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Oscars producer Will Packer defends plan amid controversy: ‘I take wild swings’

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Eleven days out from the Academy Awards, the present’s first-time producer, Will Packer, is working on pure adrenaline. Requested if something is preserving him up at evening because the telecast looms, he laughed. “All the things is preserving me up at evening — all of it,” he stated. “However I’m feeling good, man. I’m excited.”

Producing the Oscars isn’t precisely a stroll within the park beneath the most effective of circumstances, however this 12 months has introduced unprecedented challenges — and unprecedented controversy.

Hoping to reverse what has been an inexorable slide within the present’s rankings, which reached an all-time low with 2021’s COVID-19 pandemic-dampened ceremony, the movement image academy introduced final month that eight of the much less starry awards will probably be handed out within the hour earlier than the reside telecast begins. Clips from the presentation of these awards — movie modifying, make-up and hairstyling, unique rating, manufacturing design, sound, documentary brief topic, animated brief and live-action brief — will probably be later integrated into the printed.

The transfer sparked fierce blowback from varied guilds, {industry} teams and present nominees like Steven Spielberg and Jane Campion. Final week, greater than 70 distinguished movie professionals — together with Oscar winners James Cameron, Kathleen Kennedy, John Williams and Guillermo del Toro — issued a letter urging the academy to reverse the plan, arguing that it might do “irreparable injury” to the Oscars’ status by relegating some nominees to “the standing of second-class residents.”

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Charged with revitalizing the Oscars at a time of existential nervousness for the film enterprise, Packer — whose credit embody field workplace hits “Women Journey,” “Experience Alongside” and “Straight Outta Compton” — now finds himself on the entrance strains of what many see as a battle for his or her very soul.

Packer, who’s sharing the load together with his co-producer Shayla Cowan, knew when he took the job that it required a thick pores and skin. “Once I stepped into the ring, I knew I used to be going to get hit,” he stated. “However it’s definitely worth the danger for me. It’s definitely worth the scrutiny.… Everyone’s obtained an concept of what must be finished, as I’ve discovered. However , that is my 12 months.”

Over Zoom, the Atlanta-based Packer, 47, addressed the firestorm over this 12 months’s deviation from Oscar custom, the “fan favourite” Twitter competitors and what viewers can count on from the 94th Academy Awards — hosted by Regina Corridor, Amy Schumer and Wanda Sykes — on March 27.

While you first signed on to supply the Oscars in October, what was your imaginative and prescient of what you needed to convey to the present — and was that imaginative and prescient in sync with the academy?

The academy was very open and receptive, as a result of they felt like, “We’ve talked about embracing change however now we now have no alternative. We now have to usher in someone that’s obtained large concepts.” They might have had someone simply proceed to steer the ship within the path it was going. However I feel there was a sense that we have to go in a special path.

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For me, it was a chance to return in and shake it up. I’m pleased with the truth that I don’t take into account myself a real Hollywood insider. I’m not someone who has lived in L.A. for many years. I reside in Atlanta, man. I take into account myself very a lot an outsider, and I put on that badge proudly. And it offers me a special perspective than some of us which can be within the bubble, so to talk.

You and I grew up within the period when the Academy Awards have been an enormous, unifying occasion, with individuals gathering for viewing events and betting in workplace Oscar swimming pools. How do you recapture that must-watch feeling when audiences now have so many different decisions and films will not be on the middle of the cultural dialog?

You hit among the very primary parts of why the present and the reception of the present has modified through the years. The content material setting is oversaturated, and the character of award exhibits and the connection that audiences need to stars could be very totally different than if you and I have been rising up.

I don’t know that you simply attempt to return there, as a result of this can be a utterly totally different time. I feel you must be actually sincere and conscious of the time through which we’re residing, and say: “How can we make the most effective model of a present in right this moment’s setting?” And that’s what I’m making an attempt to do.

This present is finally about honoring probably the most gifted artists and craftspeople of their areas on this planet. The awards are completely what anchor your present. However you must determine, what are you able to wrap round that that makes a broader swath of the general public — whether or not or not they’re invested in a selected craft or perhaps a specific film — say that there’s nonetheless one thing entertaining? That’s how I’m taking a look at it: What can I add? What are the weather that might make broad swaths of the general public tune in? What would they provide a rattling about?

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The previous couple of weeks have been dominated by the controversy over the academy’s resolution at hand out eight awards off-air earlier than the telecast begins. While you got here on board in October, was there already discuss of taking a brand new method to how among the awards have been handed out?

