20 Weeks Archive for September, 2012

20 Weeks To Oscar: Rush To Poor Judgment?

What is The Academy trying to do by shortening the nomination season by 10 days this year?

When I spoke to Ric Robertson about it late this afternoon, his only real argument for the shift was that by announcing the nominations 2 weeks earlier, it would make it easier for members to see the already nominated films and performances, as there will now be six weeks from nominations to the final voting.

DP: Doesn’t this put an addition emphasis on screeners over screenings?
RR: “There already seems to be a lot of emphasis on screeners.”

DP: Is this move, as some have speculated, a way of reigning in the wild west of Phase One (pre-nominations) last year?
RR: “That was not a part of our consideration.”

DP: So you found a way (electronic voting) to speed up voting, but you’ve made the time to see movies for which to vote weeks shorter.
RR: “Yes.”

DP: The only positive thing I can see in this is that it is a warm-up for moving the actual show much earlier next year.
RR: “Thank you for trying to find one good thing to think about this. I try not to speculate on what may happen in 2014. There has not been any discussion to move the show earlier in 2014. That wasn’t a factor in the decision.”

DP: By announcing this now, The Academy kind of left the studios that scheduled movies in December flat-footed.
RR: “There are only about a dozen movies being released after (Dec 17) and we expect that they will be screened earlier and be available to members.”

RR: “We think it will work.”

I do not. I think it is the dumbing down of The Academy and a continuation of a slow disintegration of standards that is the only thing that keep The Academy Awards from being The People’s Choice Awards.

It may not seem like much, but this is a massive change for the movies and the people who work on them. Essentially, The Academy brain trust has hamstrung the idea of screenings as a primary way of reaching Academy voters for any of the December movies, shifting the emphasis even more intensely onto screeners watched over the holiday break.

Publicists have been SCREAMING for years that a shorter Oscar season means it will be harder to get voters to see movies. So The Academy cooled its heels on that idea. But at the same time, it has shortened the Academy season in the most severe way imaginable. The season, for all but about 18 movies (not counting the docs and shorts) completely ends on January 3.

But January 3 is not really the key date. Go back to December 21, 10 days before the end of the year. That’s when Academy members will start leaving Los Angeles and New York and London in droves for the holidays (Christmas Day is on the following Tuesday.)

But you can go even further back in this bizarro scheduling choice. Academy voting actually begins, ahem, on December 17. And it’s not just ballots going in the mail this year. With new online voting, Academy members can actually register their nominating votes on December 17.

Last year, they mailed ballots out on December 26. This was not intended to induce voting on Dec 27, but to get ballots there by January 1, allowing all the movies that are qualifying to open and for members to use the holiday to catch up on as many movies as possible. This year, you will be able to vote before many of the contending movies are even released.

Now, The Academy is not the biggest offender here. The Screen Actors Guild is CLOSING their voting on Dec 10, the same date that HFPA closes for The Golden Globes. At least HFPA gives you until Dec 5 to show your movie. SAG sends out nominating ballots on November 21. That’s even sillier than the NYFCC idiocy of picking nominees on November 29 last year.

But back to The Academy, which is still the only award that really matters…

What’s the rush?

They’ve cut weeks out of the nominating process and left the old show sitting at the same old dock, at the end of February. There is now a 6-week lag time between nominations and the awards. All the other awards shows that AMPAS seems anxious to get out before will be handing out trophies in full bloom for weeks… and weeks… and weeks… before everyone is supposed to get excited about the same people who have already taken home multiple awards in multiple gowns over a 6-week period finally get The Big One.

And it is more important and it is more exciting… but not only does it remain the very best steak on earth that you’re being asked to consume after eating three pretty good steaks a day for over a month, but by undermining the membership’s ability to watch all the contending films at all, and especially on a theatrical screen, it undermines the entire film industry and the legitimacy of the award itself. It’s not about the movies. It’s about some weird game being played at The Academy to make change after change for no apparent reason with no apparent positive outcome.

Yes, as Ric Robertson and freelance Academy employee Pete Hammond (he writes the Honorary show for them in addition to working for Deadline and other gigs) notes, this does expand the post-nomination viewing period for voters by a couple of weeks. This means, they now can see 8 or 9 BP movies and another 6 or 7 movies with nods in other categories they care about, over a 6-week period. They no longer have to worry about the 30 or 40 other movies that couldn’t find enough eyeballs before Dec 21 and might have been nominated had only enough members had an opportunity to see the work.

