纪录片自媒体解说素材-新闻动态参考-纪录片制片人的遗憾奥斯卡和艾美奖双浸时代/Documentary Filmmakers Lament End of Oscar and Emmy Double-Dipping Era
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0505/0346poovkfm50yk.jpg纪录片制片人的遗憾奥斯卡和艾美奖双浸时代
Documentary Filmmakers Lament End of Oscar and Emmy Double-Dipping Era
“男孩州”，“迪克·约翰逊死了”，社交困境”和“ 76天”上周末在创意艺术仪式上都赢得了艾美奖，但他们是另一个区别：他们是最后能够从中赢得雕像的纪录片电视学院的同一部非小说类电影，成功获得了奥斯卡奖的考虑。电视学院于今年早些时候关闭了有争议的奖项奖励实践，该奖项将于2022年从2022年开始，任何纪录片都放在电影艺术学院的任何纪录片上以及奥斯卡入围名单的科学观看平台，“将被视为戏剧性电影，因此不符合艾美奖的资格。”直接规则有望对纪录片产生重大奖项季节的影响，并且由综艺节目调查的电影制片人对综艺节目进行了重大奖项，有关综艺节目的电影制片人已获得有关综艺节目的纪录片。对此的混合感。几十年来，纪录片制片人和支持工作的公司为EMM竞选Y雕像在为一个小金子战斗之后，自2015年以来，四张奥斯卡奖获奖纪录片 - “美国工厂”，“自由独奏”，“ O.J。：美国制造”和“公民”和“公民”和“ CitizenFour”带回家了10个艾美奖，艾美奖后艾美奖后，艾美奖后，埃米斯邮政信箱，在周日，吉尔斯滕·约翰逊（Kirsten Johnson）收集了艾美奖的最佳杰出非小说类《迪克·约翰逊（Dick Johnson）死了》（Dick Johnson In Dead），这是在奥斯卡金像奖中不存在的类别。她的电影，例如“男孩州”，“社交困境”和“ 76天”，成为AMPAS纪录片入围名单，但最终没有获得“章鱼老师”赢得的类别的提名。她上周末的胜利尤其令人满意。在两个奖项之后。“被公认为是最佳导演对我来说真的很有意义，只有艾美奖为纪录片提供了这一类别，”约翰逊告诉《综艺》。 “我们都有希望在奥斯卡类别中，将更多地认识到纪录片作为电影，而纪录片赢得了电视学院提醒纪录片制片人和支持他们电视扎根的公司。毕竟，不可否认的是文档是电视或数字平台的产物，并且在大多数情况下不是电影制片厂。如果没有Netflix，Amazon和Apple在内的HBO，PBS，A＆E和流媒体服务等小屏幕分销商的资金，Oscar功能纪录片将不存在。 HBO老兵希拉·内文斯（Sheila Nevins）现在负责MTV纪录片电影，该电影上周末赢得了艾美奖的“ 76天”。 “当您一方面可以说，一方面，您可以说，'好吧，这可以提升艾美奖，但另一方面，您可以说它会降低其执行媒介的重要性。”对于HBO等发行人来说和Netflix，他们发布了许多Docus EV鉴于每个电影的奖励花费比其生产预算，规则更改可能是经济上的救济。从理论上讲，新规则还应有助于解决一个持续的问题 - 电影制片人和公司的数量符合奥斯卡的考虑。今年有238部电影有资格获得奥斯卡的考虑。“我确实认为这将减少奥斯卡排位赛的数字，”两届奥斯卡金像奖提名人利兹·加布斯（Liz Garbus）说，她因其奥斯卡提名而赢得了艾美奖的艾美奖。现在，在秋季音乐节巡回赛上，“成为库斯托”。 “作为AMPAS纪录片成员，我们看到了许多没有适当戏剧发行的电影，人们只是在百灵鸟上符合资格。因此，我认为这一新规则会改变该方程式。他们认为，非小说电影制片人，例如叙事电影制片人，都想要同样的事情：fo他们的电影将在电影院里与观众一起看。“对于我们所有人的人，我们所有人都想要奥斯卡，”奥斯卡金像奖提名人，三个艾美奖的获奖者Pollard说，其中包括两名“当时”堤防破裂：四场比赛的安魂曲，”最近为CNN电影和HBO Max指挥“ Citizen Ashe”。 “我们都希望得到一个艾美奖，但我们都希望那个奥斯卡 - 那是黄铜戒指。艾美奖正在锦上添花。”“任何有渴望获得戏剧发行的电影制片人，他们不会因为艾美奖规则而决定拥有或没有戏剧性的决定。”四个Emmys并共同执导并制作了“ Fauci”。Nevins说，如果她被迫在提交Covid纪录片“ 76天”之间进行选择，以供奥斯卡或艾米考虑，她只会将电影提交给Ampas，但不是因为她 - 她不是因为她认为“ 76天”是一个必要的戏剧体验。“我永远不会去艾美奖Ve认为，该文档与AMPAS选民有更好的镜头，因为它具有国际利益而不是国内利益，” Nevins在纪录片类别中的杰出功绩中取得了艾美奖的“ 76天”胜利后解释说。 “我认为，在像奥斯卡这样的国际类别中，这将比电视学院的艾米斯（Emmys）这样具体的事情更好。”内文斯（Nevins）指出，新规则对于新闻和纪录片艾美奖奖是个好消息， Netflix的独立电影和纪录片副总裁Lisa Nishimura说，新规则将不会改变流媒体服务与纪录片的奖励季节的方式。在谈论（与电影制片人）谈论，并真正了解那个特定电影制片人及其故事的希望和野心。” Nishimura说。 “我们将像往常一样进行这些对话，这是公开的，电视分销商和Netflix这样的电视运动通常会租用剧院一两个星期（一种称为“四壁墙”的策略），以使他们的文档有资格获得奥斯卡的考虑。媒体经常“梳妆四墙”取悦导演，但是由于失去艾美奖的考虑和四壁墙的高昂成本，电视学院的新规则可能会停止这种情况。继续存在，因为纪录片总是很难确保戏剧空间，而没有四壁画，可以说只有少数纪录片满足Ampas的资格要求。约翰逊说。 “如果您不是四壁墙以使其中一些电影进入剧院，那么您将很难受到压力，而这种经历可能是非凡的。但是我确实觉得它越来越多地转向节日作为我们在电影院中观看主流电影的观众有意义的地方。戏剧发行Dicier。“有一系列Rube Goldberg的规则，旨在假装电影是一部戏剧电影，” Alex Gibney说，他在2008年赢得了“出租车到黑暗面”的奥斯卡奖。这是否会使（纪录片）在剧院还是在电视上，只要它是好电影院？”内文斯认为电视学院应该忘记新规则。 “让人们以自己的方式挣扎，无论他们想在任何地方都能拍摄电影。您想付出努力，同时追求奥斯卡奖和艾美奖。你想得到一个，去得到一个。你不想得到。没有任何东西。现在，这条规则可能会改变明年。非小说类节目的媒体认为，电视学院的新规则最终将改变docu的景观。“我认为它将开始定义每个学院的真正想要的东西，” Malhotra说。“与Ampas Doc分支机构选民相比，某些类型的纪录片自然会吸引电视学院的选民。因此，我认为我们将开始看到这一点。但是我不希望它开始觉得这是电视文档，这是戏剧文档。不幸的是，这可能是该过程的副产品。”
