erik lundegaard

Movies - The Oscars posts

Sunday February 22, 2015

Best Picture Box Office: Yeah Yeah, 'American Sniper': But Which Film Did Best Overseas?

2014 best picture nominees

First, how great is it that the Oscar race is coming down to two artistic, independent and original movies like “Boyhood” and “Birdman”? I've been thinking about this all week and wanted to reiterate it here as a kind of thank you to the cinematic (or Academic) universe, before delving into the dirt of the numbers. 

Second, a mea culpa on my post-Oscar nomination, um, post, “The Bad Box Office of the Best Picture Nominees,” in which I worried over the low, low box office of the nominees, adding, “I could see 'Imitation Game' gaining some moviegoers.” (I was right.) “Will they expand 'Birdman'?” (They did, barely.) “Will they re-release 'Whiplash'?” (Dunno.) And finally:

“Are people psyched to see 'American Sniper' now? Will its distributor let folks outside NYC and LA see it?”

Five days later, it had grossed more than $100 million and counting. It will probably be the biggest box-office hit of 2014. So ... culpa from mea.

Even with that sudden turnaround, though, the Oscar box office numbers are down. 2009 was the first year since World War II with more than five best picture nominees—when they Academy, trying to boost ratings, went from five nominees to 10. A few years later, they opted for 5 to 10. Here's what that b.o. has looked like:

Year No. Films Total Gross Avg. Gross High Low
2009 10 $1.7 billion $170 m Avatar: $749 A Serious Man: $9
2010 10 $1.3 billion $135 m Toy Story 3: $415 Winter's Bone: $6.5
2011 9 $628 million $69 m The Help: $169 The Tree of Life: $13
2012 9 $1 billion $111 m Lincoln: $182 Amour: $6.7
2013 9 $813 million $90 m Gravity: $274 Nebraska: $17
2014 8 $620 million $77 m American Sniper: $319 Whiplash: $11

Huge blockbusters the first few years with this format. Then a tapering off.

2014's numbers will continue to rise a bit, maybe another $30-$50 million, mostly on the back of “American Sniper.” So it won't be the worst total b.o. since 2009. But close. 

And it will certainly be the most lopsided. Even “Avatar,” the most dominant box-office hit of all time (unadjusted), didn't dominate its fellow nominees the way “Sniper” has done this year. Eastwood's flick has grossed $319 million domestically. The other seven movies combined? $301 million. 

Here are the numbers, with worldwide gross (domestic + foreign), along with the non-UK foreign market where it's made the most money:

Picture Domestic Worldwide Big Foreign Mkt.
American Sniper $319,607,000 $428,107,000 Italy
The Imitation Game $83,921,000 $160,840,682 Australia/ Italy
The Grand Budapest Hotel $59,100,318 $174,600,318 France/Australia
Selma $49,598,000 $53,598,000 Italy
Birdman $37,733,000 $73,333,000 Australia/ Italy
The Theory of Everything $34,145,000 $104,145,000 Italy/ S. Korea
Boyhood $25,295,600 $44,438,600 Germany/ Neth.
Whiplash $11,330,000 $12,231,092 Turkey

How great that “The Grand Budapest Hotel” did better abroad than any other best picture nominee—even “Sniper”? Little Wes Anderson and his quirky characters. Who knew? Bravo, too, Germany and the Netherlands for the “Boyhood” support. 

See you in a few hours. 

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Posted at 01:14 PM on Feb 22, 2015 in category Movies - The Oscars
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My Favorite Oscar Acceptance Speech

I thought I'd posted this before, maybe I have, but it never hurts to do it again. It's Dustin Hoffman winning for “Kramer vs. Kramer” in 1979 (technically April 14, 1980). 

