In Contention

Tag: James Cameron

  • Can ‘Avatar’ do for the Oscars what ‘Dark Knight’ couldn’t?

    Sam Worthington in AvatarPeter Bart decides to call a spade a spade as it pertains to the Oscar race.  James Cameron’s “Avatar” is “the betting favorite to win best picture,” he writes.  But more importantly, he brings up the solid point that the film’s potential AMPAS success could be the ratings shot in the arm the show has been looking for.  (And guess what?  They didn’t need to go to 10 nominees to get it.)

    Writes Bart:

    Since it takes a populist movie to pump life into the Oscar ratings, “Avatar’s” box office largesse will likely translate into another “Titanic”-like bonanza. Back in 1998 some 55 million viewers tuned in, while last year’s “Slumdog” siesta totaled a mere 36.3 million…

    We realize that the Oscar show’s new producing team of Adam Shankman and Bill Mechanic is hard at work on plans to enliven the broadcast, but they are also keenly aware of the ratings realities. A movie like “There Will Be Blood” does not mean there will be audiences. The awards process is energized when folks out there have actually seen at least one or two of the movies being honored.

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  • DGA on the way

    J.J. Abrams on the set of Star TrekTomorrow the Directors Guild of America will chime in with its list of nominees for the 2009-2010 film awards season.  Long considered to be the best “predictor” of the Oscar game (as in, the DGA winner typically wins the Oscar for Best Director, and Best Director often matches up with Best Picture), this guild’s shenanigans makes for a heavily anticipated harbinger of the season.

    Then again, maybe not.  In the last few years, names like Christopher Nolan, Sean Penn, Julian Schnabel and Bill Condon have popped up on the list, almost as if the guild was concerned with predicting the Best Picture race as it had done, five-for-five, for four straight years prior.  Those picks reflected the buzz of the early-year hour in each case, but ultimately, the Academy went a different direction with its Best Picture slate.

    That said, “the 10” makes for an entirely different dynamic.  I actually expect (or maybe “hope” is the word) tomorrow’s announcement to inject some intrigue into the proceedings.  I think there will be someone shortlisted who catches a great many off guard.  But who will it be?

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  • The new movie of the moment?

    Stephen Lang in AvatarParamount has shrewdly been playing up the significance of Jason Reitman’s “Up in the Air” with its “movie of the moment” quotes, and rightly so.  The zeitgeist elements in the film have been an inexhaustible talking point since its Telluride debut.  And to tap into those elements is to understand the kind of gravitas a Best Picture contender needs to make it into the winner’s circle.

    However, I can’t help but get the sense that “Avatar” is stealing that zeitgeist thunder somewhat and moving away of the “it’s just about the visuals” thing as of late.  There have been some comments from readers who think James Cameron’s film is an octane entertainment that couldn’t possibly generate the proper “watercooler” talk to be a mainstay in the cultural consciousness, but 17 days, a billion dollars and a number of op-eds later, it seems the cultural consciousness begs to differ.

    Beginning across the pond (and before the New Year) in the right-leaning Daily Telegraph, Nile Gardiner called the film “the most expensive piece of anti-American propaganda ever made,” while nearly a month ago in The Times, Ben Hoyle pulled some political asides out of Cameron regarding the cost of “several hundreds of thousands of Iraqi lives.”

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  • SUNDAY CENTS: Happy Blue Year

    Avatar*All historical figures cited are adjusted to today’s dollars.

    Okay. What kind of fairy dust is James Cameron sprinkling in his films? Subliminal messages perhaps? There’s no other explanation. “Avatar” is the number one movie again this weekend, raking in $68.3 million, off 10% from last week. It becomes the first film to spend three straight weeks at the top since “Tropic Thunder” and that weekend tally is the all time record for a third weekend by a mile. “Spider-Man” previously held the title with $55.7 million.

