| February 26, 2020
One of the great movie experiences I had in 2019 was Apocalypse Now: The Final Cut. Francis Coppola did a recut of the film, after the original, the Redux, and however many TV and airplane cuts, and you could see in the film that he had opened to the door to changing every single moment of the film. It wasn’t just the ending that had changed so many times. It wasn’t The French Section demanding to be seen after having been completely disappeared. In this cut, Coppola wasn’t fixing anything. He took what he shot and the work of all the great people who had touched the film over the years and reconsidered every scene and the overall concept of the film down to the core.
After a shorter Oscar season, which still seems too long to many who are living in it — as opposed to working it — and the re-expansion back to late February due next year, it seems to me that this is the moment to take a look at the whole thing from a distance.
How would you build Oscar season today, if every option (other than disappearing some shows or events) was available?
Here is how I would do it. I suspect there will be a Part 2 of this column after smart people offer their opinion on my opinion. I believe deeply in the inevitability of unexpected consequences, so I am open to arguments that anything I suggest here will have problems I just haven’t considered. But if one wants to make an argument for change, you have to start…
The pieces with a significant public profile now are The Critics Awards (NYFCC, LAFCA, BFCA/CCA), The Group Awards (NBR, Gotham, Hollywood Film Awards, Independent Spirit Awards), The Guild Awards (SAG, PGA, DGA, WGA, etc), HFPA/Golden Globes, and AMPAS/Oscar. Only five of these awards – and apologies to all the groups that feel they should be on this list – are on television. Globes, CCAs, SAG, Indie Spirits, and Oscar. Three of them expect to air on a Sunday night. Also, the close of Oscar nom voting and the nominations are TV events.
So let’s start with these biggest footprints. And think about how football does it. Divisional Playoffs, Conference Playoff, Super Bowl.
This short season, it was Globes on January 5, Oscar noms close on the 7th, Critics Choice on the 12th, Oscar noms announced on the 13th, SAG on the 19th, Oscar voting January 30 – February 4, Oscars on February 7.
So what would be wrong with…
January 10, 2021: The Golden Globes
January 17, 2021: Critics Choice
January 24, 2021: SAG Awards
January 31, 2021: The Oscars
My answer is, “Nothing.”
In fact, I see this as the best possible future for The Oscars.
It’s 2020, dummy.
But it’s more than that, really. It’s about how people consume this stuff.
I hate the idea that people think – and media promotes the idea – that these are like sports playoffs and that we have precursors that lead to Oscar night. But I can’t fight the reality that this will never change. Oscar cannot control the other shows and they are all feeding off of the teat of Big Gold, so they will always find a way to position themselves as precursors.
So if that is the fact, take best advantage of the fact. In 22 days in the first month of the year, the best films released in the previous year will be embraced and awarded.
What are the arguments against this?
#1 – Not enough time to see the movies.
This is the oldest saw in the quiver of Oscar saws. “But how can they see all these movies?!?!”
The answer in future will be the same as it is today, which is the same as it has been since the mainstreaming of Oscar screeners. They won’t. They don’t.
Add another two months and the answer remains the same.
Now stop. And think. Of course, a tiny percentage of Academy members see a large percentage of the movies submitted to qualify (and I am not yet addressing the categories defined by committees). A small percentage see as many as 125 movies a year. The percentage of voters seeing movies gets larger as one narrows the overall number and more so again as one narrows it down to the films that are “seriously competing.”
By October 15 of any Oscar season, the field (again, not in the committee categories) is realistically down to 30 or fewer movies and honestly, down to about 20 movies, max. There are, usually, about 10 more movies due to come out that are expected to be in play on a significant level. Half of those will die within hours of being shown publicly for the first time.
So here is the demand on Oscar voters… 25 films, max, to view over 2.5 months. Two or three a week.
Let’s be honest with ourselves. By the time the period after the nominations is reached, voters have seen most of the movies that have been nominated. And in terms of the ones they have not, they may have some films to see… but not so many that they need two months to catch up. If that is the case, then they likely voted for nominations having not seen most of the movies that were nominated, which is possible for a few, but unlikely to be the norm.
How we get to January and how The Academy and/or film writers and/or film lovers and/or distributors choose to position films is a legitimate concern. But there is no real way of controlling that process. (I have a somewhat radical suggestion about spreading things out more effectively over the year, but that will have to wait for another column.)
