“Let’s see what’s on Netflix” is a phrase becoming all the more common. It seems to be said more often that the traditional phrase “Let’s go to the movies.” More people than ever seem to be turning on the remote (or computer mouse) instead of going out to the movie theater. While the film industry has had several disappointments, TV seems to be thriving more than ever.
TV is becoming everyone’s BFF
In 2013 Netflix released a slew of original programming including the political drama House of Cards, the Arrested Development comeback and the much-beloved women’s prison drama Orange is the New Black. Two of Netflix’s shows received Primetime Emmy Award nominations, a first for web syndicated television content.
With big-budget flicks disappointing and movie making becoming more riskier, TV seems to be a safe haven that many are flocking to.
Anna Faris: Launched to the spotlight after starring in the horror parody film Scary Movie, Faris had a good amount of films under her belt. In 2013 she shifted gears and accepted her first full-time television gig, playing a single mother with her recovering alcoholic mother in the CBS series Mom.
Kevin Bacon: No need to watch Footloose again, Kevin Bacon leads Fox’s thriller drama series The Following.
Kerri Washington: Known for her wide array of film credits, in 2012 Washington became the first African-American actress to lead a prime-time network series in 40 years. Scandal airs on Thursdays on ABC.
Wish I Was Here, the movie Zach Braff co-wrote/directed, premiered at the Sundance Film Festival two weeks ago. I was a little excited about the movie premiering due to the fact that I pitched in via Kickstarter to fund it back in April 2013 (I can call myself a movie producer!). While my excitement was somewhat high, it quickly went down. Zach Braff and the rest of the staff working on Wish I Was Here haven’t done a really good job of making their Kickstarter backers (which funded $3.1 million of the $6 million budget) feel very appreciated.
Being a public relations major I felt the need to point out some of the missteps that Braff and the rest of the Wish I Was Here team have done. Discontent among the backers for the project has become more evident since its premiere at Sundance. Flavorwire pointed out about how the film and its production is becoming a public relations nightmare. Read the article here.
The first thing wrong with the Wish I Was Here Kickstarter production is the delay of the rewards. Kickstarter backers were promised to receive rewards based on the varying levels of money they pledged to the project. Yet since the finish of the project campaign in May 2013, backers have gotten nothing except a few behind the scenes videos. They have basically gotten nothing more than the average user would get when purchasing the home media DVD.
To make matters worse, in November 2013 Braff decided to open the wishiwasheremovie.com site to everyone. Everyone had access to the videos. Backers who pledged their money were receiving nothing more than what the typical internet surfer could find.
Zach Braff should have thought twice before reaching out to crowdfund his film. He said the reasoning for the kickstarter campaign was so he could remain creative control over the film and not have to cut things. His rational doesn’t hold much clout given the fact than nearly all filmmakers have to be willing to sacrifice some things to get their movie made.
Veronica Mars, the other big film financed through kickstarter, differs from the public relations nightmare of Wish I Was Here. Veronica Mars was backed by fans before the campaign even started. Rob Thomas (creator of series) kept constantly communication with the backers. Rewards were put out not too long after the film finished shooting. Veronica Mars was not co-financed with the help of a major hollywood studio like Wish I Was Here.
Main Point: Communicate more with your backers Braff. Give them the rewards they were promised, sooner rather than later. Make them feel part of the production rather than just providing the stock behind the scenes videos.
Reading through my RSS feed of Indiewire, I came across this article about the marketability to different age groups. The article isn’t all that suprising, everyone already knows that most movie studio executives are very cut and dry about the movies they pick up and how to market them. A particular line of it provides a general synopsis of the value in the playbook: No one sets out to make a movie without a particular audience in mind. One line of the playbook rings suprisingly true in a time of social media cravings and short attention spans: films no longer have time to find their audience; that audience has to be captured well in advance.
The article details the marketing drive that has a huge impact on the content of the film. It mentions why few films are made for certain age groups. Seeing the article’s title, most would brush it off as insignificant but it has some suprising statements.
