Chapter 186: Oscar Nominations

With the announcement of the nominations for the 78th Academy Awards in 2006, Capet Pictures' Little Miss Sunshine received nominations for Best Supporting Actor, Best Supporting Actress, Best Original Screenplay, and Best Picture.

Walk the Line received five nominations, including Best Actor and Best Actress.

No Country for Old Men received eight nominations, including Best Picture, Best Director, and Best Supporting Actor.

This year's Oscar award ceremony was set to be held in early March. The voting would start more than a week after the nominations were announced, with the deadline being in late February. This was the key PR period for movies nominated for various Oscars.

The five films nominated for Best Picture were No Country for Old Men, Crash, Little Miss Sunshine, Munich, and Capote.

With the Oscar nominations announced, the number of theaters showing No Country for Old Men increased by three to four hundred locations from its original thousand. North American box office earnings were just about $50 million, and a boost was expected.

Art films released in December typically saw an increase in box office earnings if they received a Best Picture nomination at the Oscars. Winning the award would benefit their overseas market distribution even more.

Even movies that had already left theaters could be re-released or have their DVDs promoted if they won the Oscar for Best Picture.

Overall, PR for the Oscars provided substantial benefits to production companies.

Charles Capet aimed for both fame and profit, spending $5 million on PR for No Country for Old Men. This included advertisements in various entertainment newspapers and magazines, TV programs, media press conferences, and more.

Nearly a million dollars were spent on classic collectible VHS tapes and beautifully packaged DVD gift boxes.

Charles, sitting in his office, remarked, "Even if you throw free DVDs from Lionsgate, can you beat my all-encompassing assault?"

Phyllis Jones laughed, "Boss, isn't our investment too big? $5 million could fund several movies."

"Don't worry, it'll pay off. Look, haven't the earnings for No Country for Old Men in theaters increased? After winning, the prices for overseas rights will also go up," Charles reassured her. They only needed $10 million more at the North American box office to break even.

Capet Pictures did not have its overseas distribution channels yet. Except for the UK, France, and Japan, they relied on overseas distribution agents.

"Though Munich is based on true events and received good reviews, it's generally not considered strong; Little Miss Sunshine has no chance, just being nominated is enough; Capote is also based on real people, but it doesn't compare to Crash and No Country for Old Men. Given the current acclaim for our No Country for Old Men, the biggest competitor is still Lionsgate's Crash.

The themes, the storyline, and the characters - all cater to the Oscar judges. Winning will depend on PR efforts," Charles said.

Phyllis Jones was indignant, "But in terms of filmmaking techniques, the Coen Brothers' No Country for Old Men is incomparable to Paul Haggis' Crash, which just magnifies the issue of racial discrimination."

Charles grimaced, feeling helpless. In America, only discrimination against Black people was considered racial discrimination; discrimination against others was overlooked by all.

"Alright, we still have time. Have the marketing department keep an eye on the news and information outside. Stay in touch with entertainment journalists and critics. Capet Pictures' chances at its first Best Picture Oscar depend on the next two weeks of PR efforts!"

Although Charles didn't care personally, he couldn't ignore the thoughts of the many employees at the company. As an independent film company, winning an Oscar for Best Picture would make them proud.

"By the way, we can talk up Brokeback Mountain from last year. Such a good film didn't win Best Picture. Shouldn't the Academy make it up in some way?"

Phyllis Jones nodded, smiling, "I know what to do."

Brokeback Mountain from last year was Capet Pictures' closest approach to the Best Picture Oscar.

Unfortunately, due to its sensitive theme, only director Ang Lee won Best Director, narrowly missing Best Picture.

After Phyllis Jones left, Charles casually picked up a newspaper, analyzing this year's Oscars, which seemed quite similar to the 2003 Oscars.

In 2003, Miramax's Gangs of New York and The Pianist both were nominated for Best Picture, competing with the World War II Jewish Holocaust film The Pianist.

This year, Capet Pictures' Little Miss Sunshine and No Country for Old Men were taking on the racism-themed Crash.

...

In Santa Monica, at Lionsgate Entertainment Headquarters, CEO Jon Feltheimer and President Michael Burns were also discussing the Oscars.

"Capet Pictures really went all out with PR this time. They seem very confident about No Country for Old Men," Michael Burns said enviously of Capet Pictures' massive spending.

Jon Feltheimer smiled wryly, "Considering their film earnings, it's understandable. Who dares say they're just an independent studio now?"

"They can easily develop two to three movies with a budget over $100 million a year. We can't even produce two films a year with budgets over $30 million ourselves!"

Lionsgate couldn't be blamed. The Saw series, which was the foundation of Lionsgate's rise, belonged to Capet Entertainment's Matrix Pictures.

"We don't have extra funds to invest in Crash. We've done enough!"

Jon Feltheimer did want Lionsgate to make a mark at the Oscars, but they didn't have the resources. Michael Burns nodded, acknowledging that Lionsgate could only compete head-to-head with Capet Entertainment's Matrix Pictures.

*****

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