“The narrative for The Hurt Locker is, ‘We’re the underdog…we will allow you to feel great about awarding the first female director ever…you like us, you really really like us…and there’s not a lick of CG in our masterful little film…the kind of film Hollywood should be making but forgets to…send a message that you want more quality films.’

“Good story. And a great film with great work by director Bigelow and on down the line. But the only reason this narrative works this year is because of the other great narrative…

“‘Over 2.5 billion dollars. We are the biggest f-ing film in history. We are leading the way to all the things that keep this town working. You want to raise ticket prices? People were willing to pay $3 premiums in a recession to watch our movie…at least 200 million people dug deeper into their pockets. You want to see how the future will work? Forget about the blue people and look at the ability to create a completely believable, living breathing photo real universe. We’re doing over $150 million in China, folks…land of the illegal DVD…almost 4 times the previous record holder for an American film. International is where the money is…and we have the Godzilla of international grosses…$1.7 billion and counting…

“‘And you heard about that budget? Not only wasn’t it the most expensive film ever, but by breaking through technologically, the film opens the door to films with smaller budgets and ambitions to use this technology at a price, much as CG has become standard in most studio movies, even if only to clean things up. (And yeah, Hurt Locker… that includes you!) When you look back at what film got Best Picture 20 years from now, what movie will be remembered most fondly…what film is a landmark? And you can thank us for the ratings that might save the Academy’s deal with ABC at something close to the current price, thanks.'”

— from David Poland‘s 2.18 “20 Weeks to Oscar” column