Hammond On Cannes: Weinstein Brings Out Stars For 2013 Oscar Contenders

Pete Hammond

Following a relatively new tradition they started a few years ago, The Weinstein Company on Friday night brought together a group of buyers, partners and press to preview its 2013 slate and meet filmmakers and stars. Although Harvey Weinstein never once mentioned the word “Oscar”, you can tell that’s definitely what he is thinking with a diverse mix of prestige projects that should give the awards-happy company lots of campaign fodder for 2013. He said after a rocky start the company has had a very good last four years and for 2012 made more than they ever did at Miramax. He also made a plea to the international audience gathered for the presentation at the Majestic Hotel for the continued independence of European filmmaking, especially in light of problems with the European Cultural Initiative. “We can’t let Europe be the same like the United States. What’s great about European movies is they are different and as long as they reflect their culture there will always be special movies like Amour, which we didn’t release last year, and so many movies like that. So keep your eye on the newspaper when this stuff comes up for votes or things we can do to influence it,  I think it’s very important,” he said.

Related: Cannes: Weinstein Eyes ‘Philomena’ In First Big Bidding Battle Of Festival

After the 40-minute reel led by the August 16th release The Butler and ending with the long-gestating Mandela: Long Walk To Freedom, Weinstein told me, “It’s a very eclectic, hard-hitting lineup that I am really proud of. What am I going to say? I feel very confident about this year”. Though he may not have been directly making an Oscar-season pitch (thankfully that’s still many months off even for Harvey — well, maybe not), he did make an overt plea for his official competition entries Only God Forgives and The Immigrant when introducing Cannes jury member Nicole Kidman, star of the December 27th release Grace Of Monaco. “We have a member of the jury with us tonight and she has to go for a jury meeting to hopefully decide which movie of mine wins the Palme d’Or. I have certainly given Steven (jury president Spielberg) enough money over the years,” he said to big laughs. READ MORE »

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Hammond On Cannes: Martin Scorsese Hits Croisette To Drive Sales For His Moment Of ‘Silence’

Pete Hammond

Doing something he says he has never done in his entire career, director Martin Scorsese has come to Cannes to personally sell a film to foreign buyers. But it is not just any film but rather a passion Read More »

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Hammond On Cannes: Opening Night ‘Gatsby’ Party Wet But Elaborate

Pete Hammond

Baz Luhrmann followed up his biggest opening day in America with his biggest opening day in France as The Great Gatsby took in $78K in partial-day results that still were bigger than his Moulin Rouge and AustraliaRead More »

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Hammond On Cannes: Jury Takes Center Stage As Oscar Rivals Steven Spielberg And Ang Lee ”Worship” Each Other

Pete Hammond

Once rivals for Oscar in February and now fellow jurors in Cannes, Ang Lee called Steven Spielberg his “hero” as Spielberg praised Lee’s Life Of Pi, which won Best Director over Lincoln. This mutual lovefest took place as the jury for the 66th Cannes Film Festival was introduced to the world’s press this afternoon. Spielberg, who said he hasn’t served on any festival jury since 1974 (the beginning of his feature film career) is President and has been asked many times but said the timing was finally right. “I’ve been so consistently at work, especially in the spring months directing, that every time I’ve been approached to be on the jury I’ve been working so I suddenly found myself with an open year, and so that’s why this all came together this year. I am honored I was invited,” he said. Spielberg has been to Cannes many times before with films like E.T. and most recently, Indiana Jones And The Kingdom Of The Crystal Skull.

