The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
The Writers Guild of America, west and East announced nominations for outstanding achievement in writing for the screen, television and radio during the 2003 season.
Nominees in the original category went to independent art-house films, including Gurinder Chadha, Paul Mayeda Berges and Guljit Bindra for Fox Searchlight's Bend It Like Beckham; Steven Knight for Miramax's Dirty Pretty Things; and Tom McCarthy for Miramax's The Station Agent.
Nominees for the adapted category went mostly high-profile releases, including Anthony Minghella for Miramax's Cold Mountain; Frances Walsh & Philippa Boyens & Peter Jackson for New Line's The Lord of the Rings: The Return of the King; and Gary Ross for Universal's Seabiscuit.
WGA noms are closely tracked as an indicator of Academy Awards sentiment. Guild winners in the original screenplay category have matched Oscar choices in 11 years over the past 21 while the WGA adapted screenplay award has matched with the Oscar winner in 14 years during the same period.
The films eligible for Writers Guild Awards were released in the year 2003 under the jurisdiction of Writers Guild of America, East and west and affiliate guilds in Australia, Canada, French Canada, Great Britain, Ireland, and New Zealand.
In television, the nominated scripts were originally broadcast between December 1, 2002, and November 30, 2003.
The winners will be announced Saturday, February 21, 2004, at the 56th Annual Writers Guild Awards ceremonies on both coasts.
The Writers Guild of America, west ceremonies will be held in Los Angeles at the Century Plaza Hotel, and the Writers Guild of America, East ceremonies will be held in New York at The Pierre Hotel.
BEND IT LIKE BECKHAM, Written by Gurinder Chadha and Paul Mayeda Berges and Guljit Bindra, Fox Searchlight Pictures
DIRTY PRETTY THINGS, Written by Steven Knight, Miramax Films
IN AMERICA, Written by Jim Sheridan & Naomi Sheridan & Kirsten Sheridan, Fox Searchlight Pictures
LOST IN TRANSLATION, Written by Sofia Coppola, Focus Features
THE STATION AGENT, Written by Tom McCarthy, Miramax Films
AMERICAN SPLENDOR, Written by Robert Pulcini & Shari Springer Berman, Based on the Comic Book Series by Harvey Pekar and the Novel by Harvey Pekar and Joyce Brabner, HBO Films/Fine Line Features
COLD MOUNTAIN, Screenplay by Anthony Minghella, Based on the Novel by Charles Frazier, Miramax Films
THE LORD OF THE RINGS: THE RETURN OF THE KING, Screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, Based on the Novel by J.R.R. Tolkien, New Line Cinema
MYSTIC RIVER, Screenplay by Brian Helgeland, Based on the Novel by Dennis Lehane, Warner Bros. Pictures
SEABISCUIT, Screenplay by Gary Ross, Based on the Book by Laura Hillenbrand, Universal Pictures
Episodic Drama --any length--one airing time
"ABOMINATION (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"BOUNTY (Law & Order), Written by Michael S. Chernuchin; NBC
"DISASTER RELIEF (The West Wing), Teleplay by Alexa Junge, Story by Alexa Junge & Lauren Schmidt; NBC
"LOSS (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"PILOT (The O.C.), Written by Josh Schwartz; Fox
"7:00 P.M. -- 8:00 P.M. (24), Written by Evan Katz; Fox
Episodic Comedy--any length--one airing time
"DAY CARE" (Malcolm in the Middle), Written by Gary Murphy & Neil Thompson; Fox
"MALCOLM FILMS REESE" (Malcolm in the Middle), Written by Dan Kopelman; Fox
"NO SEX, PLEASE, WE'RE SKITTISH" (Frasier), Written by Bob Daily; NBC
"A WOMAN'S RIGHT TO SHOES" (Sex and the City), Written by Jenny Bicks; HBO
Original Long Form--over one hour--one or two parts, one or two airing times
