“Argo” (Warner Bros.)
Producers: Ben Affleck, George Clooney, Grant Heslov
“Beasts of the Southern Wild” (Fox Searchlight Pictures)
Producers: Michael Gottwald, Dan Janvey, Josh Penn
“Django Unchained” (The Weinstein Company)
Producers: Reginald Hudlin, Pilar Savone, Stacey Sher
“Les Misérables” (Universal Pictures)
Producers: Tim Bevan & Eric Fellner, Debra Hayward, Cameron Mackintosh
Life of Pi” (Fox 2000 Pictures)
Producers: Ang Lee, Gil Netter, David Womark
“Lincoln” (Touchstone Pictures)
Producers: Kathleen Kennedy, Steven Spielberg
“Moonrise Kingdom” (Focus Features)
Producers: Wes Anderson & Scott Rudin, Jeremy Dawson, Steven Rales
“Silver Linings Playbook” (The Weinstein Company)
Producers: Bruce Cohen, Donna Gigliotti, Jonathan Gordon
“Skyfall” (Columbia Pictures)
Producers: Barbara Broccoli, Michael G. Wilson
“Zero Dark Thirty” (Columbia Pictures)
Producers: Kathryn Bigelow, Mark Boal, Megan Ellison
MORE
The Award for Outstanding Producer of Animated Theatrical Motion Pictures:
“Brave” (Walt Disney Studios Motion Pictures)
Producer: Katherine Sarafian
“Frankenweenie” (Walt Disney Pictures)
Producers: Allison Abbate, Tim Burton
“ParaNorman” (Focus Features)
Producers: Travis Knight, Arianne Sutner
“Rise of the Guardians” (Paramount Pictures)
Producers: Nancy Bernstein, Christina Steinberg
“Wreck-It Ralph” (Walt Disney Studios Motion Pictures)
Producer: Clark Spencer
The television nominees are:
The David L. Wolper Award for Outstanding Producer of Long-Form Television:
“American Horror Story” (FX)
Producers: Brad Buecker, Dante Di Loreto, Brad Falchuk, Ryan Murphy, Chip Vucelich, Alexis Martin Woodall
“The Dust Bowl” (PBS)
Producers: Producer Eligibility Pending
“Game Change” (HBO)
Producers: Gary Goetzman, Tom Hanks, Jay Roach, Amy Sayres, Steven Shareshian, Danny Strong
“Hatfields & McCoys” (History)
Producers: Barry Berg, Kevin Costner, Darrell Fetty, Leslie Greif, Herb Nanas
“Sherlock” (PBS)
Producers: Mark Gatiss, Steven Moffat, Beryl Vertue, Sue Vertue
The Long-Form Television category encompasses both movies of the week and mini-series.
In November 2012, the Producers Guild of America announced the Documentary Theatrical Motion Picture, Television Series and Non-Fiction Television Nominations; the following list includes complete producer credits.
The Award for Outstanding Producer of Documentary Theatrical Motion Pictures:
“A People Uncounted” (Urbinder Films)
Producers: Marc Swenker, Aaron Yeger
“The Gatekeepers” (Sony Pictures Classics)
Producers: Estelle Fialon, Philippa Kowarsky, Dror Moreh
“The Island President” (Samuel Goldwyn Films)
Producers: Richard Berg, Bonni Cohen
“The Other Dream Team” (The Film Arcade)
Producers: Marius Markevicius, Jon Weinbach
“Searching For Sugar Man” (Sony Pictures Classics)
Producers: Malik Bendjelloul, Simon Chinn
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama:
“Breaking Bad” (AMC)
Producers: Melissa Bernstein, Sam Catlin, Bryan Cranston, Vince Gilligan, Peter Gould, Mark Johnson, Stewart Lyons, Michelle MacLaren, George Mastras, Diane Mercer, Thomas Schnauz, Moira Walley-Beckett
“Downton Abbey” (PBS)
Producers: Julian Fellowes, Gareth Neame, Liz Trubridge
“Game of Thrones” (HBO)
Producers: David Benioff, Bernadette Caulfield, Frank Doelger, Carolyn Strauss, D.B. Weiss
“Homeland” (Showtime)
Producers: Henry Bromell, Alexander Cary, Michael Cuesta, Alex Gansa, Howard Gordon, Chip Johannessen, Michael Klick, Meredith Stiehm
“Mad Men” (AMC)
Producers: Jon Hamm, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Victor Levin, Blake McCormick, Matthew Weiner
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:
“30 Rock” (NBC)
Producers: Irene Burns, Kay Cannon, Robert Carlock, Vali Chandrasekaran, Luke Del Tredici, Tina Fey, Matt Hubbard, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Dylan Morgan, Jeff Richmond, John Riggi, Josh Siegal, Ron Weiner
“The Big Bang Theory” (CBS)
Producers: Chuck Lorre, Steve Molaro, Faye Oshima Belyeu, Bill Prady
“Curb Your Enthusiasm” (HBO)
Producers: Alec Berg, Larry Charles, Larry David, Jeff Garlin, Tim Gibbons, David Mandel, Erin O’Malley, Jeff Schaffer, Laura Streicher
“Louie” (FX)
Producers: Dave Becky, M. Blair Breard, Louis C.K.
