Producer to Watch: Megan Ellison

Every month I typically pick a performer to watch, but this month its time to focus on a producer.  My boss sent me an article back in March of last year from Vanity Fair about upstart producer Megan Ellison.  Who is Megan Ellison, and why does she matter?  If you value quality film, she may be the future.  I wish I had as much of inside glance on this woman as Vanity Fair writer Vanessa Grigoriadis  (her article http://www.vanityfair.com/hollywood/2013/03/megan-ellison-27-producer-zero-dark-thirty).  What I can do is paint an important picture about her importance to quality film through her time as "the most talked-about independent financier in Hollywood.

At 27 Megan Ellison already has an impressive list of production credentials:

True Grit (2010)
The Master (2012)
Zero Dark Thirty (2012)
Spring Breakers (2013)
Her (2013)
American Hustle (2013)
Upcoming Films:
Foxcatcher (2014)
Terminator 5 (2015)

Ellison is the daughter of billionaire Oracle Corporation CEO Larry Ellison; she started with some minor funding some projects back in 2006 for minor projects.  Ellison's biggest pay-off was her investment in the 2010 remake of the Coen Brothers film True Grit, which made a good amount of money.  After Grit she was given more money to invest, in other films.  Ellison has also founded Annapurna Pictures.  The goal of the film production company on their website is to "produce sophisticated high-quality films that might otherwise be deemed risky by contemporary Hollywood studios"

If you look at the list of films listed above you will see two Best Picture nominees, and three films with acting nominations.  Her and American Hustle have yet to make their impact, but Hustle will most likely make the Best Picture race.  These films are also quite good, and will make their mark on film history.  An interesting fact about Ellison is that she outbid Lionsgate for the rights of The Terminator franchise in 2011, which gives me hope for the future of that film series.

Megan Ellison is a woman to watch, its rare to see a female producer out there in the trenches fighting for quality film.  There are some big names out there like Laura Ziskin, but at such a young age Megan Ellison is a producer to watch, and a person who could change the game the way the Weinstein Brothers did many years ago.

Academy Award Week (2013): Best Supporting Actor....Are you Sure you are in the Right Place?

Throughout the years of Academy Awards performances are placed in acting categories by studios, the options are clearly lead vs. supporting.  Over the years people have bemoaned category fraud, and this year there are two specific cases of that extreme category fraud, Christoph Waltz in Django Unchained, and Phillip Seymour Hoffman in The Master.

Before I look at this year I am going to talk about this category, and category fraud over the years:

2010-Geoffrey Rush in The King's Speech has an equal amount of screen time as lead contender and winner Colin Firth.

2008-Robert Downey Jr. was in most of the scenes in Tropic Thunder, but you could argue the "ensemble rule."  Phillip Seymour Hoffman was a central part in Doubt, and was by no means a supporting player.

2007-Casey Affleck in The Assassination of Jesse James by the Coward Robert Ford was in more of the film than Brad Pitt how he was considered a lead is one of the biggest pieces of category fraud.

2005-Jake Gyllenhaal was a co-lead in Brokeback Mountain, the film was about both Ennis and Jack.

These are just a handful of the different elements of category fraud in the last few years, and while there are still several men who should be considered supporting, the true "supporting" players never seem to win.  One could argue that many of the past few winners Christian Bale in The Fighter, and Javier Bardem in No Country for Old Men could be considered lead performances.

So why does this happen?  Studios want to pack on the number of nominations, would these men have beat out any of the leads to get a nomination? Probably not meaning films would potentially have less or no nominations meaning some films would have less consideration to be viewed.by less people, think The Assassination of Jesse James by the Coward Robert Ford. People often also have this notion that you need more acting nominations to be successful.  Think Brokeback Mountain, but for some reason the critics out there have not had the balls to correct this category placement.

Who are the men guilty of this category fraud crime, why the Weinstein Company's Christoph Waltz from Django Unchained, and Phillip Seymour Hoffman (once again) from The Master.  Both of these performances while not the center of their films are part of the central journey.

