A pair of flicks that were shut out at the Oscars on Sunday lead the field for the erstwhile music network’s film nods. American Hustle and The Wolf Of Wall Street snagged eight noms apiece for the 23rd MTV Movie Awards. Close behind are The Hunger Games: Catching Fire with seven and We’re The Millers with six, including a coveted Best Shirtless Performance nom for Jennifer Aniston. Anchorman 2: The Legend Continues, Dallas Buyers Club, The Hobbit: The Desolation of Smaug, This Is The End and Best Picture champ 12 Years A Slave are next with four apiece. Conan O’Brien will serve as host of this year’s festivities, which air live on April 13 at the Nokia Theatre in L.A. The show — which last year switched from its longtime post-Memorial Day date to April — again relishes is such signature categories as Best Kiss, Best Scared-As-S**T Performance and #WTFMoment, The telecast is exec produced by Jesse Ignjatovic. Here are the nominees:
Here we are again after the Golden Globes, Mike Fleming and Anita Busch taking on the task of play by play during the most wide-open Oscar race we can remember. Even on the party circuit, industry insiders who usually have a grasp of who’ll walk away with Oscars were evenly torn between Alfonso Cuaron’s 3D masterpiece Gravity and Steve McQueen’s 12 Years A Slave. Then again, there were so many terrific films that got Best Picture nominations, and all of them have at least a puncher’s chance at an upset.
That includes American Hustle, where David O Russell co-wrote the Best Original Script nominee with Eric Warren Singer and got tour de force performances and nominations for Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence. Perfs so strong there was no room on the nomination roster for perennial Oscar nominee Jeremy Renner. The film is up for 10 awards, and has grossed over $240 million on a $40 million budget.
Then there is The Wolf Of Wall Street, with Leonardo DiCaprio giving the most emphatic and complete performance of a great career, and Jonah Hill right there with him as his crazy con man sidekick. The film is up for five nominations, including Martin Scorsese for directing a terrific adaptation from The Sopranos and Boardwalk Empire vet Terence Winter.
Dylan McDermott To Star In CBS’ Kevin Williamson Drama Pilot
By Nellie Andreeva – Hostages‘ Dylan McDermott is set as the male lead in another CBS/Warner Bros TV drama project, the untitled Kevin Williamson pilot.
OSCARS: Pete Hammond’s Absolute FINAL Predictions In Every Category In One Of The Most Competitive Races Ever
This column originally ran Thursday.
With no real clarity from the usually reliable guild contests and critics awards, the best picture race is one of the most unpredictable in years. Considering the preferential Oscar voting system, it is not probable there will be a winner on the first ballot because it’s unlikely any film in this great year for films will be able to muster more than 50% of the first-place votes required. The second choice on those best picture ballots could end up being the most important. The top three contenders—12 Years A Slave, American Hustle and Gravity—are in a real dog fight, which means a dark horse like The Wolf Of Wall Street, Philomena, Dallas Buyers Club or Nebraska could sneak in if a true three-way split occurs, although I don’t think that scenario is too likely. Never say never though. In 1981 for example no one was expecting a small British film called Chariots Of Fire to sneak in and take Best Picture but indeed it did. The last huge upset in the Picture race was probably Crash over Brokeback Mountain in 2005 but judging from voter interviews that year I saw a tidal wave of last minute support. This year I don’t get that. There are lots of opinions out there and it looks like …
