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Oscar Award: How Producers Selected Shows, Music, Memorials, etc.

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Oscar Award: How Producers Selected Shows, Music, Memorials, etc.


Oscar producers Steven Soderbergh, Stacey Sher and Jesse Collins promised a unique television show this year, and by the end of the Sunday night show it was definitely different from other recent memorable Academy Awards.

The show began with a universal high score for Oscar-winning star Regina King, guiding the camera to Union Station’s breathtaking main ticket bean course, featuring a gorgeous multi-tiered seating area created specifically for television broadcasts.

After that, the evening passed and social media buzzed with questions about the show. Where are the clips? Are these acceptance speeches longer than usual? How does Glenn Close know “Da Butt”? And what confuses the audience the most, why didn’t the Oscars close as usual with the Best Photo Award winners?

Variety ABC’s Rob Mills, Walt Disney Television’s vice president of scriptless alternative entertainment, provided information on how this year’s event came together after the Oscars on Sunday night.

“There were a lot of really great risks that some people might think they didn’t pay back,” Mills said. “But it was great to do something different and not know what’s going to happen next. And I didn’t look like’Oh my God, I’ve seen this before I know exactly what’s going to happen.'”

The producers didn’t want to start the show with a gag, instead they hired Regina King for a more full-fledged opening.

Initially, producers felt that a traditional, joke-filled monologue was not the right way to open an Oscar given this moment in history. “I think there was a wrestling over how traditional Oscar shows should look,” Mills said. “Because of the fact that we are still in the midst of an epidemic and we are in the world… It’s a lot of work to ask anyone to do an opening monologue. Especially now in the most challenging Oscars in history.”

King’s opening instead of the host was meant to show that this would be a different kind of Oscar. “Who doesn’t love Regina King?” Said Mills. “It’s also amazing that she wanted to do it. She has a nominated film [“One Night in Miami”], But she herself did not make a nomination for director, and some people think it was considered a snare. And the fact that she still wants to come here to celebrate and do everything is a good record to start the show.”

Mills was especially lovely when King fell lightly while arriving on stage. “You are always hoping for the moment,” he said. “If you practice too much, sometimes it doesn’t feel vivid. And the fact that she literally said’this is live TV’ was all you could ask for.”

The decision not to play pre-recorded comedy beats also came early in the production process.

“I don’t think there was an organizer and this year no one knew if he was deaf,” Mills said. “I still want to be celebrated, especially when people have been able to do amazing things. But you also want to keep in mind where we are still in the world. So I think the show it took place is the show they’ve been planning for months.”

Union Station Oscar
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The framing of “Oscars as a Film” had a lot to do with its appearance.

Soderbergh, Sher and Collins released the Oscars of the Year as a film and even referred to the presenters of the night as “cast members”. And the opening, where King struck the Oscars and stretched out onto the stage, was designed to resemble the theater credit sequence. But ultimately, the true film of television broadcast came from the way it was filmed. It has 24 frames per second and an aspect ratio of 2.35:1.

“I think Steven saw this as if it were the next movie he made,” Mills said. “If there’s one person who sees that like that, it’s Stephen Soderberg. If you look at his filmography, whether it’s a feature or a TV version, he talks the same way. He did not see this as an awards ceremony, but as the next project he produced. Directed by Glenn Weiss, this was sort of the next Steven Soderbergh project. It’s always interesting when someone with no awards background pulled all the tools out of their toolbox and started over from scratch to make it look like a movie this way.”

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Chloé Zhao at the Oscars
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During the rehearsal, producers wondered if this year’s Oscars would end too early. So the acceptance speech could last a long time.

Mills said, “This was a show with no nominations, and it was on a pre-show.” “And there were no clips. So you saw it at the rehearsal and we were pretty much worried about what we would do if the show was short. So I didn’t think it would be a problem if the speech was too long.”

In the end, as the Oscars began to last long, producers reminded the candidates to keep it short if they win. But, as Mills said, I am grateful that the producer did not cut out supporting actor winner Daniel Kaluuya early.

“It really depends on the speaker, the winner and the speech,” Mills said. “After about 45 minutes we knew it wouldn’t be an issue.”

