Three hundred twenty-three feature films are eligible for the 2014 Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The 87th Academy Awards nominations will be announced live on Thursday, January 15, 2015, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.
The Oscars will be held on Sunday, February 22, 2015, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.
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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards—in which the members vote to select the nominees and winners — the Academy presents a diverse year-round slate of public programs, exhibitions and events; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.
FOLLOW THE ACADEMY
Tag Archives: academy awards
Three hundred twenty-three feature films are eligible for the 2014 Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
All good things must come to an end at some point. Yes folks, this is the final installment of this series of mine, and as such, it’s (hopefully) a bit of a doozy…the Best Picture field. Without a doubt, this is the big one, so it’s the one where the list will be the most important and I hope interesting to look at as well. Obviously, I could go on and on in preparation right now, waxing poetic and teasing, but at this point I know how the game works here for everyone. You all just want to see the lists that I do anyhow, so I have no problem obliging you good people there in that particular regard one more time. All you have to do is just be patient over the next paragraph or so and you’ll get the goods front and center for your reading pleasure…
One last time, try not to bury the lead and I’ll jump right into discussing my top ten a bit here now. To me, the best winner of this category so far to date has been Woody Allen’s Annie Hall. The best romantic comedy of all time, Allen’s Best Picture winner is a perfect film to me, so it’s not even close between this one and all the rest. That being said, the next two runners up aren’t miles behind. They’re Steven Spielberg’s heartbreaking Schindler’s List and Jonathan Demme’s The Silence of the Lambs. Two very different works, but also two basically perfect ones. Rounding out the top five I have Billy Wilder’s The Apartment and Sam Mendes’ American Beauty, the latter of which is likely too high for some, but hey…it’s my list, right? Exactly. That’s a strong top five in my eyes, and the top ten consists of Ben Affleck’s Argo, John G. Avildsen’s Rocky, Kathryn Bigelow’s The Hurt Locker, Clint Eastwood’s Million Dollar Baby, and Milos Forman’s One Flew Over the Cuckoo’s Nest. There’s not a weak one in that lot, and I’d especially say that Argo is still moving upwards for me. I could see it pushing towards the top five in the next decade, but again, that’s just me. There’s really no way to not come up with an amazing top ten, just like there’s no way not to leave off a ton of worthy contenders in a top 25. You could easily go 30 or 40 […]
Yes, this time around I’ll be tackling one of the biggest of the big eight categories in an effort not to save them all for very last, much like with last week. This one is arguably the second biggest of them all…the Best Actor field. This is as prestigious a category as there is ladies and gentlemen. I could go on and on in preparation right now, but at this point I know how the game works here. You all mostly just want to see the lists that I do anyhow, so I have no problem obliging you good people there in that particular regard once again. All you have to do is just be patient over the next paragraph or so and you’ll get the goods front and center…
This time around, I’m once again going with the ever popular overview route for the discussion as you might have guessed. Also, it really just comes down to taste again here (surprise surprise), with your opinion influencing what sort of winner you’re particularly partial to. It’s pretty much a matter of taste once again for us all, which is commonplace at this point and even more so with acting. I know a couple of of my selections are going to seem a bit on the odder side of the equation, especially again when you see how high I ranked certain gentlemen, but that’s just the way it is. You can’t please everyone with this sort of a thing, so I won’t lie to myself in order to try.