Django was obviously a story about Django (Jaime Foxx) and his bounty hunter companion Dr. King Shultz (Christoph Waltz), the two were in the majority of the film. At the earliest part of award season Waltz was placed in the Supporting Actor category.  On November 8th the website goldderby.com reported Waltz would be campaigned in the lead category instead.  After the lead race became crowded the Weinstein Company switched Waltz back to supporting. 

Hoffman was guilty of category fraud for another Weinstein film four years ago, and he is back.  This is a simple case of them wanting to get as many nominations for this smaller film as possible.  Like with Doubt all three central characters are nominated, and ironically both have Amy Adams, and Hoffman.  This is not a case for just the Weinstein's, Warner Brothers, Focus Features, FOX are also guilty of this fraud.  Let's focus on this year's nominees and who may win the top prize.

And the nominees are...

Alan Arkin-Argo

Robert DeNiro-Silver Linings Playbook

Phillip Seymour Hoffman-The Master

Tommy Lee Jones-Lincoln

Christoph Waltz-Django Unchained

This may be one of the tougher races to predict.  Phillip Seymour Hoffman took the early lead winning at the BFCA; he also won many critics groups awards.  Waltz gained momentum with a win at the Golden Globes, and BAFTA.  In the middle of Waltz's wins Tommy Lee Jones won SAG.  I think the power of Harvey Weinstein will guide the winner here, and my prediction all along has been Waltz the lead performance that steals the show.  Many are citing that DeNiro has the heart behind his performance and he has not won in years so he has more on his side, but he has not won a single award prior to this.  Maybe a James Coburn type deal?  Jones sour puss could also take the stage if they decide to throw more at Lincoln, but I think Lincoln seems a bit forgotten.  My gut is to go with the lead in supporting actor clothing.

Will Win: Christoph Waltz

Spoilers: Robert DeNiro, and Tommy Lee Jones

Top Ten Films of 2012

Within this list I used my own words from past reviews, and ranked my top ten films of 2012.

1-Zero Dark Thirty

"This is one of the best films of the year, the subject matter is handled beautifully, by the geniuses Bigelow, and Boal.  Along with Chastain this team is complete, and they work together effortlessly. Zero Dark Thirty is a thrilling ride into the search for a monster, and never lets you leave the edge of your seat."

Of all the films this year Zero Dark Thirty proves to be allegorical to the evolving theme of the film. In an changing society the hunt for a terrorist provides relief yet anguish.  The way Bin Laden was found harkens to the simplicity, with a take down by Navy S.E.A.L.S.  Yet the brutal tactics of torture and cultural differences add to changing global conversation. In a closing thought of where do you want to go next, the question is left to relieve, but haunt. This is the smartest, film of the year, and the team of Bigelow and Boal did it again!

2-Beasts of the Southern Wild

“For Benh Zeitlin's first major feature film this is one of the most masterfully directed films.  Zeitlin's work with the camera, and his actor's, none have which had done any major motion picture, proves that the energy and heart behind a director can make a film.  Zeitlin not only directed the film, but her helped write the screenplay, and helped compose one of the best scores of the year.  As you watch Beasts you would imagine that Zeitlin is an experienced filmmaker, who has mastered the craft of film making and has been making movies for years.  It's not the years that count, but the passion behind the auteur, and Zeitlin's work on this film is nothing short of amazing.”

3-Amour

“Haneke's direction and script brilliantly unfold a tale filled with moments of agony, grief, but ultimately filled with love.  As you watch Georges struggle, or Ann slip further into illness their connection may hit rough patches. Haneke does not spell out his direction with 100 percent certainty; he often works in the grey leaving ambiguity for the viewer to decide the meaning of a touch, a look, or silent moment.  This helps further strengthen the depth of the story, and makes the performances in his film even stronger.”

4-The Master

“One of the brilliant aspects of this film is the way Paul Thomas Anderson focuses on Joaquin Phoenix's Quell and the disillusionment he faces in a post World War II society.  Most people always painted the 50s as this golden era of family values, the husbands/men came home from the war they got their plot of land in Levitttown, settled with their "girl" and led a happy life.  Anderson uses the concept of this lost soul and the newly developed "religion" which takes advantage of those people had no place when they came back from the War.”