Asked about being on the Cannes panel with Spielberg after defeating him for the Oscar almost three months ago Lee said, “Steven and I are good friends. I worship him. I don’t know how he looks at me, but I worship him. I don’t think any result would change how I feel about him or even myself. He’s my hero.” Spielberg responding seemed at a loss for words. “I don’t know how to answer that, except to say Ang and I have been friends for a long time and we’ve never ever been competitors, we’ve always been colleagues and that will just contiinue. And certainly I worship Life Of Pi and therefore I worship Ang Lee as well.” Read More »

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Hammond On Cannes: Festival Kicks Off With Most Anticipated Slate In Years

Pete Hammond

After two years in a row of heavily influencing the Oscar race, the 66th Cannes Film Festival lineup may make it three this year. Certainly I see very long and winding Croisette lines to pick up press or market credentials at the Palais, which is adorned with posters of Paul Newman and Joanne Woodward in a provocative still shot from their fluffy France-set 1963 comedy A New Kind Of Love. One early clue came when the jury was announced, beginning with President Steven Spielberg and including such Oscar winners as Ang Lee, Nicole Kidman and Christoph Waltz. And if it’s not enough to have those icons prominent at this year’s fest, add The Great Gatsby‘s Baz Lurhmann whose film is the opening night event with a gala after-party, and Martin Scorsese who will also be in town for a yacht party announcement of his longtime gestating directorial effort Silence on May 16th. Certainly many of the Cannes contenders both in and out of competition are from Academy Award winners and Cannes veterans back with intriguing films that make up a high profile and potent selection with advance buzz.  Competing are the Coen Brothers, Steven Soderbergh, Roman Polanski and Alexander Payne plus a slew of famous names in front of the cameras both on screen and on the Red Carpet this year.

Related: Fleming: Can Sizzle Reels Make Sizzling Deals This Year?

As for the competition and key sidebars, one perennial Cannes question os whether it’s a good idea to ready or even rush a film designed for year-end release in order to play at the Festival in May. Particularly of that means risking negative reviews which can be a real buzz killer. Take, for instance, Payne’s last minute entry Nebraska from Paramount, which almost didn’t appear here. In the initial forecast Deadline posted on March 13, we thought Payne’s film fit in with the auteurist nature of the fest, it’s in black and white, and its filmmaker is quite a favorite in Cannes. (He has had only one film previously in competition – 2002′s About Schmidt – and won no prize, but he not only headed the jury for Un Certain Regard in 2005 but also was a member of the main competition jury last year.) Yet shortly after this prediction I was told Cannes wasn’t in the cards due to Payne’s fondness for long post-production time. He didn’t want to be rushed. Then the studio saw the film about a week before the Cannes deadline and execs urged Payne to put it into the festival. He took Nebraska to Paris to show to Cannes programming honcho Thierry Fremaux with just two days to go before the press conference announcing the 2013 lineup. Now it is one of the most anticipated screenings even though it ooccurs towards the end of the Festival on May 23. Paramount claims  it recently had a successful research screening in Pasadena and has dated the film for November 22nd, right in the heart of Oscar season (Payne is a two-time Screenwriting Oscar winner for Sideways and The Descendants).

Conversely there was absolutely no doubt Joel and Ethan Coen would be bringing their latest, the 1960′s-set Greenwich Village folk music tale Inside Llewyn Davis screening on May 19. It is their 8th time around this particular block so they are virtually Cannes regulars. CBS Films won’t release the movie stateside until December 6, another prime Oscar date.

Roman Polanski’s Venus In Fur screening on May 25 on the last day of competition is the adaptation of the Tony-winning Broadway play. It brings Polanski back to Cannes for the first time since winning his only Palme d’Or (for 2003′s The Pianist, which resulted in a Best Director Oscar). It stars  his wife Emmanuelle Seigner and Mathieu Almarac and though audiences and critics weren’t too impressed with the last Polanski Broadway play adaptation God Of Carnage, this dramatic work could be more up his alley. There’s also strong interest in French director  Arnaud Desplechin’s Jimmy P: Psychotherapy Of A Plains Indian screening May 18 largely due to lead actor Benecio Del Toro’s role as a Blackfoot Indian WWII vet. (But someone’s gotta change that lumbering title.) Cannes watchers also are buzzing about new works from three directors who are no strangers on the Croisette: Nicolas Winding Refn who won Best Director in Cannes for 2011′s Drive and has re-teamed with star Ryan Gosling as a drug smuggler in the May 22nd entry Only God Forgives. (I am told Kristin Scott Thomas steals this one as his mother). And though his films don’t make much noise in theatres, James Gray is a Cannes favorite  and back with his fourth competition entry, The Immigrant (formerly called Lowlife) screening May 24th with a starry cast of Marion Cotillard, Joaquin Phoenix and Jeremy Renner. Jim Jarmusch brings his new Vampire story Only Lovers Left Alive which stars the always intriguing Tilda Swinton, Tom Hiddleston and Mia Wasikowska . It has the distinction of being the last film to make the list and the last competition film to be screened: in the 10 PM slot on May 25th.

