The 2019 Oscar Season Cometh

As the summer season winds down, the movie industry and this blog’s attention will soon turn to the Oscar race. And if you think it’s too early to do that, consider that less than a month from now – an avalanche of Academy hopefuls will be unveiled at film festivals. Toronto, Venice, Telluride, and the New York festivals are on deck. The programmers behind those events have already released the names of many of the pictures premiering. Here are some of the pictures wishing for Oscar glory that are hitting the circuit:

A Beautiful Day in the Neighborhood

Tom Hanks is iconic children’s host Mr. Rogers in director Marielle Heller’s follow-up to last year’s Can You Ever Forgive Me?, which nabbed nods for Melissa McCarthy and Richard E. Grant. Premiering at Toronto.

Ad Astra

James Gray has made multiple critical darlings, but has yet to pop up on the awards circuit radar screen. Could this sci fi drama with Brad Pitt and Tommy Lee Jones change that? Premiering at Venice.

An Officer and a Spy

It will need serious acclaim to overcome the baggage that comes from its maker Roman Polanski, but this historical thriller will attempt to do so in Venice.

Dolemite Is My Name

Prior to its anticipated Netflix launch, Craig Brewer’s biopic of comedian Rudy Ray Moore portrayed by legendary comic Eddie Murphy will bow at Toronto.

Ema

Pablo Larrain has had his pics No and Jackie attract awards nods and this Chilean drama hopes to follow suit. Premiering at Venice.

Ford v Ferrari

Matt Damon and Christian Bale star in James Mangold’s 1960s set tale of the flashy automotive industry. Premiering at Toronto.

Harriet

Cynthia Erica was a breakout in last year’s Widows. This year she has an Academy baity role as abolitionist Harriet Tubman in this historical epic from Kasi Lemmons. Premiering at Toronto.

Jojo Rabbit

This concoction from Taika Waititi is set during WWII with a dark comedic premise finding a young child with an imaginary friend who happens to be Hitler. The filmmaker himself plays Hitler. Scarlett Johansson and Sam Rockwell are among the cast.

Joker

Heath Ledger won a posthumous gold statue as the comic book villain in The Dark Knight. Joaquin Phoenix will attempt the same here. Premiering at Venice.

Judy

It’s been awhile since Renee Zellweger had a role receiving awards buzz. This biopic of Judy Garland could alter that. Premiering at Toronto.

Just Mercy

This drama about a falsely accused prisoner features Michael B. Jordan, Jamie Foxx, and Brie Larson. Premiering at Toronto.

Knives Out

Rian Johnson’s murder mystery has a sprawling cast of hopefuls including Daniel Craig, Chris Evans, Jamie Lee Curtis, Toni Collette, and Michael Shannon. Premiering at Toronto.

Marriage Story

Noah Baumbach is a favorite of the critical community. This drama is headlined by Scarlett Johansson and Adam Driver and hits Venice and other fests before its Netflix premiere.

The Goldfinch

Brooklyn director John Crowley adapts this drama based on a well-known 2013 novel. The cast includes Nicole Kidman and Oakes Fegley. Premiering at Toronto.

The Irishman

Rightly kicking off the New York Festival, Martin Scorsese directs this gangster saga starring Robert De Niro, Al Pacino, and Joe Pesci.

The Laundromat

Oscar winner Steven Soderbergh directs this dramatic thriller with Meryl Streep, Gary Oldman, and Antonio Banderas. Premiering at Venice.

The Personal History of David Copperfield

Lion nominee Dev Patel is the Charles Dickens character with a supporting cast including Tilda Swinton and Hugh Laurie. Premiering at Toronto.

The Two Popes

Jonathan Pryce is Pope Francis and Anthony Hopkins is Pope Benedict in this Netflix effort from director Fernando Meirelles. Premiering at Toronto.

Followers of this blog know that I’ll do Oscar Watch posts on each of these and many others as they screen in the coming weeks. Stay tuned!

 

Oscar Watch – Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese

The eyes of many Oscar prognosticators will be on The Irishman later this year. The Netflix release comes from Martin Scorsese and the Mafia saga reunites many of his favorite players like Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel. Yet the filmmaker could find himself in contention in another race with another saga featuring a legendary performer.

Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese debuts on the same streaming service tomorrow. The concert documentary follows Dylan’s unique 1975 tour and has caught the attention of critics. It stands at 100% on Rotten Tomatoes.

This is far from the first time Scorsese has turned his attention to the rock and roll world in this genre. It began over four decades ago with The Last Waltz, his feature about The Band. He’s since made pics centered on The Rolling Stones, George Harrison, and Dylan previously (2005’s No Direction Home).

Concert docs are a rare inclusion for Best Documentary Feature at the Oscars, but perhaps the Academy could decide it’s time to honor Scorsese’s contributions to the genre. My Oscar Watch posts will continue…

Oscar History: 2012

It’s been quite some time since I’ve done an Oscar History post (about two and a half years) and I’m at 2012. It was a year in which Seth MacFarlane hosted the show – fresh off his comedy smash Ted. Here’s what transpired in the major categories with some other pictures and performers I might have considered:

The year saw nine nominees for Best Picture in which Ben Affleck’s Argo took the top prize. Other nominees: Amour, Beasts of the Southern Wild, Django Unchained, Les Miserables, Lincoln, Silver Linings Playbook (my personal favorite of the year), and Zero Dark Thirty. 

Many Wes Anderson fans would contend that Moonrise Kingdom should have made the cut. And I could certainly argue that The Avengers (perhaps the greatest comic book flick and the year’s biggest grosser) was worth a nod.

The nominations in Best Director were a huge surprise at the time. While Argo won the top prize of all, Affleck was not nominated for his behind the camera efforts. It was the first time since Driving Miss Daisy‘s Bruce Beresford where an Oscar-winning Picture didn’t see its filmmaker nominated.

Instead it was Ang Lee who was victorious for Life of Pi over Michael Haneke (Amour), David O. Russell (Silver Linings Playbook), Steven Spielberg (Lincoln), and Benh Zeitlin (Beasts of the Southern Wild).

In addition to Affleck, it was surprising that Kathryn Bigelow (Zero Dark Thirty) was not included. And I certainly would have put in Tarantino for Django.

The race for Best Actor seemed over when the casting of Daniel Day-Lewis as Abraham Lincoln was announced. And that’s exactly how it played out as he won his third Oscar over a strong slate of Bradley Cooper (Playbook), Hugh Jackman (Les Miserables), Joaquin Phoenix (The Master), and Denzel Washington (Flight).

The exclusion of John Hawkes in The Sessions could have been welcomed, but I’ll admit that’s a solid group.

Jennifer Lawrence won Best Actress for Silver Linings over Jessica Chastain (Zero Dark), Emmanuelle Riva (Amour), Quvenzhane Wallis (Beasts), and Naomi Watts (The Impossible).

Again, no major qualms here. I did enjoy the work of Helen Mirren in Hitchcock (for which she did get a Golden Globe nod).

Supporting Actor was competitive as Christoph Waltz won his second statue for Django (three years after Inglourious Basterds). He was a bit of a surprise winner over Tommy Lee Jones in Lincoln. Other nominees: Alan Arkin (Argo), Robert De Niro (Playbook), and Philip Seymour Hoffman (The Master).

Here’s a year where there’s a lot of others I thought of. Waltz won, but I think the work of Leonardo DiCaprio and Samuel L. Jackson in Django was equally impressive. There’s Javier Bardem as one of the greatest Bond villains ever in Skyfall. Or John Goodman’s showy role in Flight. As for some other blockbusters that year, how about Tom Hiddleston in The Avengers or Matthew McConaughey in Magic Mike? And my favorite comedic scene of that year was due to Giovanni Ribisi in Ted…

In Supporting Actress, Anne Hathaway was a front-runner for Les Miserables and there was no upset. Other nominees: Amy Adams (The Master), Sally Field (Lincoln), Helen Hunt (The Sessions), and Jacki Weaver (Playbook).

Judi Dench had more heft to her part as M in Skyfall that year and I’ll also give a shout-out to Salma Hayek’s performance in Oliver Stone’s Savages.

And there’s your Oscar history for 2012! I’ll have 2013 up… hopefully in less than two and a half years!