American Hustle writer/director David O. Russell has departed the ABC drama series he was to executive produce with Susannah Grant. Russell developed the project with Grant, CBS TV Studios and studio-based Timberman-Beverly for several months. It was quietly set up at ABC and a month ago, the network greenlighted it straight-to-series with a 13-episode order. That order remains in place following Russell’s exit, with the series, now titled The Club, locking in its first regular cast member, Callie Hernandez (Sin City 2). Russell, nominated for writing and directing Oscars for American Hustle, is rumored to have had issues with the script written by Erin Brockovich scribe Grant based on a story she co-wrote with Russell, and is expected to refocus fully on features. It is not unusual for big-name filmmakers to back out of a TV project. Ang Lee departed the pilot for FX’s Tyrant, which he was supposed to direct. Ben Affleck couldn’t direct Fox series The Middle Man as hoped (His role as a director was subject to availability, which was made impossible by his commitments to Gone Girl, Batman vs. Superman and Live by Night. He continues as executive producer on the project)
The Club is an upstairs/downstairs soap set at a private country club. Hernandez will …
Tuesday, February 25
7:00 PM: BVLGARI “Decades of Glamour” Oscar Party hosted by Naomi Watts
Location: Soho House
7:30 PM: Oscar Week – Animated and Live Action Shorts Celebration hosted by Kevin Pollak
Location: Samuel Goldwyn Theater, Beverly Hills
2nd Annual ICON MANN Pre-Oscar POWER 50 Dinner
Location: Peninsula Hotel
Vanity Fair and Fiat Toast “Young Hollywood”
Location: No Vacancy
Wednesday, February 26
10 AM: The Art of Elysium 7Th Annual Pieces Of Heaven Charity Art Auction
Location: Siren Studios, Los Angeles
5:30 PM: LoveGold Celebrates Lupita Nyong’o
Location: Chateau Marmont
6 PM: 7th Annual TOSCARS Awards Show
Location: Egyptian Theater, Hollywood
6:30 PM: Global Green USA Pre-Oscar® Party with performance by Moby and The Crystal Method
Location: The Avalon Hollywood, 1735 Vine Street, Los Angeles
VH1 is expanding its scripted portfolio with Hindsight, handing out a 10-episode series pickup to the hourlong scripted drama pilot from writer Emily Fox (Jane By Design) and Timberman-Beverly for a premiere in early 2015. The project, previously developed at NBC, marked the first scripted pilot order for VH1′s new head of development Susan Levison. Now it is her first scripted series pickup and a followup to the network’s first hourlong scripted series, the Queen Latifah-produced Single Ladies, and summer breakout Hit the Floor. The network most recently had scripted success with the highly rated TLC biopic and just greenlighted a Drumline sequel with Nick Cannon.
Related: Primetime Pilot Panic
Hindsight, whose pilot was directed by Michael Trim, is set in 1990s New York and stars Laura Ramsey, Legend Of The Seeker‘s Craig Horner and Sarah Goldberg.
Here is Deadline’s annual list of The Overachievers Of Pilot Season. For anyone, landing a pilot is a major accomplishment. These selected few individuals/production companies took that achievement to the next level.
Related: Primetime Pilot Panic!
With marquee comedy clients including Tina Fey, Amy Poehler and Kevin Hart, 3 Arts has been building a strong TV production business. The management/production company has set a new personal record this season with nine greenlights. That includes one straight-to-series order for the Tina Fey/Robert Carlock comedy Tooken at NBC, one pilot/series track order at Fox for Cabot College, from Matt Hubbard, Fey and Carlock, and five more pilots: the comedies untitled Kevin Hart project at ABC, Amy Poehler’s Old Soul and Love Is Relative at NBC and Tom Papa’s More Time With the Family at CBS, plus untitled Richard LaGravenese drama at ABC. Additionally, three 3 Arts pilots from last season, Mulaney and Mr. Robinson, recently received series orders for next season.
Amblin TV has one pilot/series track order at Fox for drama Red Band Society, starring Octavia Spencer, and pilot orders for drama The Visitors at ABC and comedy The Money Pit at NBC. Additionally, the company scored a straight-to-series order this season for sci-fi drama Extant, which landed Halle Berry as the lead, for a summer launch.
