You know the old saying about how the best explanation for something is usually the simplest? One could easily apply that to the Academy Awards. After all the politicking, the PR campaigns (Roger Ebert in the Weinstein Co. ads for Silver Linings Playbook: “I sense a groundswell”), the “snubs” and the pendulum swings, an elite handful of movies, actors, and artists behind the camera will emerge as winners on Sunday night, and the reason that each of them will win is (drum roll!)…. the members of the motion picture Academy voted for what they liked best! Period. It’s a thought so simple and debate-halting that it could almost have come from Debbie Downer. READ FULL STORY »
Tag: Argo (11-20 of 51)
Oscar-nominated editors clear up the biggest misconception about their category (and explain the decisions you may not know they're making)
Leading up to Sunday’s Oscars, EW.com will take a closer look at four categories that moviegoers may mistakenly think of as “technical.” First up: Film Editing, with insights from Life of Pi‘s Tim Squyres, Silver Linings Playbook‘s Jay Cassidy and Crispin Struthers, and Zero Dark Thirty‘s Dylan Tichenor and William Goldenberg, the latter of whom also cut Argo, making him one of only a handful of editors in Oscar history to compete with himself. Lincoln‘s Michael Kahn completes the category. (Update: Read our Sound Editing, Sound Mixing, and Cinematography pieces.)
Ask a film editor what the biggest misconception is about his or her role, and the answer is the same: “It sounds funny, but a lot of people tend to think it’s a purely technical job where you literally go in and cut slates off, and the director says, ‘Do that, do that, do that,’” says William Goldenberg, Oscar-nominated this year for both Argo and Zero Dark Thirty and previously for The Insider and Seabiscuit. What will surprise those moviegoers then is just how many decisions the editor actually makes — and when. Let’s start with an overview: READ FULL STORY »
Argocontinued its domination of award season by claiming one of the last of the pre-Oscar prizes — the Writers Guild Award, where screenwriter Chris Terrio won the honor for adapted screenplay. READ FULL STORY »
There’s no arguing who won the 2012 box-office: The Avengers smashed the competition, making $623.4 million. The Dark Knight Rises, The Hunger Games, Skyfall, and Breaking Dawn Part 2 also recorded blockbuster grosses, and the executives responsible for these hits can pat themselves on the backs for delivering the goods, which in these cases did not come cheap. The top 10 movies on last year’s box-office list cost, on average, more than $175 million each to produce — and that’s before a dime was spent on the marketing of a film and all the other fine-print considerations that eat into the profits.
But there’s more than one way to judge a film’s success, and while every producer might prefer to be in The Avengers‘ position, other, more modest films can claim victory as well. Back in 2005, EW devised a Popularity Index, which measured a film’s staying power in theaters; we’ve tweaked it only slightly this year to recognize the increasing number of platform releases. To get the index, we simply divided a movie’s total domestic gross by its biggest weekend tally – normally its opening frame, but not always.
The result is 10 movies that didn’t have record-breaking opening weekends, but they had legs. Many of them started slowly and gained steam as awards season heated up. Others were initially seen as disappointments, but then they just refused to go away, playing week after week to decent crowds. Most all of them had that rumored-to-be-extinct Hollywood creature: The Movie Star. Beancounters might prefer to be on that other box-office list, but the Popularity Index captures elements of quality that studios shouldn’t overlook.
Click below for the 2012 Popularity Index Top 10. READ FULL STORY »
The Best Picture nominees have gotten a pop art facelift. Not that the nine Oscar contenders needed a facelift of any kind, but the Academy of Motion Picture Arts and Sciences – along with Gallery1988 – still found a way to produce a fresh, eye-popping take on now-iconic images from these films.
The Academy recently released nine posters, one for each nominee, created by an international group of artists, many of whom have worked with Gallery1988 before.
Called “For Your Consideration,” the project is the first collaborative exhibition for Gallery1988 and the Academy. The Los Angeles gallery’s past entertainment-related poster collections include “Fringe Benefits,” which featured art inspired by fan-favorite episodes of Fringe, and The LOST Underground Art Show. READ FULL STORY »
Ben Affleck had them at “Good evening.” The organizers of the British Academy Film Awards (a.k.a. the BAFTAs: if you’re wondering what the ‘T’ stands for, it’s ‘television,’ now relegated to a separate ceremony) were surely fluttering their eyelashes at the Argo multi-hyphenate’s praise for their awards. He took to the stage with Bradley Cooper to present the night’s first award, Outstanding British Film, which went to the Bond film Skyfall, and uttered music to their ears: “Good evening, this is our first time at the BAFTAs and it’s thrilling to be here. I’ve always been a little bit in awe of the excellence of the British film industry.”
