This year scifiinterfaces is going to try something new: Giving out awards for the best interfaces in a movie in the prior calendar year. The timing will roughly correspond to the timing of the Oscars.
It’s going to be an “alpha” release version, mind you, since I don’t have a sponsor lined up, and you always have stuff to figure out the first time you try a massive project, and it’s hard to rally collaborators around a new thing. So, the “award” will be virtual, even though the honor is real. Also everything will happen via this blog and social media rather than any live stage event or anything like that. I have tried to do this on a larger scale in the past, but each time something stood in the way. Wish me luck.
The idea here is to reward and encourage excellence and maybe help readers discover what awesomeness is happening in sci-fi interfaces, without going into the full-scale, scene-by-scene critique that normally occupies this blog. The Oscars give awards for “Achievement in production design,” but this often entails much more than the very specific craft of sci-fi interfaces, which is the focus of this project.
On the name
The award will be called the Fritz, in honor of Fritz Lang, who was the first filmmaker to put realistic interfaces in a sci-fi film, specifically his 1927 film Metropolis. Lang was grappling with the larger role of technology in society, and his interfaces are wonderfully evocative and illustrative. Naming the awards after him honors his pioneering spirit and craft.
Sci-fi films have to answer to many masters, and rather than just give one award, I’m going to go with 4. Two of these will respect films that err towards either believability or spectacle—I believe there is often a wicked tradeoff between the two. The main award will honor films that manage that extraordinary challenge of accomplishing both. The fourth award is a viewer’s choice, where I share all the nominees and ask readers (like you) which they think is the best.
- Best Interfaces
- Most narrative
- Most believable
- Viewer’s Choice
Perhaps in the future there will be other categories, like for shorts, student work, or television serials. But for now just these four are going to tax the resources of your lone hobbyist blogger, here. Especially as I try to keep up regular reviews.
I will have the help of a few other judges. (I’m still chatting with them now to see if they want to be named. The Academy stays anonymous, so maybe these judges, should, too?) Winners will be announced the week of 09 Feb 2020.
What gets considered?
Focusing efforts on a narrower category of media helps the task be manageable, which is important since a new program cannot rely on submissions from others. I have loosely followed the Academy’s guidelines for eligibility for feature-length films (over 40 minutes), with the exception that I included feature-length films released on streaming media as well, such as those produced by Amazon and Netflix, which never saw theatrical release.
These guidelines gave the judges a list of 27 candidates to consider, and the following are the final nominees, presented in their category in alphabetical order. Keep in mind that the nominees were elected for the quality of the interfaces in the context of the film, but with specific disconsideration for other aspects of the work. In other words, a film could be panned for nearly any other reason, but its interfaces just marvelous, and it could wind up a nominee.
Nominees: Most believable
Nominees: Best narrative
Nominees: Best Interfaces
Congratulations to all the nominees. Nice work.
If you’re the sort who likes to see all the nominees in a category to justify your outrage at the results, get to watching. You have a few weeks to see or re-see these before results are shared.
Stay tuned to scifiinterfaces.com here or on twitter for more, including when and where to vote for Viewer’s Choice.