As always with Cannes there is just too damn much to see with many sidebar competitions like Un Certain Regard, Director’s Fortnight, Critics Week, Cannes Classics and so on. Certainly the opener for Un Certain Regard, Sofia Coppola’s The Bling Ring and Ryan Coogler’s Sundance sensation Fruitvale Station (summer releases stateside) are both screening on the sidebar’s first day of May 16th and are instant must-sees in addition to James Franco’s directorial outing, As I Lay Dying, on May 20th.

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Did Oscars Punish ’2016 Obama’s America’? Producer Says Yes, Academy Says No

The Academy of Motion Picture Arts & Sciences recently opened up first-round Oscar voting to the entire documentary branch and abandoned the previous system of allowing a small committee to determine the short list of eligible films. This radically curtails the influence of the documentary branch governors. Interesting, because last month an accusation of political bias in the documentary branch was lodged against the Academy – specifically, in an April 16th letter from Gerald Molen who produced the controversial right-wing documentary 2016: Obama’s America (as well as the Oscar-winning Schindler’s List). Molen’s missive was sent to Academy President Hawk Koch and documentary branch governors Rob Epstein, Michael Apted, and Michael Moore who is also a member of the AMPAS Board Of Governors. Molen questions why 2016: Obama’s America was ignored for an Academy Award nomination even though it was last year’s second highest grossing political documentary (behind only Moore’s Fahrenheit 9/11.) Molen wrote:

“I find myself wondering if it was excluded for ‘other’ reasons…”

“I have tremendous respect for Michael Apted as a creative and talented filmmaker but putting him with Rob Epstein and Michael Moore as the gatekeepers in charge of which films get nominated in the documentary category seems patently absurd…

“While Mr. Moore is a distinguished filmmaker, he holds a strong partisan view representing what Gallup tells us is only 21 percent of the population. Even if he were able to keep his personal philosophy out of the equation, you can certainly understand why the larger American constituency (pegged at 40%) would question the exclusion of a well-made and popular film that fails to reflect his views. Even if only in perception, this assumed bias will serve (in my opinion) only to injure the Academy…

“All up and coming filmmakers deserve to be recognized for their creative sensibilities and should not be punished because the messages of their films fail to fit the dogma of what some believe is politically correct.”

Hawk replied on behalf of the Academy: Read More »

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Motion Picture Academy Email To Members: ‘We Want You To Be Advocates And Evangelists’

Pete Hammond

The Academy Of Motion Picture Arts & Sciences is still basking in the glow of its successful Academy general membership meeting on Saturday in LA and NY. So Academy President Hawk Koch and CEO Dawn Hudson sent out a letter summarizing the event to the Acad’s nearly 6,000-person membership Tuesday night. … Read More »

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‘Avengers’ Cast And Stingy Marvel Ready To Rumble Over Sequel Cash & Strong-Arming

EXCLUSIVE: Robert Downey Jr is set for another huge payday from a mega-hit Marvel movie, this time Iron Man 3. I’ve learned he’s already made $35 million from the actioner, which grossed $680 million worldwide in its first 12 days. He should exceed his biggest payday to date — that $50M from The Avengers which I’ve learned was more like $70M-$80M now that the film is all in. But it’s really Avengers 2 where he’ll clean up big-time — if he wants to reprise the role. He’s hinting to some media it may be time to retire Tony Stark. And saying to other outlets that Marvel better show him more money for Avengers 2. ”I don’t know,” he said on The Daily Show. ”I had a long contract with them and now we’re gonna renegotiate.” (“You are Iron Man! You are!” cheered Jon Stewart.) I’ve learned that Marvel and therefore owner Disney are going to run into big trouble on that sequel because the upfront pay, backend compensation, break-even points and box office bonuses aren’t pinned down yet for several big stars and castmates. This is major hurdle that Walt Disney Co Chaiman/CEO Bob Iger hasn’t even mentioned to Wall Street or shareholders though he’s already been hyping Avengers 2 for more than a year now.