AND STARRING PANCHO VILLA AS HIMSELF, Written by Larry Gelbart; HBO
Episode 1, "BEYOND THE SKY" and Episode 2, "JACOB AND JESSE" (Taken), Written by Leslie Bohem; USA
CAESAR, Written by Peter Pruce and Craig Warner; TNT
WILDER DAYS, Written by Jeff Stockwell; TNT
Adapted Long Form--over one hour--one or two parts, one or two airing times
NORMAL, Teleplay by Jane Anderson, Based on the play Looking for Normal by Jane Anderson; HBO
OUT OF THE ASHES, Teleplay by Anne Meredith, Based on the book I Was a Doctor in Auschwitz by Dr. Gisella Perl; Showtime
RUDY: THE RUDY GIULIANI STORY, Written by Stanley Weiser, Based on the book Rudy! by Wayne Barrett; USA
THE STRANGER BESIDE ME, Teleplay by Matthew McDuffie and Matthew Tabak, Based on the book by Ann Rule; USA
Animation--any length--one airing time
"THE DAD WHO KNEW TOO LITTLE" (The Simpsons), Written by Matt Selman; Fox
"MOE BABY BLUES" (The Simpsons), Written by J. Stewart Burns; Fox
MY MOTHER THE CARJACKER" (The Simpsons), Written by Michael Price; Fox
"REBORN TO BE WILD" (King of the Hill), Written by Tony Gama-Lobo & Rebecca May; Fox
"RESCUE JET FUSION" (The Adventures of Jimmy Neutron, Boy Genius), Written by Steven Banks; Nickelodeon
"THE STING" (Futurama), Written by Patric M. Verrone; Fox
Comedy/Variety--Music, Awards, Tributes -- Specials -- any length
THE KENNEDY CENTER HONORS, Written by George Stevens, Jr., Sara Lukinson and David Leaf; CBS
THE 75TH ANNUAL ACADEMY AWARDS, Written by Hal Kanter, Rita Cash, Buz Kohan, Special Material Written by Steve Martin, Beth Armogida, Dave Barry, Dave Boone, Andy Breckman, Jon Macks, Rita Rudner, Bruce Vilanch; ABC
Comedy/Variety--(including talk) Series
LATE NIGHT WITH CONAN O'BRIEN, Written by Mike Sweeney, Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; NBC
MAD TV, Writing supervised by Scott King, Written by Dick Blasucci, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, David Salzman, Richard Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos, Rick Najera, Brooks McBeth, Jason Kordelos, Michael McDonald, Stephnie Weir; FOX
PENN & TELLER: BULLSHIT!, Written by Penn Jillette, Teller, David Wechter, John McLaughlin; Showtime
REAL TIME WITH BILL MAHER, Written by Billy Martin, Scott Carter, David Feldman, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Bill Maher, Ned Rice, Paul F. Tompkins; HBO
ALL MY CHILDREN, Written by Agnes Nixon, Megan McTavish, Gordon Rayfield, Anna Theresa Cascio, Frederick Johnson, Jeff Beldner, Janet Iacobuzio, Lisa Connor, Addie Walsh, Victor Miller, Mimi Leahey, Bettina F. Bradbury, John PiRoman, Karen Lewis, Amanda Robb, Rebecca Taylor, Christina Covino, David A. Levinson; ABC
ONE LIFE TO LIVE, Written by Josh Griffith, Michael Malone, Shelly Altman, Lorraine Broderick, Richard Backus, Ron Carlivati, Anna Theresa Cascio, David Colson, Leslie Nipkow, Michelle Poteet Lisanti, Becky Cole, James Fryman, Katherine Schock, Ginger Redmon, Daniel Griffin; ABC
"DON'T LOOK BACK" (Out There), Written by Willie Reale and Mark Palmer; PBS
FULL COURT MIRACLE, Written by Joel Silverman and Joel Kauffmann & Donald C. Yost; Disney Channel
I WAS A TEENAGE FAUST, Written by Thom Eberhardt; Showtime
THE MALDONADO MIRACLE, Teleplay by Paul W. Cooper, Based upon the novel "The Maldonado Miracle" by Theodore Taylor; Showtime
Documentary - Current Events
"TRUTH, WAR AND CONSEQUENCES" (Frontline), Written by Martin Smith; PBS
"THE WAR BEHIND CLOSED DOORS" (Frontline), Written by Michael J. Kirk; PBS
Documentary - Other Than Current Events
BECOMING AMERICAN: THE CHINESE EXPERIENCE--BETWEEN TWO WORLDS (PART 2), Written by Thomas Lennon & Mi Ling Tsui and Bill Moyers; PBS