There is a hard reality we all have to come to peace with… not every Academy voter is committed to seeing all or most of the movies that will end up comprising the Oscar nominees. But those who are so committed should not be overly encumbered. But they are. If anything, it seems that not a wide enough range of movies is seen by voters who will nominate. There are many voices about which films these are. But I would go beyond any group of under-appreciated potential nominees and suggest that there are films that are deserving from every kind and combination of filmmakers that gets overlooked every year.
The problem is that if we over-complicate the Academy process, it creates a whole different set of problems. For every problem that is solved, a few that are imagined and a few that won’t be anticipated will be created.
But back to the schedule… Imagine coming back from the holiday break and into the new year and in 21 days, you will know what is seen as The Best Movie of the Year according to the most legitimate group currently perceived (for all its flaws).
January 7… Oscar nominations are announced. January 10, The Golden Globes. What will happen with those voters in a new, slimmed down, smartened up Critics Choice Awards next Sunday? Great. SAG is next week. Will they be influences by The Globes or the CCAs? I don’t know. But now we are one week away from the biggest award in the world. You have seen all these actors and other talent asserting their success for weeks… and here comes Oscar night. Tight, smart, light and about movies. And when it’s over, you can rest and get ready to eat chicken wings and Cheetos because The Super Bowl is next weekend!
Do the three other televised shows want to change positions for whatever goals each is after? Great! Doesn’t matter much to Oscar. They are steps on the road. But all roads lead to Oscar.
Back to the issue of “It’s not enough time!!!”
Last year, Oscar was on February 24, 15 days earlier than last year (which was a more traditional date). So when was The Globes last year? January 6. When were the CCAs? January 13. Both one day later on the calendar than this year.
SAG waited until January 27 last year. Worst ratings ever. This year, though Oscar is more than two weeks earlier, SAG went one week earlier with SAG.
Yes, all the other stuff that is important in town, but not so much to the public, got squished together this month.
Everyone can adjust as they need or wish. With all due respect, this is not a piece about all of those wonderful awards (seriously wonderful peer awards). Oscar is king. Oscar should act like king.
Oscar nomination voting was one week or less earlier this year than in the last few years, opening of voting and closing. So the complaining that this season is soooooo much shorter is not really factual. Phase One is a little shorter, a week or less. Phase Two is much shorter. Two to three weeks.
But the award season goes on for at least four months now, starting in September. It’s always hectic. It is overloaded with events. It gets to be less and less about movies every year.
We are in the 2020s now. The time from TMZ’s report of Kobe’s helicopter crash to mainstream media confirming was an agonizing 25 minutes. Seemed like two hours. And even if it was two hours… that is where we are now.
Get on with it, Oscar!
(I am planning at least one more piece on seeking inclusion and a radical way of spreading out the awards season to make things more fair.)
| February 26, 2020
| February 25, 2020
| February 21, 2020
| February 26, 2020
"That’s your stuff. You and other lads like you, who are very in love with a certain form of art. We don’t have those conversations. Not that we don’t like to, but it’s very practical. We don’t exchange references or paintings of whatever. In a way, there’s no other lighting reference but the movement of the sun in the place we’re shooting. We have to know exactly where it comes from, it sets and rises at this or that moment; in August it’s here, in September it’s there. That’s something we have to know. We try to work with mirrors and reflections. Sometimes, we have to help with artificial light. The surfaces are different and serve different purposes. But they tend to recreate the effect of sunlight. It’s softer sometimes, or more intense, and it’s a nice way of doing it. We talk a lot about the equipment we’re going to use, things we need. Not the best, we don’t have money for the best."
February 25, 2020
"Anna Karina's modeling career was short-lived because she couldn’t sit still. Her most famous cinematic moments are in her gestures: the improvised swing solo in My Life to Live, the run through the Louvre and the Madison dance in Band of Outsiders, her rock-skipping as she asks, “What can I do?” in Pierrot le fou. The pleasure in her movements seems to belong to her above anyone else. If the existentialists had declared that every generation would need to learn to love anew, Karina was their object lesson. She seemed to act with and through her fantasies, even those informed by B movies and the discs on her record player. If her characters aspire to sing and dance in Broadway musicals, it’s because she did, too—though Godard would often lampoon the ambition and make her sing in parody."
February 25, 2020
"For all the hoopla over streaming and the future of digital media, Disney’s board goes with a guy who ran theme parks. Knows customer service, pricing, marketing, and packaging — and how a global business swings with the economy. Maybe an exec from the tourism frontline is the right pick."
| February 25, 2020
| December 13, 2019
| December 4, 2019
| December 4, 2019