First and foremost Marvel does not have Downey in place yet. ”They need him, and they don’t have him. He’s got a lot of leverage,” one insider tells me. Much less so Scarlett Johannsen (paid to pop up in Marvel movie after movie), Chris Evans (whom some sources say made his deal for Avengers 2 when he signed for Captain America 2), Chris Hemsworth (a much bigger star now than before and unsigned for Avengers 2), Mark Ruffalo (whose Hulk role already was cast 3 times and could be the most vulnerable), Jeremy Renner (probably grateful for more exposure), Samuel L. Jackson (Scarlett’s doppelganger) among others who were paid pittances for their first movies, not much better for the sequels, and are counting on at least $5 million upfront and better back ends for Avengers 2. That means much better than what Marvel claimed was Avengers’ break-even point: a whopping $1.1 billion in global grosses. (“If Avengers wasn’t profitable until then, why would you make it?” one rep pointedly asked Marvel top execs Kevin Feige and Louis Esposito.) In a business where studio accounting is known as fatal subtraction and even worldwide blockbusters are still supposedly in the red, Marvel and its famously frugal CEO Ike Perlmutter still give new meaning to the term stingy. I’ve learned that one reason why The Avengers was nominated for only one Oscar – Best Visual Effects – in the 85th Academy Awards contest was because Marvel refused to pay for an awards season campaign for the picture. And even when Disney offered to foot the bill, Marvel still wouldn’t budge. (Yet the Academy Of Motion Picture Arts & Sciences assembled the cast onstage to create buzz.) Here’s how one exec describes any negotiation with Marvel: “I wouldn’t say it’s brutal. It’s uncompromising, not mean or draconian. The fact is this is the reality of the world we’re living in right now.”

Related: Disney And Marvel Do Damage Control After Media Scrutiny Of Ike Perlmutter

But The Avengers cast are ready to rumble with Marvel for the Avengers sequel slated for a May 2015 release. “Some received only $200,000 for Avengers and Downey got paid $50M. On what planet is that OK?” an insider tells me. CAA represents an overwhelming majority of the Marvel stars and is trying hard to keep the negotiations out of the public limelight and media headlines. But that may not be possible with some reps blaming the studio for ’scorched earth’ tactics past and present. ”Marvel has created so much animosity by strong-arming and bullying on sequels already. It’s counterproductive,” one source tells me. Says another, “I’m sick of Kevin Feige telling me again and again how Marvel is ‘reinventing the movie business’. It doesn’t work like this. They’re reinventing business, period.” I’ve learned Marvel already has threatened to sue or recast when contracts and/or options are challenged. That prompted a few cast members to respond, “Go ahead.” I hear Hemsworth especially wasn’t anxious to go back into that arduous diet and training regimen and subsist primarily on egg whites for Thor: Dark World which hits theaters November 8th. I also understand that Scarlett Johanssen told castmates she’s “not going to cut her quote” for Marvel’s Avengers 2. The actress as butt-kicking operative Black Widow in The Avengers and Iron Man 2 is wrapping Captain America: The Winter Soldier and has a whopping 8 options total.

Already a lot of brinkmanship played out for Captain America 2 and Thor 2. Calling it the “weirdest experience”, one rep still can’;t believe Marvel offered “only a $500,000 raise and then would pay another $500,000 when the movie hits $500M. Are they out of their minds?” When it was pointed out to Marvel that Hemsworth already had received $5M for his starring role in Snow White And The Huntsman, the studio shot back, ”I don’t know why you’re complaining when Marvel only has hit movies.” To which the response was, “He’s happier working at a place like Universal.” After hard-fought bargaining, Chris Evans for Captain America 2 and Chris Hemsworth for Thor 2 wound up with deals still weighted on the back end but at least with attainable break-even numbers and small upfront guarantees and box office bonuses.