"CYBER WAR!" (Frontline), Written by Michael J. Kirk; PBS
"THE ELEGANT UNIVERSE: THE STRING'S THE THING" (Nova), Written by Joseph McMaster; PBS
"THE ELEGANT UNIVERSE: WELCOME TO THE 11TH DIMENSION" (Nova), Written by Julia Cort & Joseph McMaster, PBS
"THE MURDER OF EMMETT TILL" (The American Experience), Written by Marcia Smith, PBS
"SEABISCUIT" (The American Experience), Written by Michelle Ferrari; PBS
News - Regularly Scheduled, Bulletin or Breaking Report
"PASSING OF MUSIC LEGENDS" (CBS News Sunday Morning), Written by Robert Mank;
"CBS SHOWDOWN WITH SADDAM" (CBS News), Written by John Craig Wilson; CBS
News - Analysis, Feature, or Commentary
"BAPTISM BY FIRE" (60 Minutes), Written by Barbara Dury & Morley Safer; CBS
"WALL STREET" (NOW with Bill Moyers), Written by Michael Winship & Bill Moyers; PBS
AUTISM: SHADES OF GRAY, Written by Julia Kathan; ABC News Radio
AFTERNOON DRIVE, Written by Bill Spadaro; 1010 WINS Radio
WORLD NEWS THIS WEEK, Written by Stuart H. Chamberlain, Jr.; ABC News Radio
News--Analysis, Feature or Commentary
REMEMBERING ED BLISS, Written by Mike Silverstein; ABC News Radio
THE ROAD TO LAUGHTER: A TRIBUTE TO BOB HOPE, Written by Steven Gosset; CBS Radio Network
On-Air Promotion (Radio or Television)
BUFFY/ENTERPRISE, Written by Eric Jacobson; CBS/UPN
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.
It wasn't exactly like the nosy newspaper said it was going to be, but as expected, "American Beauty" was the big winner, nabbing a field-best five Oscars, including Best Picture, at tonight's 72nd Annual Academy Awards.
"Beauty" star Kevin Spacey was named Best Actor. The relatively no-name Hilary Swank ("Boys Don't Cry") bested Spacey's big-name co-star Annette Bening in the Best Actress race. The Wall Street Journal may have spoiled some of the surprises (including the Swank victory) with its controversial scoop-the-Oscars story Friday, but nobody here seemed to care.
Perhaps the biggest surprise of the night was looking at the night's scorecard and realizing that, after "American Beauty" (which also claimed wins for Best Director, Best Cinematography and Best Original Screenplay), the other big film was "The Matrix," which swept the four technical categories in which it was nominated.
Here's an annotated recap of the night's winners at the Los Angeles Shrine Auditorium:
BEST PICTURE: "American Beauty."
Kevin Spacey BEST ACTOR: Kevin Spacey, "American Beauty." Heavy favorite or no, Spacey says he's "stunned" and goes on to inexplicably thank, um, Jack Lemmon. Backstage, when the "American Beauty" winners converge with the adoring press, Spacey explains that he first met Lemmon when he was 13 (Spacey, not Lemmon) and considers him a mentor. Lemmon's turn as a corporate schmuck in "The Apartment" (1960), in fact, was the inspiration for Spacey's Oscar-winning performance. "He really was a model for Lester Burnham. Without his performance in 'The Apartment,' it never would have been possible for me," Spacey says. The press here are adept at posing some odd questions, and when a scribe asks Spacey if he was "surprised" that he got so emotional onstage (and thus stammered through his acceptance), the actor retorts: "Actually, I was experiencing an aneurysm."
BEST ACTRESS: Hilary Swank, "Boys Don't Cry." "We have come a long way," says the star, formerly of "The Next Karate Kid." And, for those wondering what husband Chad Lowe said in Hilary's ear before she accepted her award, it was: "Breathe and be free." He should have said, "Don't forget to thank me when you're up there," 'cause once she took the stage, he started bawling (aw!) and she started talking about not him.