Summer 1988: The Top 10 Hits and More

We are in the midst of the blockbuster summer season of 2018. As I do every year on the blog, I’m recounting the summers of 30, 20, and 10 years ago with the top 10 moneymakers and other notable features and flops. We begin with 1988 and unlike the current 2018 crop that is dominated by big-budget sequels, it was surprising to find that there were a host of follow-up flops three decades ago. Sequels make up just 20% of the top ten here.

The seasons of 1998 and 2008 will be posted shortly, but here’s what what was happening 30 years ago at the cinema:

10. Bull Durham

Domestic Gross: $50 million

Writer/director Ron Shelton’s sports comedy came as Kevin Costner was experiencing a string of hits in the late 80s and early 90s. Considered one of the finest sports films ever made, it also featured showcase roles for Susan Sarandon and Tim Robbins and was nominated for an Oscar for Best Original Screenplay.

9. Rambo III

Domestic Gross: $53 million

The third go-round for Sylvester Stallone as John Rambo earned only a third of what Rambo: First Blood Part II achieved three summers prior and received mostly negative reviews. The star would revise the character 20 years later in Rambo.

8. Willow

Domestic Gross: $57 million

Ron Howard’s fantasy adventure (with a story conceived by George Lucas) was considered only a moderate success at time of its release and critical notices were mixed. It has since gone on to garner cult status.

7. A Fish Called Wanda

Domestic Gross: $62 million

This acclaimed heist comedy was an unexpected critical and audience darling with a screenplay from the legendary John Cleese. Both he and “Monty Python” cohort Michael Palin starred alongside Jamie Lee Curtis and Kevin Kline, in a rare comedic role that won an Oscar for Supporting Actor. Nine years later, the cast reunited for the less regarded Fierce Creatures. 

6. Cocktail

Domestic Gross: $78 million

Coming off his iconic role in Top Gun two years earlier, Tom Cruise propelled this bartender tale to major success despite poor reviews (even Cruise admitted it wasn’t so good years later). It did provide The Beach Boys with a big comeback hit in the form of “Kokomo”.

5. Die Hard

Domestic Gross: $83 million

It might be #5 on the list, but Die Hard is easily the most influential film of the summer of ’88. Rightfully considered the quintessential action movie, it served as a springboard for Bruce Willis’s film career and gave us an unforgettable villain in Alan Rickman’s Hans Gruber. Four sequels and numerous knock-offs would follow.

4. Crocodile Dundee II

Domestic Gross: $109 million

Paul Hogan’s Aussie creation struck box office gold in 1986 when the first Dundee made $174 million and was an unexpected smash. The sequel didn’t measure up to the first commercially or critically, but it still managed to edge past the $100 million mark.

3. Big

Domestic Gross: $114 million

Tom Hanks earned his first Oscar nomination (several would follow) for Penny Marshall’s classic comedy about a teenager wanting to be an adult. It also earned an Original Screenplay nomination.

2. Coming to America

Domestic Gross: $128 million

Eddie Murphy was about the biggest box office draw in the world circa 1988 and this serves as one of his classics. There’s been long rumored plans for a sequel, but whether or not it ever materializes is a legit question three decades later.

1. Who Framed Roger Rabbit

Domestic Gross: $156 million

This landmark blending of live-action and animation from director Robert Zemeckis combined beloved characters from the Warner Bros and Disney catalogs, winning three technical Oscars. The title character would appear in some animated shorts in the following years, but a traditional sequel surprisingly never followed.

And now for some other notable features from the summer:

Young Guns

Domestic Gross: $45 million

This Western about Billy the Kid and his gang cast many of the hot young stars of the day, including Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, and Charlie Sheen. A sequel would follow two years later.

Midnight Run

Domestic Gross: $38 million

Serving as Robert De Niro’s first major foray into comedy (blended with action), Midnight Run found him brilliantly cast alongside Charles Grodin in this effort from Beverly Hills Cop director Martin Brest. Its status has only grown in subsequent years.

And now we arrive at some of the pictures that didn’t fare so well and we have 5 sequels that couldn’t match the potency of what came before them:

The Dead Pool

Domestic Gross: $37 million

Clint Eastwood’s fifth and final appearance as Dirty Harry was met with mixed reviews and lackluster box office. It’s got perhaps the best supporting cast of the lot, however, including Patricia Clarkson, Liam Neeson, and Jim Carrey a few years before he became a phenomenon.

