The Academy Finally Adds Oscar for Stunts

In the realm of filmmaking, numerous Academy Awards are presented across various categories such as direction, scriptwriting, visual effects, costumes, set design, and so forth. However, a category recognizing stunts has yet to materialize, despite repeated demands from different sectors of the industry over an extended period. But starting in 2026, a Best Casting Oscar will be introduced for the first time.

At long last, the talented individuals behind movie stunts will be recognized by the Academy. Today, they announced that a new Oscar category, “Best Stunt Design,” is being established. This award will debut for the 100th Academy Awards in 2028, making films released in 2027 the first to become eligible for this honor.

The heads of the Academy, Bill Kramer (CEO) and Janet Yang (president), expressed their thoughts about the fresh award in this statement.

From the very beginnings of movie-making, the art of creating thrilling stunts has always played a crucial role. It’s with great pleasure that we acknowledge the inventive work of these talented technical and creative professionals. Congratulations to them for their unwavering determination and dedication in reaching this significant milestone.

The news is incredibly timely and long-awaited, especially considering the points made in the Academy’s statement. Consider all the brilliant filmmakers who have used stunts to breathe life into their art, from Buster Keaton to Tom Cruise. This change may not bestow Oscars upon them for their historical work, but it does acknowledge stunt performers as artists on par with their peers in other areas of the Academy and cinema world.

Oscar Best Picture Winners That Got Sequels

The Broadway Melody (1929)

The first film to win the Best Picture Oscar and receive a sequel debuted only two years after the inauguration of the Academy Awards. The initial winner was “Wings”; its successor was “The Broadway Melody”, a lavish MGM musical detailing the production of a Broadway show. A few years down the line, MGM transformed “The Broadway Melody” into a recognizable brand, launching “Broadway Melody of 1936”, “of 1938”, and “of 1940”. These sequels didn’t feature the same characters but maintained the basic premise of a backstage musical drama, leading some to view them as remakes rather than traditional follow-ups. However, these movies demonstrate that even a century ago, Hollywood was keen on turning box office hits into franchise series.

All Quiet on the Western Front (1930)

As a movie enthusiast, I find myself reflecting on the cinematic masterpiece, “All Quiet on the Western Front,” which Lewis Milestone brought to life from Erich Maria Remarque’s novel. This powerful film was still echoing in our cinematic memories when it swept the Oscars, taking home the Best Picture award for that year. The following year, Remarque penned a sequel to his book titled “The Road Back.” A few years down the line, Universal Studios attempted to adapt this novel as well, but their effort paled in comparison to the original. The film’s lackluster performance can be attributed, in part, to the studio self-censoring the content to appease the Nazi government and ensure the movie could be screened in Germany without being banned.

The Great Ziegfeld (1936)

In the 1930s, biopics were extremely popular, and I can’t help but wonder where the fans of “The Life of Emile Zola” are! In 1936, MGM introduced a biography titled “The Great Ziegfeld,” focusing on Florenz Ziegfeld Jr., a renowned Broadway producer and showman (portrayed by William Powell). This film was filled with extravagant musical sequences and became a massive success, further enhancing the prestige of the Ziegfeld brand name. Although Ziegfeld had passed away a few years prior, the Ziegfeld Follies continued until the early 1940s. It’s no surprise that MGM produced two more films featuring the Ziegfeld name: “Ziegfeld Girl” in 1941 and “Ziegfeld Follies” in 1945. However, it’s important to note that Ziegfeld himself does not appear as a character on screen. Instead, “Ziegfeld Girl” tells the story of three performers vying for a spot in his famous show.

Gone With the Wind (1939)

Adjusting for inflation, “Gone With the Wind” continues to be cinema’s all-time highest-grossing film, outpacing “Star Wars,” “Avengers: Endgame,” and “Avatar.” Naturally, fans of both the movie and Margaret Mitchell’s novel wondered about the fate of its main characters beyond the story’s end, but Mitchell opted not to pen a sequel. However, following her passing, Mitchell’s estate allowed for the creation of “Scarlett,” which later developed into a big-budget TV miniseries with Joanne Whalley-Kilmer portraying Scarlett O’Hara and Timothy Dalton playing Rhett Butler.