“Modern Family” (ABC)
Producers: Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Steven Levitan, Christopher Lloyd, Jeff Morton, Dan O’Shannon, Jeffrey Richman, Chris Smirnoff, Brad Walsh, Bill Wrubel, Danny ZukerThe Award for Outstanding Producer of Non-Fiction Television:
“American Masters” (PBS)
Producers: Prudence Glass, Susan Lacy, Julie Sacks
“Anthony Bourdain: No Reservations” (Travel Channel)
Producers: Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandy Zweig
“Deadliest Catch” (Discovery Channel)
Producers: Thom Beers, Jeff Conroy, Sean Dash, John Gray, Sheila McCormack, Bill Pruitt, Decker Watson
“Inside the Actors Studio” (Bravo)
Producers: James Lipton, Shawn Tesser, Jeff Wurtz
“Shark Tank” (ABC)
Producers: Rhett Bachner, Becky Blitz, Mark Burnett, Bill Gaudsmith, Yun Lingner, Brien Meagher, Clay Newbill, Jim Roush, Laura Skowlund, Paul Sutera, Patrick Wood
The Award for Outstanding Producer of Live Entertainment & Talk Television:
“The Colbert Report” (Comedy Central)
Producers: Meredith Bennett, Stephen Colbert, Richard Dahm, Paul Dinello, Barry Julien, Matt Lappin, Emily Lazar, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart
“Jimmy Kimmel Live” (ABC)
Producers: David Craig, Ken Crosby, Doug DeLuca, Erin Irwin, Jimmy Kimmel, Jill Leiderman, Jason Schrift, Jennifer Sharron
“Late Night with Jimmy Fallon” (NBC)
Producers: Hillary Hunn, Lorne Michaels, Gavin Purcell, Michael Shoemaker
“Real Time with Bill Maher” (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin
“Saturday Night Live” (NBC)
Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney
The Award for Outstanding Producer of Competition Television:
“The Amazing Race” (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
“Dancing with the Stars” (ABC)
Producers: Ashley Edens Shaffer, Conrad Green, Joe Sungkur
“Project Runway” (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
“Top Chef” (Bravo)
Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Dan Murphy, Nan Strait
“The Voice” (NBC)
Producers: Stijn Bakkers, Mark Burnett, John De Mol, Chad Hines, Lee Metzger, Audrey Morrissey, Jim Roush, Nicolle Yaron, Mike Yurchuk, Amanda Zucker
The following programs were not vetted for producer eligibility this year, but winners in these categories will be announced at the official ceremony on January 26:
The Award for Outstanding Sports Program:
“24/7” (HBO)
“Catching Hell” (ESPN)
“The Fight Game with Jim Lampley” (HBO)
“On Freddie Roach” (HBO)
“Real Sports with Bryant Gumbel” (HBO)
The Award for Outstanding Children’s Program:
“Good Luck Charlie” (Disney Channel)
“iCarly” (Nickelodeon)
“Phineas and Ferb” (Disney Channel)
“Sesame Street” (PBS)
“The Weight of the Nation for Kids: The Great Cafeteria Takeover” (HBO)
The Award for Outstanding Digital Series:
“30 Rock: The Webisodes” (www.nbc.com)
“Bravo’s Top Chef: Last Chance Kitchen” (www.bravotv.com)
“Dexter Early Cuts: All in the Family” (www.sho.com)
“The Guild” (www.watchtheguild.com)
“H+ The Digital Series” (www.youtube.com/user/HplusDigitalSeries)
“Red vs. Blue” (www.roosterteeth.com)
Skyfall > Dark Knight Rises??????