Maybe Affleck knew a grand night was in store: Argo bagged the night’s top prizes, Best Film and Best Director, as well as Best Editing. And Hollywood has been in agreement in recent years that it’s worth the transatlantic hop to brave BAFTA’s annually soggy red carpet (not much you can do about British weather), making one last stop before the Oscars. Even presenter Billy Connolly couldn’t dampen the mood when he insisted the BAFTA award resembled “a death mask on a stick.” Host Stephen Fry would have echoed the thoughts of the British film royalty gathered in the opulent Royal Opera House if he’d dared to utter: Hollywood, you like us, you really like us. READ FULL STORY »
The British Academy of Film and Television Arts handed out their awards Sunday in London. Argo walked away the big winner with Best Film and Best Director for Ben Affleck.
Lead acting prizes went to Daniel Day-Lewis for Lincoln and Emmanuelle Riva for Amour, with supporting awards going to Christolph Waltz for Django Unchained, and Anne Hathaway for Les Misérables. Click past the jump to take a look at the full list of winners.
Identity Thief persevered in spite of winter storm Nemo, with an $11.2 million Friday opening. The R-rated Jason Bateman and Melissa McCarthy vehicle from director Seth Gordon opened wide in 3,141 theaters, and may be on track for a $35 million weekend. Bateman and Gordon scored big with Horrible Bosses, which had a $9.9 million Friday opening in July and went on to gross $117.5 million domestically. This is McCarthy’s first starring role, and could bode well for The Heat, which was pushed back to a June release. McCarthy also recently started a production company with her husband Ben Falcone and already has three projects in the works.
Steven Soderbergh’s Side Effects fared less well, opening Friday in 2,605 theaters at $2.8 million–almost exactly on track with Soderbergh’s Haywire, which opened in late January 2012 with a $2.9 million Friday and a $8.4 million weekend. Channing Tatum’s last three movies, 21 Jump Street (March), The Vow (February), and Magic Mike (June), all had Friday grosses exceeding $10 million. Rooney Mara’s Girl with the Dragon Tattoo opened decently the weekend before Christmas in 2011, but fizzled after that.
The area affected by Nemo represents about 12% of the country’s box office. AMC alone closed 43 theaters in the northeast corridor including in Boston, New York, New Jersey, and Connecticut. New York theaters will attempt to open Saturday night, but Boston theaters are planning to remain closed through Sunday.
Some people can win for losing.
Ben Affleck claimed the Directors Guild of America Award for Argo on Saturday in Hollywood’s latest thumb-in-the-eye to the small group of filmmakers in the Academy of Motion Picture Arts and Sciences who failed to nominate him for an Oscar.
“I worked really, really hard to become the best director I could be, by putting in as [many] hours as I can, and banging my head against a wall, berating myself, lying to myself about whether it’s going to work,” Affleck told the crowd, never mentioning the snub. “Basically, I got to a point where I was nominated for this award. And I don’t think this makes me a real director — but I think it means I’m on my way.”
It’s the third time in its 65-year history that the DGA Award has gone to a filmmaker who was not also up for Best Director at the Academy Awrds. It happened to Ron Howard, who claimed the DGA honor in 1995 for Apollo 13, and Steven Spielberg, who won in 1986 for The Color Purple.
As goes the Producers Guild, so goes the Oscar for Best Picture …
At least, that’s how the past five years have worked out. So Argo‘s win on Saturday night is the strongest indicator yet that the rescue thriller is the frontrunner in the most fiercely competitive Academy Awards race in recent memory.
The 10 nominees in the producers race were Argo, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Moonrise Kingdom, Silver Linings Playbook, Skyfall, Zero Dark Thirty. Only nine nominees are in the Academy’s top race, with Skyfall and Moonrise Kingdom out, and the French drama Amour ranking instead.
- 'Dancing With the Stars' champs are...
- CBS takes 2012-13 ratings crown from Fox
- 'Voice' dedicates song to tornado victims
- Justin Bieber booed: Will he listen?
- Bon Jovi to Bieber: Don't be late!
- 'Criminal Minds' season finale peek
- 'Buffy': 10th anniversary of series finale
- Microsoft debuts next-gen Xbox One