I’ll basically just discuss my top ten a bit here now. To me, the best winner of this category so far to date has been Tom Hanks and his stunning performance in Philadelphia. Frankly, I wish I could basically have a tie throughout my entire top five, which also includes Marlon Brando for On The Waterfront (as opposed to his more widely praised turn in The Godfather) Nicolas Cage for Leaving Las Vegas (easily the most underrated winner in history to me), Daniel Day-Lewis for Lincoln (controversially ahead of There Will Be Blood), and Robert De Niro for Raging Bull (to some the best ever). They’re almost all tied, they’re so phenomenal. I give the slight edge to Hanks though, just because of how long that turn has stayed with me. Rounding out the top ten we have the other beloved performances of Day-Lewis […]
Here we go again folks with another Top 25 article today. This time around I’ll be tackling one of the big eight categories in an effort not to save them all for last. Adapted Screenplay field. The category is one that usually has a big tie in with Best Picture, as you’ll below to some degree. Oscar tends to like their big glossy adaptations, but they do go for some offbeat things here and there in this particular category. I have a few specific titles I’ll be citing in detail later on in this piece, but I know how the game works here by now. You all mostly just want to see the lists I do anyhow, so I have no problem obliging you good folks there in that particular regard once again. All you have to do is just be patient over the next few paragraphs and you’ll get the goods front and center…
This time around, I’m once again going to be going with the overview route, especially since a bunch of these Oscar winners I’ll be discussing again when we get to Best Director and particularly Best Picture. Also, it really just comes down to taste again, with your opinion influencing what sort of winner you’re partial to. It’s pretty much a matter of taste once again for us all. I know a couple of of my selections are going to seem fairly odd, especially when you see how high I ranked it, but that’s just how the cookie crumbles. You can’t please everyone all of the time.
I’ll basically just discuss my top ten a bit here now. To me, the best winner of this category so far to date has been The Social Network. Aaron Sorkin’s work there might actually be the best script ever written in my eyes, believe it or not. It’s just genius, complete genius. The runner up spot would be Casablanca, which is no slouch either. Also in the top five we have All the President’s Men, One Flew Over the Cuckoo’s Nest, and Schindler’s List. All of those are masterpieces, no doubt about that. Rounding out the top ten we have the likes of Argo (yes, it’s that good), Forrest Gump, Judgment at Nuremberg, The Silence of the Lambs, and To Kill a Mockingbird. You can easily have a top 30 or 40 for this category, so narrowing things down to a […]
The Academy of Motion Picture Arts and Sciences tonight honored fifteen student winners from colleges and universities around the world at the 41st Student Academy Awards ceremony, held at the Directors Guild of America Theater in Hollywood.
The gold, silver and bronze medals were announced and presented by actors Adrian Grenier, Nate Parker and Oscar® nominee Demian Bichir, and the Oscar-winning directing/producing team from the animated feature “Frozen,” Jennifer Lee, Chris Buck and Peter Del Vecho.
The 2014 Student Academy Award® winners are:
Gold Medal: “Person,” Drew Brown, The Art Institute of Jacksonville, Florida
Silver Medal: “Oscillate,” Daniel Sierra, School of Visual Arts, New York
Gold Medal: “Owned,” Daniel Clark and Wesley Tippetts, Brigham Young University, Utah
Silver Medal: “Higher Sky,” Teng Cheng, University of Southern California
Bronze Medal: “Yamashita,” Hayley Foster, Loyola Marymount University, California
Gold Medal: “The Apothecary,” Helen Hood Scheer, Stanford University
Silver Medal: “White Earth,” J. Christian Jensen, Stanford University
Bronze Medal: “One Child,” Zijian Mu, New York University
Gold Medal: “Above the Sea,” Keola Racela, Columbia University, New York
Silver Medal: “Door God,” Yulin Liu, New York University
Bronze Medal: “Interstate,” Camille Stochitch, American Film Institute, California
Gold Medal: “Nocebo,” Lennart Ruff, University of Television and Film Munich, Germany
Silver Medal: “Paris on the Water,” Hadas Ayalon, Tel Aviv University, Israel
Bronze Medal: “Border Patrol,” Peter Baumann, The Northern Film School, United Kingdom
This year saw first-time honors go to Tel Aviv University, Israel, and The Northern Film School, United Kingdom, in the foreign competition.
The Academy established the Student Academy Awards in 1972 to support and encourage excellence in filmmaking at the collegiate level. Past Student Academy Award winners have gone on to receive 46 Oscar nominations and have won or shared eight awards. They include John Lasseter, Pete Docter, Robert Zemeckis, Trey Parker and Spike Lee.
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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards—in which the members vote to select the nominees and winners—the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related […]
A few days ago, the Academy confirmed that the next Oscar telecast will be back in February, specifically on February 22nd, more than a week earlier than this past Academy Awards show. This is more in line with what we used to see, so immediately some might wonder if this means anything for what the awards/precursor season might look like this fall/winter. That date obviously means something, but for me, the more interesting one is that voting will open on December 29th, potentially before all of the contenders have been seen. That’s what really got me thinking.