What a shame.
Honestly…I still think The Dark Knight Rises might get in at the Oscars.
Skyfall will be nominated this year for best picture, 50th anniversay for the franchise, there will be a tribute to the 007 James Bond franchise at the Oscars this year. This is the perfect year for a 007 movie to be nominated, and Skyfall was fantastic. But honestly, TDKR was just as good. Something tells me one of the other movies will not make it, like Silver Linings Playbook or Life of Pi. I just have this gut feeling.
But my money to win the oscar for best picture is Lincoln or Argo.
I loved Beasts, and it is in my top 3 of the year, but I must take exception to their ad which says, “the most awarded film of the year”.
This is plainly false
It IS an idiotic quote, Chris138, and, you’re right, totally hypocritical. Weird that it was made at a screening of TDK, too, which ultimately has a pretty positive message.
They love to project that image of themselves, which is why I made the comment – will they give Tarantino something they denied Peckinpah? Different voters, of course, but same room.
“It would be probably the most violent film ever to receive a best pic nom”
Which would probably make the Academy look immensely hypocritical. At least, some of them. There was a quote from an anonymous Academy member after the screening for The Dark Knight Rises back in July who said that the AMPAS likes to award “movies with positive messages, like Milk or The Kids are All Right” and not the kind of negative, violent stuff that Hollywood churns out. Which is why The Departed and No Country For Old Men both won Best Picture back to back, because they “send positive messages” to audiences. Pass the barf bag. I can’t stand idiotic statements like that.
Sorry to go on a rant, steve50. I just saw your comment and it brought me back to that quote, haha.
No incest here, sadly no one in my family is hot enough 🙁
Thanks for the responses. I watched Killer Joe on Tuesday and saw Django yesterday, and I couldn’t help but compare the two. They cover a lot of the same territory, but yet are pretty different in style.
Jesse describes Killer Joe as “a vivid exploration of how some people truly, unfortunately choose to operate.” and that’s what made it so interesting to me. There was nothing cartoonish about it, but yet it was so over the top. But that’s the way some people are. After the Emile Hirsch character lost the thousand bucks at the racetrack I wondered why the fuck he didn’t use that money to forestall the people who were threatening him. And then I realized “oh yeah, that’s why he’s in this mess.” It was interesting to see the world from a different perspective and so few films get that “criminal” perspective wrong. But everything in Killer Joe seemed right.
A film I just watched now (really getting caught up on 2012) was A Kid With a Bike, and I have to say I just love the Dardennes brothers. This was only the second film of theirs I’ve seen (after The Son) and I love how they make no efforts at exposition, but yet it’s so easy to follow along. It’s extremely well written stuff.
But what I like most about them is that there’s no foreshadowing either and their movies (at least the two I’ve seen) don’t follow any predictable path, yet everything that happens seems authentic and logical. And I love how they push their characters to their emotional limits.
I really liked this film.
Why only pussies like LES MIZ?
@Rufus (and Ryan): In my top 10, I have Killing Them Softly at #3, Django at #6, and Killer Joe at #10, so all made a major impact when I saw them.
Killer Joe is the most insular of the 3, being adapted from a stage play and maintaining a small cast. The focus isn’t political or historical like Killing Them Softly and Django. Letts and Friedkin took such a ballsy, “to hell with arcs and redemption” approach and produced a nasty little bit of excitement that didn’t make any epic attempts but nailed all the details of its character and their sleazy interaction. I took the movie pretty seriously, too. It was funny but I didn’t look at it as satire but instead a vivid exploration of how some people truly, unfortunately choose to operate.
