If the entire set-up didn’t stink, the three actresses made it worse by claiming that animation is an exclusively children’s art form. James and Bailey explained that “so many kids watch these movies over and over and over and over and over and over and over,” before Scott chimed in, “I see some parents out there know exactly what we’re talking about.” This happened on an evening where the stunningly adult work Flee was among the nominees. (Flee, which was also nominated for international feature and documentary feature, went home empty-handed.)
The crass dismissal of animation as a children’s art stunned even the nominees in the category. Phil Lord, who was the producer of the nominated The Mitchells vs. The Machines, tweeted the following:
Other reactions from online users tell you all you need to know about how the Disney princess presentation was received:
The category ended as we’ve come to expect: Encanto, one of the Disney company’s three nominees in the category, won the Oscar. The film, directed by Jared Bush and Byron Howard and produced by Clark Spencer and Yvett Merino, was Disney’s ninth win in ten years, and 13th win in 15 years.
If the animated feature presentation wasn’t sketchy enough, there was more evidence of Disney Company tampering at the Oscars: Disney used part of the Oscar telecast for Chris Evans, star of Pixar’s upcoming Lightyear, to introduce a commercial for the film. Viewers in the United States would have not noticed anything out of place, but as we noted in the tweet below, in international markets where the Oscars didn’t air on Disney’s ABC, no one saw the commercial.
This brazenly unethical use of Oscar airtime to promote a Disney animated feature is a stunning conflict of interest for The Academy, especially in a year when they claimed they had to cut eight categories due to the ceremony being too long.
Speaking of cutting categories, the animated short category was one of eight categories that was presented ahead of a time and cut from the live telecast, instead being presented as a pre-recorded segment.
Academy president David Rubin expalined that these categories were being cut “in order to provide more time and opportunity for audience entertainment and engagement through comedy, musical numbers, film clip packages and movie tributes.” What he didn’t mention is that in place of honoring the nominated films, they would air two musical numbers from Disney’s Encanto, including one for “We Don’t Talk About Bruno,” a song that wasn’t even submitted for Oscar consideration.
The downgrading of these categories drew condemnation from countless filmmakers, including Steven Spielberg, Jane Campion, and Denis Villeneuve, and infuriated countless Hollywood craft organizations.
Sadly, this meant the winner in the animated short category didn’t get the moment of glory they so richly deserved. The winner was the U.S./Spain production The Windshield Wiper directed by Alberto Mielgo and produced by Leo Sanchez.
Even as animation was repeatedly denigrated throughout the evening, Mielgo’s classy acceptance speech serves as a reminder for the animation community to not give up, even in the face of mass indifference from Hollywood. We must continue fighting for the recognition of animation as an art form that has the capacity to express all ideas and emotions. Said Mielgo:
“Animation is an art that includes every single art that you can imagine. Animation for adults is a fact. It’s happening. Let’s call it cinema. I’m very honored because this is just the beginning of what we can do with animation.”