The issue going forward is how many of the Avengers stars and starlets are still bound by early agreements and longterm options which Marvel can continue to exploit individually. To counter, I’ve learned the Avengers cast are becoming united behind Robert Downey Jr who is seen as the “leader” – like “a big brother” in the words of one rep - for all the younger actors in the ensemble. “He’s the only guy with real power in this situation. and balls of steel, too. He’s already sent a message that he’s not going to work for a place where they treat his colleagues like shit,” one source explains. Another rep tells me, “I have four words for Marvel – ‘Fuck you, call Robert.’”  Read More »

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Academy Meeting A Hit Say Hudson, Hawk – But What Did Members Think?

Pete Hammond

Today’s first-ever Academy membership meeting was deemed a success by both Acad President Hawk Koch and CEO Dawn Hudson, as well as a random sampling of several members with whom I spoke immediately following. Certainly the turnout was stellar with the Academy’s Samuel Goldwyn Theatre (which has about 1000 seats) nearly full with members only (no guests) which Koch told me was the first time since it was built that the audience was near-SRO with only Academy members. Koch says New York and Bay Area venues were also well-attended which bodes well for continuing this as an annual event. “On a scale from one to ten, I give it a twelve”, said Koch who according to several attendees I talked to got lots of plaudits from those who asked questions in the audience. ”We’ll hear from our members. But in that room there was a lot of love for this event. I don’t think there has ever been an occasion where we just invited members. It was historic in that way. This kind of came out of the branch mixers we have done, and people asked about doing something cross-branches which was sort of the impetus for this meeting”, Hudson told me in a joint call with Koch shortly after the 12:35PM (PT) conclusion of the event. Read More »

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Academy Announces New Rule Changes At Membership Meeting; All Members Can Now Vote On Foreign Language Films

Pete Hammond

The Academy announced rule changes that will allow  all  members for the first time to vote in all 24 categories including Foreign Language and Documentary Shorts, either via theatrical screenings or DVD.  Previously members had to attend special screenings for … Read More »

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Dick Zanuck Documentary Premieres At TCM Fest Closing

Pete Hammond

After four days of pristine presentations of certified vintage (mostly) classic movies, the TCM Classic Film Festival saved its only new film for the last day Sunday with the official world premiere of the documentary Don’t Say No Until I Finish Talking: The Story Of Richard D. Zanuck. The 90-minute doc begins airing on TCM next month, and it’s not only a must for anyone interested in the extraordinary career of Zanuck, but as a primer on survival in the dog-eat-dog movie industry.

Even though the  Egyptian Theatre screening was a “world premiere”, the film actually was first seen in early October at Zanuck’s memorial service at the Academy of Motion Picture Arts and Sciences. (Zanuck died July 13 of a sudden heart attack at age 77). As his widow and co-Oscar-winning producer Lili Fini Zanuck (Driving Miss Daisy, Cocoon) told me before Sunday’s screening, “When it was time to do the memorial I was so grateful to have this footage. There’s just nothing that could come close. There’s no montage I could have come up with or people speaking — you never would have wanted people speaking for some 90-odd minutes. And I felt so fortunate that night at the Academy to have this incredible documentary. It is not that it just follows Dick’s life, it’s that it is incredibly inspiring to people… After the memorial some people came up to me and said ‘Oh I wish I knew Dick this way’, and I said ‘You would never know Dick this way’. He wasn’t that kind of person. He didn’t see himself as a role model of any kind I think. He was just doing his best , and in his youth he was sort of rough and tumble. He would have gotten a big kick out of people finding him inspiring.” Read More »

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Movie Academy Membership Quotas Dissolved: But Does It Mean Anything?

By PETE HAMMOND | Friday April 26, 2013 @ 7:45pm PDT
Pete Hammond

Media reports swirled this afternoon that the Academy of Motion Picture Arts and Sciences is dissolving a rule in place since 2004 that created quotas to keep membership to minimum numbers and the eligible voting body to 5800-6000 members. Sources within the Academy have confirmed this to Deadline, but noted it really is old news since this change was voted by the Board Of Governors in October. The source also called it “non-news” because any changes that might come about because of it are still a work in progress. Conceivably, without the limit on new members in each of the 15 branches affected, these branches could open the floodgates and admit more members than ever before. But that is not likely to happen based on conversations I have had today with Acad insiders, including those most affected by the relaxation of rules.

