The Producers Guild Nominees. Which Film Would Be The Hardest To Get Made?
Wednesday, January 2, 2013 at 8:33PM
NATHANIEL R in Beasts of the Southern Wild, Bond James Bond, Directors, Oscars (12), PGA, Skyfall, TV, precursor awards

I thought it might be interesting to look at tonight's Producers Guild nominations NOT as Oscar predictions -- they're always that since the industry end game is the Oscars -- but as what they're ostensibly intended to be: awards honoring producers who shepherded certain movies to the screen. The nominees...

Grant Henslov and Ben Affleck working on "Argo"

The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures

 

Producing is a very mysterious job from the outside looking in. Every film's producers have different jobs ahead of them based on a) what kind of project it is, b) how much fighting they'll have to do to get it made creatively and financially and c) whether they'll be separate from or very tied to the artistic decisions -- notice that only 50% of the nominated teams include the director of the film in question so some of these producers have far more influence on the final product than some of the others.

Barbara Broccoli with her Skyfall talent

No film has an easy road to movie theaters but if you remove your feelings about which of these ten films is "the best" from an artistic and/or entertainment standpoint and start thinking about what the particular challenges might have been, it feels like a different contest altogether, right? more...

Barbara Broccoli, for instance, entered the Bond family business when she was 17 (she's 52 now) and she's has been toiling away on the franchise ever since, leaping through many fiery hoops over the years (remember all the MGM financial and legal troubles that?) to keep the series going. Even if you have issues with the franchise during her reign -- roughly speaking, the Brosnan/Craig years -- you have to admire how well executed this whole 50th anniversary celebration/production was! On the opposite end of the spectrum, how the hell would anyone get a film as alien, poetic and all around amazing as Beasts of the Southern Wild made with no stars no obvious selling point and no well-oiled machinery making the distribution part a snap (as so many of these films already had)? 

So those are the two films I'm most amazed by from a producer's standpoint. But obviously it's tough to judge a producer's work but for what's in the finished film... which everyone than credits to the director. Awards are a strange business! 

OSCAR SIMILARITIES?
For the curious among you as for as Oscar-correlation statistics go, we don't have much info to go on. We've only had Oscar's new larger Best Picture pool (with fluctuating rules) for the past three years: In 2009, 8 of the PGA's nominees went on to Oscar nominations with the Academy replacing Invictus & Star Trek with The Blind Side and A Serious Man (upgrade); In 2010 9 of the PGA's nominees went on to Oscar nominations with the Academy replacing The Town with Winter's Bone (upgrade); In 2011 7 of the PGA's nominees went on to Oscar nominations with the Academy replacing Bridesmaids, The Girl With the Dragon Tattoo, and The Ides of March with Extremely Loud and Incredibly Close and The Tree of Life (upgrade?). While Oscar is hardly as blockbuster averse as the media likes to pretend, the PGA is definitely more friendly to them suggesting that Skyfall is in the weakest position to translate its PGA nod to an Oscar nod. And who knows what Oscar will do with Django Unchained? Will they like it? I know that people are crazy about it right at this moment but you have to admit that it's more genre pulpy than their tastes usually run. Did Inglorious Basterds mark a sea change with Oscar voters (who previously mostly ignored Tarantino outside of Pulp Fiction) or was it just too big to ignore in its year?

Their other categories...

The Award for Outstanding Producer of Animated Theatrical Motion Pictures:

Travis Knight moving "ParaNorman" about

 

 

I'll admit right up front that I have far less of an idea about what the producer of an animated feature might have to do. In some ways the journeys of animated films to the screen strike me as not so different than the old Studio System as we understand it today. Well oiled machinery, an art factory if you will, is in place to produce "product" on a very specific timetable (like Pixar's one film a year schedule) since animated films are almost always produced in-house rather than acquired.

The Award for Outstanding Producer of Documentary Theatrical Motion Pictures

 Interesting that only two of these films (Gatekeepers & Sugar Man) are in the running for the Oscar.

 

TELEVISION

The David L. Wolper Award for Outstanding Producer of Long-Form Television:

 

 

 

 

The Norman Felton Award for Outstanding Producer of Episodic Television, Drama:

 

 

The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:

 

 

The Award for Outstanding Producer of Non-Fiction Television:

 

 

The Award for Outstanding Producer of Live Entertainment & Talk Television:

 

 

The Award for Outstanding Producer of Competition Television:

 

 

You know what is so odd to me about television awards? If you get a job on certain TV series you can just add PGA or Emmy nominee to your resume before the nominations are even announced, before you've even done any work even!, because the same series are always nominated. Movies are so much more volatile when it comes to "honors" -- it's a new contest every year -- and maybe that's another reason I like them so much better. 

Article originally appeared on The Film Experience (http://thefilmexperience.net/).
See website for complete article licensing information.