Thomas Langmann, producer of the movie The Artist, was heard speaking the following words before Academy Awards night.

“My sh*t does'n work the night of the Academy Awards. My job is to get us a nomination. What happens after that is f***ing luck.”

Luck was on his side, as The Artist won the award for best picture. However, what The Artist had accomplished would have stood out no matter what the outcome of the night.

Think about it. A small market production (a budget of 15 million bucks) was able to compete against the big boys (Moneyball $50 million, War Horse $66 million, Hugo $170 million).

Not having the money to snatch superstars like Brad Pitt, Tom Hanks, or Meryl Streep, Langmann started to look for market inefficiencies in the movie industry.

You know, there are thousands of popcorn eaters out there who get impressed by flashy special effects. They have developed their own lingo over the years, and you can hear them referring to Dolby 5.1 or 3-D.

But the fact is, color and sound are extremely overvalued by the Academy, as The Artist has demonstrated.

Small dogs, however, are significantly undervalued.

Thank you for reading

This is a free article. If you enjoyed it, consider subscribing to Baseball Prospectus. Subscriptions support ongoing public baseball research and analysis in an increasingly proprietary environment.

Subscribe now
You need to be logged in to comment. Login or Subscribe
Fun. The actual market efficiency here is that the Academy is very old, very white and very enamored with anything that makes them feel or look important. (And I say this as a fan of movies and the Oscars).

Oh, a movie that glorifies my profession and reminds me of the days of my youth! Splendid!

Is it any wonder that the two front-runners were a movie about an actor in the silent era and movie about the early days of film and how important it is to remember and celebrate our film history?

Alas for Marty Scorcese, the artist's dog was cuter than Hugo's dog.