Oscarwatch: Campaigning & Predictions

We’re a month away from the announcement of the Oscar nominations, and many things happened in the past week or so that affected the current landscape of the race: Zero Dark Thirty came in strong, taking several of the early critics awards for the movie and its director Kathryn Bigelow, Les Miserables proved to be a more divisive movie than the first fawning reactions led us to believe, Argo and Silver Linings Playbook both failed to live up to its early expectations (though the latter remains a strong presence in acting categories), and the much, much hyped as an early frontrunner Lincoln seems on track to repeat the performance of past “important” movies that fail to generate genuine excitement in audiences and just end up feeling like homework: a respectable awards run filled with nominations that just don’t amount to much in the end.

That said, before we get into this week’s predictions, it might be interesting to address something that comes up a lot in the comment section: Campaigning. What is it? Who does it? Is it a product of modern times (spoiler alert: no.)? In short, campaigns are about getting your film to be seen and remembered among the 8 billion screeners that pile up at the end of the year – often, achieving that means holding as many screenings and Q&As as you possibly can, selling a memorable narrative to go along with the film, and getting the most recognizable faces attached to that project (actors and some directors) out there, reinforcing the message for you. So without further ado, let’s start with what the film executives have to say on the matter, move on to some campaigning history, and then hear from an “awards consultant”:

Film Executives talk about the reasons to campaignCollapse )
Great Moments in Oscar Campaigning (and Not-So-Great)Collapse ).

Campaign Managers: The Secrets of an Awards-Season InfluencerCollapse )

The PredictionsCollapse )

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