Keep in mind that this was a period of political and Academy controversy. During the previous decade, George C. Scott turned down his Oscar for “Patton,” Marlon Brando sent up Sacheen Littlefeather to protest the treatment of American Indians in Hollywood films, Bert Schenider said what he said after winning best doc for “Hearts and Minds,” Vanessa Redgrave said what she said after winning best supporting for “Julia.” Hell, only one of the other four nominees even bothered to show up that night.

Plus Hoffman, as he says, had been critical of the Academy. He was critical of the process, of the concept of “winners” and “losers.” So it appears when he gets onstage that he might ... protest. He might reject the award. He places it on the lectern as if it's something he doesn't want. He makes jokes about it, and about himself. 

The speech is a protest of a kind, but it's not sharp-edged and accusatory; it's humanistic and embracing. Particularly these words near the end:

We are part of an artistic family. There are sixty thousand actors in this Academy—pardon me, in the Screen Actors Guild—and probably one-hundred thousand in Equity. And most actors don't work, and a few of us are so lucky to have a chance to work with writing and to work with directing. Because when you're a broke actor, you can't write, you can't paint; you have to practice accents while you're driving a taxi cab. And to that artistic family that strives for excellence, none of you have ever lost.

 Here it is:

Plus, damn, Jane Fonda was hot. 

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Posted at 07:28 AM on Feb 22, 2015 in category Movies - The Oscars
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Thursday January 29, 2015

SAG/Oscar Differences: What Do They Say About Race, Sex?

Earlier this month, the Academy of Motion Picture Arts & Sciences (the Oscars to you and me) was blasted when it released its 2014 nominations and “Selma” barely made the cut—just picture and song. Director Ava DuVernay didn't become the first black female director ever nominated, and David Oyelowo was passed over for his performance as Martin Luther King, Jr. All 20 acting nominees were white for the first time since 1998, and #OscarsSoWhite became a popular Twitter hashtag.

I shrugged. Surely there were greater Academy insults over the years: the excusion of “Do the Right Thing,” for example, or the inclusion of “Crash.” I'd also heard the “Selma” people didn't get screeners to the Academy members in time, so it all seemed less a matter of racism than a marketing SNAFU. But the outrage machine needs its outrage.

Once upon a time, sure, the Academy, along with Hollywood, wasn't exactly to black actors. Still not, but there's been improvement. These are the number of black actors who have been nominated in the four acting categories:

  • 1927-2000: 37 nominations/ 6 Oscars
  • 2001-2013: 29 nominations/ 9 Oscars

For the first 73 years of the Academy, black actors averaged a nomination every two years and an Oscar every 12 years. But since 2001, black actors average 2.4 nominations a year and an Oscar almost every year. For all the racism that still exists in Hollywood, the Academy, at least, seems to be making a step in the right direction. 

Then I compared Oscar with SAG.

First, the Academy and the Screen Actors Guild are amazingly in sync. In the last five years, they've agreed on 18 of 20 choices. If you go back 10 years, there's a little more disagreement—but not in lead actor, where Oscar and SAG match exactly.

Here's a list of the SAG winners from the last 10 years, with the eight differences with the Academy highlighted:

Year  Lead Actor Lead Actress Supporting Actor Supporting Actress
2013 Matthew McConaughey Cate Blanchett Jared Leto Lupita Nyong'o
2012 Daniel Day-Lewis Jennifer Lawrence Tommy Lee Jones Anne Hathaway
2011 Jean Dujardin Viola Davis Christopher Plummer Octavia Spencer
2010 Colin Firth Natalie Portman Christian Bale Melissa Leo
2009 Jeff Bridges Sandra Bullock Christoph Waltz No'Nique
2008 Sean Penn Meryl Streep* Heath Ledger Kate Winslet*
2007 Daniel Day-Lewis Julie Christie Javier Bardem Ruby Dee
2006 Forrest Whitaker Helen Mirren Eddie Murphy Jennifer Hudson
2005 Phillip Seymour Hoffman Reese Witherspoon Paul Giamatti Rachel Weisz
2004 Jamie Foxx Hilary Swank Morgan Freeman Cate Blanchett

*In 2008, SAG awarded Winslet best supporting for “The Reader” while she won the Oscar for best lead.

