..Gary Dretzka
..Noah Forrest
..Leonard Klady
..R.J. Matson
..David Poland
..Douglas Pratt
..Ray Pride
..Michael Wilmington

Suggestion Card

The Academy Of Motion Picture Arts & Sciences offers an award for nearly every component of a motion picture. From standout acting performances to the visionary work of directors behind the projects, producing credit in the form of the coveted Best Picture trophy to exemplary achievement in the craftsmanship of production, they cover most of the field in their twenty-four categories.

There are separate venues for foreign entries, short films and, the latest addition, animated features. An attempt was made last season for acknowledgement of stunt work, but to no avail. However, is there still room for improvement to make for a more complete awards ceremony experience?

What about a Best Cameo Performance award to go along with the other four performance categories? Appearances by actors in extremely limited roles would be eligible, with some sort of time limit in play.

Some of the cinema's most memorable and commanding performances have been very limited in nature. Many times these very roles speak the most to the themes of the films they inhabit.

Who can forget Martin Scorsese's brief appearance as a bitter and scorned cab passenger in his film Taxi Driver?

Eric Stoltz did his part to provide a searing and memorable scene in Quentin Tarantino's Pulp Fiction, while Brian Cox put forth his best Robert McKee in two pivotal scenes of Spike Jonze's Adaptation.

And let us not forget Alfred Molina's slightly aloof, boxer-clad, shotgun-toting drug dealer in Paul Thomas Anderson's Boogie Nights.

William Hurt has already cranked out what has to be considered the best cameo performance of the year in A History of Violence. With the existence of a new category such as this, commendable performances like Hurt's can have a fighting chance, even if performers like Anthony Quinn, Beatrice Straight, Robert Duvall and Judi Dench have proven that it isn't impossible to break through into the supporting categories with less than ten minutes of screen time.

Speaking of performance categories, will the Academy ever find the room to recognize the achievements of ensembles in their annual awards ceremony?

An effective and organic ensemble performance is an exceptional thing. They can come in all shapes and sizes, comedic or dramatic in tone, and serving any dramatic purpose. And a truly commendable and award-worthy ensemble does not have to be composed of a large array of players. Some of the most succinct cast performances can come from tightly woven inter-personal relationships more modest in numbers.

Alexander Payne's Sideways, Quentin Tarantino's Reservoir Dogs and Charles Crichton's A Fish Called Wanda are a just few examples of meager ensembles of qualitative note in the modern filmmaking era. Alfred Hitchcock's Rope and George Stevens' Shane spring to mind as illustrations from cinema's past.

On the other hand, a robust and largess cast that pulls the threads of a film's story together triumphantly and without a hitch is a mesmerizing thing to behold.

Terrence Malick's The Thin Red Line, Francis Ford Coppola's The Godfather Part II and Michael Mann's Heat are just a handful of films featuring sprawling ensembles with disconnected characters that live and breathe to thematic perfection.

This year has already seen award-worthy cast performances in Paul Haggis' Crash, Thomas Bezucha's The Family Stone and George Clooney's Good Night, and Good Luck., with group efforts from Stephen Gaghan and Susan Stroman yet to be seen.

Various critics' awards groups and precursor kudos organizations already have ensemble awards in play. As doe, of course, the Screen Actors Guild. It would be nice to see the AMPAS follow suit.

Perhaps voiced talent has staked its claim for awards recognition.

Eddie Murphy's side-splitting vocal performance as Donkey in 2001's Shrek was actually nominated for Best Supporting Actor by the British Academy ... there is something to be said for an inspired performance behind the microphone.

Nathan Lane and Ernie Sabella's Timon and Pumbaa combination added a lot of flavor to 1994's The Lion King.

Ellen Degeneres was touching and hilarious in equal portions as Dory in Pixar's Finding Nemo.

And Robin Williams' Golden Globe-recognized work as the Genie in 1992's Aladdin has got to be seen as the turning point for vocal performances in the modern animated feature era.

These are all, of course, just suggestions, but who knows? It may not be long before we have a "Best Marketing Campaign" Oscar in the mix.

Wait, who am I kidding? The Oscars already go to the best marketing campaign, for better or worse.

November 1, 2005

Previous Oscartown Columns

10.25.05 - Youthful Digression
10.18.05 - Nothing New, Nothing Old... A Whole Lot of Nothing
09.01.05 - A Brave New 'Wood?

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