The Great Season is finally upon us! As summer’s warmth fades with the arrival of September, so too comes the irrational hope of so many devotees. Time for watercooler conversations about how one camp is FINALLY going to pull it together this year. Or how the performance of an individual player could be enough to carry the weight of relevancy as the weeks pass by. Until finally, with boisterous anticipation on a cold Sunday evening in February, we’ll all gather around our televisions to see one camp capture the season’s ultimate golden prize.
The field for contention may be more crowded than we’ve seen in recent seasons. Yet there are two organizations whose talent stands on a tier above the rest. Their peers will be left fighting for meager scraps of the same conversation.
These teams are talent juggernauts assembled from molds of victory. Directors? Boyle and Iñárritu are easy Top 5 living/working. Leads? Michael Fassbender (riding a heat check) and Leo (who need only be mentioned mononymously). Other casts members?A bundle of true A-Listers.
Each camp is also armed with the most renowned and powerful artistic weapons of their respective fields. X-factors. Off the top of your head, who’s the most renowned screenwriter in the biz? Chances are you’re thinking of Aaron Sorkin. What about the top DP? Off back-to-back wins, it’s clearly Emmanuel Lubezki. Each has contributed their strengths in an attempt to distinguish these pics from their now-formulaic biographical predecessors. With Jobs, Sorkin wrote three clearly defined scene-acts (filmed by Boyle/Küchler in three different formats). With Revenant, Iñárritu/Chivo opted for a difficult path with their au-natural photography and a grueling production schedule.
Many pics will find their way on the shortlist for various merits but the REAL heavyweight fighters always excel at the following: strength of release schedule, accessibility to SAG members, and delivering content that appeals to the crucial “OWMs” (Old White Males) who rep the majority of Academy voters.
With Steve Jobs, all three criteria are easily met. Universal has taken the early buzz-grab road of debuting Jobs through a festival before opening wide in October (the release month of the last 3 Best Pic winners), They will have plenty of time to host Q&As and mail screeners before SAG noms are due on December 7th. With continued positive buzz, $100mil by then doesn’t seem entirely unreasonable (one more thing to tout on “For Your Consideration” ads). “OWM” appeal? LOL! See film title.
Fox seems to have a bit more work cut out for them with The Revenant. The Christmas Day frame is VERY crowded And while the limited release insures they meet the mandated one-week run in the calendar year, no Best Pic winner in 11 years has opened so late. This far out, it’s also hard to ignore even the most mild comparison to Malick’s The New World which will have opened exactly 10 years prior. But again, the track records of this team should be enough to make this thing really sparkle. While on-set tribulations feel reminiscent of something from Aguirre, the “no expense spared” attitude reflects a heavy level of confidence in the reigning Best Director. “OWM” appeal: 17th century westward trappers battling elements and BEARS. Oh and Grade A+ technical production. But if Fox can’t get Revenant to mature in time for this race, they may choose to instead run Ridley Scott’s The Martian as their Thoroughbred (though genre pics are generally viewed as box office Clydesdales instead of arthouse racers).
This season will certainly see a solid count of talent-laden prospects (Joy, The Hateful Eight, Spotlight, Brooklyn, Suffragette) and hot button dramas (The Danish Girl, Beasts of No Nation, Carol, Snowden, Freeheld), But at the end of the day this game is all about appealing to one group: Hollywood’s Old White Men. Gazing forward, Steve Jobs and The Revenant seem best-positioned to greet them.