    “Avatar” now has a running total of $352.1 million and will almost certainly pass $500 million before it exits theaters. Whether or not it can reach the $533.3 million of “The Dark Knight” is not certain, but with January’s releases looking particularly dismal, who knows? It is certain that Cameron’s film will become the second-highest grossing film of all time worldwide behind “Titanic,” and that is just ridiculous.

    The movie is already #94 all time domestically, and #16 of the decade. It’s the highest grossing non-sequel since “The Passion of the Christ” and should eventually be the highest grossing original property since “Titanic.” Box office figures of that nature are pure flukes and for a director to do it twice with completely different properties is jaw-dropping. James Cameron is, without a doubt, the king of the world.

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  • THR’s directors roundtable

  • OSCAR TALK: Ep. 14 — ‘Avatar,’ ‘Avatar’ and ‘Avatar’

    Oscar TalkWelcome to the latest installment of Oscar Talk, your weekly kudocast with yours truly and Anne Thompson of Thompson on Hollywood.

    This week’s discussion is pretty much dominated by the unveiling of, arguably, 2009’s most anticipated film. So with that in mind:

    • Anne and I discuss the joy of James Cameron’s “Avatar,” including everything from technical wizardry, the film’s milestone status in the history of cinema and, of course, awards prospects.

    • With the critics’ awards kicking off this weekend, starting Sunday with the Los Angeles Film Critics Association’s list of kudos, we speculate on which films could get recognition and which films need the leg up.

    • Top 10 lists are hitting and Anne just published hers, so that’s food for thought. Mine will hit Monday.

    • Briefly we preview next week’s list of key dates, which include the BFCA, Golden Globe and SAG nomination announcements.

    Have a listen to this week’s podcast below. Apologies for the audio on Anne’s side of things. It sounds a little muffled because we couldn’t get her external mic to work. Roll with the punches.

    Oh, and as always, you can subscribe to Oscar Talk via iTunes here.

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    Subscribe to Oscar Talk

  • 12/11 Oscarweb Round-up

    Kathryn Bigelow• Jeffrey Wells conveys the sentiment from director Rod Lurie: Kathryn Bigelow will win the Oscar for Best Director this year.  Agreed. [Hollywood Elsewhere]

    • Scott Bowles talks to the man of the hour: James Cameron. [USA Today]

    • Steve Pond sits down with “Mary and Max” writer/director Adam Elliot. [The Odds]

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  • Transported

    Stephen LangThe embargo on “Avatar” has been essentially lifted by Fox so I could go on at length about how I could sit through it over…and over…and over again.  Anne and I will dig in properly in tomorrow’s Oscar Talk and I’m sure I’ll have a review at some point, maybe Monday.  But a few things…

    The visual effects race, if you couldn’t guess already, is over and done with.  In all likelihood, the sound races as well.  And there is a compelling argument to be made for the film editing as well.  But that’s the expected tech bliss the film delivers.

    Wait, let me not undersell that.  This is the most amazing cinematic experience I’ve ever had.  There are, admittedly, story elements that give one pause.  The film isn’t total perfection (though I’d argue this is a very mature, thematically beautiful screenplay from James Cameron).  The filmmaker can’t help himself in a number of instances that are too on the nose.

    But so what?  Seriously.  This is why we all go into dark rooms to be transported to other worlds.  Cameron gets it.  And he delivers.  A thousand times over.  It’s the kind of film you want to take any and everyone with you to see.  Not to be too cheesy — it is absolute magic.

    More tomorrow.  (P.S.: Give Stephen Lang a Best Supporting Actor nomination.  NOW)

  • The Guardian on ‘Avatar’: “It was good.”

    Like everone else, The Guardian can’t print a full review of “Avatar” before Monday, but their writer Mark Brown (not the paper’s regular critic, it should be said) has tested the embargo enough to say this:

    So by saying Avatar was really much, much better than expected, that it looked amazing and that the story was gripping – if cheesy in many places – the Guardian is in technical breach of the agreement. It is not a breach, however, to report that other journalists leaving the screening were also positive: the terrible film that some had been anticipating had not materialised. It was good.