Big Top Pee-Wee

Domestic Gross: $15 million

While Pee-Wee’s Big Adventure earned $40 million and introduced moviegoers to Tim Burton, this sequel underwhelmed. Star Paul Reubens would, um, pick up notoriety three years later for another experience in a movie theater.

Arthur 2: On the Rocks

Domestic Gross: $14 million

The 1981 original earned Academy Award nominations and a fantastic $95 million domestic haul. By the time the sequel followed seven years later, audiences weren’t interested in the comedy starring Dudley Moore and Liza Minnelli.

Poltergeist III

Domestic Gross: $14 million

The franchise began in 1982 with acclaim and huge dollars. A sequel diminished those returns and by the time part 3 hit screens, crowds were tuned out. Tragically, Heather O’Rourke (who famously played Carol Anne) died months before its release at the age of 12.

Caddyshack II

Domestic Gross: $11 million

Part 1 was a comedy classic. Part 2 was anything but. Chevy Chase was the only returning cast member to return and there was no repeating the magic with Jackie Mason, Robert Stack, Randy Quaid, and Dan Aykroyd.

And finally…

Mac and Me

Domestic Gross: $6 million

A notorious bomb, this E.T. rip-off received plenty of ink on account of its awfulness. There is a silver lining, however, as Paul Rudd has hilariously incorporated it into segments on Conan O’Brien’s show over the years.

And there you have the summer of 1988 in a nutshell! I’ll be back with 1998 soon…

Paterno Movie Review

Paterno opens during an important football game as the 84-year-old Penn State coaching legend is going for a personal NCAA record in wins. The elderly team leader sits up high in a press box and not on the sidelines, plotting out the victory. He’s removed, but involved. It’s an allegory for what follows. This is the central question of the massive scandal that follows and the rendering of the subject’s legacy in the public view. How removed was Joe Paterno in the Jerry Sandusky saga? Or how involved was he?

The HBO effort marks the second collaboration of director Barry Levinson and leading man Al Pacino for the cable network. Their first was 2010’s You Don’t Know Jack, in which the Oscar winner played Dr. Kevorkian. Levinson also made last year’s The Wizard of Lies, which cast Robert De Niro as Ponzi scheme maker Bernie Madoff. That picture had some issues with its story structure and so does this.

The tale unfolds in November 2011 over a week’s period of time that feels like an eternity for those in Happy Valley. When former assistant coach Jerry Sandusky is charged with multiple accounts of child sexual abuse, the focus soon turns to what the iconic Paterno (Pacino) knew and when. It’s a startling turn of quick events that results in the coach’s dismissal, as well as others involved with the college.

Breaking the explosive story is local reporter Sara Ganim (Riley Keough), whose sordid tale is ignored for a bit. And then everyone in the world pays attention. It’s this work that would result in a Pulitzer for her and the downfall of a living and breathing institution. This journalistic expose is done in a setting where many of the Penn State faithful are in a haze and in denial about what’s happening. Many don’t want to believe Paterno could have done any wrong in failing to report his knowledge of Sandusky’s evil.

This plot line of the bravery of reporters and the victims to shed light on Sandusky’s crimes and the inability of university officials to do the right thing is the fascinating one. However, Paterno the movie spends most of its running time holed up in Paterno the man’s home as he’s in crisis control mode with his family and advisors.

It does provide Pacino an opportunity for a choice role, just as his other HBO projects have in the 21st century (both Jack and 2003’s Angels in America). He is successful in mimicking the look and mannerisms of the coach. Paterno is played as a man seemingly incapable of understanding the gravity of the unfolding storm around him. The same goes for many in State College.

There’s a remarkable sequence where people take to the streets to protest JoePa’s firing as Sara watches. She knows that she is largely responsible for their vitriol, but also instrumental in putting away a monster. A deeper dive into how that happened could have been intriguing. Paterno largely removes itself from that process while providing a slightly disappointing but well-acted experience from those involved.

**1/2 (out of four)

A Supporting Actor Oscar History

In the eight decades of Oscar history, we have seen the Supporting Actor category honor actors from the same picture about one-fifth of the time. It’s a fairly rare occurrence, but it’s been especially so as of late. It’s been 26 years since the Academy last did so and that serves as the longest gap by a lot. 2017 could change that.

