Quick! What could bring the talented, the powerful and the famous together in studio era Hollywood? Not a movie. Not a premiere. And not a high stakes poker game, though plenty of those went on regularly. What brought the likes of Jimmy Gleason, Walter Wanger, Spencer Tracy, Leslie Howard, Guinn “Big Boy” Williams, Walt Disney, Paul Kelly, Frank Borzage, Johnny Mack Brown, Hal Roach, Robert Montgomery, Clark Gable, George O’Brien, Darryl F. Zanuck and even Joan Crawford together in the same places week after week when their work was done?

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As noted earlier this month in the Personal Journal section of the WSJ, there haven’t been very many sports-related movies nominated for a Best Picture Oscar.  While the sport of boxing has received the most attention from the Academy, only two other sports have had more than a single nominee among the year’s best over its 82 year history:  America’s former and current pastimes – baseball and football, respectively.  Last year’s dramatization of football’s Michael Oher story – The Blind Side (2009) – just received a nomination, but was likely aided by Sandra Bullock’s performance (and nomination for Best Actress) and the fact that AMPAS increased the number of nominees from 5 to 10 for the first time since 1943, when Casablanca (1942) won.

During the Academy’s tenure, only 14 of 479 (less than 3%) nominees for Best Picture – arguably its most vaunted, certainly its most remembered and discussed if not always most acclaimed category – have been sports-related movies despite the inherent drama in stories like that of Jim Braddock (Cinderella Man (2005)), which failed to earn a BP nomination.  One can only speculate whether The Champ (1931) – one of eight nominees for the top award that year, Here Comes Mr. Jordan (1941) and even The Pride of the Yankees (1942) would have been nominated if the Academy had limited the category to 5 nominees, as it did from 1944 through 2008.

But a more interesting question might be:  which sports movies “woulda, coulda, shoulda” been contenders if there had been 10 Best Picture nominees in their respective years?

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Rob Carr/AP

A few weeks back I examined the directorial decisions that went into Fox’s World Series broadcast. Every play in baseball contains an inherent drama easy for a camera to pick out – the duel between pitcher and catcher. This offers an easy, lucid way for the production team to escalate tension, and the natural rhythm between pitches dictates the pace. Football, with its spread out action and endless commercial breaks, presents a more difficult challenge in creating and maintaining a rhythm and a narrative. There are almost too many shots for a director to choose from. There are 22 players on the field at all times, and any one of them can become the focal point.

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As I sit on my mysteriously stained couch watching Game 5 of the World Series, my mind wanders to the decision-making process of the game’s director, Bill Webb. He’s orchestrated 13 of these Fall Classics, with new technologies opening up more vistas of sweat and crotch grabs each time.  Webb, alongside producer Pete Macheska, makes decisions on shot selection and duration every second of the game, all of which subtly shape the viewing experience. Baseball is a game of lulling rhythms that occasionally spike into frenzied bouts of athleticism. How Webb handles the former, the batting-glove adjustments, talks at the mound, and endless foul balls, is the most fascinating aspect to his anonymous craft.

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