I love Django for the cast and bits of dialogue that I think Tarantino writes better than ANYONE. When he’s on (and in Django, he’s on more often than not) his brand of off-center entertainment enthralls me to a high degree. Killer Joe is more consistent all the way through, with a much better ending, though Django reached bigger heights in my mind. During the scene with Don Johnson, the opener in the darkness, and DiCaprio with his bloody hand, Django’s tension matches Killer Joe’s, although such precise filmmaking escaped Tarantino whereas Friedkin knew exactly how to end everything, with the right balance of humor (“I got him, Joe!”) and the fried chicken depravity Rufus mentions. And yeah, Gershon getting socked on the face was the sort of realistic bit of violence Tarantino eschewed, sometimes for better, sometimes for worse.
If Killing Them Softly went a LITTLE bigger with its story it would probably be my #1 this year. I have to give extra credit to Zero Dark 30 because Bigelow’s filmmaking is perfect for a full hour longer than Dominik’s.
ruffussondheim
another fine incestuous mess you’ve gotten us into.
and The Perks of Being a Wallflower is my #10
is this, like, the cinemaphile equivalent of that thing when football fan buddies hug after a touchdown and then break off awkwardly? [averts eyes]
I really should have seen Killing Them Softly in the theater. But I couldn’t get anyone to go since they all heard it was awful. I need to find some non-troglodyte friends.
Jesse and Ryan, wondering what you thought of Killer Joe, specifically with regards to the scene where Joe and Dottie have tuna casserole, and the scene at the end with the fried chicken (notice I tried to keep them spoiler free!) and, if you wish, how do you think they compare to Django Unchained?
I just love those Killer Joe scenes and if that’s what Tracy Letts work feels like when it’s filmed, I have to say August Osage County might be a real treat. They were tense and exciting and perfectly played (although I think the Dottie character lost its way towards the end) and were some of the most tense and exciting scenes of the year. I thought the dialogue was perfect, theatrical yet realistic.
Comparatively, Django looked poorly done. Sure it has the bigger stars and more opulant sets and costumes, but they lacked the tension, the urgency, in Killer Joe. And as for pure depravity, it doesn’t compare to Killer Joe, which was depraved in a completely sick but believable way.
rufussondheim,
The rankings of my favorite films are still sliding around since I saw some of them so recently they haven’t settled in to claim permanent pedestals. But right now I have Killing Them Softly, End of Watch and Killer Joe circling each other in a tense standoff in the low tweens, 13th, 14th, 15th slots.
Comparatively, Django looked poorly done. Sure it has the bigger stars and more opulant sets and costumes, but they lacked the tension, the urgency, in Killer Joe.
The best Tarantino movies of 2012 were Killer Joe and Killing Them Softly. I tweeted that the day after I saw Django.
Looks like Django is was number 1 at the boxoffice yesterday and could be number this weekend with 20+. Should end passing Les Mis by Saturday.
Oops. Actually , I am hopefully optimistic Tarantino winning the original screenplay award and possible could even get the best director award if this country wasn’t so fricking PC. “Django” is just such a marvelous film. Who knows “The Godfather” and “The Departed” won and just look at the accolades ‘Goodfellas” has received over the years. Yes, there is always a chance which exceptional filmmaking is at play.
Comment
“but, in my memory, the dinner table scene at Candyland lasted about 90 minutes, right?”
Damn close but I loved every minute of it. I’m a fan of creepy, unsettling moments in movies, though. SLJ as the rare whip-smart toadie lurking in the background of Leo’s polished lunacy created such a sense of unease that the eventual parade of blood in the conclusion felt like a letdown. The scene was almost as well-writted (and certainly as well-acted) as the basement bar sequence in Basterds, but the result in the earlier film was more satisfying.
And von Hammersmark was a much better character than von Shaft. If the 3rd act instead shifted focus to Kerry Washington and gave her something to do (or SAY) Django would have been brilliant. Instead, it’s a near-great thrill-ride that chipped my teeth a little in the end.