Related: PILOT SEASON: How Many Orders Is Each Broadcast Network Eyeing This Year
Sarah Timberman and Carl Beverly‘s Timberman-Beverly has a straight-to-series order at ABC for untitled David O. Russell/Susannah Grant drama and three pilots at CBS, comedy The Odd Couple starring Matthew Perry and untitled John Cusack and David Marshall Grant drama projects.
Aaron Kaplan‘s one-man indie shop Kapital Entertainment landed a pilot order with series penalty at ABC for Secrets & Lies, toplined by Ryan Phillippe, and pilot orders for drama The Mysteries of Laura starring Debra Messing at NBC and comedy Dead Boss starring Jane Krakowski at Fox.
EXCLUSIVE: The chance that Jennifer Lawrence will repeat as an Oscar winner, this time for Best Supporting Actress for her work in American Hustle, has grown stronger since she won the Golden Globe and then surprisingly took the BAFTA award for Supporting Actress.
While Lawrence probably ate more salmon than an Alaskan grizzly bear during last year’s endless awards circuit banquet campaign leading up to winning the Best Actress Oscar for Silver Linings Playbook, she has been relatively scarce in this race, mainly because she has been busy moving between her role as Katniss Everdeen in the final two installments of The Hunger Games shooting back-to-back, and playing Mystique in X-Men: Days Of Future Past. Lawrence was doing re-shoots on the latter when she won the BAFTA last week. It was David O Russell, who directed Lawrence in both Silver Linings Playbook and American Hustle, who accepted the award in her place. “I’d sat with her at last year’s BAFTAs, when she didn’t win, and me being loyal to her, I was upset and that became a screen grab for everybody and so this year, it was my pleasure to give what might have been the most heartfelt speech ever on her behalf after Leonardo DiCaprio gave me her award,” Russell told me.
Where was Lawrence during all this drama?
“Oh, it was a big surprise,” she told me when she took a few minutes away from shooting. “I didn’t remember that the BAFTAs were happening that day. I certainly did not think I was going to win one so I put it out of my mind,” she said. “So there I was, in the middle of being painted blue, and someone said, ‘You just won the BAFTA!’ And I said, ‘Oh, go f*ck yourself!’ And then it turned out they were serious.”
This is the refreshing thing about watching this young actress grow up before our eyes. She is more fun to watch than a lot of veteran actresses who win, and act like it’s the first time even as you suspect they’ve already made room on the mantel for yet another trophy. With Lawrence, the coltish awkwardness and unpredictability seem genuine, and seem just right for a 23-year-old who has gotten her third Oscar nomination and who anchors one of Hollywood’s most lucrative film franchises in Hunger Games. In fact, these awards fill her with so much anxiety that she has found it refreshing to be working rather than going from one campaign stop to the next.
EXCLUSIVE: Alessandro Nivola will join Jessica Chastain, Oscar Issac and Albert Brooks in J.C. Chandor’s thriller A Most Violent Year for Participant Films and Image Nation Abu Dhabi. Nivola is most recently remembered for playing the FBI agent with the slicked-back hair whose ambition was as grand as his sideburns in David O. Russell’s American Hustle, the ensemble film that has been nominated for 10 Academy Awards, including Best Picture.
Newly formed distribution company A24 acquired domestic distribution rights to A Most Violent Year at Sundance this year. Written and directed by Chandor, the thriller is set during the winter of 1981 in New York — one of the most violent years on record in the city’s history. The story, according to the distributor, “follows the lives of an immigrant and his family trying to expand their business and capitalize on opportunities as the rampant violence, decay, and corruption of the day drag them in and threaten to destroy all they have built.” Nivola will play Peter Forente, a heating oil distributor who is a competitor to Isaac’s character. A24 is looking at the dark drama as a possible Oscar contender for next year and with that cast and writer-director, it seems destined to deliver.
Interviews by AwardsLine Editor Christy Grosz and Deputy Editor Anna Lisa Raya.