5-Argo

“The star of this film (in all ways possible) is leading man/director Ben Affleck.  Affleck moves away from Boston and into the terrain of Hollywood and Iran.  One of my favorite lines in the script comes from the fake make-up artists on the film John Chambers (John Goodman) in which he states "So you want to come to Hollywood and and act like a big shot without actually doing anything?..You will fit right in."  This along with the line about anyone being able to direct are laugh out loud moments, but Affleck proves everyone may be able to point the camera, and shoot, but not everyone can create such great work.  This is one of the best films of the year, and Affleck's direction helps set the stage for everything to be made possible.”

6-Moonrise Kingdom

“We Anderson does an incredible job making the children the center focus of the story while creating interesting and complex supporting characters out of the major stars.  Murray and McDormand are great are Suzy's parents, and they add their brilliant comic flare.  Norton rarely gets to flex his comedic chops, which is a shame because he is a talented actor who can do it all, and I love watching him take his role as Troop Leader 55 so seriously.  I was struck most by Bruce Willis; he hit this role out of the park, and has done some of the best acting I have ever seen him do, his raw emotion mixed with great wit is terrific in this film.  Then there were the great small roles for the flawless Tilda Swinton, the straight man Harvey Keitel, and the incredible Jason Schwartzman who always shines in his films.

7-Holy Motors

“Director Leo Carax a former film critic, takes you on a journey fitting together these different puzzle pieces to create something much larger about film.  Carax worked on a larger budget American film, but the film never came to life. With this project never coming to life Carax, started working on this low budget film, and was finally brought to the screen 13 years after his last picture.  Motors feels  like director David Lynch's Mullholland Dr. both providing a sharp critique on movies today, and the evolution of the modern cinema.  The "actor" goes from gig to gig without the emotional understanding of the part or faking the way they feel about the character.  One of the funniest moments was when Lavant played the dying millionaire whose step niece was grieving for him.  After he said his goodbye in what would be defined as on screen, Monsiuer Oscar gets up asks the girl her name and walks out of the room.”

8-Skyfall

“One of the brilliant aspects of this film is the sense of a world changing, but that this change is causing more chaos than good.  The post 9/11 world where the terrorist runs rampant, and is beyond the simple bald man stroking a cat, the villain has to be smoked out the old fashioned way.  How is the James Bond character relevant, or is he?  This franchise poses the question that was established in Casino Royale.  Bond has to become a new man, even though he may not be ready or even up to the challenges of the the people he will have to face.  Craig tackles this role better than ever in this film, not only showing that he can kick ass, but continuing to show the evolution the character started in this "reboot."

9-Lincoln

“As Daniel Day Lewis steps on stage, there is chill that passed down my spine, something he often invokes with his acting, or presence.  Day Lewis is a brilliant as Lincoln; he brings to life the man, his speeches, and shows you just how comfortable he was connecting with the masses.  Lincoln was one of the few Presidents we have had who came from nothing, Day Lewis connects with this aspect of Lincoln, and proves that within him there is a way for you to connect with him in this role on every level in believe in the greatness of this man.”

10-Looper

“Johnson's script and direction are key players in bringing this world to life.  Bob Ducsay's editing brilliantly blends the complicated elements of the story.  There are moments when you feel that the complicated nature of the story could hold the film back, but Docsay's editing helps strengthen the power of the story, with quick cuts that blend the stories of young and old Joe.”

Argo Wins Top Prizes at the Broadcast Film Critics Awards While the Show Itself Almost Put Me to Sleep

First and foremost the host, Sam Rubin was a bit creepy, and not very funny, I love film critics, but they should never be hosts.  Could they not find anyone?  I will leave him alone, but boy was he bad!  Rubin did not know how to interact with Jackman, Hathaway, but Goodman's punch at him that his interview was Communist torture was one of the best moments of the night.  There was not even enough time to fill the two hours, there was a commercial break between all of the awards at the end.

Beyond the host, I have to ask why they even bother to televise this garbage.  Beyond the CW whoring out stars from their shows, this award show was about as entertaining as watching paint dry. Oh wait, I am watching a patch dry on my wall now and it's actually more interesting to watch.  The show plugged that they are "different" because they had genre awards, which is great and it was fun to see them honor action, comedy etc, but at the sake of showing Best Screenplay or Best Animated Feature?  You are not going to get more viewers because you do this.