I’m a fan of creepy, unsettling moments in movies, though. SLJ as the rare whip-smart toadie lurking in the background of Leo’s polished lunacy created such a sense of unease…
I relish creepy unsettling moments too, but I was way too weirded out by seeing Samuel L Jackson in shoe-polish blackface.
Was with you, Ryan, all the way up till the point where you mentioned The Raid as an example of a movie which treated violence with maturity.
That film sickened me. It was awful. It was…like something out of a video game – the paper-thin plot an excuse to have people fight in as many ways as possible and have blood pour in as many different directions as the budget would allow. Just a silly movie altogether and not sure why it’s received so much acclaim.
Greg Y — ok, if I can, let me try to win you back: The Raid isn’t anywhere near my first 4 dozen favorite films of 2012. But at least the over-the-top violence had a grim sense of palpable consequence. When people in The Raid bled it didn’t burst from their bodies like silly water balloons full of goop.
“The Itchy & Scratchy Show has a more mature attitude about violence than the last 45 minutes of Django.”
I DO agree that the last 45 minutes of Django sucked. The hip-hop scored carnage was as douchey as an Entourage episode and until Foxx and Jackson meet up in the very end I was disappointed. I can’t ignore how great the 1st 3/4ths are, though.
I can’t ignore how great the 1st 3/4ths are, though.
the hugely entertaining first 1/3 — and Christophe Waltz all the way through — are the reasons why Django still squeaked into my top 25.
(we differ a little on which fractions we liked, Jesse. Someday I’ll have to see it again and look for things other people are finding to love about Django — but, in my memory, the dinner table scene at Candyland lasted about 90 minutes, right?)
@ryanadams
sorry, there’s no way A Clockwork Orange is more violent than Django.
NO. but it the film “Clockwork Orange” had more graphic sex that was just as violent.
@ryanadams..
laugh hysterically and cheer with a sickening bloodlust glee? Because that’s how the audience around me reacted to the slaughters in Django.”
Oh, for goodness sake. Get a grip. I bet more people walked out of “The Master” with it lurid sordid script of senseless sexual exhibitionism or “Holy Motors” than they did viewing “Django”. I suppose the stroke of genius in “The Master” didn’t work for them but the bloodletting did. LOL. I suppose it is a choice of blatant graphic sex vs violence. Which repels you the most when presented in films. I guess if I had the time I could discuss this issue for hours. By the way, I don’t think there are any bad lists when it comes to people jotting down what films they think are the best. When it comes to film list I don’t demean any list. Its only when people try to put my choices down, with nonsensical thinking because they didn’t like them, when I get a little peed. People list what they think they liked the best. As for the top ten I list the films I think will win the OSCARS but there are a lot of other films I enjoyed personally and almost as much as what I would list as my top ten. “Lincoln” and “Django” I like the best thus far. I also could very easily list “End of Watch”, “The Savages”, “Looper”, and “The Raid:redemption”, oh but heaven forbid, those films were violent too. Darn. And yes I laughed through most of “Django” because there were a lot of scenes that were comical and downright funny. I suppose the standing ovation and gleeful cheering at the end of “Django” is because America is sickening and blood lustful instead of because all those bad guys who did bad things got their dues and the overall film is a work of genius filmmaker of who many say is without equal. I suppose there were no cheering at the end of “The Master” cause there was no one left by the end of this film. I also love “The Wild Bunch”. Now that a bloody good film. BTW, aren’t all the bad guys suppose to end up dead or imprisoned in films according to the MPAA rules. Oh, well, sometimes I don’t even know why I go on these rants.
Oh, well, sometimes I don’t even know why I go on these rants.
s’ok. just keeping ranting till you say something on which we can all agree:
I also love “The Wild Bunch”. Now that a bloody good film.
Although rating Django on a scale of The Wild Bunch to A Clockwork Orange would be more useful if Django were anywhere near that scale.
“End of Watch”, “The Savages”, “Looper”, and “The Raid:redemption”, oh but heaven forbid, those films were violent too.
Add Killing Them Softly and we have fantastic collection of actual grown-up slants on violence.
Funnily enough, I thought most of those movies were far better than Django and most of them are among my personal Top 20 this year. Because I’m not bothered by violence unless it’s depicted as an absurd comical orgy.