Hilary Swank Backstage, Swank fixes the boo-boo with a "Thank you, honey, you're my everything," and explains that the faux pax occurred because "it's very surreal up there." Meanwhile, Swank proves the hippest and most chatty Oscar winner paraded in front of reporters. She waxes about living in a car with her mom ("My mom has been the biggest believer in me. … We picked up from Washington state, we got in our Oldsmobile with $75 to our name, and we drove down to Los Angeles" and lived on air mattresses until Swank got a job on "Growing Pains").
Michael Caine BEST SUPPORTING ACTOR: Michael Caine, "The Cider House Rules." On stage, a hyperventilating Caine reels off a the-other-guys-were-really-wonderful-too speech. By the time he finishes, it's Friday. When Caine finally comes backstage, we raise our number in the air (that's the way it works back here if you want to ask a star a question -- getting called on is kind of like winning a raffle), but, no, we don't get called on. We actually had two questions we wanted to ask Caine -- one was about all the abortion protesters lining Jefferson Boulevard outside the Shrine tonight (he plays an abortion doctor in "Cider House'), the other one was, "Hey, Michael, what was the best part about making 'Jaws: The Revenge?'"
BEST SUPPORTING ACTRESS: Angelina Jolie, "Girl, Interrupted." Angelina Jolie Onstage, Jolie (looking like Wednesday from "The Addams Family") thanks her brother (a lot). Backstage, the 24-year-old-star offspring of Jon Voight (a winner himself for 1978's "Coming Home") gets used to the feel of Oscar. "My dad's mother had his [trophy] in a goldfish bowl, on the mantelpiece," Jolie says. "I never held it. You know, you grow up with it, and you kind of think it's just this strange thing in grandma's house." As for the brother thing -- the guy's name is James Haven Voight and, according to Jolie, "he and I were each other's everything."
BEST DIRECTOR: Sam Mendes, "American Beauty."
BEST ORIGINAL SCREENPLAY: Alan Ball, "American Beauty." Ball used to write for "Cybill." He doesn't write for "Cybill" anymore. Instead, he uses his mike time at the Shrine to thank plastic bags that float in the wind and, you know, inspire him.
BEST ADAPTED SCREENPLAY: John Irving, "The Cider House Rules." After author Irving thanks Miramax on stage for having the guts to make a film about the "abortion issue" and praises Planned Parenthood for getting behind the film, Irving ducks out -- he's the only high-profile Oscar winner to avoid meeting the press backstage.
IRVING G. THALBERG MEMORIAL AWARD: Warren Beatty. In a rambling to-all-the-girls-I've-loved-before speech, Beatty pays tribute to wife Annette Bening: "She is my treasure." Reflecting on his award in the press boom afterward, Beatty talks a lot of cybertalk about the "broadband revolution" and delivers some of that great stammering that he's known and loved for. Asked whether he's dismayed that Bening didn't get the Best Actress nod, the almost-presidential candidate star says: "I'm disappointed, but Annette did win. She's, it, it's, this thing about, I mean, who could possibly say that Annette is anything other than a winner? So, uh, it's one, one, and, and I think that Hilary gave a terrific performance in a wonderful movie, you know. I don't think it's the greatest idea in the world to think of these things as competitive."
TELECAST ASIDE NO. 1: Jack Nicholson introduces a filmed tribute on the subject of Warren "Mad Dog" Beatty. In a fit of good taste, the package features just one testimonial from a Beatty ex-girlfriend (Julie Christie).
TELECAST ASIDE NO. 2: Edward Norton pulls duty on introducing the perfunctory people-who-died-last-year clips. Madeline Kahn and George C. Scott win on the applause-o-meter. Proving timing is everything, Hedy Lamarr, who passed away in January about 50 years after she was really famous, draws only minor hand-clappage. And, hey, what about Bones McCoy? Didn't DeForest Kelley, who played the good "Star Trek" doctor die in 1999, too? Respondeth Academy spokesman John Pavlik when asked about the omission: "Who?"
BEST SONG: "You'll Be in My Heart" (from "Tarzan"), Phil Collins. Backstage, as Mr. "Sussudio" drones on about how the critics never like his music and so forth, most of the disinterested reporters watch Michael Caine on the TV monitors. To add insult to insult, one writer prefaces his question to Collins with a "Congratulations, guy."
TELECAST ASIDE NO. 3: Best Song presenter Cher is attacked by her dress. She declines to press charges.
