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OSCAR MOGULS: Rich Ross Q&A

The Deadline Team of Nikki Finke, Pete Hammond, and Mike Fleming have spent recent days interviewing the studio moguls to gauge their perspective on this very close Oscar race:

WALT DISNEY STUDIOS
12 Nominations: 5 Toy Story 3, 3 Alice In Wonderland, 1 Tron: Legacy 3D, 1 The Tempest, 1 Tangled, 1 Day & Night

DEADLINE’s Nikki Finke: You’ve never done an Oscar campaign before. These weren’t even your movies. What was the biggest challenge you were facing?
RICH ROSS: For me to be able to support films that I didn’t greenlight was putting me in the brain of a marketer. I certainly knew I was lucky that I saw Alice In Wonderland before it was complete, and I saw Toy Story 3 way before it was complete. I think what made it very easy for me, in all honesty, was working with Tim Burton on Alice or working with John Lassiter — people who pour their heart and soul into these movies. And seeing how these movies both performed and were talked about and heralded is no less thrilling because I didn’t greenlight them. I see the faces of the people who win and you know they are thrilled. And that makes me happy. I would say that the most challenging situation was coming in and coming up with a strategy of support. At the same time you don’t have relationships which people have had for 20, 30, 40 years with the different organizations who determine the outcome of those races — people in the Directors Guild or people in the Producers Guild or the Hollywood Foreign Press Association, or the National Board of Review. These are many, many organizations aside from the critics who are giving out kudos.

DEADLINE: But you had Oscar consultants.
ROSS: We already had Tony Angelotti on the animation side, and we had Kira Feola on the live action side. They’ve split up the responsibilities. And the late Ronni Chasen was working on Alice In Wonderland, too, because she had worked with the Zanucks for a very long time. So Dick had asked me if it was possible to bring in Ronni to help support the film, and of course to support the filmmaker we said sure.

DEADLINE: It must have been such a blow for everyone at Disney when she died.
ROSS: Well, it was beyond shocking because I saw her the night before and she was very much in the heat of the moment because she was very close with the Zanucks and so when it happened it was very tough.

DEADLINE: You’ve done plenty of Emmy campaigns. What is the difference do you think now?
ROSS: The Emmy campaign is so much more targeted because you’re really going for one group of people who are voting on that series of awards. The Oscar campaign difference is the diversity of the groups. You have to thread the needle. You are going from literally that first National Board of Review list through every critics group that are in Iowa and St. Louis to all the Guild groups til you get to the Oscar nomination and an Oscar win.

DEADLINE: Let’s talk about Alice in Wonderland first. It didn’t get a Best Picture nomination.
ROSS: My feeling on Alice was I knew going into it we had a proverbial issue of timing. Obviously, it made a billion dollars. But that doesn’t help you. It opened in March. So it was about getting people to remember what they saw. Aside from the problem of when they do see it, the No. 2 challenge is commercialism which seems to come up every year. Last year the ultimate was with Avatar vs The Hurt Locker where people felt Avatar already had its success because the box office was there. It’s not that it doesn’t get attention but it’s definitely a challenge in terms of people’s interpretation of the Awards season. And one of the curious things for me was Mia Wasikowska who was doing her first film and held together a $150 million plus film that made a billion dollars. And when people are talking about breakout stars, I would stand around talking about her, and they are like, ‘Really?’ Now she’s getting huge movies and I believe she will be a huge star. But to me that was the most curious.

DEADLINE: And then Tim Burton has been pretty much ignored by Oscar voters.
ROSS: I think he’s clearly at the top of his game. This was a giant year for him and I assume he wanted to be appreciated. I do believe that day will come before it has to be an honorary Oscar. And I don’t believe it will be a small movie, Nikki. I do believe it will be some substantial commercial film where people will say, ‘It’s about time.’ Read More »

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38th Annual Annie Animation Awards: DWA’s ‘How To Train Your Dragon’ Wins (After Disney Boycotts)

The controversial 38th International Animated Film Society’s Annie Awards announced their awards for Best Animated Feature tonight (see below): but remember that the official press release doesn’t mention that Disney/Pixar boycotted the awards and refused to participate due to complaints they have about the voting process among other things — like the fact that DreamWorks Animation pays for membership but Disney doesn’t. Though the Annies nominated two Disney films in the top category as well as directing and writing for Toy Story 3 (how could they avoid it and maintain cred?), the group gave Disney and Pixar only 7 mentions. But the Annies showered 15 nominations on DreamWorks Animation’s How To Train Your Dragon and 39 nods overall that included films like DWA’s Megamind and Shrek Forever After. Tonight’s winners were dominated by DWA:

LOS ANGELES, Calif. (February 5, 2011) — DreamWorks Animation’s “How To Train Your Dragon” won top honors as the Best Animated Feature at the 38th Annual Annie Awards on Saturday, February 5 at UCLA’s Royce Hall. Best Animated Short Subject was presented to Pixar’s ‘Day & Night’; Best Animated Television Commercial to Duck Studios ‘Children’s Medical Center’; Nickelodeon’s ‘SpongeBob SquarePants’ was honored as Best Animated Television Production for Children and Playdead’s ‘Limbo’ won Best Animated Video Game. A new category, Character Animation in a Live Action Production was presented to Sony Pictures’ ‘Alice in Wonderland.’ The Winsor McCay award was presented to three animation industry leaders – Brad Bird, Eric Goldberg and

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