Lee Tracy. Winner Julie Andrews. Anne Bancroft. The Pumpkin Eater. Sophia Loren. Marriage Italian Style. Debbie Reynolds. The Unsinkable Molly Brown. Kim Stanley.
Seance on a Wet Afternoon. Winner Lila Kedrova. Gladys Cooper. Dame Edith Evans. The Chalk Garden. Grayson Hall. The Night of the Iguana. Agnes Moorehead. Hush, Sweet Charlotte. Art Direction Black-and-White. Winner Zorba the Greek. Vassilis Fotopoulos. The Americanization of Emily. Art Direction: George W. Stephen Grimes.
Winner My Fair Lady. Mary Poppins. What a Way to Go! Scott, Stuart A. Cinematography Black-and-White. Walter Lassally. Philip H. Fate Is the Hunter. Milton Krasner. Gabriel Figueroa.
Harry Stradling. Geoffrey Unsworth. Cheyenne Autumn. William H. Edward Colman. Daniel L. Costume Design Black-and-White. Winner The Night of the Iguana. Dorothy Jeakins. A House Is Not a Home. Kisses for My President. The Visit. Margaret Furse. Edith Head, Moss Mabry. Peter Glenville. Stanley Kubrick. Robert Stevenson. Michael Cacoyannis. Jacques-Yves Cousteau, Producer. The Finest Hours. Jack Le Vien, Producer. Four Days in November.
Mel Stuart, Producer. The Human Dutch. Bert Haanstra, Producer. Over There, Jean Aurel, Producer. Winner Nine from Little Rock. Charles Guggenheim, Producer. Breaking the Habit. Henry Jacobs and John Korty, Producers.
Children Without. National Film Board of Canada. Geoffrey Scott and Oxley Hughan, Producers. Winner Mary Poppins. Cotton Warburton. Father Goose. Michael Luciano. My Fair Lady. The road to its actual premiere was littered with casting announcements and production changes.
The film is almost ouroboric in its archetype, given that its story — which has been remade either three or four times , depending on whether you count the film What Price Hollywood? Early versions were about Hollywood itself, and while the version and the version focused on the music industry, the story about becoming a star and then seeing that star fall is especially potent for people who work in either field. A similar arc is evident in the casting of Lady Gaga, already a megastar, yet who has managed to position herself as an ingenue in the manner of her character and spoken at length about the experience of auditioning for the film, especially going makeup-free.
But there is just one we feel. Getting your archetype right matters, because it can motivate and inspire voters. An industry trying to present itself as becoming progressively more inclusive and open-minded — and maybe more inclusive and open-minded than America at large — is more likely to seriously consider some films that might have been pushed to the side in the past.
Jordan returned to the press circuit long after their film left theaters, to talk about the impact of their film a year after it came out. And Black Panther is a great example of a film that hits more than one sweet spot for voters. Or consider Green Book , which feels like the kind of movie about racism Hollywood used to make in the s, one that suggests that we could work out our problems if only we would talk to one another.
Many of the people who made those movies are still likely voting on the Oscars. In , when Moonlight and La La Land emerged as frontrunners for Best Picture, they were promptly pitted against each other not just as films, but as avatars for politics in an America roiling after the election. La La Land , painted by its detractors as whitewashing pablum, was supposed to represent Donald Trump in this schematic; Moonlight , on the other side, was less Hillary Clinton than the legacy of Obama.
Horowitz chuckled when I asked him about it. The election had just happened, and there was a lot of raw emotion. People ascribed a lot of stuff to those two movies in particular. They both had to carry a lot of water for a lot of different things. Same thing happens in a political campaign, right? People project their hopes and fears onto a candidate. We saw that happen with Obama. We see it happen with candidates all the time. You can project feelings onto art, and emotion onto these pictures.
You can wind up projecting those hopes and dreams and fears and all those things onto a candidate. And that can have a great impact on where their vote goes. Mix the values of a film with the archetype it fits into and you have a potentially powerful voter magnet, a story that can make your movie stick in the minds of Academy members as they sit down to fill out their Oscar ballots.
A lot can change over that time. Running a successful Oscar campaign means knowing how to target your voters. And that is where the cinematic rubber meets the long, long road. So he replied on Twitter , offering a mini explainer on how things work once Oscars campaigns begin. But the largest factor as to why we didn't get nominated is that we didn't actually run a campaign that aimed to get a nomination for Screenplay or Song. We didn't buy For Your Consideration ads in the trade magazines and we didn't service the whole academy with screeners.
So I had no actual belief that we would get nominated. And that means spending money. A typical campaign involves lots and lots of contact between studios, publicists, and the voters.
The process usually starts in the fall, after the blitz of film festivals in Venice, Telluride, and Toronto, and intensifies over the next six months leading up to the Oscars. Doing those things just raises awareness of a film, and creates the notion that it has the potential to be part of the Oscar conversation, which makes people put it on their to-watch list.
And, as Riley notes, not doing those things can have the opposite effect. Actors and directors who campaign well — that is, who find ways to make personal connections with voters — often do much better on the awards circuit.
As with presidents, that means extroverts, or at least those who can project a gregarious image for months on end , are often more successful. Tom Hanks is known to be able to turn on the charm on demand; Michael Fassbender is said to be the exact opposite.
Among directors, you have the effusive Guillermo del Toro on one side and the reserved Christopher Nolan on the other. You may need to take selfies with fans or voters, show up to receive awards at smaller festivals attended by Academy members, and eat three meals a day at campaign events.
Some people — like Fassbender and Rooney Mara — are said to actively hate the campaign trail. To the victors go the spoils, kind of. Best Picture winners can expect a 22 percent raise in box office after a nomination and another 15 percent bump if they win, according to IBISWorld. But the financial calculations probably miss the best reasons to try to make an Oscar movie: To win accolades within the industry, to win access to stars who can make you more money down the line and, just maybe, to bask in the honor of making a truly great film.
Skip to content Site Navigation The Atlantic. Popular Latest. The Atlantic Crossword. Sign In Subscribe. If the Oscars seem boring and predictable to you this year, then you're in good company.
Sociologists have considered the Academy Awards predictable for a long time. A few weeks ago, I spoke with Gabriel Rossman, a UCLA sociologist with some of the most interesting research on the intersection of economics and pop culture. Rossman has two fascinating papers about the Oscars.
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