Before we get to that, a little history lesson…

The first multiple Supporting Actor nominees happened in 1939 when Harry Carey and Claude Rains were nominated for Mr. Smith Goes to Washington. 

It was 14 years before it happened again with 1953’s Shane bestowing nods for Jack Palance and Brandon deWilde. The following year gave us our first three actor nominations when Lee J. Cobb, Karl Malden, and Rod Steiger all had their names up for On the Waterfront. The 1950s would do this twice more – in 1957’s Peyton Place for Arthur Kennedy and Russ Tamblyn and 1959’s Anatomy of a Murder for Arthur O’Connell and George C. Scott.

1961 would bring Scott another nod for The Hustler, along with Jackie Gleason. 1967’s Bonnie and Clyde nominated both Gene Hackman and Michael J. Pollard.

1971 was the first year when one of the multiple picture nominees actually won. Ben Johnson emerged victorious for The Last Picture Show, while costar Jeff Bridges was nominated.

The Godfather saga would bestow six nominations among its two classic films. The 1972 original nominated James Caan, Robert Duvall, and Al Pacino. The 1974 sequel had Robert De Niro winning the statue, along with the nominated Michael V. Gazzo and Lee Strasberg. 1976’s Rocky nominated both Mick (Burgess Meredith) and Paulie (Burt Young) while Jason Robards won for 1977’s Julia with Maximillian Schell getting a nod.

Timothy Hutton would win for Ordinary People in 1980 with costar Judd Hirsch nominated. Jack Nicholson won for 1983’s Terms of Endearment with John Lithgow getting recognition. 1986’s Platoon was granted two nominees – Willem Dafoe and Tom Berenger.

And in 1991 – Harvey Keitel and Ben Kingsley were nominated for Bugsy. 

That is the 16th and final time this has happened.

As mentioned, this year could potentially change that and there’s a surprising four ways for it to happen.

The least likely of the four scenarios in my opinion would be Jason Mitchell or Garrett Hedlund for Mudbound. Perhaps Mitchell could sneak in, but even that’s a long shot and the chances of both getting in seems non-existent.

The other three scenarios are all plausible. There’s Michael Shannon and Richard Jenkins for The Shape of Water. We have Armie Hammer and Michael Stuhlbarg for Call Me by Your Name. It wouldn’t shock me for either to occur, but maybe the best chance is Sam Rockwell (a lock for a nod) and Woody Harrelson (less so) for Three Billboards Outside Ebbing, Missouri. 

It’s been a quarter century since two actors from the same film heard the names called in Supporting Actor. Will 2017 change that?

Stay tuned…

Summer 2007: The Top 10 Hits and More

Well it’s Throwback Thursday and I’m giving you the culmination of my three-part series recounting the movie summers of 30, 20, and 10 years ago. We’ve already gone back to memory lane in 1987 and 1997. If you missed either of those posts, you can find them here:

https://toddmthatcher.com/2017/08/01/summer-1987-the-top-10-hits-and-more/

https://toddmthatcher.com/2017/08/04/summer-1997-the-top-10-hits-and-more/

That means I’m traveling back a decade ago to 2007 and it’s a summer where threequels were majorly in vogue, accounting for four of the top six grossing pictures. Sequels were pervasive in general in this particular season and it was a breakout summer for one Seth Rogen.

As I have with these previous entries, I’ll count down the top ten hits as well as other notable pics and some flops.

Let’s get to it!

10. Rush Hour 3

Domestic Gross: $140 million

The third and final pairing of Jackie Chan and Chris Tucker in this action comedy franchise is our first threequel on the list. It fell a steep $86 million short of what Rush Hour 2 accomplished six seasons earlier.

9. Knocked Up

Domestic Gross: $148 million

The comedic summer breakout continued Judd Apatow’s hit streak after The 40 Yr. Old Virgin from two previous summers and gave Seth Rogen his first big leading role. Katherine Heigl may have inexplicably trash talked it later, but audiences disagreed.

8. The Simpsons Movie

Domestic Gross: $183 million

Arriving nearly two decades after the still going FOX animated series debut, The Simpsons Movie surpassed all expectations with its gargantuan gross. Just last month, producers announced there’s been traction on a planned sequel.

