Brian Grazer

January
12
Awards Watch: Editors Nominations

Frost460

The American Cinema Editors nominations mirror the PGA and DGA noms; I maintain that the five dramas will be named the best picture Oscar nominees on January 22. The Editors will announce winners at their awards show on February 15.

BEST EDITED FEATURE FILM (DRAMATIC):
The Curious Case of Benjamin Button
Angus Wall & Kirk Baxter
The Dark Knight
Lee Smith, A.C.E.
Frost/Nixon
Mike Hill, A.C.E. & Dan Hanley, A.C.E.
Mil
Elliot Graham
Slumdog Millionaire
Chris Dickens
BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
In Bruges
Jon Gregory, A.C.E.
Mama Mia
Leslie Walker
Tropic Thunder
Greg Hayden
Vicky Cristina Barcelona
Alisa Lepselter
WALL-E
Stephen Schaffer
BEST EDITED DOCUMENTARY:
Bush’s War
Steve Audette
Chicago 10
Stuart Levy, A.C.E.
Man on Wire
Jinx Godfrey

January
5
Producers Pick Top Five

Curiousbenjamindaisy1The Producers Guild vote is revealing. Its top five:

The Curious Case of Benjamin Button
The Dark Knight
Frost/Nixon
Milk
Slumdog Millionaire

The list will be the same for the Oscar on January 22, methinks. I went over the categories for each of the top contenders. These five films have more deep support from the Academy branches than any of their competitors, including Doubt, Revolutionary Road, The Reader, Gran Torino, The Wrestler and Wall-E.


December
11
Golden Globes Noms Boost Benjamin Button, Doubt and Frost/Nixon

Eyetvsnapshot1Universal, Miramax and Paramount/Warners are heaving huge sighs of relief that the Golden Globes rewarded Frost/Nixon, Doubt and The Curious Case of Benjamin Button with five nominations apiece. The three films had been virtually overlooked by influential critics' groups in L.A. and N.Y. this week. Only Frost/Nixon and Benjamin Button were nominated in the Globes' best feature drama category, though, which tends to carry more weight than the comedy category. Doubt scored four acting noms, plus screenplay for John Patrick Shanley.

The Globes are voted on by a relatively small and insular group, the 80-member Hollywood Foreign Press Association, who are often wined and dined by studios eager to get the extra boost of attention from Globe noms at the height of the pre-Oscar nomination season when Academy voters are deciding which DVDs to watch. The noms are not predictive, but do help build momentum.

Thus although the Globes saw fit to only recognize Sean Penn's performance in Gus Van Sant's very American and very political Milk (which won best film from the NYFCC), that should not hurt its overall awards chances. Nor would this group be particularly drawn to a fable beloved by both American moviegoers and critics, The Dark Knight. And Gran Torino's masterful, reflexive performance by actor/director Clint Eastwood is more likely to play to the Academy than the HFPA. (Oddly, they rewarded Eastwood for score for the Changeling and best song for Gran Torino.)

Readersetwinsletdaldry

For example, Harvey Weinstein has always done well with The Globes and won their support for Stephen Daldry's The Reader, set in post-World War II Germany and starring Kate Winslet, who also stars in her husband Sam Mendes' nominated drama Revolutionary Road, for which she grabbed a best actress nom. Both films grabbed four noms. And Winslet was given a supporting actress nom for The Reader, to prevent her from competing with herself. Both films needed a boost, as they were also neglected by the critics groups.

Well on their way to awards season glory are Danny Boyle's Slumdog Millionaire (Fox Searchlight) and Woody Allen's Vicky Cristina Barcelona (Weinstein Co.). which nabbed four noms apiece. And Searchlight's The Wrestler is solidifying more acting noms for Mickey Rourke and Marisa Tomei.

Ben Stiller's Paramount comedy Tropic Thunder scored two noms for Tom Cruise and Robert Downey, Jr., which isn't so surprising when you consider that the HFPA is often voting for who will attend the Golden Globes Awards party. Thus both Brad Pitt and Angelina Jolie gained noms for Button and Changeling, a feat that won't necessarily be repeated come Oscar nominations morning January 22.