Mrs. Miniver (1942)

The movie “Mrs. Miniver” focuses on a British family’s experiences during World War II, featuring Greer Garson as the matriarch. Released in cinemas shortly after the U.S.’ entry into the war, it was both the highest-grossing film of the year and winner of the Best Picture award. However, due to its WWII setting, a sequel in the 1950s seemed unusual. Nevertheless, a sequel titled “The Miniver Story” was produced, with Garson reprising her role and Walter Pidgeon returning as her husband Clem. Notably, between the two films, Garson had married and divorced Richard Ney, who originally played her son in “Mrs. Miniver.” In the making of the sequel, his character was entirely removed from the storyline.

Going My Way (1944)

In the 1940s, the idea of Bing Crosby portraying a compassionate priest may not resonate as a franchise today, but Hollywood saw it differently following the success of “Going My Way.” This film, which earned Crosby an Oscar for Best Actor and shared the honor of Best Picture, led to a swift sequel titled “The Bells of St. Mary’s.” In this continuation, Father Chuck O’Malley, played by Crosby, takes charge of a new church and school, where he collaborates with a headstrong nun character portrayed by Ingrid Bergman. Remarkably, the sequel was almost as well-received and popular as the original. Once more, Crosby received a Best Actor nomination, and “The Bells of St. Mary’s” was nominated for Best Picture; however, neither won on this occasion.

In the Heat of the Night (1967)

During the 1950s and much of the 1960s, there were no sequels for Best Picture awards. This trend changed in 1967 with Norman Jewison’s film, “In the Heat of the Night,” a drama that explored societal transformations. The story revolves around a Philadelphia policeman, played by Sidney Poitier, who unwittingly gets embroiled in a murder case while passing through a small Mississippi town. Despite already being a prominent movie star, Poitier’s portrayal of Detective Virgil Tibbs provided an excellent platform to showcase his talents. Scenes where he stood up against the town’s racist inhabitants instantly became memorable. One of Poitier’s most recognized lines, “They call me Mister Tibbs!” (in response to a question containing a racial slur about what he’s called in Philadelphia), was later used as the title for a 1970 sequel titled “They Call Me Mister Tibbs!”. Although this sequel did not receive the same acclaim as “In the Heat of the Night,” it was successful enough to inspire a third film, “The Organization” (1971), where Poitier reprised his role as Detective Tibbs.

Patton (1970)

16 years following George C. Scott’s Oscar win for Best Picture in 1970 with “Patton,” he reprised his title role (which also earned him a Best Actor prize) in the television film, “The Last Days of Patton.” The movie depicted an ailing Patton reminiscing about significant events in his life and military career while recovering from a car accident that occurred months after the end of World War II. (In essence: While it was unusual for him to appear 16 years older than he did in “Patton,” when given the opportunity to bring back an Oscar-winning actor to the role that secured his award, it seems they seized the chance.)

The French Connection (1971)

Sequels for cop movies tend to be straightforward. For instance, after “In the Heat of the Night” won the top Oscar in 1967, it was clear how to proceed with its story: Simply bring back the movie’s main police officer (Gene Hackman as Popeye Doyle) to continue solving crimes. This was done in 1975, resulting in “French Connection II,” where Doyle pursued a drug dealer who escaped him in the first film. Although this sequel didn’t receive the same critical or commercial acclaim as the original, it has developed a cult following over the years and is now often regarded as a ’70s classic.

The Godfather (1972)

In this instance, it seems clear that Francis Ford Coppola’s film adaptation of Mario Puzo’s bestselling novel “The Godfather” was a cinematic phenomenon. With Paramount eagerly seeking a sequel and Coppola not particularly enthused, he made extravagant requests to write and direct the sequel, such as asking for a million dollars in compensation. Contrary to his expectations, Paramount agreed, and eventually, “The Godfather Part II” graced the silver screen a few years later.

