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Oscar producer Steven Soderbergh talks about the Switching category and more – Deadline



As one of the producers of the 93 Oscars, Steven Soderbergh has made several major moves. Last but not least – but certainly not least, in contradiction – was the decision to change the order in which the awards were presented, with the best film coming before the categories of the main actor.

In a recent interview with the Los Angeles Times, Soderbergh gave his thoughts on how it played out, noting that he had this structure in mind for the show months before the nominations were announced.

“We talked about it in January. We believe – that I don’t think it’s unreasonable – the actors ‘speeches are more dramatic than the producers’ speeches, “Soderbergh said. “And so we thought it might be fun to confuse him, especially if people didn̵

7;t know it was coming. So this has always been part of the plan. “

Undescribed racing series “Magic Mike”, commissioned by HBO Max with EP, Channing Tatum and Steven Soderbergh

Although the change in the Oscars was unsettling for more than one reason, it turned out to be controversial mainly because of the way the lead actor eventually appeared. While Chadwick Bozeman died of colon cancer last August, at the age of 43, he has long been considered a favorite for best actor, given the strength of his turn in Netflix’s August Wilson adaptation. The black bottom of Ma Rainey. Boseman would eventually receive a posthumous nomination. Therefore, when the word about the shuffling of the category was heard on the night of the Oscars, many assumed that they understood the reasons for this. The image of a winner who disappeared too early will close the night and everything will be fine.

Except that didn’t happen.

The category will eventually be The fatheris Anthony Hopkins, who did not even appear at the ceremony.

It must have occurred to Soderbergh that Boseman could win. At the end of the day, however, he pointed out that this possibility is only one, which he expects to take into account by changing the order of the show. “It was not as we expected [Boseman] would [win]”But if there was even a chance that could happen, then you have to take that into account,” Soderbergh said. “It would be such a devastating moment that it would be simply impossible to return after that.”

Given that the 93 Oscars took place in the midst of a global pandemic, they would always be different, one way or another. For a famous avant-garde director like Soderbergh, what was happening in the world was an “opportunity” to experiment.

In agreement with producers Stacey Cher and Jesse Collins, he completed the innovations in many ways besides naming the categories. Among them was the decision to replace the clip montages, which are usually played along with the list of nominated films, with stories about the nominees themselves.

Although Soderbergh is not surprised by the negative response to this move (because he does not read reviews), he feels good behind the tricks he tried to refresh the show. “You have to understand that this show has been seen by many of us and the Academy as an opportunity to try some really different things. And the understanding has always been that there will be some things that work and some things that don’t work, things that people like, things that people don’t. That’s the point, “he said. “So the goal was to really do something different and let the Academy sift through the answer and decide what to do next.”

If there is one element of his show that he hopes the Academy will keep in the future, it is the stories of the nominees.

“I like to know more about the nominees,” Soderbergh said. “I think it bases the industry on some reality and makes it clear to people that most of the workers don’t come from Los Angeles and New York, have no connection to the entertainment industry, and that there’s no firewall between the cast and crew, that everyone many work together. And that the experience of making a film is not kept secret in the way I think some people believe. “

The next Oscar winner for the screenplay is the director of the technology thriller New Line WHOM, starring Zoe Kravitz, Erika Christensen, Jacob Vargas and others.




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