After a recent plea to the MPAA by Alex Libby, the teen subject of the controversial doc Bully, and The Weinstein Company (TWC) co-chairman Harvey Weinstein failed – by one vote – to get the film its deserved PG-13 rating, TWC is choosing to move forward with releasing the film unrated by the MPAA on March 30.
Posts Tagged ‘Harvey Weinstein’
Last night, thanks to a very kind gesture on the part of my editor, I was able to realize a lifelong dream and sit in the audience at the Academy Awards. I covered the Oscars from the backstage press room three years ago, which was a thrill in and of itself, but, as someone who has spent a huge chunk of my life researching, writing, and talking about the Oscars, you can imagine how much more excited I was to have the chance to watch the ceremony unfold with my own two eyes. And, I’m pleased to report, the experience did not disappoint.
Before we put the Academy Awards to bed, I wanted to repost our interviews with the cast and crew of “The Artist,” last night’s winner for Best Picture.
Over the course of the lengthy (lengthy) awards marathon, I was lucky enough to interview Best Director winner Michel Hazanavicius, Best Actor winner Jean Dujardin, Best Supporting Actress nominee Berenice Bejo, and Oscar czar Harvey Weinstein. All had a very successful evening last night at the Oscars, and most talk about the ceremony during our conversations.
You can’t have more than one ‘f-word’ in your movie and still get a PG-13. There have been a few exceptions over the years, but generally it’s one ‘f-word’ in a non-sexual context. Anymore than that, and its an automatic R-rating. We can debate the morality/practicality of that specific rule. Hell, I’d probably agree with you that it’s a silly arbitrary requirement, especially considering the sort of violent content that ends up in PG-13 movies. But at the end of the day, it’s one of the MPAA’s few ironclad rules. Thus I have little sympathy when Weinstein films keep trying to skirt that ‘one rule’ and still get their PG-13.
The 2011-2012 Oscar race, which effectively began six months ago at the Telluride and Toronto film festivals, will come to an official end tonight at 5pm PST, when final ballots are due back at the Academy’s accounting firm of PriceWaterhouseCoopers.
By Sean O’Connell
It’s beginning to look a bit like a landslide. The Producers Guild of America is the latest group to reward Michel Hazanavicius’ “The Artist” with its year-end Best Picture honors, paving the way for what could be Oscar domination next month.
As 2011 winds to a close and the announcement of Oscar nominations approaches, I thought it might be interesting to catch up with some of the films many thought, at one time or another, would factor into this year’s awards race but never did.
Some screened at festivals in search of a distributor but didn’t find one; others found a distributor, but the distributor decided it lacked the money, manpower or time to mount a campaign this year. Some had distributors before they were in the can and simply were not completed in time to be released this year; others were completed in time to be released this year, but their distributors had their hands full with other contenders and decided to hold them until next year.
It is important to remember that just because a film is not part of this year’s awards race doesn’t mean it won’t be part of next year’s. True, some of these titles will never be heard from again — but others could follow in the footsteps of, say:
- Crash, which premiered at the Toronto International Film Festival in September 2004, at which time it was picked up for U.S. distribution by Lionsgate and held for the following year; was released theatrically in May 2005; and, in March 2006, won the best picture Oscar.
- The Visitor, which premiered at Toronto in September 2007, at which time it was picked up for U.S. distribution by Overture and held for the following year; was released theatrically in April 2008; and, in February 2009, was represented at the Oscars in the best actor category.
- Lovely, Still, which premiered at Toronto in September 2008; was not picked up by a distributor until 2010, when Monterey Media decided to take a chance on it; and was released in theaters in September 2010.
- The Hurt Locker, which premiered at Toronto in September 2008, at which time it was picked up for U.S. distribution by Summit and held for the following year; was released theatrically in June 2009; and, in March 2010, won the best picture Oscar.
- The Debt, Everything Must Go, The First Grader, Girlfriend, Meek’s Cutoff, Sarah’s Key, Tabloid, The Way and The Whistleblower, all of which premiered at Toronto in September 2010; were subsequently picked up by various distributors; and were held for release until 2011.
Without further ado, here is the class of 2011:
The following list and remarks reflect my personal opinions and do/will not in any way impact my projections or analysis on this site, wherein I strive above all else to correctly forecast what will happen, not what I believe should happen.
On Sunday, multiple critics groups from New York to L.A. gathered to analyze the year in film and vote on their winners. “The Artist” performed well in Boston and Manhattan, while L.A. went with Alexander Payne’s “The Descendants.” But late in the evening, San Francisco revealed its collective suggestions for year’s best, going with Terrence Malick’s brilliant “The Tree of Life.”
By Sean O’Connell
The Oscar race expects to narrow (slightly) over the next few days, with new critics’groups weighing in on their selections for year-end bests, and the HFPA expected to reveal its Golden Globenominations on Thursday.