Film Festival

Round-up: Paramount steps up the campaign for 'Transformers'

Also: The perils of online voting, and Jennifer Lawrence for Best Actress 2012?

Round-up: Paramount steps up the campaign for 'Transformers'

A scene from "Transformers: Dark of the Moon."

Credit: Paramount Pictures

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It's not often you see a studio pushing hard for Oscar wins in the less-prized technical categories, but that's exactly what Paramount is doing for "Transformers: Dark of the Moon." Despite the film being pointedly snubbed in the Best Picture category, its handlers are spending money on hefty TV promotion for the film's nominations in the Sound Mixing, Sound Editing and Visual Effects races. What's interesting, of course, is that Paramount's prestige baby "Hugo" is competing in the same categories, but according to Pete Hammond, the Michael Bay blockbuster's ongoing franchise status and super-producer connections, make it a priority. The sound awards, in particular, seem up for grabs -- though the Academy tends to favor more critically approved action fare for those. [Deadline

Could next year's switch to online balloting make the Oscar race vulnerable to foul cyber-play? [The Guardian]

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Ric Robertson interviews AMPAS president Tom Sherak about the online vote, potentially moving the Oscar date forward, and why the hell this year's Best Picture nominees were announced in random order. [The Odds]

"The Hunger Games" director Gary Ross thinks Jennifer Lawrence deserves an Oscar nomination for her work in the film. Well, he would, wouldn't he? [Entertainment Weekly]

Patrick Goldstein asks: do Oscar pundits know too much? No, but we certainly think too much about the Oscars. [Los Angeles Times]

Anthony Bourdain on who should triumph at the Oscars this year. Because, well, why not? [New York Times]

Mike Goodridge on the potential ramifications and positive outcomes of Lionsgate having bought Summit Entertainment. [Screen Daily]

The Academy might have passed them over, but Chris Laverty is impressed by the era-hopping costume designs in "Midnight in Paris." [Clothes on Film]

Finally, Nathaniel Rogers would like to remind us that he spotted Viola Davis first. Or at least gave her an award before anyone else did. [The Film Experience]

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  • Default-avatar

    someperson

    Anthony Bourdain is the second person I've seen make that 'Extremely Loud and Incredibly Twee' joke. Is this a coincidence or just the adopted joke name for the numerous detractors?

    February 3, 2012 at 1:07PM EST Reply to Comment
    • Guypic_talkback_profile

      Guy Lodge Well, there have been umpteen variations on the 'Extremely ______ and Incredibly ______' formula in the film's reviews, so it figures that certain adjectives are going to come up more than once.

      February 3, 2012 at 1:24PM EST
  • Default-avatar

    red_wine

    I think Tinker Tailor was No. 10, it had the crucial writing nomination. Also Dragon Tattoo was widely favored to be nominated for its... "score" (!!!)... but Tinker Tailor got in instead.

    February 3, 2012 at 2:45PM EST Reply to Comment
    • Default-avatar

      red_wine This was meant for the podcast post!

      February 3, 2012 at 2:46PM EST
  • Default-avatar

    Liz

    I believe that the Academy decided to randomly announce the Best Picture nominees ahead of time. But you will never convince me that Extremely Loud being announced last was totally random. I'm not one for conspiracies, but no way that I'm buying that. I haven't seen the movie yet, but the biggest surprise being announced last? That's planning.

    February 3, 2012 at 7:41PM EST Reply to Comment
    • Guypic_talkback_profile

      Guy Lodge Agreed. That was calculated as a total "gotcha!" moment, after lulling us into thinking we had eight nominees.

      February 4, 2012 at 7:21AM EST
  • Image_grayfox_aud_talkback_profile

    crossie

    Transformers "pointedly snubbed." I'm still giggling.

    February 4, 2012 at 12:30AM EST Reply to Comment

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Spearheaded by editor Kristopher Tapley, In Contention represents a collective of awards obsessives who comment and reflect upon, muse about and attempt to decipher the Oscar season on a daily basis throughout the year, and especially during the Oscar crunch of the fall. Regular contributors include Guy Lodge, Roth Cornet and Gerard Kennedy.

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