The Itchy & Scratchy Show has a more mature attitude about violence than the last 45 minutes of Django.
But go ahead and pretend that you know exactly what’s wrong with me if you need a simplistic way to dismiss my opinion.
Skyfall deserves to be on that list far more than Les Miserables!!
The Girl With the Dragon Tattoo did $102 Million during its entire North American run. Django is going to reach 100 million in its first 12 days.
So, not only do I NOT get a Dragon Tattoo vibe for Django; I don’t see the correlation in any way whatsoever. True Grit seems the more likely similarity, huge box office success that confirms Tarantino’s popularity with movie lovers, AND a large number of Oscar Nominations, validating his artistic viability.
Funny enough, Django makes complete sense, and yet, I get a Dragon Tattoo miss vibe. Too violent? Arrived too late?
Anyone get that vibe too?
^^ I go along with this.
I saw Django in a huge theatre with about 200 people and FWIW, the only laughs gleaned from violence involved the (plentiful) deaths of racist shitkickers. I saw Clockwork at the Academy Theatre a few years back and I don’t remember when laughs happened but the crowd was pretty rollicking throughout. Clockwork’s the better film, totally, but both Kubrick and Tarantino did a hell of a job finding twisted laughs ie The Bag Scene in Django or Alex caning his fellow droog in the stones.
Although when DiCaprio does his “WHERE IS MY BEAUTIFULLLL SISTERRRR??!!” bit, I laughed my ass off amidst stone silence. I guess comedy derived from exuberant displays of incest is still ahead of its time 🙁
Why not The Hobbit????????
except skyfall 1 billion worldwide boxoffice figure , ‘life of pi ‘ is the highest among them (3 billion) .
http://www.boxofficemojo.com/movies/?id=lifeofpi.htm
The most violent film to get a best picture nom, Steve50? Have you seen A CLOCKWORK ORANGE?
sorry, there’s no way A Clockwork Orange is more violent than Django.
And do you not see any distinction between a movie that castigates violence and a movie that wallows in violence?
Do you think A Clockwork Orange celebrated violence in a way that made 1971 audiences laugh hysterically and cheer with a sickening bloodlust glee? Because that’s how the audience around me reacted to the slaughters in Django.
argh how I want SF to be nominated & kick the haters’ butts! & yay no TDRK!!!
I really dont understand if so many critics don´t like Les Miserables,why this movie appears in the 10 Best List Films list of so many critics.
Theres is a “connection” between studios and critics?
if so many critics don´t like Les Miserables,why this movie appears in the 10 Best List Films list of so many critics.
Rod, Check to see where Les Miserables lands on this ranked list of 33 films that have shown up on Top 10 Lists.
Where’s Waldo.
(Hint: Skip to the bottom)
I expect Django Unchained to do well with the young, urban, hipster segment of the Academy.
Zero Dark Thirty is opening locally tomorrow! At least in one suburban theater. Hooray.
Jesus, what’s up with the attitudes in here? You just can’t single peaceful thought without getting mud thrown in your face. What is this, high school?!
Yes, I know the voters can vote on every single film from January to December, but people who think a good film has enough of an Oscar chance as a January release and as a November release doesn’t understand how the Oscar game is and how voters’ minds and memory work. In my PEACEFUL opinion.
The producer’s guild criteria are a unique blend of art and commerce — Skyfall certainly falls well within that category, as do all the others on this list.
That’s just hilarious, Great Dane, because I thought the Oscar schedule was for all 12 months. Then it’s time for the American lobby to say to the Brits, fuck you, you’re not going to get your way this time.
More later…
@ SallyinChicago
I’m glad to know we’re thinking the same way!
“Anyone get that vibe too?”
Yes – I get exactly the same vibe, John. It would be probably the most violent film ever to receive a best pic nom (plus the highest use of the “n” word), and I don’t think this demographic that is the AMPAS voting block will embrace it.
“Django seems to be the story of Christmas. ”
I thought the plot was a bit familiar. That Tarantino guy will borrow anything, it seems.
I just can’t go with Skyfall. The movie didn’t work for me at all, but that was mainly because of my problems with it as a Bond movie than as a movie itself. Yes, I’d prefer to see The Hobbit or TDKR here, but truth be told, I never got behind any of this year’s huge blockbusters.