Basically, there’s a chance this time around that some slightly earlier releases will have more of a shot at making a play in the Best Picture category. Of late, it’s been a deluge of December releases clogging up the lineup, and while I don’t think there’s anything wrong with that, especially considering the quality of the work, it’s always nice to see the early year gems have a chance in the race. Without first half contenders, lineups lack smaller titles like Beasts of the Southern Wild, for example.
At the same time, it’s possible that those couple of contenders that hit on New Year’s Eve might find their hopes fading more so than they’d otherwise have expected. If a voter is even starting to fill out their ballot before your movie has been shown to them (or before they’ve attended a screening), that usually means you won’t have their vote. This could be a very small amount of people or a large amount, depending on the movie, since if it’s a big time contender, it’ll get seen regardless. Still, this might affect those flicks in some small way at least.
Also, a tinker in the schedule for Oscar results in a tinkering of the campaigns that the eventual nominees will wage. Last year’s timeline just felt a bit off to me, and I know I’m not alone, so what seems like a more traditional schedule could remove that feeling this time around. There’s no way to tell right now what campaigns will look like (though it’s interesting that Noah is apparently already offering Academy screenings, so make of that what you will), but I have a hunch that they won’t be identical to what we saw most recently.
We won’t know until the year is over if this schedule results in something different, but it’s something […]
The Academy of Motion Picture Arts and Sciences and the ABC Television Network today announced the dates for the 87th Oscars. The Academy Awards® presentation will air live on ABC on Oscar® Sunday, February 22, 2015.
Key dates for the Awards season are:
Saturday, November 8, 2014 The Governors Awards
Wednesday, December 3, 2014 Official Screen Credits and music submissions due
Monday, December 29, 2014 Nominations voting begins 8 a.m. PT
Thursday, January 8, 2015 Nominations voting ends 5 p.m. PT
Thursday, January 15, 2015 Oscar nominations announced
Monday, February 2, 2015 Oscar Nominees Luncheon
Friday, February 6, 2015 Final voting begins 8 a.m. PT
Saturday, February 7, 2015 Scientific and Technical Awards
Tuesday, February 17, 2015 Final voting ends 5 p.m. PT
Oscar Sunday, February 22, 2015 87th Academy Awards begins 7 p.m. ET/ 4 p.m. PT
The Oscars will be held at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.
# # #
ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards–in which the members vote to select the nominees and winners–Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history.
Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.
FOLLOW THE ACADEMY
Joey Berlin from the Broadcast Film Critics Association – Critics’ Choice Awards
By ROBERT W. WELKOS
In 1995, Joey Berlin and Rod Lurie, two entertainment reporters and film critics who had written for rival publications, joined forces to create the Broadcast Film Critics Assn.
While Lurie would go on to carve out a successful Hollywood career as a screenwriter and director with such films as “The Contender” and “The Last Castle,” Berlin hasn’t faired too badly, either, as the president of the BFCA.
Starting with 44 members the first year, the BFCA’s voting membership today hovers between 285 and 290 and the organization bills itself as the largest film critics group in the U.S. and Canada.
At the same time, the BFCA created the Critics’ Choice Awards, a glitzy tux-and-gown gala now televised on the CW Network that features red carpet celebrity arrivals, drawing worldwide media attention and plenty of Oscar buzz since the show coincides with the run-up to the Academy Awards.
But as the show has catapulted the broadcast critics into the Oscar conversation each movies awards season, tax records show that the nonprofit group Berlin leads has paid his privately-owned company, Berlin Entertainment, Inc., hundreds of thousands of dollars each year for production services.
Read prior Broadcast Film Critics Association story here at Hollywoodnews.com
IRS Form 990 filings list Berlin Entertainment, Inc., receiving a combined $992,270 from the nonprofit between fiscal 2009 and 2011.
Berlin notes that his members seem to be satisfied with the job he’s doing since he has been repeatedly re-elected president every two years.
