Based on the events of the past week you'd think Tinseltown was on the edge of having some sort of dramatic breakdown. Let us count the ways...
There's a Fiona Apple lyric I tend to think of -- and yes, I know it's not the first I've quoted in relation to the Oscar race -- at the outset of any awards season these days, a wistful description of a broken relationship that seems oddly applicable to the many films that are about to get tossed aside at various intervals over the next five months. "It ended bad," she croons with pained acceptance, "but I love where it started."
Film is an art but it's also a business and the writing may well have been on the wall for Focus Features. It hurts, but it seems the rule is you don't get to crank out that kind of an art house run and live too long to tell the tale. Indie/dependent divisions have been shuttering left and right for years. We lost Paramount Vantage. We lost Warner Independent. Sony Classics is the success model, 20 years strong, having figured something out. Fox Searchlight continues to find pay dirt, too. But they're the exceptions. We should be so lucky that we got Focus for as long as we did.
But by the way, Focus Features isn't going away. It is simply, by necessity, shifting its reach and identity. Some are writing about it like the sky is falling, like folding in FilmDistrict product and putting Peter Schlessel in charge is an affront. But I think a mixture of specialty and wide releases is a smart approach and, at the end of the day, it might provide an even better opportunity for specialty product to find its way at Focus as some of the other product (in theory) proves more profitable. This is their path, and I'm personally more positive than some of my colleagues.
There has already been a lot written about race in these initial stages of the Oscar season, and there will be plenty more to come -- even if early projections of an 80% black Best Actor field seem increasingly unlikely to pan out. Kia Makarechi writes that he's glad the likes of Chiwetel Ejiofor, Michael B. Jordan, Idris Elba and Forest Whitaker are in the awards conversation, but believes the supposed diversity of this year's race is merely an illusion: "These roles have to be played by black actors ... we'll know when Hollywood casting directors and the Academy of Motion Picture Arts and Sciences view people of color as deserving of equal opportunities to shine when a black man in the role of a fictional caring father, son, teacher, student, doctor, author or otherwise non-racially coded character is nominated for and wins Best Actor." [Huffington Post]
Hey, boys and girls, it's time for another movie marketing lesson from your friends at HitFix.
What do you do when you have a film that mostly appeals to men, but you want to make sure you get the attention of younger women? It's really important those women go with their boyfriends on Friday and Saturday night, because that means their boyfriends will definitely go. Well, when your cast is limited to just two, cough, older, cough, actors, there isn't much you can do. Sure, rave reviews (97% on Rotten Tomatoes, 8 100 grades so far on Metacritic) and amazing footage are selling it pretty damn well, but it's opening week. The pressure is on! Someone in the studio is no doubt saying, "How can we liven things up a bit down the homestretch? I mean, yeah, the movie stars Sandra Bullock and George Clooney, but how do we make some noise on, y'know, those gossip sites (Sandra can't do this on her own!)?"*
If we've said it once we've said it a hundred times: the Best Actor Oscar race is crowded this year. And that's really putting it lightly. The amount of contenders that would be shoo-ins in any other year is unfortunate, really, because someone is going to come up with the short straw, and it won't be pretty.
The use of 3D in "Gravity" was part of the equation from the beginning. As director Alfonso Cuarón told me in an interview last week, the original title of the script was "Gravity: A Space Suspense in 3D." Stereoscopic supervisor Chris Parks was involved in the imagery before cameras even began rolling, way back during the pre-visualization phase. It was crucial for the immersive experience Cuarón was looking for.
When "Blue Jasmine" opened in the summer, its awards talk initially revolved around Cate Blanchett's certain Best Actress nod -- but as the glowing reviews and remarkable box office continued, the conversation has expanded. Speaking about their 2013 Oscar strategy to Scott Feinberg, Sony Classics bosses Michael Barker and Tom Bernard say they're confident the film will receive Best Picture nominations, along with nods for Sally Hawkins, Woody Allen's screenplay (of course) and even the costumes. They also explain their decision to play any festivals with the film, while the conversation extends to "Before Midnight," "The Invisible Woman," and their foreign and documentary hopefuls. [The Race]
Tom Hanks walked the red carpet with the man he plays in "Captain Phillips," Richard Phillips, Friday at the opening night of the 51st New York Film Festival. Unfortunately, Phillips couldn't make it to Los Angeles for the West Coast premiere of the film tonight, but that wasn't going to stop director Paul Greengrass from giving Phillips his due. Even after his ordeal of being taken hostage by Somali pirates in 2009, Phillips has returned to the sea as a ship captain. And as Phillips is actually setting sail this week (according to Greengrass at least), he said hello to everyone at the film's Los Angeles premiere via Skype. It was a fleeting moment, but one that will be remembered by the Academy, guild and industry attendees who will spread their enthusiasm for the Best Picture contender (i.e., it was a nice PR win).
Unlikely 'Captain Phillips' star Barkhad Abdi on learning from Tom Hanks and finding empathy for a pirate
Barkhad Abdi could easily have been a statistic. He might not have made it out of a harrowing childhood alive. He was born in Somalia and lived in the chaos of Mogadishu where he was surrounded by murder, rape, robbery and a lack of structure and government. He was lucky enough to have parents who got him out of there, to Yemen for Middle School and, eventually, a lottery to the United States.
He moved to Minneapolis, but he hated the snow. Every year he would ask himself, 'Why am I here?' He drove a limousine. He was just a mild-mannered immigrant living his life when he was at a friend's house one day and a commercial flashed on the screen: "Casting call. Tom Hanks. Local Somali actors." Well, why not, Abdi figured.