The noms in the comedy categories are unlikely to have much impact on the Academy voters, who tend to reward gravitas, although Sally Hawkins, who was won best actress from the NYFCC, could score a best actress slot on January 22. Meryl Streep is more likely to land an Oscar nom for Doubt than for the raucous musical Mamma Mia!

Kristin Scott Thomas finally got some recognition for her role in the French film I've Loved You So Long, which was also nommed in the foreign film category, along with Jan Troell's Everlasting Moments, the Swedish Oscar entry, which is picking up support.

Continue reading " Golden Globes Noms Boost Benjamin Button, Doubt and Frost/Nixon " »

November
29
Oscar Watch: Frost/Nixon's Morgan and Howard

FrostnixonunknownAs Frost/Nixon played well to the Academy crowd last week, producer Brian Grazer and director Ron Howard have started their award season rounds.

Here's their chat with Peter Bart both in print and on Shootout:

As Patrick Goldstein rightly points out, Frost/Nixon is first and foremost the creation of writer Peter Morgan, who adapted his own play. Morgan tells Goldstein why he's attracted to these power duels between younger and older, more powerful figures--as in The Queen and The Last King of Scotland. Morgan is well on his way to his second Oscar nomination.

At the Frost/Nixon premiere, we asked Morgan if he plans to complete the trilogy begun by The Deal (Tony Blair vs. Gordon Brown) and continued by The Queen (Blair vs. Queen Elizabeth). Next he was supposed to write The Special Relationship (Blair vs. George W. Bush). But he's writing about Blair and Bill Clinton, Morgan says. Michael Sheen, who plays David Frost to Frank Langella's Nixon both on stage and screen, is set to return as Blair. In the meantime Sheen stars in Morgan's very British story about a famed soccer coach in The Damned United, directed by Tom Hooper (John Adams). UPDATE: Morgan is also writing the thriller Hereafter for DreamWorks, with Clint Eastwood in talks to direct.

At the Frost/Nixon premiere after-party, Howard was in good spirits. Not only is he in the Oscar hunt for this movie (along with Morgan and Langella), but he's pleased with how the sequel turned out to The Da Vinci Code, Angels and Demons, which he recently screened for Sony. He admits that he had more freedom on Angels and Demons, and was less constrained by the religious material that had to be handled so somberly on the first one. Hanks could have more attitude. This one is more of a rollicking fun adventure, Howard says.

Here's the Angels and Demons trailer:

November
3
Oscar Watch: Milk Scores

Milkplaylist_2Milk is far better than I was expecting it to be, even after reading Todd McCarthy's positive review. It had been described to me as small, political, an acting vehicle for Sean Penn. It's far more than that.

First of all, Dustin Lance Black's script is as lean and disciplined as Gus Van Sant's direction. (And that is not always true of Van Sant, although his recent indie films have been spare, even austere.) There is nothing indulgent about this film. Every actor is well cast, and Penn's performance is towering, detailed, specific, poignant. As easy as it can be to dislike Penn the man (pick your poison), you can't dismiss this performance, because he makes you care deeply about this guy. Penn will be nominated, in a competitive year.

Milk is the perfect Academy movie--moving, and political, especially in an Election year with Proposition 8 on the California ballot--and could get to Best Picture. It reminds us of how far we've come, in a short time, and how far we still have to go.

Yes, there are other political movies in contention this awards season. But Ron Howard and Peter Morgan's Frost/Nixon is somehow stuck in the past, contained, small, and less fun than the play. It's somber, lacks that edge of humor, the equal force of two strong personalities going head to head in real time. On-screen, with close-ups and editing, Frank Langella dominates as Nixon, and Michael Sheen diminishes as Frost, through no fault of his acting. It's about screen charisma. Oliver Stone's Nixon, finally, had more depth and Shakespearean grandeur.

Stone's W. is fine, but slightly misses the mark, through bad timing, mostly. Josh Brolin is brilliant as W., but Milk's Dan White is an ill-defined part--we don't get under the skin of this guy to understand his neurosis. The rest of Milk's supporting ensemble, James Franco, Diego Luna and Emile Hirsch, are all strong in small roles that aren't showy enough to take them to supporting actor noms. Because of W., Brolin could get a nom on Milk's coattails. I was most impressed with Franco (who made comedy look easy in Pineapple Express). My one wee complaint: Danny Elfman's music was a tad treakly.