Here are some of this year’s lesser-known Oscar nominees, whose skills helped make the director’s and actors’ visions come to life. Without their research, technical mastery, or their ability to translate a story into melodies or visual effects, there would be none of the groundbreaking, iconic, historically significant films we’ve seen this past year. These are the real players who toiled in front of and behind the camera to make the 2013 Oscar season one of the best in recent memory.
Julie Delpy, Adapted Screenplay, Before Midnight
AwardsLine: What was the biggest challenge in writing and acting the 14-minute-long opening take?
Delpy: If we were able to do that as an improvised scene, we’d be geniuses. And we’re not geniuses. We work really hard at making it seem flawless, especially writing backstory stuff without seeming on the nose or expository. It’s the hardest part. How do you make it seem like we’re just having a conversation when we’re actually setting up the entire rest of the film, explaining what happened in the past nine years?
OSCARS: Harvey Weinstein On His Dark Horse Best Picture Candidate ‘Philomena,’ And, Well, Everything Else
Each year, Harvey Weinstein has taken time out from his Sundance buying frenzies to do an Oscar-season interview that touches on his Academy hopefuls, all the films he bought in Park City, and politics. Well, January’s Sundance couldn’t have been duller — outside of his multiplatform arm RADiUS, The Weinstein Company made zero buys there for the first time in forever — but so much has happened since that we needed a catch-up call to get it all in. Here, Weinstein touches on everything from watching Philomena get the Best Picture Oscar nomination over higher-profile TWC films to Quentin Tarantino’s leaked The Hateful Eight script to his battle with Warner Bros over The Hobbit gross points, to the NRA. And, just as he came out of Toronto with the big acquisition in Can A Song Save Your Life?, Weinstein walked away from Berlin with The Imitation Game, the drama about genius British mathematician Alan Turing, whose work cracking the Nazi Enigma Code made him a bona fide WWII hero but who later was prosecuted for being homosexual, chemically castrated and eventually committed suicide.
DEADLINE: We started this interview at the tail end of Sundance and you uncharacteristically hadn’t bought a single movie. You went right to Berlin and paid a record $7 million for U.S. rights to The Imitation Game. What happened?
WEINSTEIN: One of the things I’ve never been great at is discipline, but we just didn’t feel like there was anything we had to have at Sundance. We decided that, like with Can A Song Save Your Life? at Toronto, we wanted the movie. Imitation Game was a project all of us followed, and those 20 minutes gave that zeitgeist feeling to me, David Glasser, everyone on our team. Negeen Yazdi, who runs our English office, tracked this one so hard that it was like she was trying to break the Enigma Code.
DEADLINE: How hard is it to make such a big commitment based on a 20 minute compilation of scenes?
WEINSTEIN: It was easier in that we all knew the script and could see the level of performance Morten Tyldum got in his first English language film. Alan Turing is not outwardly very sympathetic. He’s brilliant, but the way that Benedict Cumberbatch played him showed us these guys found the right level of vulnerability, genius and the arrogance of the character, too. We felt after reading the script that you could get this wrong, from the tone to the casting. The reason we didn’t make it ourselves was, it felt like a near impossible walk on a tightrope. Morten walked the tightrope. And Keira Knightley is so brilliant in Can A Song Save Your Life and she was helpful and loyal in pushing it our way that we wanted this huge run she is about to have to be with us.
That’s the message seen for the past few weeks on the 12 Years A Slave billboard as you drive on to the 20th Century Fox lot. And since the film earned nine Oscar nominations it has frequently been the slogan of choice for the Fox Searchlight contender in newspaper and television ads. A highly emotional close-up of star Chiwetel Ejiofor as the man forced into slavery and just two words to accompany it: “It’s Time”.
So is it resonating with voters? Are they paying attention? And how do you interpret the message, clearly aimed at Academy voters, that the studio is trying to send for its Best Picture nominee?
It’s Time for a serious film about slavery to win Best Picture?
