Awards Circuit Power Hour Episode 18: AMPAS Rule Change, Oscar Tech Talk, Affleck & Argo

Happy Labor Day!!!

On this day where many of us are off either BBQ’ing or sleeping as late as possible, we are bringing you the weekly Awards Circuit Power Hour.  A fun-themed show today, I’m joined by Terence, Joey, Mike, and Robert talking everything film.  Also, don’t forget to rate us on iTunes and listen to us on Stitcher!  The agenda is listed below:

  • New Trailer Talk:
    • We talk Robert Redford’s The Company You Keep, the Jennifer Garner-vehicle Butter, and the 2013 college-comedy The To Do List.
  • Reader Questions sent in by YOU!
  • Academy Rule Change
    • Original Song change, Production Design, and Categories we would want changed.
  • Early word from Telluride/Venice
    • What do we thing about the word on Ben Affleck’s Argo and Terrence Malick’s To the Wonder.
  • Oscar-Tech Talk
    • We’re talking Best Cinematography, Makeup & Hair, and Visual Effects
  • Around the Room
    • Our Top 3 Performances of New Millennium Thus Far
  • Reader Questions sent in by YOU!
  • We play “Cast This Bitch”
    • Wicked: The Musical Movie (Elphaba & Galinda) & To Kill a Mockingbird (Atticus Finch)

Comment and discuss!

ALSO CHECK OUT:   Awards Circuit Power Hour Episode 188: Batman v. Superman Thoughts, News, and Circuit Madness 32 Results

About Clayton Davis

Clayton Davis is the esteemed Editor and Owner of Born in Bronx, NY to a Puerto Rican mother and Black father, he’s been criticizing film and television for over a decade. Clayton is a member of the Broadcast Film Critics Association where he votes and attends the kick off to the awards season, the Critics Choice Awards. He’s also an active member of New York Film Critics Online, International Press Academy, Black Reel Awards, and the Broadcast Television Journalists Association. Clayton has been quoted and appeared in various outlets that include The New York Times,, Variety, Deadline, Los Angeles Times, Bloomberg Television, AOL, Huffington Post, Bloomberg Radio, The Wrap, Slash Film, and the Hollywood Reporter.
  • Enjoy!

  • Josh P.

    Thanks for finally getting to my questions guys. Just kidding, but thanks for the great discussion. I’ve gone on at lengths with my personal feelings about the Original Song category on that specific post, so I won’t go into it here, but one other little change I’d really embrace is the merging of the Sound categories. Considering that there’s almost always a 4/5 match-up of films between the two, it seems like the Academy thinks of it as one category anyway.

    I’m surprised you guys didn’t talk about “The Master” for Best Cinematography. With all the recent talk about the hyped 70mm presentations, it’s a film where the cinematography becomes part of the conversation for the film, and that’s important when discussing an Oscar win.

    And for the record, “Only God Forgives” was picked up by the Weinsteins’ Radius company, which is focused on VOD services before a scheduled theatrical release. As much as I’d want to see another Refn film this year, my guess is that the film will be pushed back to 2013.

    • Thanks for sending it in Josh.

      I’ve been thinking about The Master more and more as the reviews keep coming in. I’m starting to fear while many of us will love it, many of the Academy members are going to write it off and go safe with something like Lincoln and/or Hyde Park on Hudson.

  • John Rivera

    Great Podcast as always guys. I’m suprised that no one said Ted as this year’s Hereafter for visual effects. Clay, I’ve seen your predictions and I feel like Ted has a better chance of getting in than half of those movies you put in contention.