5
This is the 2nd Dance Award for Hugh Jackman!
He won the FRED ASTAIRE award for Dance in THE BOY FROM OZ!
Jo
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Post by mamaleh on May 20, 2018 22:09:01 GMT -5
Great news—especially coming on the heels of the SHOWMAN soundtrack’s loss to MOANA’s at the Billboard Awards tonight.
Ellen
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Post by jo on May 21, 2018 4:20:30 GMT -5
This is how BROADWAYWORLD.COM reported it -- This is confusing. EDIT: To clarify, this is how the official website reported the nomination thus -- www.chitariveraawards.com/nominationsSo, who won -- *Is it the movie, THE GREATEST SHOWMAN, which won the award? *Is it the choreographers who won ( even that is debatable because the film credits included Daniel Campos, for his work in THE OTHER SIDE and REWRITE THE STARS) *Is Hugh Jackman included in the winner list? Based on the official website, it seems his name may have been used only to identify the movie? Or am I interpreting it wrong? There is some confusion because there are separate awards for male dancer, ensemble, and choreographers for Broadway! Jo
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Post by jo on May 21, 2018 5:27:06 GMT -5
Someone who went to the affair posted this on BWW -- I wonder if the actual winners were announced correctly
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Post by mamaleh on May 21, 2018 12:45:25 GMT -5
I had interpreted the wording to mean that the movie itself won for best dancing in a theatrical release, that HJ’s name was listed solely for ID purposes as the lead actor in the film.
Ellen.
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Post by jo on Jun 11, 2018 23:14:29 GMT -5
I am disappointed that Hugh Jackman did not get a nomination for BEST ACTOR and that not any of his songs made it to the Best Song/Best Musical Moment category. Rewrite the Stars was chosen maybe because the MTV Awards are basically voted upon by the younger generation. Hope that it wins at least!
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Post by jo on Jun 13, 2018 20:34:19 GMT -5
The Greatest Showman competes in Best Movie-Drama category. Hugh competes with Zac for Best Actor ( Drama), both from THE GREATEST SHOWMAN. You can vote as many as 10 times a day My ten fingers have done their duty and voted
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Post by jo on Jun 18, 2018 17:44:31 GMT -5
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Post by jo on Jun 19, 2018 6:08:42 GMT -5
At the Classic Brit Music Awards, where THE GREATEST SHOWMAN won for Best Soundtrack Album, the music was represented by a rendition of NEVER ENOUGH, sung by mezzo soprano Katherine Jenkins.
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Post by jo on Jul 13, 2018 0:29:09 GMT -5
An EMMY nod for Choreography, not for the movie itself, but for The Crosswalk Musical with James Corden and featuring Jackman/Efron/Zendaya from THE GREATEST SHOWMAN!
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Post by jo on Aug 12, 2018 19:32:30 GMT -5
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