“Boys State,” “Dick Johnson Is Dead,” The Social Dilemma,” and “76 Days” all won Emmys last weekend during the Creative Arts ceremonies, but they share another distinction: They are the last documentaries able to win a statuette from the Television Academy for the same nonfiction film that successfully qualified for Academy Award consideration.
The Television Academy shut down the controversial practice of awards double-dipping earlier this year, decreeing that, beginning in 2022, any documentary placed on the Academy of Motion Picture Arts and Sciences viewing platform for Oscar shortlist consideration, “will be deemed a theatrical motion picture and thus ineligible for the Emmy competition.”
The straightforward rule is expected to have major awards-season ramifications for documentaries, and filmmakers surveyed by Variety about the subject have mixed feelings about it. For decades, documentary filmmakers and the companies that back their work have campaigned for Emmy statuettes after a fight for a little gold man, and since 2015 four Academy Award winning documentaries – “American Factory,” “Free Solo,” “O.J.: Made in America” and “Citizenfour” have taken home 10 Emmys post-Oscars, prompting calls for a rule change.
On Sunday, Kirsten Johnson collected the Emmy for best outstanding nonfiction directing for “Dick Johnson Is Dead” – a category that doesn’t exist at the Academy Awards. Her film, like “Boys State,” “The Social Dilemma” and “76 Days,” made the AMPAS documentary shortlist but did not ultimately score a nomination for the category won by “The Octopus Teacher.”
Her victory last weekend was especially gratifying after both awards campaigns.
“It’s really deeply meaningful to me to be recognized as a best director and it's only the Emmys that are offering that category for documentary,” Johnson tells Variety. “We all have hope that within Oscar categories there'll be more recognition of documentaries as films and that documentaries won't only stay in their silo in relation to all the craft departments.”
By putting a halt to the double-dipping, the TV Academy reminded documentary filmmakers and the companies backing them of their television roots. After all, there is no denying that docs are a product of television or digital platforms and, for the most part, not film studios. Without funding from small-screen distributors such as HBO, PBS, A&E and streaming services including Netflix, Amazon, and Apple, the Oscar feature documentary category wouldn’t exist.
