Surprises Abound for the PGA Nominations

Chris here. In addition to the Art Directors Guild earlier in the morning, today the Producers Guild of America announced their feature film nominations, and we have some surprises.

The omissions included Carol (take a breath, everyone) and Room, both also left out from the ADG nominations. We may be passionate fans of Carol around these parts, but the miss here is a sign that our pony still has to capitalize on its momentum to continue in the race. Room on the other hand is a tiny, non-American produced film that was probably overestimated to show up in a group that has leaned populist enough nominate the likes of Star Trek and Skyfall.

Speaking of blockbuster candidates, The Force Awakens also missed out here. While thought to potentially upset here, the franchise's Oscar hopes can now likely be put to bed for major categories. Here are our nominees:

The Darryl F. Zanuck Award for Outstanding Motion Picture

• The Big Short
• Bridge of Spies
• Brooklyn
• Ex Machina
• Mad Max: Fury Road
• The Martian
• The Revenant
• Sicario
• Spotlight
• Straight Outta Compton

The biggest surprises are Ex Machina and Sicario, also surprising at the ADG - are you sensing a trend? While they are not major Best Picture threats for the Oscar race, their place here shows passionate support brewing and certainly raises their profile. Straight Outta Compton, whose ensemble was recognized by SAG, is one of the bigger financial successes here and a nice nod to Universal's outstanding year at the box office.

Check after the jump for who got the biggest boost...

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The Confusing Art Directors Guild Nominations. Is "Crimson Peak" Period? Where is "Carol"?

Coco here, ready to talk about the Art Directors Guild and their wacky nominations. 

Usually we reserve the term category fraud for when lead performances are nominated in less competitive supporting categories, but the Art Directors Guild suggests we expand the definition. The Guild divides its film categories into period, fantasy, and contemporary, which makes senses. But this year's nominations suggest the division between the three categories are rather arbitrary. (The Film Experience is on the record saying that categories only matter if you follow the rules, so maybe the ADG should read this piece by our beloved Nathaniel.)

Anyway, here are the nominations:

Production Design (Period Film)
Bridge of Spies - Adam Stockhausen
Crimson Peak - Thomas Sanders
The Danish Girl - Eve Stewart
The Revenant - Jack Fisk
Trumbo - Mark Rickner 

Thomas Sanders's gothic sets are gorgeous, but Crimson Peak is a movie about ghosts. The production design is not historically accurate either unless gigantic bleeding houses used to actually exist in the real world. How is this not in "fantasy"?

The question one everyone's mind has to be "Where is Carol?" Judy Becker's designs are not only richly detailed, but they're integral in a film that's all about its precise visuals. It's worth remembering, though painful: Todd Haynes previous 50s masterpiece, Far From Heaven, did not get an Art Direction nomination from this guild or from the Oscars (!!!). 

Meanwhile, Trumbo continues its inexplicable love affair with awards voters.

More surprises and category confusions after the jump.

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Interview: Nathan Nugent on Cutting those Beautiful Performances in "Room"

Nathan Nugent won an Irish Film & Television Academy statue for his first collaboration with Lenny Abrahamson. "Room" is their third film together.Editing is often referred to as "cutting," arguably a holdover word from the days where film edictors actually had to slice frames apart and then tape them back together. But cutting, figuratively, remains one their undeniable jobs, pruning away at hours and hour of footage for a given movie. It's a puzzle and a discovery as they work at assembling a single identity for a movie that has so many different identities in its unfinished form. Though the days of film editors hunched over their moviolas is over, the job's creative challenge is the same when hunched over the computer.

Moviegoers are probably quickest to note film editing in the action genre, where the speed of cutting tends to make the "invisible art" ever so slightly more visible. But it's a complicated art regardless of genre to create cohesive and rhythmic visual and narrative and performative throughlines with a series of spliced together images and multiple takes.

So we were excited to sit down with rising film editor Nathan Nugent, who has been making a name for himself in films that you might safely call 'actor's pictures.' Room is Nugent's third consecutive film with Lenny Abrahamson who he met through a film producer with whom Abrahamson went to college. As with the birth of many classic collaborations in any industry it was a matter of networking, opportunity and good timing. Or as Nathan humorously puts it.

"He had said to Lenny, 'Oh, you know, you should try Nathan. And I was available and very cheap.'"

What Richard Did (2012), Frank (2014), and Room (2015) followed in close succession. 

NATHANIEL: You've been working with Lenny Abrahamson a lot but you didn't start out in dramas. You started in documentaries. 

NATHAN NUGENT: My wish in film school was always to work in drama. But looking back, I’m glad of that -- that I took that documentary route --  because it certainly had an effect on how I see footage.

NATHANIEL: In what sense?

Nugent's answer and more on Room's beautiful acting after the jump...

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Podcast: The Big Short, It Follows, Etc...

We're just going overboard with the podcasts this month. We hope you don't mind. Here's a little extra conversation between Nathaniel and Nick. (With another podcast right around the corner!) 

40 minutes 
00:01 The Big Short, celebrity cameos, gambling and our own failings
16:40 Nick looks forward to The Revenant & talking about The Hateful Eight
19:45 Foreign Film Finalist List: Ireland's Viva, Denmark's A War, Hungary's Son of Saul.
27:45 Films that didn't make it to the finals like Guatamela's Ixcanul,  and LGBT entries
33:20 How to watch challenging cinema at home on your televisions. Starring: A Pigeon Sat on a Branch and It Follows 

Further Reading for Context:
Nick's Hateful Eight Tweet
Nathaniel's recent Oscar submission reviews
Plus Embrace of Serpent and Labyrinth of Lies

You can listen to the podcast here at the bottom of the post or download from iTunes. 

Big Short & Foreign Finals

Interview: Lucinda Coxon's 11 Years With "The Danish Girl"

One of this season's most talked about movies, The Danish Girl, set tongues wagging long before anyone had seen a single frame. Years before in fact. It wasn't just the subject matter, though the subject matter would have been enough. The Danish Girl tells the true story of married painters Gerda Wegener (Alicia Vikander) and Einar Wegener (Eddie Redmayne) who struggle to come to grips with Einar's true identity, Lili Elbe. Lili was one of the first trans women to ever undergo gender confirmation surgery which was then an experimental series of surgery. It's a difficult subject to dramatize, and a difficult subject to talk about particularly given how quickly the verbiage and discourse has changed across the decades. People didn't know how to talk about it in 1930 when the story was a very current sensation in Denmark and Germany and do people really know how to talk about it now? A quick perusal of any trans story around the internet will tell you the answer is still no. 

It's always a particular challenge for heavily buzzed pictures to get out into the marketplace and form their own identity outside of everyone's pre-screening perceptions of them. Oscar winner Tom Hooper's (The King's Speech) latest is definitely no exception. Even the casting, which wouldn't have been all that controversial even a handful of years ago other than in a rubber-necking kind of "Oscar bait" way, has been the subject of spirited debates along the lines of "shouldn't a trans actor be playing the part?" But films take a long time to make. Who could have known the happy development in the past few years in regards to trans visibility in Transparent, Tangerine, Orange is the New Black. 

The Danish Girl's complicated gestation period is where I began when i sat down with the woman who'd been with the project the longest, its screenwriter Lucinda Coxon. Our interview is after the jump... 

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