What This Year's Oscars Mean for Hollywood

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It was when The Hurt Locker won Best Adapted Screenplay that the sweep began. A discerning viewer had only to wait for Best Editing to see where the Academy was going, even if it took a while to get there. If any love had been thrown Quentin’s way, it would have been there. But, no…By the time Hurt Locker won its first important showdown with Avatar— in Editing, where its differences were most stark (they’re two totally different styles: one completely pre-planned shot for shot, the other relying on thousands of feet of raw footage, cut together in post-production)—the direction of the night was  inexorable. Throughout the season you could sense it at all the Academy events:  Hurt Locker was gaining in momentum, and everything else was receding.

Apart from Kathryn appearing almost to ascend into heaven, hegira-like, with Marc Boal, her co-producer, beau, and screenwriter, having to grasp her tightly by the arm as if to tie her to earth as they eclipsed Avatar in the evenings topper, there were a few other stunners as well – most notably, the shut-out of  Up in the Air,  which seemed to have been a critics, and not an Academy picture.

The show did some overt pandering to what we call the four quadrants: it replaced the beloved (to women of a certain age – i.e. “upper female quadrant”) Hugh Jackman with a buddy comedy of older men (one funny, one-hottish); and it brought teen-throbs Taylor Lautner, Kristin Stewart and Miley Cyrus out for the lower male and female quadrants. But it couldn't overcome its Las Vegas showgirl clutter, particularly in its garish and unnecessary opening number, undercutting the excellence of the writing.

Some bloggers wagged that maybe Avatar lost Best Picture because the Academy still hates Cameron for his "King of the World" moment. But I think that’s wholly wrong. If The Hurt Locker hadn't captured the spirit of the kind of auteur film that Academy-type audiences learn most from and feel most connected to, Avatar surely would have won. Its way of connecting us urgently to our soldiers – the same soldiers who are standing behind the colonel in Avatar – simply felt newer.

The most important consequence of the Oscar Race is how it affects the movies we make, and in that regard, Avatar won before the awards were even doled out. There will not be hundreds of Iraq movies pitched this week. Three-dimensional extravaganzas on the other hand are the order of the decade, and perhaps beyond.  With the record-shattering opening of Alice in Wonderland 3D on Oscar weekend (not even up to Avatar technology!) it seems as though the whole world has fallen down the 3D rabbit hole, and the industry is tumbling with it. One can foresee, given our industry’s customary “originality,” that we’ll now see 3D remakes of every movie ever made, from The Sound of Music to Terminator 5. Dead franchises will be reborn. And just maybe, with a little serendipity, a few great filmmakers will also make up some new stuff, borne of the essence of three-dimensionality.

WE HAD A LITTLE crime and punishment kerfuffle in town this week – one that ended up with the Academy meting out the cruel and unusual punishment of banning one of Hurt Locker’s four producers from the Oscar ceremony. The crime consisted of producer Nick Chartier having sent out a private email to his friends, exhorting them to vote for his little indie against that studio behemoth with all the power behind it (no names mentioned…)

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Lynda Obst is a producer and writer who has made 15 films in her producing career, at almost every major studio. More

Lynda Obst was recruited to Hollywood from the New York Times Magazine in 1979 by Peter Guber, for whom she developed Flashdance and Clue, as well as beginning the development of Carl Sagan’s Contact. In 1985, Obst partnered with producer Debra Hill, forming Hill/Obst Productions at Paramount Pictures. They soon made the iconic teen pic Adventures in Babysitting. Then the duo produced Terry Gilliam’s Oscar-nominated The Fisher King, starring Robin Williams and Jeff Bridges.

Obst then began a solo-producing career, where she produced Nora Ephron’s directing debut, This Is My Life, and executive produced Ephron’s second film, Sleepless in Seattle. Obst then produced The Siege, Hope Floats, One Fine Day, and Someone Like You. One of Obst’s earlier projects came full circle when she came on Contact for Warner Bros. in 1997, directed by Robert Zemeckis and starring Jodie Foster. In 1999, she executive produced NBC’s Emmy Nominated, two-part miniseries The 60s. Then Lynda moved back to Paramount Pictures, where she produced such films as How to Lose a Guy in 10 Days and Abandon.

Obst’s most recent film was the September Warner Bros. release of Ricky Gervais/Matthew Robinson's directorial debut The Invention of Lying, starring Gervais and Jennifer Garner. Her notable upcoming projects include Steven Spielberg’s Interstellar, a sci-fi feature from The Dark Knight scribe Jonathan Nolan, based on a story by Obst, Nolan, and Dr. Kip Thorne; What Was I Thinking, starring Leslie Mann, Elizabeth Banks & Jennifer Garner; and Getting Rid of Matthew, starring Jennifer Aniston.

She has long written about the movie business for magazines and blogs, including a long running Oscar dialogue with New York Magazine critic David Edelstein.

Lynda Obst’s magazine writing, as well as more information on her films, can be found on her website: visit http://lyndaobstproductions.com/.

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