Recent examples of that go off this guide could include the January openings of this year. The Kevin Hart/Ice Cube comedy Ride Along, with it’s humor filled action scenes and witty dialogue, went on to make $41 million in it’s opening weekend against a budget of $25 million. The film targeted the 18-30 demographic looking for a mindless comedy to gravitate to. Jack Ryan: Shadow Recruit failed in attracting much of the younger demographic but got a suprising turnout with viewers over age 50. Jack Ryan had what many older viewers liked: action, classic genres and men being adventurous. Ride Along targeted much of the younger generation with it’s mindless humor and comedic tone.
Movies are more manufactured than most outside the industry imagine. It’s time to take a closer look.
The 86th Academy Awards® will air live on March 2, 2014
Twitter rage was at full speed today as people typed out raging messages in 140 characters or less (with the #oscars hashtag of course). Some rejoiced as Leonardo DeCaprio got an Best Actor Oscar nomination for the Martin Scorsese directed film The Wolf of Wall Street. A #pray4leo hashtag seemed to be trending. Fans of his want this to finally be the year he wins an Oscar. Contrasting the Leo fanfare, many were shocked that Tom Hanks was shut out from a Best Actor nomination for Captain Phillips. Hanks is loved by the academy. He has five nominations and two back-to-back wins. I guess critic acclaim for the film and his performance wasn’t enough.
Many pointed out the fact that despite the acclaimed directing and Oprah Winfrey’s praised performance, Lee Daniel’s The Butler received zero nominations. The Atlantic’s claim of Hollywood’s view on black women won’t be as evident at this years ceremony (click here for article). The snubs brings up the issue of how biased The Academy is when considering potential contenders. The majority of the best picture, directing, and acting categories are filled with big named directors and people who have a good “clout” with The Academy.
Indie darlings like Fruitvale Station, Short Term 12, Enough Said, Spring Breakers, and many more were completely shut out. Fruitvale Station, an acclaimed film that pushed lead actor Michael B. Jordon to the spotlight, received zero nominations. Julia Louis-Dreyfus and Brie Larson, two actresses that had touching films that resonated with audiences weren’t even given the light of day by The Academy. Despite critical and audience acclaim and several festival awards to back them, they still received no prominent Oscar buzz.
Head over to twitter or internet comment sections if you dare. An abbreviated nominations list is below.
Best picture
“12 Years a Slave”
“The Wolf of Wall Street”
“Captain Phillips”
“Her”
“American Hustle”
“Gravity”
“Dallas Buyers Club”
“Nebraska”
“Philomena”
Best director
Steve McQueen — “12 Years a Slave”
David O. Russell — “American Hustle”
Alfonso Cuaron — “Gravity”
Alexander Payne — “Nebraska”
Martin Scorsese — “The Wolf of Wall Street”
Best actor
Bruce Dern — “Nebraska”
Chiwetel Ejiofor — “12 Years a Slave”
Matthew McConaughey — “Dallas Buyers Club”
Leonardo DiCaprio — “The Wolf of Wall Street”
Christian Bale — “American Hustle”
Best supporting actor
Barkhad Abdi — “Captain Phillips”
Bradley Cooper — “American Hustle”
Jonah Hill — “The Wolf of Wall Street”
Jared Leto — “Dallas Buyers Club”
Michael Fassbender — “12 Years a Slave”
Best supporting actress
Jennifer Lawrence — “American Hustle”
Lupita Nyong’o — “12 Years a Slave”
June Squibb — “Nebraska”
Julia Roberts — “August: Osage County”
Sally Hawkins — “Blue Jasmine”
Best original screenplay
“American Hustle” — David O. Russell and Eric Warren Singer