Once I got here in, I very pointedly requested the query, “What’s on the desk from a change perspective? Are there going to be particular limitations on what I can do?” That was the one method I used to be considering attacking this problem, and definitely fascinated about a special method to deal with the awarding of the classes was one among [the considerations]. I requested, “Is that an choice?” And I used to be informed that it was. I used to be informed, “All the things is on the desk.”

It’s no secret: Everyone — primarily the academy and ABC — [was] very disillusioned [with last year’s ratings]. It’s not a sustainable mannequin, with the extent of assets which can be put towards this occasion, to have the extent of viewership that we had final 12 months. So that they have been saying, “Suppose large. Take swings.” I stated, “That’s the one method I understand how to suppose. I don’t take swings — I take wild swings.” They usually stated, “Effectively, convey it on.”

You need to perceive, that is the 94th Oscars. Irrespective of how wild the swing or how large the concept could also be, there are issues I’m simply not going to have the ability to do inside a 12 months. However sure, that was one of many conversations: How can we put as a lot leisure into the present as attainable?

This isn’t a podcast. It’s not a YouTube present. That is an leisure proposition {that a} community has stated, “We’re keen to pay X variety of {dollars} to have it on our air, and in return for that, this can be a very excessive profile occasion that can appeal to numerous eyeballs and we are able to promote adverts.” As a producer, I perceive the financial crucial of a present like this. It doesn’t imply that you simply don’t deal with it with the reverence and the magnificence that it has had. It simply means you must determine a method to get as many individuals as attainable to tune in and care in regards to the present.

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Have been you anticipating the extent of pushback that this modification has acquired? Or have been you stunned by the response?

I used to be not stunned in any respect. I knew there could be pushback. And I feel that’s OK as a result of persons are passionate. For those who’ve obtained an opinion — I don’t care if it’s in regards to the variety of awards which can be introduced or the variety of clips within the present or no matter — finally, you’re making an attempt to maintain this present viable and alive. We could disagree, and that’s OK.

I don’t have a problem with individuals having an opinion about it. However I feel there’s numerous misinformation on the market as a result of it’s way more clickable and it’s a greater speaking level to say, “These classes are being thrown off the air.” It makes good dinner dialog on the Soho Home. However that’s simply not the truth.

Once I got here into this job, I stated, “If I don’t rock the boat, then what am I right here for?” I needed to return in with a really particular imaginative and prescient, and that is simply a part of it. However I feel it’s a mandatory change. In the end, it was the academy’s resolution, however it was the suitable resolution.

How will you make that hour really feel particular to the honorees? Will it have its personal separate host?

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That hour, which I’ve been calling the golden hour, can have its personal host — or hosts. I can’t say who at this second however hopefully very quickly.

You recognize, this isn’t the primary time it’s been mentioned: There had been concepts earlier than of a separate ceremony for sure awards classes or performing some awards in the course of the industrial breaks. However for me it was vital that the present be expanded to permit the correct due for these classes.

I would like everyone to return in at 4 o’clock. We’ll have a staggered purple carpet — you are able to do the carpet and nonetheless be inside to see each final award given out. I would like these [nominees] to have the ability to give their speeches and have their second on that stage in entrance of their friends.

As all the time occurs, what’s televised to the world will probably be finished with a watch towards viewership and rankings and people financial imperatives. However when it comes to the precise present, and treating these classes with the respect and placing them in the suitable place, all that’s going to occur. And I encourage each single individual within the {industry} who’s coming to the present to be sure to see all 23 awards handed out.

Many individuals have questioned whether or not that is the easiest way to trim the present. How a lot time do you suppose this transfer will really save? And are you continue to planning to run the winners’ acceptance speeches in full?

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I received’t get into the specifics of precisely how a lot time — , it’s simply an estimation and that additionally places a special bull’s-eye on it, like, “Effectively, is it price this?” That’s an inside resolution we’ll need to make. I additionally don’t need to get into the specifics of precisely how they are going to be put into the present. However what I’ll say is that they may have their second, and for the patron at dwelling it ought to really feel very very like a seamless presentation of 23 awards that hopefully has obtained some nice leisure worth packed in.

The controversy is more likely to be the elephant within the room, at the very least for that first hour. Do you intend to deal with it head-on? And if individuals criticize the choice from the stage, are you ready for that?