    They also report that Cameron claims to have enough story material for two sequels. (It had better be “good,” then.) More here.

  • Put up or shut up

    Zoe Saldana in AvatarToday is the real “Avatar Day.”

    Later tonight at the Chinese theater in Hollywood, James Cameron’s heavily anticipated opus finally goes before discerning critical eye.  (It will be doing the same momentarily in London for junket press.)  The project has been percolating for a decade.  Months of tangible hype began at Comic-Con in July when fans and press were dazzled by a half hour of 3D footage.  The marketing has reached a fever pitch.  TV spots are ubiquitous.  It’s time to hold ’em or fold ’em.  The gambling’s done.

    Can any film hold up under this pressure?  I have that weird feeling in my stomach, where it seems like something is teetering on the edge, set to fall one way or the other.  And honest to God — I have no idea which way this thing is going to fall.

    I hope knives aren’t being sharpened.  I’m not in the tank or a Cameron fanboy or what have you.  But I am very intrigued by a guy rolling in money using it to push something forward, forcibly, and it’s impossible not to have that hair-raising sense of excitement at a cinematic milestone like this.  And win, lose or draw, the unveiling of “Avatar” is indeed going to be a milestone.

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  • 12/4 Oscarweb Round-up

    Stanley Tucci in The Lovely Bones• Peter Knegt talks to “Up in the Air” supporting actress hopeful (and newly minted NBR award recipient) Anna Kendrick. [indieWIRE]

    • Stanley Tucci and how to (reluctantly) play a pervert. [The Carpetbagger]

    • Peter Jackson, meanwhile, doesn’t much care about an Oscar campaign but does hope that people look closely at Tucci and Saoirse Ronan’s performances. [Vulture]

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  • ‘Avatar’: the interactive trailer experience

    AvatarYou really have to hand it to Fox marketing as it pertains to James Cameron’s highly anticipated “Avatar.” Three weeks out from release and it seems like the film is everywhere.

    Full blown 90 second TV spots all day is one thing, though.  Innovative online marketing is another, and it looks like the studio has chosen Nikki Finke’s Deadline Hollywood Daily to launch the latest interactive ploy.

    Essentially it’s an interface that you have to download.  While watching the trailer, you can interrupt things and play character profiles throughout, with interviews and perspective from Sam Worthington, Michelle Rodriguez, Giovanni Ribisi, Stephen Lang, etc.  These are called “hotspots” that you can engage throughout which load the mini-featurettes we’ve seen pop up over the last few days and weeks.

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  • ‘Avatar’ on ’60 Minutes’

    The first screenings of the film are said to happen December 10 (the same day as the London premiere). Maybe some will happen before that, maybe not. But with latter-year contenders underwhelming left and right, all eyes could be aimed toward James Cameron’s latest with something of an exasperated sense of hope. Soon enough…

  • OFF THE CARPET: Original players

    (from left) Jeremy Renner and Evangeline Lilly in The Hurt LockerWhen I had the unmitigated gall last week to project a set of winners for this year’s Oscar race, I was a bit startled at how easy Mark Boal’s script for “The Hurt Locker” slid into the Best Original Screenplay slot.  Looking over the landscape of contenders in the category, it’s a little obvious why such a somewhat non-traditional entry would be pegged as a frontrunner: this is a pretty thin year for original screenplays.

    That should take nothing away from Boal’s work, which is certainly commendable.  But beyond Pixar’s “Up” (penned by Pete Docter and Bob Peterson) and the Coen brothers’ “A Serious Man” (my pick for best-in-show in the category), there isn’t much competition for Boal’s play at the statuette.  I even find myself struggling with two more solid bets for nods after that trio.