You see a pattern? In three of the eight differences, SAG chose a black actor and the Academy didn't. Davis, Dee and Murphy were thrown over for Streep (“The Iron Lady”), Tilda Swinton (“Michael Clayton”), and Alan Arkin (“Little Miss Sunshine”). 

You see another pattern? This is an old one, to be sure. With actresses, the Academy has a tendency to go young and hot. For the men, it's a wash: Jim Broadbent instead of Ian McKellen, James Coburn instead of Robert Duvall. But here's a list of women who won Oscars but not SAG statuettes: Penelope Cruz, Marion Cotillard, Jennifer Connelly, Juliette Binoche. It's like a Who's Who of my fantasies. 

But do these patterns mean anything? I'd probably go Arkin over Murphy, too, or Swinton over Dee. With the women, are Oscar voters horny or are SAG voters xenophobic, since three of the four mentioned above are foreign actresses?

The Academy does skew old and white. You have to be asked to join the Academy. You simply have to be working to join SAG. But does this difference lead to racism and sexism? Does it ever lead to, I don't know, wisdom?

We'll see if the patterns continue into the future. In race matters, at least, they won't this year. The Academy got all the flack but in 2014 SAG didn't bother to nominate an actor of color, either. #SAGSoWhite? Or #ScreenersSoLate?

Cruz, Cotillard, Binoche, Connelly: Oscar not SAG winners

No SAG on these Oscar winners. 

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Posted at 04:44 PM on Jan 29, 2015 in category Movies - The Oscars
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Saturday January 17, 2015

The Remarkable Symmetry of Bennett Miller's Films, Nominations

I was thinking about this as I lay in bed this morning. Yeah, I know. I used to think about better things in bed.

But there is a remarkable symmetry to Bennett Miller's films/Oscar nominations:

  • Miller has made three feature-length films in his career.
  • Each title is one word with three syllables: Capote, Moneyball, Foxcatcher.
  • Each has received a nomination for best film (Moneyball) best director (Foxcatcher) or both (Capote).
  • Each has received a nomination for lead actor (Hoffman, Pitt, Carell).
  • Each has received a nomination in a supporting acting category (Keener, Hill, Ruffalo).
  • Each has been nominated for screenplay. 

Here's the chart:

Film Picture Director Lead  Supporting Screenplay Total
Capote x x x x x 5
Moneyball x   x x x 6
Foxcatcher   x x x x 5

“Moneyball” also got nominated for editing and sound mix, “Foxcatcher” for makeup.

The final similarity? Save Hoffman in 2005, nobody wins. Which, yes, fits with his movies, in which his leads win but lose (Capote), lose but win (Moneyball), or try to buy winning and lose everything (Foxcatcher).

Bennett Miller's lead actors 

Unsurprisingly, the middle one had the best box office.

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Posted at 10:31 AM on Jan 17, 2015 in category Movies - The Oscars
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Thursday January 15, 2015

The Best Picture Nominees by Rotten Tomatoes Score

Via Rotten Tomatoes:

Movie 
RT Score
Oscar Noms
Selma 99% 2
Boyhood 98% 6
Whiplash 95% 5
Birdman 92% 9
The Grand Budapest Hotel    92% 9
The Imitation Game 90% 8
The Theory of Everything 79% 5
American Sniper 75% 6

The worst rated best picture nominee I can remember is “Extremely Loud & Incredibly Close” from two years ago. It was rotten at 46%.

Every best picture winner in recent years has been ranked 92-98%. The last best picture winner to rank below 90% was “Crash” in 2005: 75%.

Selma

“Selma”: highest rated, least nominations. 

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Posted at 12:34 PM on Jan 15, 2015 in category Movies - The Oscars
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