Who's done the Worst Job at Accepting an Oscar Award?

As a few have been talking lately about how graceful Cillian Murphy was in accepting his oscar and it made me think about which actors have done a bad job in accepting their oscar. Do any of you know of celebrities who acted self centered when accepting their award, or who brushed past people failing to shake certain peoples hands, etc.

 

Being in the UK our awards are the BAFTA's (The British Academy of Film and Television Arts)
1985 saw the controversy, when Michael Radford declined his award for his film (1984), saying that his work had been compromised by Virgin Films, by replacing some of Dominic Muldowney's score in order to promote a pop band.

Here is the highly complex scenario.

Virgin Films (formerly part of the Virgin Group), who financed the film, commissioned the British rock/pop duo Eurythmics to produce the music for the soundtrack after initially approaching David Bowie, who demanded a fee that Virgin deemed to be too high.[21] Radford objected to Virgin's insistence on using the more pop-oriented electronic Eurythmics music, as the traditional orchestral score originally intended for the film had been composed entirely by Dominic Muldowney a few months earlier.

Against Radford's wishes, Virgin exercised their right of final cut and replaced Muldowney's musical cues with the new Eurythmics contributions. One Eurythmics song, "Julia", was also heard in its entirety during the film's closing credits. However, Muldowney's main theme music (particularly the state anthem, "Oceania, 'tis for thee") was still prominently used in the film.

In November 1984, Virgin Records released the Eurythmics soundtrack album, containing considerably altered versions of their music heard in the film, under the title 1984 (For the Love of Big Brother). The album reached number 23 on the UK Album Chart, and was later certified Gold by the BPI for sales in excess of 100,000 copies.[22] A song from the album, "Sexcrime (Nineteen Eighty-Four)", was released as a single just prior to the album and became one of Eurythmics' biggest hits, peaking at number 4 and was awarded a Silver disc for sales in excess of 200,000 copies.[22] The music video for the single made use of clips from the film. The track "Julia" was also released as a single which peaked just outside the Top 40.

Radford disowned Virgin's edit of the film containing the mixed Eurythmics/Muldowney score and, during his acceptance speech at the Evening Standard British Film Awards, expressed his displeasure at Virgin's "foisting" the Eurythmics music on his film.[16] Radford withdrew the film from consideration at the BAFTA awards in protest of Virgin's decision to change the musical score. Eurythmics responded with a statement of their own claiming no knowledge of prior agreements between Virgin and Radford/Muldowney and that they had accepted the offer to compose music for the film in good faith.

In 1999, Muldowney's complete orchestral score (24 tracks in total) was released on a special limited edition CD album under the title Nineteen Eighty-Four: The Music of Oceania, to commemorate the film's 15th anniversary. The CD booklet featured previously unseen production photographs and artwork as well as liner notes by Radford.

As of today, Metro-Goldwyn-Mayer owns the film's rights worldwide since they own both the Atlantic Releasing Corporation and the Virgin Films catalogues, and on their DVD release in North America in 2003, the film's colour is restored to a normal level of saturation and the Eurythmics contributions to the score were removed entirely and replaced with Muldowney's musical cues as Radford had originally intended—although both Eurythmics and Muldowney are still jointly credited in the opening and closing titles. This DVD release was quickly discontinued and currently remains out of print. This version had previously been shown by Channel 4 in the UK in the late 1980s. However, while the MGM DVD release of the film in the UK in 2004 features the desaturated visuals, it has the mixed Eurythmics/Muldowney soundtrack on the English- and French-language audio tracks, but the purely Muldowney soundtrack on the German- and Spanish-language audio tracks.

In 2013 the film was re-released on DVD in North America by TGG Direct on a double feature with Megaville (1990), under licence from MGM. This DVD release also features the original mix of Eurythmics/Muldowney soundtracks, as well as the theatrical desaturated colour palette. In 2015 the film was released on Blu-ray in North America by Twilight Time in a limited 3,000 copy run, again, licensed by MGM. This release features the Eurythmics/Muldowney Soundtrack on one audio channel and Muldowney's orchestral score on another, as well as keeping true to the original colour scheme.

The version of the film which has been released on digital download services is the 2015 HD edition. It is available only with the original Eurythmics/Muldowney soundtrack.

The 2019 Criterion Collection release of the film contains both the Eurythmics soundtrack and the original score composed by Dominic Muldowney.

 

I set the original soundtrack version up for the trade screenings and everything was ready to go.
Then Virgin, after having to fund the colossal production overspend panicked and decided that using the film to launch Eurythmics, would offset some of their losses.
They held the purse strings, along with distribution rights, so all our hands were tied.
It backfired in a way that I had never seen before.
A film soundtrack starts off in 3 components. Dialog (destined for channel 3), Music (destined for channels 1 and 5), Effects (destined for mix on channels 1, 5, and 6)
Changing anything major, requires a complete remix at the re-recording studios, at a cost of tens of thousands. This was no simple job, because the new music recordings had not been attenuated to avoid dialog conflict.
Then the whole lot needed a new optical sound transfer onto negative, in order to add it to the picture. An enormous cost, because soundtrack negative stock is silver nitrate photo coated.

The next blow, was when the film critics slated the soundtrack, hardly mentioning the picture or Richard Burton.
The result was huge additional costs, including £50,000 of prints being scrapped and the poor reviews dropping the box office by around 40%

In the long term, Eurythmics, were the beginning or the end for Virgin records. Virgin films bit the dust, largely being sold to MGM.
Meanwhile Richard Branson decided to play with aeroplanes.