It’s a reside present, so who is aware of what’s going to occur? That’s among the hopefully must-see worth of it. We’ve obtained to be ready for all of it. I really feel just like the worst factor that might occur just isn’t a selected rankings quantity or a selected performer or speech; the worst factor that may occur from my perspective is for the present to be boring. This present could be something, however it could possibly’t be boring. So we’ll be as ready as you could be, however we’ve obtained to glide and we’ll see what occurs.

All the things has been about these eight classes for the previous couple of weeks, and there was numerous discuss of it. Make no mistake: That has very a lot been an industry-specific dialog. One of many issues that I feel our {industry} may use is only a much less myopic view of our viewers. I might love for us to consider our viewers as an entire, inviting them into the tent and never being so insular and saying, “That is for us. We’re the cool children. Come if you would like, however that is who we’re.” I don’t know that that works anymore.

For those who requested the common viewer in, , Dallas, Texas, I don’t suppose that they’re consumed with this dialog. So to place some sort of pointless highlight on [the controversy] once they’re right here simply having fun with the present — once more, that’s how I view issues. I consider the viewers outdoors of the 30-mile zone.

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What was your pondering in creating the brand new fan-voted contest? You’ve stated you need to ensure the favored motion pictures that aren’t a part of the Oscar dialog are mirrored within the present, however some really feel like a fan award is pandering and cheapens what the Oscars imply.

Once more, there’s additionally numerous misinformation on the market about that, like, “Oh, my God, there’s an Oscar that they’re gifting away on Twitter and the individual with the 7,000th tweet will give it away onstage subsequent to Meryl Streep.” That’s simply not the situation. It’s not what’s occurring.

The theme of the present is “Film Lovers Unite,” and by that, I imply film lovers of all stripes. Some are film lovers who’ve seen each single one of many nominated motion pictures, and so they’ve obtained very particular opinions about who wins. After which you could have people who find themselves simply informal moviegoers, who maybe haven’t seen the awards fare however who additionally love motion pictures. I’m inviting them in as nicely. They’re simply as vital to me as a viewer. And I feel we are able to have a present that does each. We are able to stroll and chew gum on the identical time.

I’m excited in regards to the alternative to have that sort of a fan voice, which usually just isn’t on a present like this. To have it on the present takes nothing away from individuals who have liked “CODA” and “Belfast” and all the opposite motion pictures. That, to me, is a really sort of Hollywood perspective to say, “Effectively, we are able to’t have fun ‘Spider-Man’ if we’re going to have fun ‘The Energy of the Canine.’ ” I simply don’t agree with that. So long as you’re speaking about cinema, the love of flicks, and you retain your viewers centered in that dialog – that to me, is how you have to be making the present.

In previous years, totally different producers have taken totally different approaches to pre-taped comedy bits, reside comedy and musical performances. How are you balancing these leisure parts?

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I have a look at it as an leisure proposition, so the reply to how a lot pre-tape versus reside comes right down to what feels proper. We’ve obtained three totally different hosts that don’t work collectively on a regular basis. This isn’t a trio. However they’re actually gelling in a method that’s higher than I may ever hope for. It’s actually natural. And I really like the truth that it’s three girls: three fearless girls, three comedians. We’re saying to audiences that we’re main with comedy.

Eleven days out, there are numerous issues which can be nonetheless coming collectively. However to me, it’s all the time in regards to the viewers. What does the viewers need? How can we make this really feel as enjoyable and entertaining, given what it’s, as attainable? That’s what I need to do with the host, with the bits and the music and all of that. That has been my aim.

This interview has been condensed and edited.

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Movie Reviews

Movie Review: The Eternal Sunrise –

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Movie Review: The Eternal Sunrise –

A staff report

Title: The Eternal Sunrise
Director: James Whitman
Cast: Emma Stone, John David Washington, Saoirse Ronan, Timothée Chalamet
Genre: Drama/Romance
Runtime: 125 minutes
Release Date: May 30, 2024

James Whitman’s latest film, *The Eternal Sunrise*, is a poignant exploration of love, loss, and the unyielding passage of time. With a star-studded cast including Emma Stone, John David Washington, Saoirse Ronan, and Timothée Chalamet, the movie promises to be a cinematic journey that resonates with audiences long after the credits roll.

Set against the picturesque backdrop of the Italian countryside, *The Eternal Sunrise* follows the intertwining lives of four characters over two decades. The story begins in the early 2000s with Sophie (Emma Stone) and Michael (John David Washington), two aspiring artists who fall in love during a summer art residency. Their passion for each other and their art seems unbreakable until a tragic accident forces them apart.