I could see picture, director, screenplay, actor, editor.

Here's the trailer:

September
24
Oscar Watch: Awards Season Launches

FrostnixonAs the awards season gets under way, the Gurus 'o Gold have made their first stabs at weighing the upcoming Oscar race. It's early days yet. Many of these films have not been seen. For example, the gurus know more about Frost/Nixon, based on Peter Morgan's play, than anything else, which may account for its front-runner status--which is not necessarily a good place to be at this stage.

Frost/Nixon also features two head-to-head male leads who can't be relegated to supporting status: Frank Langella and Michael Sheen. That's also true of Jamie Foxx (who won Best Actor for Ray) vs. Robert Downey, Jr. in The Soloist. Actors will bend over backwards to give Downey something this year, even if it's a supporting nod for the comedy Tropic Thunder, because Iron Man is not an Academy movie (except perhaps for technical categories like FX).

It's back to the norm this year with the actors--the best actor field looks much stronger and more competitive than the best actress list.

Meanwhile fan site IGN has launched some counter-programming, their first annual IGN Summer Movie Awards, honoring the high-octane films that their readers care about most. Winners include Best Summer Movie: The Dark Knight, Best Director: Iron Man's Jon Favreau, Best Animated Movie: Wall-E, directed by Andrew Stanton, and less predictably, Babe of the Summer: Natalie Martinez, star of Death Race.

October
22
American Gangster Reviews

Ramerican_gangster_250While he finds much to admire, Variety's Todd McCarthy has some issues with Ridley Scott's sprawling Harlem gangster epic American Gangster. While I grant that in some ways Russell Crowe is miscast as an honest Jewish cop from New Jersey, he runs with the role anyway. You need a star of some heft to stand up to the powerful Denzel Washington as a real-life Harlem drug lord.

The movie is hugely entertaining, and should score handily at the boxoffice, no matter its length, as well as with Oscar voters. It could be this year's The Departed. And Washington is a shoo-in for a best actor nod. I am assuming that most critics are not going to be as tough on American Gangster as McCarthy. If they are, that could hurt American Gangster's Oscar longevity. UPDATE: Here's Screen International.

October
17
American Gangster: A Grazer Tale

Americna_gangster1054093228be7f47a2Based on American Gangster's stellar advance tracking with all audiences (well ahead of The Departed, thanks to the urban demo), the Ridley Scott movie should be a big hit when it opens November 2; it could go all the way to the Oscars. But did the movie have to cost so much?

Claudia Eller's LAT story doesn't make clear that Brian Grazer, the 500-pound producer gorilla on the Universal lot, was able to push the movie through with a $100-million price tag--even after the studio had already written off a $30-million loss --in the wake of Stacey Snider's defection to DreamWorks in February 2006.

Grazer cannily took advantage of Universal's need to send a message of strength and viability; brand-new co-chairmen Marc Shmuger and David Linde went ahead with the deluxe deal. If Snider had not left, she would likely have kept the budget down. The key players got paid full price, with rich back ends. Denzel Washington had already gotten paid his upfront guarantee pay-or-play, so he signed on just for his gross. (He also got paid half his $20-million fee on Inside Man.) This way even when American Gangster makes money, so do gross participants Washington, Scott, Grazer and Russell Crowe. That adds up to a huge piece of the final gross going out the door--in all likelihood, some 37.5 25% of the gross. ($37.5 was Universal's all-time high, on Grinch.) The studios are all trying to not go over that 25%, which is still a hideous percentage.

UPDATE: Studio insiders argue that they believed that the movie demanded an epic scale, so they returned to writer Steve Zaillian's original vision. They negotiated overage protection with Grazer and Scott. The gross package was pulled back to 25% from near 60% if everyone had gotten their full cut. American Gangster was shot fast and tight with multiple cameras on real locations, and cost about half of what Michael Mann's Miami Vice cost. And the music budget was rigorously monitored, coming in at just $2 million.

Here's Defamer's take. And the trailer:


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Variety blogger Anne Thompson is your trusted source for film industry news. She tracks Hollywood, Indiewood, awards season and film festivals for this daily blog.
Member: Alliance of Women Film Journalists


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