“The Emmy has always been junior to the Oscar,” says documentary powerhouse Sheila Nevins, an HBO veteran who now heads MTV documentary films, which won an Emmy for “76 Days” last weekend. “When you can get both, on the one hand, you could say, ‘Well, that elevates the Emmy, but on the other hand, you could say it diminishes the importance of the medium in which it's performing.”
For distributors like HBO and Netflix, who release numerous docus every year, the rule change could be a financial relief given the fact that oftentimes more money is spent on each film’s awards campaigns than on their production budgets. The new rule should also, theoretically, help solve an ongoing problem – the number of filmmakers and companies qualifying docs for Oscar consideration. This year 238 films qualified for Oscar consideration.
“I do think it will reduce the Oscar qualifying numbers,” says two-time Academy Award nominee Liz Garbus, who won an Emmy for “What Happened, Miss Simone” following her Oscar nomination for it and now on the fall festival circuit with “Becoming Cousteau.” “As an AMPAS documentary branch member, we see so many films which have not had a proper theatrical release that people are qualifying just on a lark. So I think this new rule will change that equation.”
But veteran doc directors Sam Pollard and John Hoffman aren’t so sure. They argue that non-fiction filmmakers, like narrative filmmakers, want the same thing: for their film to be seen in a movie theater with an audience.
“For those of us in the business, all of us want an Oscar,” says Pollard, an Academy Award nominee and winner of three Emmys, including two for “When the Levees Broke: A Requiem in Four Acts,” who most recently directed "Citizen Ashe" for CNN Films and HBO Max. “We’d all love to get an Emmy, but we all want that Oscar – that’s the brass ring. The Emmy is icing on the cake.”
“Any filmmaker who has aspirations to get that theatrical release, they're not going to make the decision to have or not have a theatrical opportunity because of Emmy rules,” adds Hoffman, who has won four Emmys and co-directed and produced “Fauci.”
Nevins says that if she had been forced to choose between submitting COVID documentary “76 Days” for Oscar or Emmy consideration, she would have only submitted the film to AMPAS -- but not because she thinks “76 Days” is a necessary theatrical experience.
“I would have never gone for the Emmys because I would have thought that this doc had a better shot with AMPAS voters because it was of international interests rather than domestic interests,” Nevins explains in the wake of the Emmy victory for "76 Days" in the exceptional merit in documentary category. “I would think that it would be better in an international category like the Oscars, than in something more specific like the TV Academy’s Emmys.”
Going forward, Nevins points out that the new rule is good news for The News & Documentary Emmy Awards, which will accept AMPAS qualified docus.
Lisa Nishimura, Netflix’s VP of independent film and documentary features, says that the new rule won’t change the way the streaming service works with documentarians for award seasons.
“This new rule creates another thing for us to be talking about (with filmmakers) and to really understand what the hopes and ambitions are for that specific filmmaker and their story,” says Nishimura. “We will have those conversations as we always do, which is openly and transparently, and then build our campaigns accordingly to support that vision.”
Television distributors and streamers like Netflix typically rent a theater for a week or two — a tactic known as “four-walling” — to theatrically qualify their docs for Oscar consideration. Outlets often “vanity four-wall” to please a director, but the TV Academy’s new rule might put a stop to that due to the loss of Emmy consideration and the high cost of four-walling multiple films.
That said, four-walling will continue to exist because documentaries have always had a hard time securing theatrical space and without four-walling there would arguably only be a handful of docus that meet AMPAS's eligibility requirements.
“Four-walling does keep films that would not make it into theaters in theaters,” says Johnson. “You'd be hard pressed if you weren't four-walling to get some of these films into a theater and that experience can be extraordinary. But I do feel like it's moving more and more towards festivals as the place where we have meaningful audiences in a movie theater to watch our films that are off the mainstream.”
Meanwhile, the digital audience for docus has steadily been on the rise, making AMPAS’ desire to only nominate those docs with a legitimate theatrical release dicier.
“There is this Rube Goldberg series of rules, which are meant to pretend that a film is a theatrical film,” says Alex Gibney, who won the Oscar for “Taxi to the Dark Side” in 2008. “What difference does it make whether (a documentary) is in a theater or on television so long as it's good cinema?”
Nevins argues that the TV Academy should forget about the new rule. "Let people struggle in their own way to get their films wherever they want. You want to put the effort into getting both, go after both an Oscar and an Emmy. You want to get one, go get one. You want to get none. Don’t get any. This rule will probably change next year anyway.”
For now, Vinnie Malhotra, Showtime’s executive vice president of nonfiction programming, thinks the TV Academy’s new rule will ultimately change the docu landscape.
“I think that it's going to start to define what each Academy is really looking for,” says Malhotra. “There are certain types of documentaries that naturally gravitate more to say the Television Academy voters than AMPAS doc branch voters. So, I think we will start to see that. But I don't want it to start to feel like this is a TV doc and this is a theatrical doc. Unfortunately, that’s what might be a by-product of this process.”
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