Years later, Sophie, now a renowned artist, meets Eliza (Saoirse Ronan), a young journalist assigned to write a feature on her. As they delve into Sophie’s past, Eliza uncovers a web of connections that lead back to Michael, who has become a reclusive writer. The narrative weaves between past and present, revealing the impact of their choices and the enduring nature of true love.

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Emma Stone delivers a mesmerizing performance as Sophie, capturing the character’s vulnerability and resilience with grace. John David Washington’s portrayal of Michael is equally compelling, embodying the character’s struggle between his passion and his past. Saoirse Ronan brings a fresh energy to Eliza, while Timothée Chalamet’s cameo as a young artist adds a delightful touch to the ensemble.

James Whitman masterfully directs *The Eternal Sunrise*, balancing the film’s emotional depth with its visual beauty. The cinematography by Luca Romano is breathtaking, with sweeping shots of the Italian countryside and intimate close-ups that draw the audience into the characters’ inner worlds. The film’s score, composed by Max Richter, perfectly complements the narrative, enhancing the emotional weight of key scenes.

At its core, *The Eternal Sunrise* is a meditation on the passage of time and the enduring power of love. The film explores how our choices shape our lives and the lives of those around us, often in ways we cannot foresee. It also highlights the importance of art as a means of connection and expression, with each character finding solace and purpose through their creative pursuits.

The Eternal Sunrise is a beautifully crafted film that will resonate with anyone who has ever loved and lost. Its rich storytelling, stellar performances, and stunning visuals make it a must-watch for this week. James Whitman has once again proven his ability to create films that are both emotionally powerful and visually captivating.

Rating: ★★★★☆

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In HBO's rewarding new docuseries, a power struggle at a Texas Renaissance faire

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In HBO's rewarding new docuseries, a power struggle at a Texas Renaissance faire

I haven’t been to a Renaissance faire since — well, not quite since the Renaissance, but a really long time. I know from the billboards, though, that a local edition is still going strong. The one I knew — the original Renaissance Pleasure Faire — was held on the Paramount Ranch in Agoura Hills, among the oaks, a cozy, nonprofit, semi-educational, handcrafted hippie festival co-sponsored by KPFK, our leftist community-sponsored radio station. This was back when LARPing had no life past Civil War reenactors, before cosplay went mainstream, before “Dungeons & Dragons,” Medieval Times restaurants and thatched-roof fantasy blockbuster movies.

All things change, even in the re-created Renaissance, and such events, which have proliferated across the country and into Europe, can be big business. In the documentary series “Ren Faire,” premiering Sunday on HBO, Lance Oppenheim (“Some Kind of Heaven”) trains his camera on the 50-year-old Texas Renaissance Festival, outside of Houston, which claims to be the biggest in the nation, and specifically its founder, owner and operator, George Coulam.

The constructed narrative is one of a power struggle. (This is not a detailed look into the obviously complex workings of a Renaissance faire.) In his mid-80s, George is thinking of moving on — he has determined somehow that he will live to be 95, exactly, and wants to leave enough time for working on his art, his gardens and to “chase ladies.” To this end, he’s on 15 dating apps, including “sugar daddy” sites; we accompany him on a couple of dates to the Olive Garden, where his first and potentially only question is “Are your breasts natural?”

“What is the king without his kingdom?” muses George, who favors shirts with patches representing stars and military medals. “What is the king without his property? He’s free.” But, as we will see, giving up his fiefdom won’t be so easy.

“It’s just a game — some people lose and some people win and some people win more than others,” observes Glenda, a.k.a. Fairy Godmother, who has known him for a long while. “Something to fill that emptiness, his games.”

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Not only is he “King George” in the context of the faire and the minds of many around him, he’s also the mayor of Todd Mission, the town he incorporated in order to be able to stage an event as large as the festival. (It has its own police force.) He lives there in a stone-walled house he calls Stargate Manor, a temple of expensive kitsch with its own arboretum, chapel — where George prays to Jesus, Buddha and Mother Nature — and waiting sarcophagus. One would call him a naive artist, were it not for the master’s in art.

