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The 81st Annual Academy Awards (2009)

TV-14 | | TV Special 22 February 2009
Annual awards presentation honoring the best film achievements of 2008.
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Won 4 Primetime Emmys. Another 2 wins & 8 nominations. See more awards »
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Cast

Credited cast:
...
Himself - Host / Performer
Rest of cast listed alphabetically:
...
Herself - Nominee: Best Actress in a Supporting Role
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Herself - Presenter: Best Animated Film and Best Animated Short Film
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Himself - Co-Presenter: Best Actor in a Supporting Role
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Dancer - Luhrmann / Ashford
Julia Bantner ...
Dancer
Eric Barba ...
Himself - Winner: Best Visual Effects
Craig Barron ...
Himself - Winner: Best Visual Effects
...
Himself - Nominee: Best Film Editing
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Himself - Winner: Best Adapted Screenplay
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Herself - Accepting Best Actor in a Supporting Role
Kristine Bendul ...
Dancer
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Herself - Co-Presenter: Best Actress in a Leading Role
...
Herself - Presenter: Technical Awards
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Himself - Winner: Best Original Screenplay
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Storyline

Annual awards presentation honoring the best film achievements of 2008.

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Certificate:

TV-14 | See all certifications »
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Details

Official Sites:

Country:

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Release Date:

22 February 2009 (USA)  »

Also Known As:

81-я церемония вручения премии 'Оскар'  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

Doubt (2008) was the first film to receive four Oscar nominations for acting since Chicago (2002). Chicago went on to win one, but Doubt didn't win any. See more »

Goofs

Just before the presentation of "Best Supporting Actress" the curtain that was supposed to open to reveal the presentation screens don't open. You can then hear a stagehand from backstage yell, "We're doing it. Steve open it!" (his voice was probably picked up through Hugh Jackman's lapel mic.) See more »

Quotes

Eric Barba - Winner: Best Visual Effects: Oh my god. On behalf of myself, Steve Preeg, Burt Dalton and Craig Barron, I'd like to thank the Academy for this incredible honor. I'd also like to thank Edson Williams and his team at Lola Visual Effects and Nathan McGuinness and his team at Asylum as well as all the other visual effects teams that worked so hard on this film. I'd like to thank our amazing team at Digital Domain, my mentor Ed Ulbrich, my wonderful producer Lisa Beroud, the woman who is my biggest supporter, my wife Roma. ...
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Connections

Follows The 42nd Annual Academy Awards (1970) See more »

Soundtracks

Viva La Vida
Performed by Coldplay
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User Reviews

Changed Eye
3 March 2009 | by (Virginia Beach) – See all my reviews

I'm interested in these awards, not because of who wins or why. Sure we all have our favorites, but the more we celebrate when someone we value is recognized, the more we endorse this notion of a competition. A competition in the arts?

No, I'm interested because I study introspection in film, and there is no more obvious and consistent event than this show about shows, this story about storymaking and the people involved. The entrance of the players has become a sort of performance in itself, only the actual awards seem to have escaped as we must suffer through each recipient's list of people they are obligated to mention. Its a puzzling phenomenon why this occurs: the persons judged by the world as the most able to convey stories that matter — and we end up with such dreary speeches, mostly.

But its the show, right? Well, this show really was something unusual. As Jackman said is more "Show" than "Business." I'm sure he was parroting a decision made by the Academy based on their plummeting ratings. Regardless of the reason, the retread was welcome by me.

There were three notable elements, four if you count the pretty wonderful Busby Berkeley inspired production number that Jackman led. Two of them had to do with the stage, the physical stage itself. Since spending time in the Globe and discovering the magic of stage geometry all over again, I appreciated these and am a bit in wonder at the sophistication of the designer, who I understand is Joe Celli.

He designed a massive halo curtain of glittering crystals. I have no idea what something like this costs and what happens to the crystals. It must have been really impressive in the physical space because of the multispectral quality of refracted light. Elsewhere, I've written of the quality of snow and early theater screens. They have this presentation of scintillating colors that appears white but has an inner life, an inner texture. I would have traveled to LA just to experience this, which probably was better without the celebrities.

The other thing they did spatially was to design a stage that repurposes the performance geometry on which the Globe theater was based, the "Globe" of religious performance that Michelangelo created in Saint Peter's Square (where the Pope does his celebrity performance — in fact this is also the origin of the red carpet).

There's a yet to be appreciated pentagonal quasicrystral structure there, something that is tied deeply to notions of presence and being. I'm certain that they did not integrate this design into other elements of the show except as mentioned below. But its a pretty extraordinary statement.

Where they did integrate this five-fold symmetry was in the most extraordinary design change in the actual award presentations. For each of the five nominees for important statues, they presented five previous winners, each of whom "presented" the nominee. They were placed on this floor-stage design in ALMOST a significant way. I think perhaps the designer had them where it mattered. But they were relocated so that the five large screens behind them could be captured better in the focal frame of the three sailing cameras. Something of shame. But the intent is amazingly, wonderfully, intelligently clear.

Shakespeare, Michelangelo, Australians! What else is there?

Ted's Evaluation -- 3 of 3: Worth watching.


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