It’s Time for any film about the black experience to win Best Picture?
It’s Time for a film with a largely black cast, theme, black director and screenwriter to win?
It’s Time those Academy members who have resisted seeing it, because they think it’s too brutal, stick their screener in their DVD player and watch.
Whichever way you look at it, it’s an effective and simple way of getting the film’s message across. Two words, that’s all.
The ad not only can be interpreted as shining a light on a very dark period in American history, it also shines a light on the Academy’s fairly dismal record of awarding its top honor to any movie about the black experience. In fact there has been only one Best Picture winner in the 85 years the Academy of Motion Picture Arts and Sciences has been handing out Oscars that even remotely qualifies in this regard. In 1968, In The Heat Of The Night , a murder mystery set against the racial divide in a small Southern town, won Best Picture and four other Oscars just a few days after the assassination of Martin Luther King (the ceremony was even postponed two days out of respect). The votes were in before the King assassination, but it seemed then that “It’s Time” would have been an appropriate way to describe that victory. However, outside of lead actor Sidney Poitier — who also co-starred in another racially themed Best Pic nominee that year, Guess Who’s Coming To Dinner — this movie featured a largely white cast, white producer, screenwriter and director (Norman Jewison).
12 Years A Slave makes a much bigger statement: The film has been honored widely with Best Picture awards from the Golden Globes, the Critics Choice Movie Awards, the Producers Guild (in a tie with Gravity), and most recently BAFTA, but the victories have been narrow (it went 1 for 7 at the Globes, 2 for 10 at BAFTA and 3 for 13 at the CCMAs). Co-producer/director Steve McQueen has made impassioned speeches at all of them, though apparently it’s not time for a black director to win as he has lost consistently to Gravity’s Alfonso Cuaron in that category at most precursor awards (ironically, there was a Picture/Director split the year of In The Heat Of The Night, with The Graduate’s Mike Nichols winning the directing awards over Heat’s Jewison).
When it comes to predicting who will take home Oscars for adapted and original screenplay, don’t look to the recent Writers Guild Awards for any significant clues. Usually the guild will give some indication of which way the winds are blowing among the scribes of the Academy of Motion Picture Arts and Sciences, even though the 372-member writers branch has different criteria and eligibility rules than the more stringent 20,000-plus WGA membership. The WGAs differ from other guild awards in not nominating any movies not made under their basic agreement or within guild guidelines. That isn’t a huge factor this year, as the Academy matched the WGAs’ nominee list in original screenplay and chose three of the same adaptations (Oscar nominees 12 Years A Slave and Philomena were not allowed to compete in the WGAs). Lone Survivor and August: Osage County nabbed the other two nominations, although neither won. In fact, in a highly unusual result, the WGA winners, Her for original and Captain Phillips for adapted, have not been considered slam-dunks to pull off the same trick at the Oscars on March 2.
Michael Wilkinson, who is nominated for Best Costume Design Oscar for Sony/Annapurna’s American Hustle , began working with costumes on theater productions in Sydney when he was 17. After dabbling behind the scenes on several productions, his interest as a costume designer took hold and he eventually found himself working with director Jim Sharman (best known to American audiences for directing/co-writing The Rocky Horror Picture Show). Together they worked on such theater productions as Jean Genet’s Splendid and The Tempest at the Sydney Opera House. It was the opening night of The Tempest when the director gave him a book about Italian costume designer Piero Tosi, who had worked with such legendary directors as Federico Fellini and Franco Zeffirelli and was nominated for an Oscar in 1972 for his work on director Luchino Visconti’s Death In Venice. “He showed me that costume design is an art form,” said Wilkinson. The Italian master used texture, fabric and design to wrap the essence of the character around an audience, whether it be working-class people or those of the social elite. And Tosi’s artistry in that kind of diversity inspired Wilkinson.