“Blue Jasmine” — Woody Allen
“Her” — Spike Jonze
“Nebraska” — Bob Nelson
“Dallas Buyers Club” — Craig Borten and Melisa Wallack
Best adapted screenplay
“12 Years a Slave” — John Ridley
“Before Midnight” — Julie Delpy, Ethan Hawke and Richard Linklater
“The Wolf of Wall Street” — Terence Winter
“Captain Phillips” — Billy Ray
“Philomena” — Steve Coogan and Jeff Pope
Best animated feature
“The Wind Rises”
“Frozen”
“Despicable Me 2”
“Ernest & Celestine”
“The Croods”
Best music (original song)
“Frozen”: “Let it Go” — Robert Lopez and Kristen Anderson-Lopez
“Mandela: Long Walk to Freedom”: “Ordinary Love” — U2, Paul Hewson
“Her”: “The Moon Song” — Karen O, Spike Jonze
“Despicable Me 2”: “Happy” — Pharrell Williams
“Alone Yet Not Alone”: “Alone Yet Not Alone” — Bruce Broughton, Dennis Spiegel
Best cinematography
“Gravity” — Emmanuel Lubezki
“Inside Llewyn Davis” — Bruno Delbonnel
“Nebraska” — Phedon Papamichael
“Prisoners” — Roger Deakins
“The Grandmaster” — Phillippe Le Sourd
Best costume design
“The Great Gatsby” — Catherine Martin
“12 Years a Slave” — Patricia Norris
“The Grandmaster” — William Chang Suk Ping
“American Hustle” — Michael Wilkinson
“The Invisible Woman” — Michael O’Connor
Best supporting actor
Barkhad Abdi — “Captain Phillips”
Bradley Cooper — “American Hustle”
Jonah Hill — “The Wolf of Wall Street”
Jared Leto — “Dallas Buyers Club”
Michael Fassbender — “12 Years a Slave”
Best supporting actress
Jennifer Lawrence — “American Hustle”
Lupita Nyong’o — “12 Years a Slave”
June Squibb — “Nebraska”
Julia Roberts — “August: Osage County”
Sally Hawkins — “Blue Jasmine”
Best original screenplay
“American Hustle” — David O. Russell and Eric Warren Singer
“Blue Jasmine” — Woody Allen
“Her” — Spike Jonze
“Nebraska” — Bob Nelson
“Dallas Buyers Club” — Craig Borten and Melisa Wallack
Best adapted screenplay
“12 Years a Slave” — John Ridley
“Before Midnight” — Julie Delpy, Ethan Hawke and Richard Linklater
“The Wolf of Wall Street” — Terence Winter
“Captain Phillips” — Billy Ray
“Philomena” — Steve Coogan and Jeff Pope
Best animated feature
“The Wind Rises”
“Frozen”
“Despicable Me 2”
“Ernest & Celestine”
“The Croods”
Best foreign feature
“The Hunt” (Denmark)
“The Broken Circle Breakdown” (Belgium)
“The Great Beauty” (Italy)
“Omar” (Palestinian territories)
“The Missing Picture” (Cambodia)
Best music (original song)
“Frozen”: “Let it Go” — Robert Lopez and Kristen Anderson-Lopez
“Mandela: Long Walk to Freedom”: “Ordinary Love” — U2, Paul Hewson
“Her”: “The Moon Song” — Karen O, Spike Jonze
“Despicable Me 2”: “Happy” — Pharrell Williams
“Alone Yet Not Alone”: “Alone Yet Not Alone” — Bruce Broughton, Dennis Spiegel
Best music (original score)
“Gravity” — Steven Price
“Philomena” — Alexandre Desplat
“The Book Thief” — John Williams
“Saving Mr. Banks” — Thomas Newman
“Her” — William Butler and Owen Pallett
Best cinematography
“Gravity” — Emmanuel Lubezki
“Inside Llewyn Davis” — Bruno Delbonnel
“Nebraska” — Phedon Papamichael
“Prisoners” — Roger Deakins
“The Grandmaster” — Phillippe Le Sourd
Best costume design
“The Great Gatsby” — Catherine Martin
“12 Years a Slave” — Patricia Norris
“The Grandmaster” — William Chang Suk Ping
“American Hustle” — Michael Wilkinson
“The Invisible Woman” — Michael O’Connor
Best documentary feature
“The Act of Killing”
“20 Feet From Stardom”
“The Square”
“Cutie and the Boxer”
“Dirty Wars”
Best film editing
“Gravity” — Alfonso Cuaron, Mark Sanger
“12 Years a Slave”– Joe Walker
“Captain Phillips” — Christopher Rouse
“American Hustle” — Jay Cassidy, Crispin Struthers and Alan Baumgarten
“Dallas Buyers Club” — John Mac McMurphy and Martin Pensa
