派拉蒙（Paramount Plus），Showtime和更多新的Doc发行商提供有价值的奥斯卡竞赛
Paramount Plus, Showtime and More New Doc Distributors Offer Worthy Oscar Competition
今年的纪录片奖竞赛在许多方面都是历史性的。五部提名电影中的四部是由有色人种导演的。乔纳斯·波斯·拉斯穆森（Jonas Poher Rasmussen）的“逃亡”通过获得三个奥斯卡提名来创造历史：不仅是DOC功能类别，而且还在动画功能和国际功能类别中； Sushmit Ghosh和Rintu Thomas的“ With Fir Fire”成为印度在比赛中获得NOM的第一部专题文档。六架提名的舵手中有四名是首次功能纪录片导演。但是，也许今年非小说类作品中最有趣的方面是奥斯卡竞赛的主导地位，是新生的Doc发行商和生产单位的主导地位。ParamountPlus，Showtime纪录片电影和音乐盒，各自2月8日，在纪录片功能类别中获得了首届奥斯卡提名：杰西卡·金登（Jessica Kingdon）的“提升”（MTV纪录片电影/派拉蒙（Paramount Plus）），斯坦利·尼尔森（Stanley Nelson）的“ Attica”（Showtime纪录片）以及Ghosh和ThomaS的“用火写”（音乐盒电影）。与此同时，霓虹灯和胡鲁（Hulu）在拉斯穆森（Rasmussen）的“逃亡”和艾哈迈尔（Ahmir）的“ Questlove”汤普森（Ahmir）的“夏天的灵魂（或者，当革命无法电视转播时）”中获得了第二名。这是Netflix的五年壮举功能文档类别的据点。流媒体服务获得了2017年至2021年之间的六项奥斯卡奖提名，并获得了“ Icarus”（2018年），“美国工厂”（2020年）和“我的章鱼老师”（2021年）的三场胜利。但是，今年，就像包括亚马逊，国家地理，Apple TV Plus和HBO在内的顶级Docu分销商一样，Netflix也被排除在比赛之外。虽然每个成熟的重量级发行商都拥有数百万美元的竞选预算，以使2021年的纪录片《 Oscar Short》提供了数百万美元列表包括托德·海恩斯（Todd Haynes）的“天鹅绒地下”（苹果），罗伯特·格林（Robert Greene“没关系。最有影响力的电影制作。 11月，这部电影通过派拉蒙（Paramount Plus）向普通观众（Paramount Plus）出发，该电影仅在2021年3月上映。“纪录片是可见度竞赛中的新元素，”非小说类强国尼文斯（Nevins）说，他经营HBO纪录片近四十年。 “如果您是一个好商人，并且希望您的国家发光，那么您必须做有价值的纪录片节目。她希望获得第一个奥斯卡提名派拉蒙加人的提名将导致增长。“提名对组织非常重要，因为当您说MTV人士倾向于认为音乐和孩子时，提名非常重要”内文斯说。 “每个人都对我说：“这个项目对您来说是完美的，因为这是关于乐队或这位歌手的。”但是我们是MTV的纪录片，我们拥有有关所有不同年龄段的所有不同主题，来自所有不同国家的纪录片。”她补充说：“我认为[提名]将改变MTV纪录片可以制作新[文档]的自由。如果您可以作为失败者在此级别上获得可见性，那么您的未来就会更加明亮，而在做更多的工作和获得更多资金来支持纪录片方面。这是改变的迹象，但更多的是该部门在非小说类电影制作的近十年投资中的标志。 Showtime纪录片，” Malhotra说。 “我们非常努力地到达这里，我们已经走上了这条路。我们是真正的恋人，信徒，支持者，顾客纪录片，并将继续与史丹利口径和水平的电影制片人一起工作。该内容品牌于2021年推出，旨在策划Hulu上有色艺术家和代表性不足的声音的编程。邓肯说，“灵魂之夏”的发布为Onyx负责人塔拉·邓肯（Tara Duncan）提供了未来的路线图。“我们给了['Soul of Soul of Soul']一个定制的，并且是一个真正有意的分发计划，”邓肯说。 “ [迪斯尼]现在的组织是为了确保我们都在协同工作中工作，这意味着我们可以在任何地方将内容融入观众的手中。因此，奥斯卡最新的球员在竞选活动中将继续有多少钱，以确保整个学院的头衔都会看到和投票，这将继续成为我们的优先事项。这完全取决于您与谁交谈。显示在YouTube上可用的“ Attica”（在公司PA的PAYWALL面前RTNER平台）在2月的黑人历史月。该公司还将在3月初在纽约和洛杉矶进行回顾性放映，这将庆祝纳尔逊的职业生涯和工作。 “ Attica”也将是这些放映的一部分。也许不是。”马尔霍特拉说。 “这个想法是尝试确保许多人可以看到它。在过去两年中，学院发生了变化和变化，我不得不说，有一个[学院筛选]门户网站的想法，您可以冷静而故意地经历并观察一切都是有益的。因此，您可以根据需要启动尽可能多的放映，但是在Covid-19时代，有多少人将在放映中？据邓肯说，他们将利用他们在学院网站上使用这些电影的访问权。她说企业集团的ReaCH确实重要的是。“我们肯定有一个生态系统，这使我们能够在全球范围内将内容传递给观众。感觉迪斯尼推出这个品牌的时候再好不过了，希望这是即将发生的事情的迹象。希望我们将继续看到有时被忽视或没有被拥护的故事整个奖项季节得到支持。她打趣道。“因此，对于'提升'，这是一件好事。”
This year’s documentary Academy Award feature race is historical on many fronts. Four of the five nominated films were directed by people of color; Jonas Poher Rasmussen’s “Flee” made history by scoring three Oscar nominations: not only the doc feature category but also in the animated feature and international feature categories; Sushmit Ghosh and Rintu Thomas’ “Writing With Fire” became the first feature doc from India to earn a nom in the race; and four of the six nominated helmers are first-time feature docu directors.
