• Jeff Bridges to “TRON Legacy” producers early on: “Tell me the things you are going to do that no one’s ever done before.” [The Wrap]
• Sofia Coppola talks “Somewhere” across the pond. [Daily Telegraph]
• Jesse Eisenberg on awards season, narcissism and his feelings about an Oscar nomination. [Movieline]
Misconceptions about Daft Punk’s musical score: Fans became excited when it was announced that Grammy winning electronica duo Daft Punk would be scoring the film. They received their first taste of the music when the track “End of Line” was played in the hidden room that displayed the new lightcycle at the Flynn’s arcade set-up for San Diego Comic-Con 2009. Immediately fan produced mixes of the track were created and music released by other electronica artists was falsely labeled as new tracks from the Tron Legacy score. A few weeks back another up tempo track Derezzed was released in anticipation of the score’s December 6 release. Yet many fans fail to realize that most of the music Daft Punk has composed for the film is not dance music, but an actual score. It works fine on it’s own, but it’s meant to support and enhance the theatrical film. Daft Punk even incorporated a 90 piece orchestra making for some exciting and truly emotional music cues. If you expect to be dancing along to the Tron Legacy soundtrack you’re gonna be sorely disappointed.
From Ron Henrique’s Latino Review piece entitled “10 things surrounding ‘TRON Legacy’ that bug me.”
Disney has probably been wise to discontinue the original “TRON” on DVD in advance of the release of “TRON Legacy,” lest people be reminded of how truly bad it was. Beyond being conceptually ahead of its time, it never seemed to be more than a pop culture blip in cinema history, if we’re being perfectly honest.
Bottom line: the film had unrefined if progressive narrative ideas and got points for pushing boundaries if nothing else. Naturally, then, it developed a cult following that heaped appreciation for what wasn’t really on the screen, but rather what existed in the conceptual ether of the thing. This puts “TRON Legacy” in decent enough position to capitalize on throwback mania.
Here’s the thing. The new film has plenty of issues, but I doubt I’ve had a better time in a movie theater all year. Expectations couldn’t have been lower, which played to the film’s advantage I imagine, but I was strapped in and game from the opening text.
I find it somewhat appropriate to be ending my in-depth looks at the crafts categories with a discussion of Best Visual Effects. This is, after all, a category which awards the sort of behind-the-scenes crafts work that is often prominently displayed in advertisements and talked about with reverence after the film ends.
When looking at the category’s history, it is not surprising that major blockbusters have fared the best here, with big budgets and even big revenues usually being a prerequisite to be considered for a nomination. Visual effects that “stick out” are usually rewarded, even if the film is not particularly loved. Of course, being in a beloved film helps, especially in the race for the win.
Prior to this year, there had been only three nominees in this category. Now, there will be five. This means we won’t get the “clues” that come when a list of seven bake-off finalists was announced in previous years. That said, I feel we’ve got a lot of clues about what the final five will be already.
On the precipice of December, the season feels at once stale and fresh. We’re in the post-Thanksgiving food coma paradox that hits every year. But things are going to start heating up real soon.
The last two films out of the gate, “TRON Legacy” and “True Grit” (both ironically starring Jeff Bridges), have already started screening. SAG ballots are already in the hands of nominating committee members and voting deadlines are approaching for various organizations.
The circuit “officially” begins Thursday with the always arbitrary National Board of Review announcement. The Washington, D.C. Area Film Critics Association will get a jump on the critics awards once again when they announce one week from today, while the Los Angeles (12/12) and New York online (12/12) and print (12/13) critics will have their say the following week, as well as the BFCA (12/13) and HFPA (12/14).
The excitement will build to the usual pre-holiday stall and pick right back up on January 4 when the writers and producers guilds announce nominees, followed the same week by the art directors and sound mixers. And the date most will have their eyes on — January 10 — will bring the DGA’s list of contenders. Before you know it we’ll be on a collision course with the January 25 Oscar nominations announcement and things will be mercifully nearing an end.
Sound mixing has a lot in common with sound editing, but the distinctions are still critical. While both clearly relate to what we hear in the theater, sound editing specifically relates to the creation of artificial sounds (“sound effects”) while sound mixing brings everything together — from effects to music to dialogue (recorded on set or during post-production) to music – into the overall soundscape of a film.
Many of the same kinds of films that are nominated for Best Sound Editing are also frequently cited here – blockbusters, action films and war films. But musicals often pop up here, too. And as in most categories, being a Best Picture contender certainly helps titles that otherwise would not come close to this category. Though it is hardly determinative.
I said before and will say it again – I believe that Christopher Nolan’s “Inception” is leading the way here, at least in terms of likelihood of a nomination. I honestly expect a good half-dozen crafts category nominations for this title and this will be among them. And I expect the crew, including past nominee Gary Rizzo, to be firmly in the hunt for the statuette.
Catch up with the idea behind these weekend posts here.
The photo to the right represents the early haul on screeners this year. Usually this time of year I find myself delighting in second and sometimes third viewings of this or that, but oddly enough, I still have some catch-up to do.
I’m glad the documentary field has been narrowed down, so I can focus on a smaller group, but there are even a number of films from earlier in the year that I haven’t bothered to put in the player yet. What is it? Laziness? Lack of interest? Too busy? I don’t know. My mind is gone.
It’s a weirdly sluggish year on the whole as advertising has held off until late November/early December for the most part. This time last year we still had three films to see. With “TRON Legacy” going before junket press in the last few days, we’re left with just one film to bow: “True Grit.” So Jeff Bridges gets to crash the Oscar party two years in a row.
Last week we discussed how a movie’s soundtrack can be immeasurably improved by music. This week, we turn to the sound technicians. While next week will concentrate on sound mixing (the overall mix of effects, recorded sounds, dialogue and music), this week we look at sound editing, the creation of artificial sound effects to enhance a film’s aural impact.
Despite the difference between the two sound categories, the fact remains that usually no more than one or two of the nominees in the Best Sound Editing field are generally snubbed for mixing. And as always, Best Picture contenders do well, suggesting that the branch isn’t the most novel when seeking out nominees.
However, the category has shown a tendency to reward films that do not necessarily score in the major categories; blockbusters, fantasy films and animated films usually do very well here, likely because of the fact that so many sounds in these movies have to be manifested. So let’s start with animated titles.
A reader comment got me thinking on box office and Oscar as the usual blockbuster and genre fare led the way in ticket sales this weekend. It dawned on me that pickins might be extra slim when it comes to representing populist filmmaking in 2010’s Best Picture crop.
Box office and finding room for ratings-friendly titles have long been assumed considerations in the decision to expand the Best Picture category to 10 nominations last year. One year after Christopher Nolan’s “The Dark Knight” nearly reached “Titanic”-level numbers and was snubbed of a Best Picture nomination, there were suddenly five more spots to be filled, widening the net.
Academy members had seven films to choose from the $100 million-plus club in 2009 that had any legitimate excuse for being in the conversation. They were: “Avatar,” “The Blind Side,” “District 9,” “The Hangover,” “Inglourious Basterds,” “Star Trek” and “Up.” And some would consider “The Hangover” and “Star Trek” to be a stretch. As such, they missed, and the other five made it.
So important but so hard to notice. That’s how I would describe the work of our best film editors – those cutting artists who blend and juxtapose frames together to make films coherent, establish a flow and also set the mood in a manner that suits the screenwriter’s words and the director’s vision.
The Academy Award for Best Film Editing is, more than any other category, very much tied to the Best Picture race. Despite a blip from 2005-2007, this category always has at least three – usually four, sometimes all five – of its nominees also nominated in the big category. Now that there are 10 nominees, however, one cannot help but wonder if we are ever going to again see a nominee here also not cited in Best Picture.
Apart from Best Picture contention, being a war film, action film or musical never hurts here. I must say, however, that since I last previewed this category in August, I continue to believe that the three titles I had leading the way then are still out in front.
So Tom O’Neil is reporting at Gold Derby that Jeff Bridges will be hosting Saturday Night Live on December 18. I did some poking around and it looks like he was supposed to host some time next month, but I guess that’s been pushed closer to the Christmas release date of “True Grit” and, more fittingly, the day after the release of “TRON Legacy.” (Good on this guy for calling it.)
Whatever the case, if true — AWESOME. Obviously a hosting gig on SNL does plenty to boost the awareness of a big holiday or awards season film, but to the best of my knowledge, this would be the actor’s first time hosting solo. He apparently co-hosted with brother Beau back in 1983.
And really, who doesn’t want to see this? Alright, let’s take bets. There’s sure to be a silly “TRON” send-up. Probably some Dude material (cast members dressed as The Dude in the stands during the monologue, perhaps). Etc. Anyway, can’t wait.
I’m not all that psyched for Disney’s “TRON Legacy,” but even I’ll admit that the final one-sheet for the film is pretty damn nifty. If it strikes you as familiar, that’s because it craftily mirrors the poster art of the original film. Check out the full image after the jump.
Oh how things have changed since I last wrote in this space. In the past four weeks, Tech Support has taken a break, allowing the dust from the festival circuit to settle, and other titles to open. Over the next 10 weeks, we’ll take a second look at each of the crafts categories, finishing in mid-December – just as awards circuit takes hold.
Today, we take a second glance at Best Art Direction. As stated last time, this category tends to reward period and fantasy films.The branch has some favorites, but it’s not overly incestuous. And while being a Best Picture contender certainly helps, nominees can often come from the surrounding fray.
Perhaps I’ll start with a film that I thought would score here, but came out of Toronto in even greater shape than I expected: Tom Hooper’s “The King’s Speech.” With prestige and period attached, I am virtually certain Eve Stewart, who was nominated in this category 11 years ago for Mike Leigh’s “Topsy-Turvy,” will be heading to the Kodak. Not only am I confident she’ll be nominated again, I think she has excellent potential to win.
Last night on the Disney lot the studio held its annual holiday showcase, previewing material from major films set to hit theaters this fall. Outside the theater there was a massive illuminated “Secretariat” display across from a live horse prancing around in circles, which itself was just steps away from a “TRON Legacy” light cycle. If you’re gonna roll out the hype, spare no expense.
First up there was a rather arbitrary teaser for the only completed film featured, “Secretariat” (which I’ve seen but can’t write about until Monday). Done and done.
Then came the “TRON Legacy” showcase, introduced by director Joseph Kosinski. We were treated to 23 minutes of the film (including much of the segment shown at Comic-Con in July). Most of the effects were in place though the sound had not yet been punched up by Skywalker.
How often do you go to the movies to escape? To be immersed into a different world, whether it be fantastical, thrilling or action-packed? For many movie-goers, if not most, the answer is “frequently.”
Visual effects often play a massive role in this experience. Studios invest heavily in them and frequently try to sell films on the strength of their effects as much as their directors or their stars. Given this, it is unsurprising that the films that are nominated for the Academy Award for Best Visual Effects are almost always big titles, often with huge budgets and almost invariably with massive revenue.
Dozens if not hundreds of individuals collaborate on the effects work of any given film. Only four supervising members of the crew can share the award, however. While there are certainly many dazzling crafts artists who are embraced in this category year after year, the branch has opened up to newcomers considerably in recent years.
The visual effects category will be changing its dynamic this year as it will be expanding to five nominees after years of using the traditional bake-off method of determining three nominees. How this will impact trends is a matter that will play out in this year and years to come. But from this vantage point, we can only look to the past.
Oddly enough, however, if there was one category where I’d put down money on the final nominees from this perch, this would be it. Not that I’m in any way guaranteed to be right. In fact, I doubt I will be. Too much can change. But five titles make the most sense right now.
Is it really worth getting excited at the possibility of the Academy’s music branch being progressive enough to make room for Daft Punk in this year’s list of Best Original Score nominees? Ever since the French electronica duo was announced as the composers on “TRON Legacy,” excitement has been through the roof.
This is the most problematic branch of the Academy for reasons illuminated year after year. And despite letting a few new (if traditionalist) names into the Oscar fold over the last few years, the branch remains fiercely insular. And you don’t get more outside the box than Daft Punk.
Nevertheless, the score sounds like it could be one of the highlights of a production that has long been rumored to be quite troubled. And an official site has launched with a taste of what the boys have to offer.
Last week, while discussing the sound editing category, I explained the difference between that art form and sound mixing. The Oscar for the latter is shared between two (or more) persons who construct the soundtrack of a movie. The re-recording mixers bring together everything – dialogue, sound effects, music – into what we hear in the theater. The production sound mixer is also awarded for capturing the sounds during shooting, an undoubtedly arduous task.
Many of the films nominated here are also nominated for Best Sound Editing. In fact, rarely is there more than one film showcased for only one field. Both categories like loud films, blockbusters and, as always, being a Best Picture contender certainly helps.
That said, some trends are noticeable between the two categories. Firstly, the branch has a love of musicals when it comes to sound mixing. That makes sense, of course, because a musical is fully made by its mix. Meanwhile, animated films consistently fare better in the sound editing category, which also makes sense given that so much of the sound scape is created separately from production.
