Best Original
Screenplay is a long shot, but not a category I'm ready to rule out.
Not exact matches
It
's sociopathic focus will make sure it doesn't win... it may win best
screenplay, but that
's still a
long shot, I have a hard time seeing the Academy old timers seeing the relevance of this particular film.
Stuart has interviewed, with few exceptions, all involved with the 1974 production in some capacity (associate producer Scott Bushnell declined comment because her words have betrayed her in the past; indeed, if The Nashville Chronicles has an antagonist, it
's the Lady Macbeth - like Bushnell), and with their quotes he has compiled a linear oral history that begins
long before the location
shoot (Altman
's time in the service) and ends
long after: Stuart concludes with his own critique of the
screenplay to Nashville 12, the aborted sequel that would've reunited the entire Nashville cast save Keenan Wynn (dead), Dave Peel (born - again), and Scott Glenn (written out because his Pfc. Kelly had such an opaque personality).
A postscript: If you read the
screenplay for Paul Thomas Anderson
's The Master, you'll see that it
's laden with
long tracking
shots and expansive sets.
Mudbound
is nominated four times, but they
're a
long shot in Adapted
Screenplay and Supporting actor, and we
're all agreed on rooting for Roger Deakins in Best Cinematography (though a win for Mudbound «
s Rachel Morrison there would mean the first win by a woman in that category ever, so rooting interests abound), so it
's Mary in Best Original Song as Netflix's great narrative hope
s Mary in Best Original Song as Netflix
's great narrative hope
s great narrative hope.