How do Miramax and Dreamworks buy Oscars?

Discussion in 'Archived Threads 2001-2004' started by Ryan Peter, Dec 28, 2001.

  1. Ryan Peter

    Ryan Peter Screenwriter

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    Every year we hear this, and I don't even doubt it. I just am wondering how it works? What's the process?
     
  2. Bergan Peters

    Bergan Peters Stunt Coordinator

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    I'm sure that they make payoffs to the judges.
     
  3. Michael Reuben

    Michael Reuben Studio Mogul

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  4. Ryan Peter

    Ryan Peter Screenwriter

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    Michael, so are they getting people to vote for a film they haven't seen? Or are they getting people to go to their film? I don't see how advertising a film in Variety would make it get an Oscar nod.
     
  5. Terrell

    Terrell Producer

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    I wouldn't lump Dreamworks in with Miramax. If anything, they got robbed when they didn't win for Spielberg's Saving Private Ryan. Miramax is the worst.
     
  6. Chuck Mayer

    Chuck Mayer Lead Actor

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    Think of it like an political election.

    Studios check the "markets", look for moods and sentiments, and advertise to work on data they have at the time.

    Miramax is the worst. DW is still smarting from 1998, but at least they consistently put out good, if not great, movies. They are all bad about it...Miramax is the worst.

    Take care,

    Chuck
     
  7. Richard Kim

    Richard Kim Producer

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  8. Patrick McCart

    Patrick McCart Lead Actor

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    The Oscars are a joke, IMO.
     
  9. Mike Broadman

    Mike Broadman Producer

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    Part of it involves the general culture of Hollywood. People in a position to judge movies suddenly find themselves with a lot of new friends. They get invited to grand movie openings. They get wined, dined, and laid. They lose objectivity when rating a film.

    One would think that a critic or "judge" or whatever could become immune to this stuff since it happens so much. But these people are just as much Hollywood as the actors or agents, so it will always work.
     
  10. Michael Reuben

    Michael Reuben Studio Mogul

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  11. Anthony_D

    Anthony_D Stunt Coordinator

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    dont forget...miramax is owned by di$ney...they have enough money to buy anything
     
  12. Marc Colella

    Marc Colella Cinematographer

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  13. Jim_C

    Jim_C Cinematographer

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    >>SPR didn't even deserve to be nominated. Shakespeare in Love was a much better film and deserved their nomination
     
  14. Terrell

    Terrell Producer

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    You say Gladiator sucked, I say it rocked. With incredible cinematography, fantastic performances from the entire crew, some of the best battle scenes ever, emotion, great art direction, and intensity. I'm glad Gladiator won. It was my favorite film of the year last year. So I don't think they bought their way in with that one.

    Well, I know most here hated it, but I thought it was fantastic.
     
  15. Seth Paxton

    Seth Paxton Lead Actor

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  16. Seth Paxton

    Seth Paxton Lead Actor

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  17. Elbert Lee

    Elbert Lee Supporting Actor

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    I believe that Mirimax does promote its films to the academy more so than some of the other studios. I believe that SPR deserved the Best Picture oscar over Shakespeare in Love, but I can't help but believe that Speilberg's earlier effort with Schindler's List probably hurt his chances with SPR.

    The Academy has a habit of going with the more CINEMATIC films such as GLADIATOR (Production value and mass appeal). I don't disagree that these are very valid elements to a good motion picture and should be weighed EQUALLY with the merits of the smaller, more risque films like The English Patient, Shakespeare in Love, Chocolat, Traffic, etc. Some of these films build their merits on ingenious directing, excellent writing, and risky subject matter and have all of the elements of truly great film making, but CINEMATIC, LARGER-than-LIFE movies like TITANIC and GLADIATOR always have a upsides with the academy because they take full advantage of the medium to bring together a truly cinematic and involving experience to a mass audience.

    THe past 10 years was the learning curve for CGI and hollywood has had a poor turnout of quality Oscar-contending films. This gave independents a chance to give audiences a welcome reprieve from all of these CGI showcase films. Now that we've grown past all of that, I anticipate a return to the mainstream and subtlety in special effects will be the norm.

    In the meantime, all of the studios will continue to promote their contenders, send promotional materials to the press and artificially enhance their films' chances to getting a nomination.

    Elbert
     
  18. Randall Dorr

    Randall Dorr Second Unit

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    Am I the only one who's noticed Miramax's best pic nominees get more formulaic and unoriginal every year?

    '92 The Crying Game

    '93 The Piano

    '94 Pulp Fiction

    '95 Il Postino

    '96 The English Patient

    '97 Good Will Hunting

    '98 Shakespeare in Love

    '99 The Cider House Rules

    '00 Chocolat

    '01 possibly The Shipping News

    And Elbert, no offense, but if you think English Patient, Shakespeare and Chocolat are in any way, shape or form risque films, you must not see very many movies.

    (also Miramax had nothing to do with Traffic)
     
  19. Elbert Lee

    Elbert Lee Supporting Actor

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    no offense taken, however a simple "I disagree with your take on "risque" films would have sufficed, though.

    That's beside the overall point I was trying to make.

    I do watch many films but admit that I'm more mainstream and less into independents unless the subject matter appeals to me. Let me redefine "risque" as I used it improperly in my earlier post. I meant it films that are less mainstream and may not appeal to mass audiences.

    Shakespeare in Love caught my attention and I enjoyed the film through and through. Based on its merits, I thought that it deserved a nomination, but I thought that SPR was more deserving.

    On the other hand, I did not enjoy the English Patient even though I thought it was beautifully shot and performed. Many people that I watched it with did not have a good time watching it, but, nonetheless, it moved most of them.

    I agree that Mirimax has been less imaginative with the marketing of their "front runner" film in the past few years with Chocolat and Cider House Rules, and now with The Shipping News. Different films but same marketing schtick and same repetitious trailers with a thousand unknown critics' quotes of "Oscar" certainty. Mirimax's earlier films got the Oscar buzz based on the strength of the film and not on the promotions.

    Elbert
     
  20. Michael Reuben

    Michael Reuben Studio Mogul

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