An Academy source told me the change was enacted in October in order to be more “inclusive” and pave a path for admittance to industry members who have an impressive body of work but for whatever reason have not been granted membership. It’s a way to “open the ranks”, I am told, but it was also emphasized that it in no way will lessen the existing professional criteria that has always applied in bringing in new members. This rule change is just the first part of a process that will accelerate in May, when each branch meets to determine which new members of those who have applied will be granted entry into this most exclusive club; the application process closed several weeks ago, and there can be no more new applications for 2013 beyond those already processed. The recommendations will then go to the general membership committee and then to the Board for final approval. The Academy expects to release a list of those accepted for membership by mid-June, I am told. Last year, 176 members were admitted, and that number is fairly close to the norm for the past decade. Read More »

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Hollywood’s Proud Past Lives Again This Week With AFI, TCM Classic Film Festival And Danny Kaye Centennial

Pete Hammond

In Hollywood they say ‘everything old is new again’ and that has never been more true this week than with a massive celebration of classic films and stars. There is tonight’s AFI Night At The Movies with 13 classic titles (including Best Picture winners like In The Heat Of The Night  and Terms Of Endearment) taking up every screen at Hollywood’s Arclight Theatre complete with in-person introductions from their original stars (Shirley MacLaine, Cher, Sidney Poitier, Sally Field and Harrison Ford among them). There is a year-long centennial celebration of the great Danny Kaye and a reminder of his talent at year’s end with the Fox remake of a Kaye classic, The Secret Life Of Walter Mitty. And starting Thursday with the World Premiere restoration of Funny Girl, the 4th Annual TCM Classic Film Festival kicks off its four day run in Hollywood.

Even as competing fests this week at Tribeca and in San Francisco try to steal the spotlight for new films from a new generation, The Turner Classic Movies fest has become a big deal focusing on the past. And not only for the network, but as a signature event where studios can show off new digital restorations of classic films with the same hoopla that might have accompanied their original premieres. Though its stars Barbra Streisand and Omar Sharif won’t be attending the Funny Girl restoration’s premiere at the Chinese Theatre tomorrow night (Sharif is in Europe; Streisand is sending a statement to be read by TCM host Robert Osborne) many vintage stars including festival honorees like Eva Marie Saint, Ann Blyth, Max Von Sydow and numerous others are expected to walk the red carpet. Competing for attention across the street at the Hollywood Roosevelt Pool will be TCM’s pristine digital presentation of 1958′s South Pacific with stars Mitzi Gaynor and France Nuyen on hand. TCM’s longtime talent exec, Darcy Hettrich has the herculean task of turning out all the great stars of Hollywood’s past  that keep these fans buzzing. Read More »

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UPDATE: Seth MacFarlane Gets Oscar Call; Plus Why Academy Asked Back Zadan And Meron

By PETE HAMMOND | Monday April 22, 2013 @ 12:12pm PDT
Pete Hammond

UPDATE, 12:12 PM: After an initial denial, Deadline can now confirm that Seth MacFarlane did indeed get a call about returning as host of next year’s 86th Annual Academy Awards but has not given an answer yet. The big problem for MacFarlane, we are told by highly reliable sources, is his already full plate with a new Western comedy, A Million Ways To Die In The West, going into production soon as well as initial work on Universal’s sequel to Ted, which has amassed a worldwide gross of over half a billion dollars and is obviously a priority for the studio.

Despite saying after this year’s Oscars that he wouldn’t consider coming back, MacFarlane is mulling the offer but at this point isn’t sure he has the time to do it. For the 85th Oscar show, he was closely involved for four months, and that is a big-time commitment. The Academy, returning producers Craig Zadan and Neil Meron and MacFarlane’s PR reps aren’t commenting so far, and neither is Academy president Hawk Koch.