    Fox Searchlight, however, is making some pretty strong moves on behalf of “(500) Days of Summer,” written by Scott Neustadter and Michael H. Weber.  The pair has already been cited by the Hollywood Film Festival as well as the Hamilton Behind the Camera awards.  Given the studio’s campaign prowess (and the undying spirit of the film’s champions), it makes sense to expect a spot to be reserved for the film here.

    To fill out the set, you’ve got a slot that is undeniably up for grabs.  So let’s dig into the field and see what we come up with.

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  • Cameron to be honored by Visual Effects Society

    AvatarHoly crap, how many lifetime achievement awards are there in Hollywood? More than there are people, apparently, since they’re now having to share recipients.

    Anyway, mere hours after the announcement that James Cameron is to receive the Lucky Brand™ Modern Master Award at the Santa Barbara fest (it’s the ™ that makes it special, in my opinion) comes the news that Cameron will also receive the Lifetime Achievement Award from the Visual Effects Society at their annual awards shindig on February 28. Previous recipients include George Lucas and Steven Spielberg.

    Fair enough, given all Cameron has done to advance the effects artform over the last quarter-century. But if “Avatar” storms the awards anyway, might it not seem like overkill? (I’m standing by “District 9” for the Oscar, mind.) More here.

  • Cameron to receive Santa Barbara’s Modern Master Award

    James CameronThis went to Clint Eastwood last year.  The press release, in part:

    James Cameron has been selected to receive the Santa Barbara International Film Festival’s highest honor, The Lucky Brand™ Modern Master Award, it was announced by SBIFF Executive Director Roger Durling. The Tribute will take place on Saturday, February 6, 2010, at the historic Arlington Theatre.

    The Lucky Brand™ Modern Master Award is the highest honor presented by SBIFF. Established in 1995, it was created to honor an individual who has enriched our culture through his/her multi-faceted accomplishments in the motion picture industry. Cameron joins an illustrious group of past recipients including Michael Douglas, Jodie Foster, Sir Anthony Hopkins, Diane Keaton, Sean Penn, Jeff Bridges, Peter Jackson, George Clooney, Will Smith, Cate Blanchett and Clint Eastwood.

    “James Cameron is one of the most visceral storytellers working in cinema today and AVATAR is one of the most ambitious projects ever,” comments SBIFF Executive Director Roger Durling. “Because of his high aspirations and film achievements, James Cameron is not only the perfect Modern Master for our 25th anniversary, but one for the ages.”

  • Playing up the humanity of ‘Avatar’

    Sam Worthington in AvatarAll eyes on on the big four, films that have yet to screen but expect to play a heavy hand in the Oscar race: “Invictus” (which debuted a poster and a trailer recently), “The Lovely Bones” (which has screened internally at Paramount and is almost finished), “Nine” (which has been beginning to get a look from publicists involved, who have nothing but ecstatic things to say, of course) and “Avatar” (which no one has seen).

    It is interesting to note the latter’s intriguing grip on the anticipation.  I just had a conversation yesterday with a studio head who expects it to go pretty far in the race.  The overall feeling seems to be, unless it’s a stone-cold turkey, it will be a formidable contender, genre be damned.  “I wouldn’t bet against that guy,” the studio head said of director James Cameron (who was recently profiled at great length in the pages of The New Yorker).

    It is also interesting to note that, as a new trailer for the film that highlights some of the more dramatic moments of the film plays in theaters, this LA Times piece (sneaked on writer Geoff Boucher’s Hero Complex blog) has quotes from both Cameron and star Sam Worthington announcing a desire for story over substance.

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  • 10/27 Oscarweb Round-up

    Mel Gibson in Braveheart• Patrick Goldstein thinks tapping Ricky Gervais as emcee suddenly classes up the Golden Globes. [The Big Picture]

    • In case you’ve missed it, a thorough and, I’d say, fair profile of James Cameron in 11,000 words. [New Yorker]

    • Mel Gibson admits the subject of his Oscar-winning biopic “Braveheart” was a “monster.” [The Times]

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