The Sting (1973)

Originally, “The Sting” was a unique film about swindlers set in the 1930s. However, it could also be considered a spiritual successor, as it reunited the highly successful actors (Paul Newman and Robert Redford) and director (George Roy Hill) from another movie (“Butch Cassidy and the Sundance Kid”) for a similar, dryly comical adventure. “Butch and Sundance” was successful, but “The Sting” surpassed it significantly, outgrossing its predecessor and winning the Best Picture Oscar in 1973. A decade later, “The Sting” actually had a sequel called “The Sting II,” with Jackie Gleason and Mac Davis taking over the lead roles from Newman and Redford. Without those iconic stars, however, it flopped.

The Godfather Part II (1974)

In historical filmmaking, The Godfather Part II was the unique sequel to win the Academy Award for Best Picture. Since then, such an achievement has occurred sparingly (depending on one’s perspective regarding sequels). Following this groundbreaking success, Paramount Pictures eagerly sought a Part III. As Francis Ford Coppola’s directorial career and financial status became more unstable in the late 1980s, he eventually consented to direct it. However, lightning didn’t strike thrice; Part III was commercially successful but received mixed reviews, often considered a far cry from the quality of the first two films. More recently, Coppola re-edited Part III, now calling it The Godfather Coda.

Rocky (1976)

In movie history, no Best Picture winner has produced as many sequels as the heartwarming underdog sports drama “Rocky“, set in Philadelphia about a struggling boxer who unexpectedly battles the heavyweight world champion. The charming character of Rocky Balboa captivated audiences, and they eagerly watched his journey unfold across five sequels, along with two spinoffs centered around the son of his late rival, Apollo Creed. Even today, the enduring popularity of “Rocky” has led to an unusual Broadway musical production a few years ago.

Terms of Endearment (1983)

In my opinion, “Terms of Endearment” is one of the most outstanding Best Picture winners to date. It’s a blend of beauty, humor, and heartache, making it truly exceptional. What sets it apart is its portrayal of uncommon themes and characters in Hollywood, such as the complex bond between a domineering mother and her daughter who finds herself in an unhappy marriage. Given how well-received this was, wouldn’t it be great to see another one? Interestingly, in 1996, Shirley MacLaine reprised her Academy Award-winning role in “The Evening Star,” accompanied by Jack Nicholson who also returned for a minor part. However, the issue with “Terms of Endearment” lies in its central relationship, which was tragically concluded in the original film; a sequel could only focus on MacLaine’s character, leaving out Debra Winger’s, thus lacking the central emotional core, and consequently, it wasn’t as successful.

The Silence of the Lambs (1991)

Is “The Silence of the Lambs” considered a sequel? In a way, yes. It’s an adaptation of a book that serves as a sequel to another book by Thomas Harris, titled “Red Dragon.” However, it was created by a different creative team and features a completely new cast. Despite these differences, “The Silence of the Lambs” did indeed receive its own sequel, called “Hannibal,” which is based on Harris’ continuation of his original work. This sequel featured Anthony Hopkins reprising his role as Hannibal Lecter, but it was directed by Ridley Scott and starred Julianne Moore instead of Jodie Foster.

Gladiator (2000)

Discussing Ridley Scott, he’s had dreams for quite some time about expanding his historical epic “Gladiator” into a series. However, he’s faced challenges figuring out the best approach. Over the years, numerous ideas for a sequel have been considered and discarded until, after nearly 25 years, Scott was able to produce “Gladiator II,” featuring Paul Mescal as an older Lucius, the grandson of the emperor who made a brief appearance in the original movie as a boy.

The Lord of the Rings: The Return of the King (2003)

After the completion of Peter Jackson’s original Lord of the Rings film trilogy, it seems there has been no shortage of Lord of the Rings-related projects on both big and small screens. Following the films, we had The Hobbit trilogy (a prequel), then Amazon’s Lord of the Rings television series, an animated movie called The War of the Rohirrim, and in a few years, a sequel titled The Hunt for Gollum directed by Andy Serkis. It appears that in Hollywood, the life of a franchise doesn’t end with the conclusion of the story.

2025-04-11 00:25