<description>&lt;p&gt;Hollywood loves movies about themselves, or do they...?&lt;/p&gt;
&lt;p&gt;(p.s. sorry for the choppy audio at times, I guess Ed Wood snuck into this episode in more ways than one.)&lt;/p&gt;
&lt;p&gt;Andrew's Twitter: @AwardsConnect | Website: theawardsconnection.com&lt;/p&gt;
&lt;p&gt;James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno | Website: allaboutoscar.net&lt;/p&gt;
&lt;p&gt;Intro Song: "Awards" by Alexi Action&lt;/p&gt;
</description>

Hollywood loves movies about themselves, or do they...?
(p.s. sorry for the choppy audio at times, I guess Ed Wood snuck into this episode in more ways than one.)
Andrew's Twitter: @AwardsConnect | Website: theawardsconnection.com
James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno | Website: allaboutoscar.net
Intro Song: "Awards" by Alexi Action

Ed Wood & 1994 Best Picture w/ Andrew Carden

<description>&lt;p&gt;Should Sally Hawkins have received her first Oscar nomination for Mike Leigh's 2008 dramedy? And could she have bested Kate Winslet to the top prize?&lt;/p&gt;
&lt;p&gt;&lt;br&gt;&lt;/p&gt;
&lt;p&gt;Cristof's Twitter: @JudgeRoySnyder | Letterboxd: @ChristofN | Sporcle: sporcle.com/user/MrWhiplash/&lt;/p&gt;
&lt;p&gt;&lt;br&gt;&lt;/p&gt;
&lt;p&gt;James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;br&gt;&lt;/p&gt;
&lt;p&gt;Intro Song: "Awards" by Alexi Action&lt;/p&gt;
</description>

Should Sally Hawkins have received her first Oscar nomination for Mike Leigh's 2008 dramedy? And could she have bested Kate Winslet to the top prize?
 
Cristof's Twitter: @JudgeRoySnyder | Letterboxd: @ChristofN | Sporcle: sporcle.com/user/MrWhiplash/
 
James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno&nbsp;
 
Intro Song: "Awards" by Alexi Action

Sally Hawkins in Happy-Go-Lucky & 2008 Best Actress w/ Christof

<description>&lt;p&gt;If the Academy awarded Oscars for titles alone, Sex, Lies and Videotape would take the cake. And if the Best Actress category respected indies, so would the perennially underrated Andie MacDowell. Also, stay tuned for the Pfeiffer v. Tandy discourse.&amp;nbsp;&lt;/p&gt;
&lt;p&gt;Will's Twitter: @_AlmostOriginal | Letterboxd: @steele98&lt;/p&gt;
&lt;p&gt;James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno&amp;nbsp;&lt;/p&gt;
&lt;p&gt;Intro Song: "Awards" by Alexi Action&lt;/p&gt;
</description>

If the Academy awarded Oscars for titles alone, Sex, Lies and Videotape would take the cake. And if the Best Actress category respected indies, so would the perennially underrated Andie MacDowell. Also, stay tuned for the Pfeiffer v. Tandy discourse.&nbsp;
Will's Twitter: @_AlmostOriginal | Letterboxd: @steele98
James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno&nbsp;
Intro Song: "Awards" by Alexi Action

Andie MacDowell in Sex, Lies and Videotape & 1989 Best Actress w/ Will Steele

<description>&lt;p&gt;If the Academy was ever a stickler for quantity over quality, 1963 would be their poster child.&amp;nbsp;&lt;/p&gt;
&lt;p&gt;The wonderful Fritz joins for this discussion that covers Martin Ritt's cynical anti-hero western Hud (5:12). We also chat about the category's mammoth-sized films, America America (23:40), Cleopatra (42:50) and How the West Was Won (1:06:40), with the short and sweet Lilies of the Field (1:16:43) a nice break. Then, it's time for Best Picture victor Tom Jones (1:25:26). Listen to that segment for a perspective you don't often hear...&lt;/p&gt;
&lt;p&gt;Fritz's Twitter: @FritzandOscars | YouTube: Fritz and the Oscars (please subscribe, and watch his 63 Actress series for more Hud content)&lt;/p&gt;
&lt;p&gt;James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno&lt;/p&gt;
&lt;p&gt;Intro Song: "Awards" by Alexi Action&lt;/p&gt;
</description>