MacFarlane’s comic Western film is being produced by the Ted team of Media Rights Capital and producers Scott Stuber and Jason Clark. MacFarlane, who directs, co-writes with Ted and Family Guy colleagues Alec Sulkin and Wellesley Wild, also stars as a bumbling sheep farmer in the comedy said to be in the vein of Blazing Saddles. Charlize Theron, Amanda Seyfried and Giovanni Ribisi co-star.

PREVIOUSLY, SATURDAY PM: Craig Zadan and Neil Meron aren’t talking yet (an Academy spokesperson said they are too busy at the moment producing their History Channel production of Bonnie And Clyde). But after the surprise announcement this week that they would be returning to produce the 2014 Oscar show, gossip blogs like HuffPo and others started spreading the obvious rumor that their handpicked — and controversial — 2013 Oscar host Seth MacFarlane already has been asked to do the gig again next year. Not true at all, Deadline has learned from MacFarlane’s reps. And shortly after the 85th Oscar show was over MacFarlane himself swore off any ambition to do the show again next year – or ever (of course never say ever). So with the false rumors out of the way let’s discuss what is true about the Academy’s Zadan/Meron play this week.

Even as much of the industry was in Las Vegas at CinemaCon for the past few days (including myself) seeing snippets of films still in production that could possibly turn up as Oscar contenders, the normally rigid Academy of Motion Pictures Arts & Sciences surprised us all by announcing 2013 show producers Zadan and Meron would be returning to produce the 2014 show as well, 11 months from now. Normally this is the first duty of an Academy President to choose after elections are held in August, and since current one-term President Hawk Koch will not be that person, it was quite unexpected to see him delivering this news in April, just a month and a half after the last show and before a new President would have any say in the matter, something Nikki specifically expressed shock at in her story on Tuesday.

After talking to numerous Academy insiders and board members this week who were directly involved in the process that led to this early bird choice, the word that comes up over and over is “continuity”. Other awards shows such as the Tonys, Grammys and even Emmys tend to go back to the same producers year after year, but as one former Academy President told me the Oscar show producing chores have lately been done “trial by fire”. Since the late Gil Cates produced his 14th and final Oscarcast in 2008, there has been a new team of producers every single year. The Board, which I am told was very much behind this decision, agreed that “continuity”, the kind they had in the Cates era, is important. That’s another reason the Academy has already announced show dates for both 2014 and even 2015 quelling any speculation the Oscars would move any earlier than the last Sunday in February (due to the Winter Olympics the 2014 show will be a week later on March 2).
Read More »

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CinemaCon: Fox Unveils Ben Stiller’s ‘Secret Life Of Walter Mitty’ Which Could Be Oscar Bound

Pete Hammond

20th Century Fox (“and it is called 20th Century Fox,” as Distribution President Chris Aronson wryly noted in his welcoming remarks) presented to theater owners at CinemaCon today. The highlight was about 12 minutes of selected scenes from the studio’s holiday release The Read More »

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CinemaCon: Can Star-Driven 2013 Slate Power Sony To Top Their Best Year Ever?

Pete Hammond

Sony Pictures played it lean and mean with a tightly produced program for exhibitors at CinemaCon on Wednesday evening that put the emphasis squarely where the theatre owners wanted it — on the product. And the studio delivered as promised with an intriguing 51-minute reel showcasing their 2013 movie slate — and in no particular order. Where other studios this week have put the emphasis on summer, Sony presented a year-round picture with a wide diversity of product and more than one potential Oscar contender.