I have to say thank God for Rebel Wilson.  Her presentation of the Genius Award to  Judd Apatow, was one of the best moments of the evening.  The two of them made this boring show come to life for the brief moments they were on the stage.

I also have to say that their winners were exceptional, Argo taking Best Picture and Director was awesome.  Chastain winning Best Actress, all of these wins were solid.

Best Picture-Argo
Best Director-Ben Affleck-Argo
Best Actress-Jessica Chastain-Zero Dark Thirty

Best Supporting Actor-Phillip Seymour Hoffman-The Master

Best Supporting Actress-Anne Hathaway-Les Miserables
Original Screenplay-Django Unchained
Best Adapted Screenplay-Lincoln
Best Foreign Language Film-Amour
Best Documentary Feature-Searching for Sugarman
Best Animated Feature-Wreck-it Ralph
Best Acting Ensemble-Silver Linings Playbook

Best Art Direction-Anna Karenina

Best Cinematography-Life of Pi

Best Editing-Zero Dark Thirty

Best Costume Design-Anna Karenina

Best Makeup-Cloud Atlas

Best Score-Lincoln 

Best Original Song-"Skyfall" from Skyfall

Best Visual Effects-Life of Pi
Best Young Actor/Actress-Quvenzhane Wallis-Beasts of the Southern Wild
Best Action Movie-Skyfall
Best Actress in an Action Movie-Jennifer Lawrence-The Hunger Games
Best Actor in an Action Movie-Daniel Craig-Skyfall
Best Sci-Fi/Horror Movie-Looper
Best Comedy Movie-Silver Linings Playbook
Best Actress in a Comedy-Jennifer Lawrence-Silver Linings Playbook
Best Actor in a Comedy-Bradley Cooper-Silver Linings playbook

National Society of Film Critics (NSFC) Name Amour Best Picture

The National Society of Film Critics (NSFC) was founded in 1966, when Holis Alpert was refused entrance to the New York Film Critics Circle.  Alpert founded founded this critics with Pauline Kael, and every year they have picked their own awards.  The group was founded from critics outside of the mainstream, and has awarded some of the best and most under rated films, and performances over the years.

Over the past 46 years, the show has picked some great winners Z, Blue Velvet, Being John Malkovich, and Pan's Labyrinth (to name a few).  How does this critics group impact Oscar, or does it?  Of the winners, 18 of them have been nominated for Best Picture, 4 have won Best Picture, Annie Hall (1977), Unforgiven (1992), Schindler's List (1993), and most recently The Hurt Locker (2009).  Over the years winning this award seems like more of an honor for films, and performances the Academy may not take as seriously because of their lack of mainstream attention.  This is a group that will honor a foreign language film with their Best Picture award, proof with this year's Best Picture winner.

Here is a full list of the winners, and runner-ups with their voting breakdown:

BEST PICTURE
1. Amour – 28
2. The Master – 25
3. Zero Dark Thirty – 18

BEST DIRECTOR
1. Michael Haneke-Amour– 27
2. Kathryn Bigelow – 24
2. Paul Thomas Anderson – 24

BEST ACTOR
1. Daniel Day-Lewis – Lincoln – 59
2. Denis Lavant – Holy Motors-49
2. Joaquin Phoenix – The Master-49

BEST ACTRESS
1. Emmanuelle Riva – Amour – 50
2. Jennifer Lawrence - Silver Linings Playbook- 42
3. Jessica Chastain–Zero Dark Thirty- 32

BEST SUPPORTING ACTOR
1.  Matthew McConaughey – Magic Mike, Bernie– 27
2. Tommy Lee Jones –Lincoln- 22
3. Philip Seymour Hoffman –The Master 19

BEST SUPPORTING ACTRESS
1. Amy Adams – The Master – 34
2. Sally Field –Lincoln- 23
3. Anne Hathaway – Les Miserables-13

BEST NONFICTION
1. The Gatekeepers – 53
2. This Is Not a Film – 45
3. Searching for Sugar Man – 23

BEST SCREENPLAY
1. Lincoln  – Tony Kushner – 59
2. The Master (P.T. Anderson)– 27
3.  Silver Linings Playbook (David O. Russell) – 19

BEST CINEMATOGRAPHY
1. Master (Mihai Malaimare, Jr. ) – 60
2. Skyfall (Roger Deakins) – 30
3. Zero Dark Thirty (Greig Fraser) – 21

Many of these folks will be nominated for Academy Awards, along with some of the films.  In a longer season I would say that these wins would have a larger impact on Oscar nominees, but since ballots were due yesterday, Amour is in the same position.  If the season were longer I think Amour would have become a Best Picture nomination, but the film's director Michael Haneke could be a spoiler in the fifth spot.