But perhaps the most intriguing aspect of this year’s nonfiction feature Oscar race is the dominance of nascent doc distributors and production units.
Paramount Plus, Showtime Documentary Films and Music Box Films each received their inaugural Oscar nomination in the documentary feature category Feb. 8 for: Jessica Kingdon’s “Ascension” (MTV Documentary Films/Paramount Plus), Stanley Nelson’s “Attica” (Showtime Documentary Films) and Ghosh and Thomas’ “Writing with Fire” (Music Box Films). Meanwhile Neon and Hulu garnered their second noms in the category for Rasmussen’s “Flee” and Ahmir “Questlove” Thompson’s “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” respectively.
It’s a remarkable feat given Netflix’s five-year stronghold on the feature docu category. The streaming service garnered six Academy Awards nominations between 2017 and 2021 and three wins for “Icarus” (2018), “American Factory” (2020) and “My Octopus Teacher” (2021). But this year, like fellow top docu distributors including Amazon, National Geographic, Apple TV Plus and HBO, Netflix was left out of the race.
While each established heavyweight distributor had multimillion-dollar campaign budgets for films that made the 2021 feature documentary Oscar short list including Todd Haynes’ “The Velvet Underground” (Apple), Robert Greene’s “Procession” (Netflix), and Jimmy Chin and Elizabeth Chai Vasarhelyi’s “The Rescue” (Nat. Geo), in the end it didn’t matter.
“When it comes to the awards process, it comes down to the greatest storytelling of the year. The most impactful filmmaking,” says Vinnie Malhotra, Showtime’s executive vice president of nonfiction programming.
Sheila Nevins, head of MTV Documentary Films, acquired “Ascension” following the docu’s Tribeca Film Festival premiere in June. In November the film went out to general audiences via Paramount Plus, which only launched in March 2021.
“Docus are a new element in the visibility race,” says Nevins, a nonfiction powerhouse who ran HBO Documentary Films for nearly four decades. “If you are a good businessman and you want your country to shine, you have got to be doing worthwhile documentary programming. You follow the trend and the trend is docu.”
She hopes that garnering the first Oscar nomination for Paramount Plus will lead to growth.
“The nomination is very important to the organization because when you say MTV people tend to think music and kids,” says Nevins. “Everybody says to me, ‘This project is perfect for you because it’s about a band or this singer.’ But we are the documentary division of MTV and we have docus about all different subjects, for all age groups, from all different countries.”
She adds: “I think [the nomination] will change the freedom with which MTV Documentary Films can make new [docs]. If you can get visibility on this level as an underdog, maybe your future will be brighter in terms of doing more and getting more funds to support docus.”
But when it comes to Showtime Documentary Films, the nom for Nelson’s “Attica” isn’t a sign of change to come, but more of a marker in the unit’s nearly decade-long investment in nonfiction filmmaking.
“I’ve been at Showtime for almost eight years, and we’ve been trying to create this brand and really grow Showtime Documentary Films,” Malhotra says. “We have worked very hard to get here and we are already on this path. We are true lovers, believers, supporters, patrons of documentary, and will continue to work with filmmakers of Stanley’s caliber and level.”
“Summer of Soul” marks Disney’s Onyx Collective’s first Academy Award nomination. Launched in 2021, the content brand was designed to curate a slate of programming by artists of color and underrepresented voices on Hulu. The release of “Summer of Soul” provided Onyx head Tara Duncan with a roadmap for the future.
“We gave [‘Summer of Soul’] a bespoke and a really intentional distribution plan that was successful,” Duncan says. “[Disney] is now organized to make sure that we are all working synergistically, meaning we can get content into the audience’s hands wherever they may be. That will continue to be a priority for us at Onyx.”
So how much money will Oscar’s newest players throw at campaigns meant to ensure that the entire Academy sees and votes on their titles? It all depends on whom you talk to.
Showtime made “Attica” available on YouTube (and in front of the paywall across the company’s partner platforms) during February’s Black History Month. The company will also have retrospective screenings in New York and Los Angeles in early March, which will celebrate Nelson’s career and body of work. “Attica” will also be part of those screenings.
“Are we going to spend as much as Netflix or Nat Geo or Amazon or whomever? Maybe not,” Malhotra says. “The idea is to try to make sure as many people can see it. As the Academy has shifted and changed over the past two years, I have to say that the very idea that there’s an [Academy screening] portal where you can calmly and deliberately go through and watch everything is beneficial. So, you can launch as many screenings as you want, but in the age of COVID-19, how many people are going to be at a screening? They are going to use their access to these films on the Academy site.”
Having Disney money behind “Summer of Soul” does not necessarily give the film a leg up in the race, according to Duncan. She says that the conglomerate’s reach is what really matters.
“We definitely have an ecosystem at our fingertips that gives us the ability to get the content out to an audience on a global scale. It feels like Disney launching this brand couldn’t have come at a better time, and hopefully it’s a sign of things to come. Hopefully we will continue to see the stories that sometimes get overlooked or haven’t been championed get support all the way through awards season.”
Nevins is relying on the alphabet.
“You know A’s are good because people in the broad Academy, they don’t watch docus, but as they go down the list they vote for the first [doc] they see,” she quips. “So, for ‘Ascension,’ that’s a good thing.”
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发表于 2022-7-5 02:17:09
发表于 2022-10-11 08:21:34