Comments for Does Disney Need Another Walt to Take Home Best Picture?

Walt Disney

Credit: D23


  1. Thomas

    With the Live Action remakes, yes they generally (but not all) do well at the box office, but they’re not great and just rehashes of true classics while bringing nothing new to the table, same with sequels, let’s not forget Frozen II didn’t even get nominated for Best Animated Feature last year – yes Toy Story 3 got a Best Picture nomination but it, Up and Beauty and the Beast brought something different to the front, Beauty had the grandure of the computer animated ballroom, Up had the heart in the story and the animation of all the balloons took your breath away and Toy Story 3 was a celebration of the trilogy. I did expect Coco to get a Best Picture nod but I feel at the moment the trend is for movies that are a bit more independent and don’t otherwise get the attention of a wider audience (hence ‘Parasite’ winning last year, I’m sure it’s a great movie but being a movie in a language that’s not English the majority of cinema goers wouldn’t have even heard of it let alone seen it). I don’t think you need a ‘New Walt’ because you’ll never find a new Walt, but just bring something different and original to the table and the awards will follow. I do think it’s criminal the Best Animated Feature award wasn’t even a thing until 2002 though.

  2. EricJ

    We were THAT…FREAKIN’…CLOSE to having Pixar’s “Inside Out” be the early front-runner to beat for Best Picture 2015.
    Even the Academy knew it. (They wanted to retire the 8-10 Nomination rule, but that rule allowed animated films to compete, so…)

    But nowadays, Oscars are basically dictated by the Golden Globes and Critics’ Circle, which provide us with the nominees we can’t think of in weak years, and if the GG’s said that Inside Out couldn’t get a Best Comedy or Musical nom (because they don’t allow animateds), well, that was the ballgame.
    So now, the nominations are either the studio-hyped Oscar-bait favorites that the Golden Globes was gullible enough to fall for, and the dreary arthouse indies that the Critics Circles stick up for, because they think the big-studio movies will get all the attention.

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