BAFTA Awards: ‘12 Years A Slave’ Wins Best Film But ‘Gravity’ Carries Most Weight With Six Total Nods; Chiwetel Ejiofor & Cate Blanchett Take Actor Wins; ‘American Hustle’ Scores 3 Including For Jennifer Lawrence
UPDATED WITH FULL LIST OF WINNERS AND REACTIONS: Steve McQueen’s 12 Years A Slave rallied from a slow stat to win the Best Film award tonight at the 62nd BAFTA Film Awards in London. The slave drama from Fox Searchlight had 10 nominations but won just two awards, after Chiwetel Ejiofor took the Leading Actor prize for playing Solomon Northup. Despite the marquee victory in the last major kudofest before the Oscars, it still seemed as though the night belonged to Warner Bros’ Gravity. The space drama picked up a leading six wins from its 11 overall nominations, including for Outstanding British Film — which will keep the debate going about just how British the pic is. Alfonso Cuaron won Best Director and the pic cleaned up in the craft categories, taking Sound, Cinematography and Special Visual Effects in addition to a nod for Steven Price’s Original Score. The BAFTA crowd at the packed Royal Opera House in Covent Garden exploded with each win for the movie, which had a leading 11 nominations going into the night.
Still, the 12 Years A Slave victory tonight maintains the film’s front-runner status going into the Oscars on March 2; the film also won the Golden Globe for Motion Picture-Drama. Many feel the Academy will lean the same way, honoring Gravity in the craft categories but not for the Best Picture. The two films have been going head to head all awards season, even scrapping to a rare tie in the PGA Awards contest. “It’s very important,” McQueen said backstage after the victory. “The way the public here — but not just here, in the U.S. — by going to see the picture, means a hell of a lot.” Added producer Brad Pitt: “This is an excuse for us to all get to gather and say job well done. We’re very proud of our work here, and it means a lot to us because of the people we got to work with.”
It’s a banner year for Oscar newcomers in the uber-competitive acting races. Outside of the veteran-heavy lead actress contest, 13 of the 20 nominees in lead and supporting are receiving either their first or second nominations. Considering how often the Academy of Motion Picture Arts and Sciences tends to play favorites, it is good to see new blood. As voters enter the final balloting period before the March 2 ceremony, the guilds and other precursor awards have provided two fairly solid lead-category frontrunners—one of whom is a first-time nominee.
With wins at the Golden Globes, Critics Choice Movie Awards and the Screen Actors Guild Awards, Dallas Buyers Club’s Matthew McConaughey has leapt to the front of the pack in the incredibly tight best actor race, which has see-sawed all season. But storm warning ahead, Matthew: The all-important British Academy of Film and Television Arts Awards are still to come on Sunday, and you didn’t even snag a nomination there, leaving an opening for your chief rivals: The Wolf Of Wall Street’s Leonardo DiCaprio, a four-time acting nominee looking for his first win; 12 Years A Slave’s Chiwetel Ejiofor (who is British and a first-time Oscar nominee); and Nebraska’s Bruce Dern, enjoying his second nom. American Hustle’s Christian Bale, who won a supporting Oscar in 2011 for The Fighter, rounds out the category.
EXCLUSIVE: As Oscar voting begins today a lot of campaigns are moving into their final phase. American Hustle, which is generally considered to be one of three front runners for Best Picture along with 12 Years A Slave and Gravity, has decided to take its message directly to television with a half-hour special on the Los Angeles CBS affiliate at 7:30 PM on Monday, President’s Day following Entertainment Tonight. That’s significant because these almost-primetime specials are a favorite in presidential politics too. Gravity is doing the same thing tonight on KCBS. This special, American Hustle: The Art And Soul Of Survival, takes a deeper look into the creative process of writer-director David O. Russell and the film, which earned 10 Oscar nominations and the same number at this weekend’s BAFTA awards. Here’s an exclusive look at the program which you can watch here so you don’t have to miss Wheel Of Fortune which airs opposite it.