I really wish I understood PGA’s criteria. Does it have to make a lot of money? And if it doesn’t, what makes them vote for a movie, like when THL beat Avatar?
In another note, have you guys seen the latest GG promos?
http://m.youtube.com/watch?v=EzzRo4nawFw
http://m.youtube.com/#/watch?v=iNvr6nxE7wg
I’d totally pay to see DDL process for an Avatar movie, btw.
“I really wish I understood PGA’s criteria. Does it have to make a lot of money? And if it doesn’t, what makes them vote for a movie, like when THL beat Avatar?”
Julia, you’re on the right track. Follow the money.
But. A PGA nomination is necessarily dependent on making a lot money. However, it scares a producer’s panties off if a movie loses very much money.
Beasts of the Southern Wild’s gross of $12M might look paltry — but it cost less than $2 to make.
Likewise we’re always hearing the falsehood that The Hurt Locker was a bomb (heh-heh) but it broke even with its US earning alone — so all the $50M+ it earned and will keep earning after that is just gravy.
On the other hand, doesn’t matter to the producers whether The Master is a work of genius or not. They have no respect for the incredible gift to cinema culture Megan Ellison helped enable. Because all they see is that it lost money. (never mind that every filmmaker actually involved with actually helping create The Master got richer and richer).
So, short answer:
Q: PGA criteria?
A: Turn a profit.
Nothing for the The Master. I doubt now it will get a Best Picture nomination. So little love this awards season for The Hobbit, especially surprising when you consider all three Lord of the Rings films earned a Best Picture Oscar nomination. Surprised to see Skyfall on the list. Will it make the Oscar list next week? Don’t know. Really hope it does.
I see 8 right now.
Lincoln
Argo
Les Miserables
Silver linings
ZD30
Life of Pi
Moonrise (with its strong showing in the awads season, reviews, ,box office)
Django … But …
Funny enough, Django makes complete sense, and yet, I get a Dragon Tattoo miss vibe. Too violent? Arrived too late?
Anyone get that vibe too?
Skyfall over Dark Knight. The producer’s guild got it right!!! Thankfully. Over time I have a feeling Moonrise Kingdom will be considered the weak link of the nominees, but of the eligible films the field looks quite reasonable. I think The Master deserved to be there, but I totally understand why some dislike it. The fanboy inside me would also have put The Avengers on the list, but I get its absence.
TDKR is absolutely decent, but nowhere near Nolan’s previous peaks, and nowhere near the 2012 top 10. The Dark Knight was snubbed. Inception deserved its spot. Rises… Well…
As for Skyfall. Only Spielberg and Bigelow (maybe to som extent Lee and Affleck) made hands down more impressive films last year. And some have a fair case for Les Miz. I’d rate it third overall for ’12, but I could see an argument for it being sixth or seventh. Certainly above any other genre blockbuster, and not just because of timing as some suggest. Simply because it’s vastly superior in craft, content and storytelling.
I know it’s crazy, but I’m predicting Django to be totally snubbed in nominations, and for The Impossible and The Sessions to shock (almost) everyone by showing up in Best Picture. I’m probably wrong, but No Guts, No Glory…
^^ I can go along with this.
“I get the feeling that Life of Pi is fading. The movie, while visually breath taking, lacked the courage of its convictions to a certain extent, and it feels like support is on the wane.”
No evidence of this whatsover. The film has been nominated by everyone except SAG.
And it’s done gangbusters overseas and will most likely hit $100 million once the Oscar nominations are announced.
@thegreatdane
thx for your thought-provoking analysis!
It’s funny to see how small indies like beasts and moonrise are still in the race 7 mths after being released while avengers, dark knight and hunger games have long been forgotten. It questions the common wisdom that Oscar movies should be released at the end of the year and blockbusters during summer. Methinks things aren’t so clear cut and distributors should be bolder and release both blockbusters and Oscar movies all-year long.