The Master also received a lot of attention today, both this and Amour have received some of the best critical reactions of the year.  Paul Thomas Anderson's film could snag a few nominations, both acting, screenplay, and cinematography, but this has lost steam throughout the award season.

Lincoln is looking like more and more of a sure thing, that will win Best Picture, it has made money, the critics enjoy it, and it has an incredible director, and performers within the film.  

Oscar Roundup 2012: Ineligibility Shades Writer's Guild Nominees, and eventual Oscar Screenplay Nominees

As the field narrows, the Globes announced, SAG announced, the critics lists out, and the Oscar ballots due, the Guild Awards may less and less of an impact of awards season.  The Writer's Guild Awards are one of the least successful precursors, mainly because they rules a good amount of scripts ineligible, and thus prevent a clear indicator of a stronger percentage of nominees.

Let's look at the past two years statistics:

2011

Original Screenplay (WGA on Left, Oscar on Right)

Win Win	The Artist
Bridesmaids	Bridesmaids
50/50	A Separation
Young Adult	Margin Call
Midnight in Paris	Midnight in Paris

Adapted Screenplay

The Girl with the Dragon Tattoo	The Ides of March
The Help	Tinker Tailor Solider Spy
Moneyball	Moneyball
The Descendants	The Descendants
Hugo	Hugo

In 2011 only 2 films matched in the Original Screenplay category, and three within the Adapted category, most of the discrepancies came because of ineligibility.  This ineligibility problem has happened year after year, and proves to make predicting these categories challenging.

2010

Original Screenplay

Black Swan	The King’s Speech
Please Give	Another Year
Inception	Inception
The Kids are all Right	The Kids are all Right
The Fighter	The Fighter

Adapted Screenplay

I Love You Phillip Morris	Winter’s Bone
The Town	Toy Story 3
The Social Network	The Social Network
127 Hours	127 Hours
True Grit	True Grit

2001

 Original Screenplay

Moulin Rouge	Memento
The Man who Wasn’t There	Amelie
Gosford Park	Gosford Park
Monster’s Ball	Monster’s Ball
The Royal Tenenbaums	The Royal Tenenbaums

Adapted Screenplay

Black Hawk Down	Shrek
Bridget Jone’s Diary	In the Bedroom
A Beautiful Mind	A Beautiful Mind
Ghost World	Ghost World
Lord of the Rings: Fellowship of the Ring	Lord of the Rings: Fellowship of the Ring

Looking at 2010, and 2001 both years seem to follow that strong pattern that only 3 out of 5 nominees make it to the Academy Awards, so what films are the likely nominees this year?
WGA Original Screenplay Nominees

Zero Dark Thirty

Moonrise Kingdom

Looper

Flight

The Master

Strong Ineligible Contenders
Django Unchained
Amour
The Intouchables
The Impossible
Middle of Nowhere

Look for these to be the top five at the WGA, but come Oscar time Looper either Flight or The Master will be replaced with Amour, and Django Unchained. The Oscars typically have a foreign language 

nominee in this category, and they are not going to ignore this aspect of Django.

WGA Adapted Screenplay Nominees
Lincoln
Argo
Silver Linings Playbook
Life of Pi
The Perks of Being a Wallflower

Strong Ineligible Contenders
Beasts of the Southern Wild
The Best Exotic Marigold Hotel
The Deep Blue Sea
Les Miserables 
Rust and Bone

Look for Perks to be the unfortunate casualty here, being replaced by Beasts of the Southern Wild.  Fans of this film will want Benh Zeitlin to get some major attention, and unfortunately this is the most realistic place for him to be nominated.  This is going to be the first time in 4 years most of the nominees line-up.