7. Ratatouille

Domestic Gross: $206 million

Our second animated entry comes from the Pixar conglomerate. The critically hailed rat tale actually experienced one of the lowest openings for Pixar, but it still managed to top $200 million and its reputation has only grown.

6. The Bourne Ultimatum

Domestic Gross: $227 million

Matt Damon’s third go-round as the title character is still the highest grossing entry of the franchise and the only to pass $200 million. The star returned to the series just last summer.

5. Harry Potter and the Order of the Phoenix

Domestic Gross: $292 million

The fifth installment of the $2 billion plus franchise marks the first one directed by David Yates, who would make the following three pics as well. It stands #5 of the 8 Potter pics in domestic gross.

4. Pirates of the Caribbean: At World’s End

Domestic Gross: $309 million

The third Pirates flick is when critics really started to turn on the series. Getting past $300 million is nothing to sneeze at, but it is nearly $115 million lower than its predecessor Dead Man’s Chest just one summer before.

3. Transformers

Domestic Gross: $319 million

Michael Bay’s bot series started a decade ago and it’s still going. The original ranks third of the five in grosses as its two sequels topped it, but the last two have fallen under it.

2. Shrek the Third

Domestic Gross: $322 million

Much like Pirates, this is when reviewers started to sour on this series. It was still chugging along, but it did fall $120 million below Shrek 2.

1. Spider-Man 3

Domestic Gross: $336 million

Anyone noticing a pattern here? Once again – a third franchise entry where critics started sharpening their knives. This end to the Sam Raimi Spidey trilogy was considered a big letdown in quality, yet it still topped the summer while earning less than its two predecessors.

And now for some other notable pictures of summer 2007:

Live Free or Die Hard

Domestic Gross: $134 million

From a pure numbers standpoint, it’s the highest grossing pic to feature Bruce Willis in his signature role of John McClane (though that changes when adjusting for inflation). From a pure entertainment standpoint, the decision to make this the only PG-13 Die Hard film was a bit puzzling.

Superbad

Domestic Gross: $121 million

Mr. Rogen’s big summer kept rolling along with this acclaimed comedy in which he costarred and co-wrote. Jonah Hill, Michael Cera, and McLovin became household names due to this.

I Now Pronounce You Chuck and Larry

Domestic Gross: $120 million

Before his movies moved to Netflix, Adam Sandler could still crank out $100M+ earners just a decade ago, even if it was this stale comedy co-starring Kevin James.

Hairspray

Domestic Gross: $118 million

Based on both the John Waters 1988 pic and the Broadway musical that followed it, Hairspray featuring John Travolta, Michelle Pfeiffer, and Christopher Walken performed above expectations.

Ocean’s Thirteen

Domestic Gross: $117 million

Worth mentioning because it’s yet another threequel that couldn’t quite match the grosses of the first two. An all female version of the Ocean’s franchise is soon coming to a theater near you.

Once

Domestic Gross: $9 million

That may be appear to a small gross, but this little Irish romantic musical came out of nowhere stateside and has achieved a devoted following. It’s even been adapted into a Broadway play.

And now for some of the flops of summer 2007:

Evan Almighty

Domestic Gross: $100 million

Yes, it may have crossed the century mark, but this spin-off of 2003’s Bruce Almighty was considered the flop of the season. Starring Steve Carell fresh off the acclaimed 40 Yr. Old Virgin, this family feature came with a reported $175 million budget. Audiences and critics weren’t impressed.

Stardust

Domestic Gross: $38 million

This fantasy flick with Claire Danes, Robert De Niro, and Michelle Pfeiffer only earned a bit more than half its $70 million budget domestically. However, director Matthew Vaughn has bounced back in a significant way with Kick-Ass, X-Men: First Class, and Kingsman: The Secret Service. 

The Invasion

Domestic Gross: $15 million

Another remake of Invasion of the Body Snatchers, bad reviews sunk this pic that featured Nicole Kidman and Daniel Craig, fresh off his heralded debut as James Bond.

I Know Who Killed Me

Domestic Gross: $7 million

Lindsay Lohan was a long way from Freaky Friday and Mean Girls with this panned psychological thriller that featured the starlet as a stripper. Audiences turned away.

And that does it, folks! You can rest assure you’ll see summer posts recounting 1988, 1998, and 2008 in a year’s time…