Skyfall only needs about 200 Brits to put it at number 1 on their ballot – that’s about all it needs to get a Best Picture nomination. Does that really sound so unlikely to happen? The biggest film in the UK EVER, bigger than Avatar (and Skyfall couldn’t even charge 3D prices) – and it’s one of the best reviewed popcorn action flicks since … what, The Dark Knight? I will be surprised if it ISN’T nominated at this point.
“there’s no reason to think Skyfall isn’t a big Best Picture contender for Best Picture”
I meant: there’s no reason to think Skyfall isn’t a big nomination contender for Best Picture
The reason Skyfall got in over Dark Knight and Avengers is because of heat. It has the heat right now and all the record-breaking headlines. Dark Knight Rises and Avengers are suffering the same doom that came over Harry Potter 7B and Star Trek. They are old news. If a big popcorn film wants to get into the Best Picture race these days, it HAS to be a late-year-release. It’s a legitimate and the best explanation. It IS a pattern.
Skyfall also has the entire Brit sector of the Academy behind it. All they have is Marigold, Les Miz and Skyfall. We should not underestimate Skyfall. If Casino Royale could get 9 BAFTA nominations, including Best Actor for Craig, there’s no reason to think Skyfall isn’t a big Best Picture contender for Best Picture. It looks like Bourne Ultimatum all over again (just even bigger), which could have been a serious Best Picture nomination contender, had there not been only 5 slots back then. I know The Brits failed to push Tinker Tailor into Best Picture, but they did get Oldman in, and unlike TTSS, Skyfall seems almost too big to ignore by now. Almost.
@Christophe
If you go to Boxofficemojo and look at the day to day drops and rise of both films you will see the Django is holding a lot better.
Yes Les beat Django on New Year’s Eve but then Django had a massive 79% jump from 5.1 to 9.3 on Tuesday. Almost twice the percentage of any film in the top 10. As of right now Les is ahead 2.5 million. If Django keeps holding the way it is it will over take the movie by Sunday. At its most Les was ahead of Django by 5 million so for Django to come this close likely to overtake by the weekend you half to say its holding better. Hell the fact that they are neck and neck in the first place is amazing for a close to 3 hour hard R western around Christmas time. Many thought the film would be lucky to the 100 million mark.
I think the thing with Django is nobody knew how it will turn out. Nobody knew that it would get rave reviews and be a boxoffice smash. Nobody knew that the buzz would be this high. People have been predicting Les Mis to win everything since day 1 and when reviews started coming things changed. People that Lincoln would be another War Horse. Boy were they wroung. The Master and SLP did pretty poor at the boxoffice causing them to lose buzz a little faster. Zero Dark Thirty has get to get started. I will say this. Django seems to be the story of Christmas. I mean the film is overperforming not only at the box-office. I don’t remember one person thinking it would make more the Les Mis in the long run let alone zoom past the 120 IB made.
@JJbay
” When it’s been holding better then les from day 1″
How is Django holding better than Les Mis? They’ve been going at it back and forth for over a week now. We already thought Les Mis was done last weekend when it fell to #3 and then it rose again to #2 on New Year’s Eve, before being taken over yet again by Django.
To date, Les Mis is still ahead of Django by $3mil in overall cume. The truth is there’s just no way to know yet who’s gonna end up on top at the end of their runs. Most likely, they’ll both end up in a dead heat.
Django has been following True Grits run to a T. With the outstanding word of mouth it’s getting it should get 160 at least. Outstanding indeed. In 8 days the films has made 78 million with many more to come. With all the great Buzz the film is getting plus boxoffice and great reviews from critics it looks like this will get a shit load Oscar nods.
@Moviepouch
You really don’t follow boxoffice much do you. Django on 49% ahead of Bastards at this point. If its follow bastards from this point on that would put it on track to 160 million. Hell the film will be at 110 million by this Sunday. It will zoom past Bastards 120 by this time next week. Twilight is a very poor example because this movie is already holding 10 times better.
@seattlemoviegoer
What you forgot to add is that Django beat Les on Tuesday 9.3 to 7.6 and went back to number 2 and is likely to stay that way. You can not say a movie will burn out faster When it’s been holding better then les from day 1
Skyfall in ? I think it’s not serious. But still Happy for Pi.