Barely daring to imagine he might one day wear the crown, but imagining it all the same, is Jeff Baldwin, formerly the entertainment director, the latest in a line of general managers whose tenures last no longer than that of a Spinal Tap drummer. (George is capricious.) His association with the festival, which he loves with childlike passion, goes back almost to its beginning; there’s no one more devoted to it, or to George. (“He is our benefactor,” Jeff says to wife Brandi, now the interim entertainment director. “He is your benefactor,” Brandi replies.) He describes himself as “the head Oompa Loompa” to George’s Wonka; in the “King Lear” metaphor he kicks around with Brandi, he’s hopefully Cordelia, whose imperious, impetuous father finally recognizes his honest child’s worth.

Jeff’s primary opponent in this drama of succession is lean and hungry-looking, overcaffeinated Louie Migliaccio. His spiritual, temperamental and physical opposite, Louie runs a kettle corn stand, a burlesque nightclub and other concessions on the site; he pounds Red Bull like it’s a contest, and is determined to buy the festival — his family is rich — beef it up with “new and immersive technology” and, above all, make a lot of money. “Capitalism has a negative connotation nowadays,” says Louie, “but I see the beauty in it.”

Because the characters can seem both ridiculous and relatably human, “Ren Faire” reads as a comedy, of a melancholy sort — a not-so-fun faire. Oppenheim calls the series a “docu-fantasia,” which is to say, liberties have been taken. Stylistically, it aims for, and achieves, a cinematic look, with shallow focus, extreme close-ups, elaborate camera movements and some hallucinatory visual and sound effects to create tension and indicate emotional distress.

Still, real life has a habit of imposing itself even on a docu-fantasia, and “Ren Faire” does a lose a little steam in its final third, as the characters — now including a third contender, Darla Smith, appointed co-manager with Jeff — continue to go ‘round in circles. You may share their frustration. But as time spent in a different sort of place — different even from the one the characters imagine inhabiting — it’s a quite rewarding, even refreshing, not-overlong watch. And the ending is, in its way, happy.

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Film Review: Hong Kong, Within Me by Kang Yoon-sung

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Film Review: Hong Kong, Within Me by Kang Yoon-sung

“This is too real. What kind of dream is this?

“Hong Kong in the Lens by Asian Directors” is a program supported by the Hong Kong Tourism Board, which includes a series of microfilms directed by renowned directors from Asia. “Hong Kong, Within Me” is one of those titles, directed by Kang Yoon-sung, whose credits include the four entries in “The Roundup” series.

The movie begins with a Korean woman in her pajamas descending the stairs in her house while counting backwards. When she reaches one, however, she wakes up and she seems to be in a place she does not recognize, which soon is revealed to be Hong Kong. Still in her pajamas and barefooted, she goes outside first asking two young women to loan her their phone, and then taking up a cab, of an expectedly suspicious driver. She eventually reaches her destination, where a man recognizes here as Hye-rim and she him as Chan-sung. It turns out he is an old acquaintance, although the surprise of her being there is mutual. As they are talking, she reveals that she has insomnia issues, and that she received hypnotherapy treatment. At the same time, she seems to think what she is experiencing is her dream.

Nevertheless, Chan-sung, who is the owner and cook in the specialty restaurant the two are in, prepares her a meal in order to hear her opinion. A bit later on, the whole thing takes an even weirder twist, as it seems the interaction of the two is being shot by a film crew and Chan-sung is actually an actor. A swooshing cut through night time Hong Kong brings the two in a pier, where they talk once more about whether this is a dream or a movie shoot. Or even a Groundhog Day situation.

The first thing one will notice in “Hong Kong, Within Me” is that the pace is frantic, which is actually what allows Kang Yoon-sung to shoot a meta, romantic movie which also includes a ‘will-they-won’t-they’ element and much comedy, in just 15 minutes. The result can be dizzying on occasion, one could say mirroring the rhythm of life in Hong Kong, but is definitely entertaining, with the quality of the production values definitely helping in that regard.

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Kwon Hyeok-jun’s cinematography in particular, captures the different setting with a polished gusto that is quite pleasant to the eye. Furthermore, Hoo Sun-mi and Park Jong-min’s editing is responsible for the aforementioned frantic pace, in a style where the cuts are actually part of the narrative.

Woo Hye-rim plays Hye-rim with an excessiveness that goes a bit too far on occasion, but actually works in the economy of the short. Kang Yun-Sung as Chan-sung plays his part in more down-to-earth fashion, with the antithesis creating a very appealing chemistry.

“Hong Kong, Within Me” is well shot, well acted, well directed, looks particularly good, and is also a lesson on how to condense movies into the short format. Definitely a joy to watch.

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