Among the previously unseen footage in the reel were brief snippets from year-end awards contenders The Monuments Men directed by and starring George Clooney and an all-star cast, along with David O. Russell’s newly named American Hustle with virtually the entire cast of last season’s Russell Oscar darling Silver Linings Playbook. Also, Tom Hanks is starring as Captain Phillips (October) from director Paul Greengrass, a true story about a ship hijacked by Somalian pirates. If this weren’t enough to whet Oscar-watcher appetites there was generous footage from 2010 Best Picture Oscar nominee Neil Blomkamp’s (District 9) latest, Elysium, which those who have seen a rough cut tell me could be another contender for the director. Matt Damon and Jodie Foster star. There’s also a Russian production of a World War II epic, Stalingrad, from director Fedor Bonarchuk which the studio is partnering on for fall release that has “prestige product” written all over it. Read More »

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CinemaCon: Disney’s Vegas Act Includes Johnny Depp And ‘Lone Ranger’ Footage

Pete Hammond

Alan Horn today made his CinemaCon debut in his new capacity as Chairman of Walt Disney Studios hosting a long three hour presentation that was a slide show highlighting the studio’s entire slate for the next two years. It … Read More »

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CinemaCon: Warner Bros Wins Strong Exhibitor Reaction To Summer Slate

Pete Hammond

It was Warner Bros Pictures’ turn for studio slate presentations at the CinemaCon convention in Las Vegas Tuesday and President of the Warner Bros Pictures Group Jeff Robinov unveiled the studio’s packed summer lineup with its familiar mix of comedy, horror, superheroes, monsters, and sequels. Robinov looked to the future and thanked all the studio’s partners: New Line, Legendary, Village Roadshow, Alcon, and MGM (on the Hobbit trilogy). He also thanked his new boss Kevin Tsujihara who won the job of Chief Executive Officer replacing Barry Meyer. ”All of us share his vision and this will be an exciting time under his leadership,” Robinov said. Distribution head Dan Fellman initiated a bunch of baseball analogies after the success of Legendary Pictures/Warner Bros’ Jackie Robinson biopic 42 last weekend. It followed a string of 5 straight box office disappointments for Warner Bros and occasional other partners (like New Line). ”Consistency has always been a hallmark of Warner Bros Pictures. But even the most consistent player can hit a few fouls,” Fellman told exhibitors. Fellman emphasized that Warner Bros is the only studio to score $1 billion box office gross domestically 12 years in a row. And International Distrib topper Veronika Kwan Vandenberg pointed out that the studio in 2012 grossed over $4 billion worldwide thanks to hits like The Dark Knight Rises  and The Hobbit: An Unexpected Journey. Add to that the 85th Oscar-winning Best Picture success of Argo. Plus, this year Warners Bros is celebrating the 90th anniversary of its founding by the Brothers Warner in 1923.

The season starts out May 10th with the 3D drama from Baz Luhrmann, The Great Gatsby, originally intended for the 2012 awards season but held for Summer 2013 instead. Luhrmann is still tweaking the movie which will open the Cannes Film Festival on May 15th, but sent along a pre-taped introduction – complete with music underscoring  to the film’s trailer. Footage was shown at last year’s CinemaCon but this was much different and in 3D. No question it looks like another visual triumph for the director of Moulin Rouge  and Romeo And Juliet which starred his Gatsby lead Leonardo Di Caprio. Luhrmann said he was inspired to use 3D when he saw a 3D screening of the Alfred Hitchcock 1950s drama Dial M For Murder (also released by Warners). Even though he said the most special effect in this movie is the acting.

Director Todd Phillips publicly chided Luhrmann before introducing The Hangover Part III trailer. “It would be nice if Baz showed up. There are a lot of directors backstage. We showed up,” he said. Phillips then fed the exhibitors’ egos by saying that comedies should be seen in theaters where everyone can laugh together. Warner’s is now referring to his sleeper smash as the Hangover Trilogy.

Next was Zack Snyder, director of Man Of Steel, who turned up with the world premiere of the film’s new trailer which will play before Oblivion starting on Friday. “There’s no competition between superheroes obviously. But if there were, he would win,” said the unabashed fan of the comic book hero. “I am sorry to even have to say this now but we shot the movie on film and anamorphic. We wanted to give your cinemas a big giant movie movie.” He also acknowledged producer Christopher Nolan’s help during their first meeting in steering him in the right direction on the film. Nolan and his co-producers Emma Thomas and Chuck Roven were in the audience but oddly not introduced to the crowd. The trailer played well and Nolan seemed pleased with the reaction when I saw him afterwards. Read More »

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