The tax files show that Berlin’s base compensation and benefits were a combined $1,297,133 for the three-year period spanning fiscal 2009 to 2011. But his compensation is listed as coming from “related organizations” and not directly from the BFCA, according to the Form 990 documents, which all nonprofits are required to file with the IRS to qualify for tax-exempt status.
When asked about his sizeable compensation, Berlin told HollywoodNews.com in a recent telephone interview: “I did this for five years for zero compensation, but this is what I do all day, every day. I’m really proud of what we’ve built and accomplished….
“My compensation has grown with the growth of the show,” he adds without apology. “The television show is an incredible benefit to the members.” He notes that these benefits include such things as access and awards screeners. “That seems a comfortable arrangement for everybody.”
Continuing onward with this weekly series I’m doing here on the site, we’re talking about the top 25 Oscar winners in just about every single one of the Academy Award categories out there for us to talk about. Aside from the short categories and likely something a bit harder to rank like Best Sound Editing or Best Sound Mixing as I’ve mentioned before, I’ll be hitting them all over the coming weeks, including of course the big eight categories, two of which have already received this particular treatment. I’m also potentially going to do one that doesn’t actually exist (a fictitious Best Ensemble category), but that’s just an idea I’m currently toying with. We’ll see about that one, but for now, we’ll stick to reality and the categories currently endorsed by the Academy.
Today I’ll be knocking off one more of the technical categories, with this one being the somewhat unsexy but still essential Best Film Editing field. Depending on the category in question, I may wind up discussing the individual winners I’m citing rather specifically or just giving a more broad overview of the winners. Like I’ve been saying over the past few weeks, in all honesty, you really just want to see the end result list anyway, so I have no problem obliging you there in that regard. All you have to do is just be patient over the next couple paragraphs…
This time around, I’m again just going with the overview route. Film Editing is another type of category where you sort of know it’s good by seeing it in the films themselves. There are a few different types of editing that the Academy has honored, though sometimes they can fall into the trap of going for “most” instead of best, if that makes sense. For example, you can see in certain winners that the editing is smooth and you’re almost not meant to notice it all, while other winners want to constantly impress you with their flashy approach to editing. I’m not particularly partial to either one, basically just going for what fits the movies best. Sometimes I don’t want to notice the editing at all in the flick, and sometimes I want it to be front and center. It all just depends.
I’ll discuss my top ten a bit now before getting to the list itself. The winner that I think is the best ever happens to be […]
One of the more interesting and unlikely developments from this past weekend’s Academy Awards telecast was David O. Russell’s film American Hustle managing to lose in each of the ten categories it was nominated in. Historically, 0-fors almost never happen. Recent examples include Gangs of New York and True Grit, but by and large, if your movie is among the most nominated of the year, it winds up going home with at least a token win. So, how did American Hustle wind up being shut out, and why exactly did it happen?
In short, it was mainly due to the competition. The flick wasn’t nominated in any one particular category where it had an easy road to a win. Maybe if you took away The Great Gatsby from contention, maybe Best Costume Design would have been the place? American Hustle was the runner up in a lot of places, likely including Best Supporting Actress and Best Original Screenplay, but there wasn’t an obvious place to reward it, so a concerted effort was never made to just honor it in one particular place. The closest things to that was the Supporting Actress race, where Jennifer Lawrence nearly upset Lupita Nyong’o, but that was always going to be a toss up category.
American Hustle probably also suffered to some degree because of the Olympics. That stretched out the season and gave members of the Academy extra time to get around to 12 Years a Slave and to revisit films like Gravity, The Great Gatsby, and Her. With a shorter decision time, Oscar voters who were flirting with Russell’s movie might have just up and committed to it, instead of holding back and ultimately going in a different direction. You never can be sure about something like this, but I have a feeling that over the last week or two, the flick really had its momentum come to a screeching halt.
Personally, I liked the film more than a lot of my colleagues did, so I take no enjoyment in seeing it go home empty handed. That’s just the nature of the business though. There are only so many awards to be given out, and in a super competitive year like this one, something had to give. In a very literal way, the nominations turned out to be the reward for American Hustle.
You have to give the film a great deal of credit though for going […]