Great. More films with big awards marketing budgets and the top consultants and you smaller underdogs can just go screw yourselves now.

This makes me and those like me a lot more powerful. It also makes scumbag bottom-feeders like Carlos de Abreu more powerful because it makes a presence in October infinitely more important. Everyone who separates wheat from chaff, no matter how poorly or with what ulterior motives—or even with the best of skill and motive—is now in an enhanced position.

I wonder whether Pete Hammond, who was one of the great proponents of the nomination of Demián Bichir last year would be bothered if he realized that Demián’s remarkable underdog nomination, driven by his personal charisma and hard work as much as it was by his excellent performance, would be much less likely to happen under this new timetable. Not only does Demián do fewer screenings and meet fewer people, but the crunch for bigger names doing screenings in late November and early December (imagine Brad Pitt’s late push for Moneyball moved up 6 weeks) would make it a lot harder to get voters to show up for Demián’s screenings.

Keep in mind… all those groups that have used The Academy Awards as a springboard to build their own franchises in December and January, with the exception of SAG, are much, much smaller than the near-6000 member Academy. So getting 350 members of BFCA or 85 members of HFPA or 40 critics from one of the critics groups in to see a movie or to watch a screener is quite a different thing than enticing enough of the 5800 or so Academy members to get 600+ votes to get a nomination. Even the SAG Nominating Committee, of about 2200 actors, offers a lesser and more focused challenge.

I thought really hard, looking for a single positive thing about January 3 becoming the end of Oscar voting. I couldn’t think of one. The more I thought, the worse the idea seemed. So then I started calling around… and no one else could come up with a good rationale for the choice by The Academy, much less a positive thing to say about it.

The one thing that people came up with was that The Academy was trying to cut down on the December shenanigans of last year’s Phase One by shortening the window. The rules are much more strict in Phase 2 (post-nominations). But wait… how did we get the shenanigans of last year?

Yes! They were created by The Academy’s new leadership, which opened up the rules and allowed all kinds of member solicitation that had been considered against the rules… until last year. And even when some clearly went beyond last year’s lax rules as they were laid out by the new administration, The Academy chose to look the other way, especially when media outlets were breaking those rules by disguising sponsored marketing events without any screenings by serving a meal at said events.

But recall the top of this piece… The Academy, via Ric Robertson, says this was not an issue. So expect the same shenanigans writ even larger.

Things were a mess last season. And now, this season is on the way to being a bigger mess. And so far, 100% self-inflicted.

The gold standard—a group of industry professionals the vast majority of whom are not in the business of seeing 125+ movies a year—is now voting for the best of the year two weeks before the end of the year. These pros are forced into an even greater reliance on screeners before nominations because they can only see so many movies on the big screen and the opportunity to see films in late December and early January has been compromised severely. And The Academy, which assumes that there won’t be many problems with their membership voting online, is introducing new technology while shortening the window in which it might be used and/or worked around in the case of people having trouble using it. (I guess it’s easier than setting the time on a VCR.)

The personal irony for me is intense. I believe in online voting. I believe firmly that an early Oscar show will improve ratings and status and online voting makes that more possible. But it is hard to imagine a worse way of implementing this new system. It is hard to think of something sadder than The Academy now joining the ranks of awards-givers who have disregarded the calendar for expedience… the mortal enemy of thoughtful consideration.

But mostly, I worry for the movies. Especially the really good movies. The complex movies. The indie movies. The movies that need more than a second to sink in. I love the 10 nominations thing—something else they f-ed up last year for no apparent good reason except being able to say they did—because it celebrates films that are not as easy or obvious or well-funded. Cynics expected big action blockbusters to get nominated. But it was Malick and Winter’s Bone and A Serious Man and great animation like UP that got worldwide recognition.

That is less likely today. And that is sad. And still the big question… WHY?

I appreciate that Ric Robertson represents a big organization and that some people in that organization are afraid to take public responsibility for the choices they push and inflict on the membership and industry. But I cannot agree that giving members six full weeks to see what probably comes down to fewer than 10 films (as they will have seen some of the titles before nominations, obviously) at the cost of opportunity for dozens of titles is a remotely reasonable decision. No. I hope to God he’s lying and that there is some secret endgame. Because if there isn’t…

I don’t want to think any more about it today.


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“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho