|GOLDEN GLOBESSAG AWARDSCATS|
With most major releases indefinitely delayed, film festivals postponed, and studios dropping their theatrical releases on digital left and right due to the coronavirus COVID-19 crisis, awards season is going to look very different by the time it rolls around in the fall. And no, it won’t be Bloodshot and Sonic the Hedgehog gunning for best picture, as many online have joked.
The Hollywood Foreign Press Association is making significant changes to its long-standing rules for the Golden Globes awards eligibility that expands the formats where an eligible film can be first released, including subscription streaming services, subscription cable channels, and broadcast TV. With these changes to the Golden Globes eligibility rules, other awards bodies like the Academy Awards, will likely soon follow.
Deadline reports that the HFPA announced that it would be altering its rules for Golden Globe motion picture eligibility and screenings for this year, which would — for the first time in history — open up the films eligible for the top best picture prizes drama and musical/comedy to those that were first released on streaming services, cable, and broadcast TV. However, producers and studios must still prove they had a “bona fide theatrical release planned to begin in Los Angeles during the period from March 15 to April 30 2020.”
This is a change that would likely have come at some point anyway, with the rise of streaming platforms who have become awards heavy-hitters like Netflix, Amazon Video, and Hulu, but has been expedited by the coronavirus epidemic, which has forced the shuttering of theaters across the country and delayed film releases and productions.
“The HFPA’s reminders list committee will consider application of this suspension of the rules on a case-by-case basis when compiling the annual Golden Globe reminders list in the fall,” the HFPA says. “The HFPA will continue to assess the impact of the COVID-19 epidemic on motion picture and television distribution and exhibition and may extend these suspensions of the Golden Globe award rules and/or may make other temporary variations to those rules as it considers appropriate in the future.”
Exhibition requirements have been temporarily suspended, except for the rule that films must be released seven days prior to midnight on December 31 of the qualifying year. The HFPA has broadened eligible feature film release platforms — previously only pay-per-view services and theaters — to the alternate formats like streaming services, subscription cable channels, and broadcast TV. But this expansion opens up a whole host of questions: what does this mean for the Golden Globe categories dedicated to TV movies that are dominated by HBO? Could a film that premiered at a film festival but picked up by a cable channel now be...
A column chronicling conversations and events on the awards circuit.
Just a little more than two weeks to go until the big night on February 9, and a key moment will happen Saturday when the winner of the all-too-Oscar-predictive DGA Award will be announced at the Ritz Carlton in downtown Los Angeles. If it is Sam Mendes for 1917, it will likely cap a huge night for that film as cinematographer Roger Deakins is expected to win handily at the ASC Awards ceremony across town at the same time. A win would make him and the picture instant frontrunners for the Oscar.
On the other hand, if it is Parasite's Bong Joon-Ho it will immediately spark comparisons to last year, when another Foreign Language film, Roma, won for its director Alfonso Cuarón who returns to present the prize tomorrow, but it won't instantly make Parasitea slam dunk for the Best Picture Oscar.Roma, after all, eventually lost to Green Book.It would, however, make Bong the frontrunner for the Best Director Oscar that Cuarón also went on to win; only seven times since the award's inception in 1949 has the DGA winner differed from the eventual Oscar Directing winner.
If it is Quentin Tarantino for Once Upon a Time in Hollywood, it will put that film back in the game big time after losses at the PGA which went to1917 and for the SAG cast award which went to Parasite. If it is Taika Waititi forJojo Rabbit, it will throw the whole race into chaos since he is the one DGA nominee this year not also nominated for the Oscar for Best Director. That wouldn't be unprecedented as it has happened a few times in the past where the DGA winner was not even nominated for an Oscar in the category including Steven Spielberg for The Color Purple,Ron Howard forApollo 13,and Ben Affleck forArgo.However Waititi isn't nearly as well known as that trio so it would be a shocker and certainly boostJojo'schances in Best Picture.Shutterstock
If it is Martin Scorsese forThe Irishmanit will immediately revive that Netflix film's chances after having a bad run at the Golden Globes, Critics Choice, SAG , and PGA awards. Scorsese is beloved and has been nominated 12 times at DGA, winning three forThe Departedin movies, and an episode ofBoardwalk Empirein TV, as well as the 2003 Life Achievement Award. If he does win he won't be there as reps for the director say he is staying in New York for personal reasons but will participate via Skype for the symposium with the other nominees Saturday morning, and tape an acceptance for his Medallion that is given for the nomination. Al Pacino and Joe Pesci the latter otherwise absent on the circuit this entire season will present to Scorsese.
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A rumor cropped up online recently that Cats, Tom Hooper‘s huge flop featuring horny cat people introducing themselves for 110 minutes, originally had CGI buttholes on all the feline behinds. And even though Cats is already a fever-dream to begin with, we weren’t entirely sure how much credence to lend that story. Now, an intrepid journalist has done the legwork, and turned up the true story of the Cats butthole cut.
It’s official: the Cats butthole cut did, indeed, exist. The Daily Beast has the scoop, and let’s just say the true story is even wilder than we could’ve predicted. Per their report, Cats was halfway complete when someone finally noticed the buttholes. “We paused it,” a source who worked on the film’s visual effects said. “We went to call our supervisor, and we’re like, ‘There’s a fucking asshole in there! There’s buttholes!’ It wasn’t prominent but you saw it… And you [were] just like, ‘What the hell is that?… There’s a fucking butthole in there.’ It wasn’t in your face—but at the same time, too, if you’re looking, you’ll see it.”
What the hell is that, indeed. The source goes on to state that no one flat-out ordered buttholes added to the digital cat people – it just sort of happened. They materialized organically – as buttholes do sometimes. Unfortunately, when the buttholes started to be noticed, it fell upon one visual effects artist to go through and erase every sphincter.
Beyond the story of the butthole cut, The Daily Beast story paints a portrait of a terrible behind-the-scenes process for the visual effects folks working on the film. One source even goes so far as to compare it to “slavery.” And director Tom Hooper only made things worse, primarily because he didn’t seem to understand how VFX even worked:
Before visual effects artists fully render sequences for animated films, they normally show directors playblasts—preview renderings that feature characters without color or texture. That allows the director to evaluate the motion before hours of work are done to flesh out things like color, texture, and lighting. Hooper, however, did not seem to grasp that process. Any time the visual effects team wanted to show the director any animatics, the source said, they had to fully render it. Otherwise, he’d say things like, “What’s this garbage?” and “I don’t understand— where’s the fur?”
Sources describe Hooper as “disrespectful,” “demeaning,” “condescending,” and “horrible,” and add that he talked to everyone like “garbage.” In short, the experience of working with Hooper does not seem like it was the cat’s pajamas. It wasn’t even the cat’s meow.