TELECAST ASIDE NO. 4: "South Park" warbler Robin Williams sings "fart" and "bitch" on national television. In other news, the world goes to hell in a handbasket.
TELECAST ASIDE NO. 5: Horshack from "Welcome Back Kotter" sings the Oscar-nominated "Music of My Heart" with Gloria Estefan. Er, make that 'N Sync's Justin Timberlake sings "Music of My Heart" with Gloria Estefan.
BEST ORIGINAL SCORE: "The Red Violin." We do not think Keanu Reeves was forced at gunpoint to present this category. We just think it sounded that way.
TELECAST ASIDE NO. 6: The Oscar producers may have eliminated The Pointless Dance Number, but they've come up with a new one: The Pointless Song Medley. Time to go to refrigerator. Unless you're into hearing Queen Latifah "sing" "The Way We Were." Others on hand: Trisha Yearwood and Garth Brooks, apparently after taking a wrong turn at the Coun ry Music Association Awards.
BEST CINEMATOGRAPHY: Conrad L. Hall, "American Beauty." This is Hall's second win. He won his first Oscar a hundred years ago (well, back in 1970 for "Butch Cassidy and the Sundance Kid").
BEST ART DIRECTION: "Sleepy Hollow."
BEST MAKEUP: "Topsy-Turvy."
BEST EDITING: "The Matrix."
BEST VISUAL EFFECTS: "The Matrix." Presenter Arnold Schwarzenegger's hair color, while a fine visual effect in itself, apparently did not qualify.
BEST SOUND-EFFECTS EDITING: "The Matrix" (again). Somewhere, George Lucas broods.
BEST SOUND: "The Matrix." A few minutes after this category is announced, an Academy staffer asks the backstage media if anyone is interested in meeting "The Matrix" sound-geek guys, no hands are raised; ditto for the "Topsy-Turvy" folks who took the Oscar for Best Makeup. Know this: The Oscar press cares about stars, not necessarily winners.
BEST COSTUME DESIGN: "Topsy-Turvy." Backstage, winner Lindy Hemming isn't totally ignored, but the best question a reporter can muster is, "What do you think of all the outfits the stars are wearing?"
HONORARY OSCAR: Andrzej Wajda Jane Fonda -- sans Ted Turner or a cause -- does the presenting honors on this one. Without incident, she introduces Polish filmmaker Wajda who surprises no one by speaking in, yes, Polish.
BEST FOREIGN LANGUAGE FILM: "All About My Mother" (Spain). "PEEEEDROOO" Almodovar (in the vernacular of presenter Penelope Cruz) accepts the Oscar. When the Director Who Made Antonio Banderas a Star comes backstage, he's greeted by rousing applause, much of which comes from the substantial Latin media corps. In addition to picking up the Oscar, Almodovar gets points back here for his wild hair, cool all-black tuxedo and (natch) cool name.
BEST DOCUMENTARY FEATURE: "One Day in September." This is first (and only) upset of the night. The heavy, heavy favorite was "Buena Vista Social Club" (aka the only doc civilians have heard of).
BEST DOCUMENTARY SHORT: "King Gimp." Was this an upset? Heck if we know.
BEST ANIMATED SHORT: "The Old Man and the Sea."
BEST LIVE ACTION SHORT: "My Mother Dreams the Satan's Disciples in New York." No, we've never heard of it, either.
TELECAST ASIDE NO. 7: In his opening, host Billy Crystal acknowledges Willie Fulgear, the man who found Oscar, ending a week's worth of media oversaturation.
TELECAST ASIDE NO. 8: Hackneyed or tradition? Doesn't matter. Billy Crystal's going to do it, anyway -- his opening song salute to the Best Picture nominees. This year, "The Green Mile" gets set to the tune of "Green Acres," "The Sixth Sense," to "People," "The Insider" to "The Minute Waltz," "The Cider House Rules" to "Mame," "American Beauty" to "The Lady Is a Tramp."
TELECAST ASIDE NO. 9: Academy of Motion Picture Arts and Sciences President Robert Rehme opens the show. Exciting, no? No. But it's only a front -- a way to intro host Billy Crystal's romp through cinema history, including stops in "Casablanca," "The French Connection" and "West Side Story." Fortunately, Crystal avoids a detour to "My Giant" Village.