If the Academy was ever a stickler for quantity over quality, 1963 would be their poster child.&nbsp;
The wonderful Fritz joins for this discussion that covers Martin Ritt's cynical anti-hero western Hud (5:12). We also chat about the category's mammoth-sized films, America America (23:40), Cleopatra (42:50) and How the West Was Won (1:06:40), with the short and sweet Lilies of the Field (1:16:43) a nice break. Then, it's time for Best Picture victor Tom Jones (1:25:26). Listen to that segment for a perspective you don't often hear...
Fritz's Twitter: @FritzandOscars | YouTube: Fritz and the Oscars (please subscribe, and watch his 63 Actress series for more Hud content)
James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno
Intro Song: "Awards" by Alexi Action

Hud & 1963 Best Picture w/ Fritz

<description>&lt;p&gt;What ever happened to 1994’s Best Actress? Join Riley and myself for this in-depth look into the race, the nominees, and the contenders that missed out because the Academy were all out of Oscars. See chapters below for easier navigation…&lt;/p&gt;
&lt;p&gt;&lt;br&gt;&lt;/p&gt;
&lt;p&gt;Riley’s Twitter: @rileyj_quinn | Letterboxd: @rj1994&lt;/p&gt;
&lt;p&gt;James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno&lt;/p&gt;
&lt;p&gt;&lt;br&gt;&lt;/p&gt;
&lt;p&gt;Jessica Lange in Blue Sky (3:50)&lt;/p&gt;
&lt;p&gt;Jodie Foster in Nell (21:20)&lt;/p&gt;
&lt;p&gt;Miranda Richardson in Tom &amp;amp; Viv (31:44)&lt;/p&gt;
&lt;p&gt;Winona Ryder in Little Women (44:18)&lt;/p&gt;
&lt;p&gt;Susan Sarandon in The Client (52:25)&lt;/p&gt;
&lt;p&gt;Linda Fiorentino in The Last Seduction (1:02:30)&lt;/p&gt;
&lt;p&gt;Jennifer Jason Leigh in Mrs. Parker and the Vicious Circle (1:09:10)&lt;/p&gt;
&lt;p&gt;Meryl Streep in The River Wild (1:16:27)&lt;/p&gt;
&lt;p&gt;Jamie Lee Curtis in True Lies (1:25:44)&lt;/p&gt;
&lt;p&gt;Meg Ryan in When a Man Loves a Woman (1:28:34)&lt;/p&gt;
&lt;p&gt;Sigourney Weaver in Death and the Maiden (1:31:35)&lt;/p&gt;
&lt;p&gt;Kathleen Turner in Serial Mom (1:34:40)&lt;/p&gt;
&lt;p&gt;Irène Jacob in Three Colors: Red (1:37:26)&lt;/p&gt;
&lt;p&gt;Bonus Actresses (1:39:42)&lt;/p&gt;
&lt;p&gt;Ranking the Academy’s Five + Personal Lineups (1:46:52)&lt;/p&gt;
</description>

What ever happened to 1994’s Best Actress? Join Riley and myself for this in-depth look into the race, the nominees, and the contenders that missed out because the Academy were all out of Oscars. See chapters below for easier navigation…
 
Riley’s Twitter: @rileyj_quinn | Letterboxd: @rj1994
James' Twitter: @jimmykunovski | @outofoscarpod | Letterboxd: @jameskuno
 
Jessica Lange in Blue Sky (3:50)
Jodie Foster in Nell (21:20)
Miranda Richardson in Tom &amp; Viv (31:44)
Winona Ryder in Little Women (44:18)
Susan Sarandon in The Client (52:25)
Linda Fiorentino in The Last Seduction (1:02:30)
Jennifer Jason Leigh in Mrs. Parker and the Vicious Circle (1:09:10)
Meryl Streep in The River Wild (1:16:27)
Jamie Lee Curtis in True Lies (1:25:44)
Meg Ryan in When a Man Loves a Woman (1:28:34)
Sigourney Weaver in Death and the Maiden (1:31:35)
Kathleen Turner in Serial Mom (1:34:40)
Irène Jacob in Three Colors: Red (1:37:26)
Bonus Actresses (1:39:42)
Ranking the Academy’s Five + Personal Lineups (1:46:52)

All About 1994's Best Actress w/ Riley Quinn

Welcome to the Oscar podcast that looks past the final nominees and homages the films and actors that fared well throughout awards season but couldn't pick up an Oscar nomination. 

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