To make the television broadcast faster, the creators removed clips from almost all categories except the best photos, international films, and animated films.

“If you look at the length of the awards ceremony and look at the previous awards ceremony, this is where the time really comes together,” Mills said. “It’s in the clip. Instead of playing different clips for the film, the producers wanted to say exactly what someone was doing, what the art director was doing, what sound design was.”

Candidates were asked about their career and relationship with the film to create an in-depth, personal introduction that the presenter reads for each person.

Mills said, “The slogan was’Bring Your Movie Love,’ and it is our love for the movie that universally unites everyone. “Obviously, I think most people started their business because they grew up. They remember what they did. Usually because the film or filmmaker inspired them.”

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Glenn Close at the Oscars
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Karaoke was originally considered until the producers settled in the Oscar music trivia segment later in the show. Yes, Glenn Close knew she would be baked for Lil Rel Howery’s “Da Butt”. However, her dance moves surprised almost everyone.

“Glenn Close, that meme will now replace Ellen taking selfies over the next 20 years,” Mills said. “You could see the way she talked about it. She’s very learned and no matter whether it’s a role or what she’s doing for an Oscar, she does research. So I think it is very clear. If Glenn Close hadn’t heard’Da Butt’ before this, he knew it when Lil Rel asked her about it.”

When it comes to dancing, he said, “It was definitely something no one expected.” “I mean, it wasn’t any rehearsal. Again, it shows that she doesn’t care about any game.”

And he has “good authority that Glenn and John Malkovich always played’Da Butt’ on the set of’Dangerous Contact One’.”

Later Oscar winner Frances McDormand joked about the audience participating in some karaoke bars. Mills confirmed that these ideas were briefly considered by the creators.

“It’s funny what Frances McDormand said about karaoke. There was a story about karaoke beats that couldn’t happen because of microphones and stuff like that. You couldn’t do it,” Mills said. “I think it’s transformed into an Oscar quiz beat. It’s definitely going to be the best in the end.”

Andra Day got Oscar Knight’s first censorship moment.

In 1985, when’Purple Rain’ was told that it had not been nominated for the best song, Day declared, “That’s ridiculous.” But when the ABC censor pressed the button, the viewer didn’t hear it.

THE OSCARS¨-The 93rd Oscars will be held on Sunday, April 25, 2021 at the Dolby¨ Theater at Union Station Los Angeles and the Hollywood & Highland Center, in an international venue via satellite. Questlove at the Oscars

Questlove was free to choose songs for his Oscars setlist.

Some viewers were amazed by Questlove’s range of tracks (and wondering what he needed to erase), and Mills was given a free rein of what he was going to play and confirmed that the songs were all erased, including Prince’s “Purple Rain”.

“It was really that person, and it was the producers and the show and everyone’s merit that you could brighten up and have a little fun,” Mills said. “I think it has a purpose because it felt loose and baggy. It was fantastic and fun for Rita Moreno to come to her with the Electric Company theme.”

Closing the Oscars with Best Actor didn’t pay off, but it was a gamble that came out as part of a bigger shuffle of how this year’s category was ordered.

“It wasn’t just the final category, the whole show was shuffled,” Mills said. “All in all, the screenplay comes in one of the second half, Act 5 or Act 6. And the best coach was also very early. The point is, sometimes when I watch a show, I feel like,’Oh, I watched this every year.’ So it was really’Wow, I really don’t know what’s going to happen next.’”

“I’m not trying to end someone who isn’t present,” Mills said. “Because everyone was talking about it, it was a calculated risk to think you were still rewarded. Similarly, no one wants the wrong envelope to happen as it was 3 years ago, but everyone was talking about it. Some people think they have missed the prize. ‘Why is the best picture early?’ Or’what’s up, this is crazy’, almost’how can this happen? The best pics should get it done! ‘Some people were upset, some people liked it, and that was that they were really indifferent.”

At least, Mills mentioned that it serves as a reminder that the creators don’t really know the winner ahead of time.

“Even if they imagine they did it, they still did,” he said. “It would have been very daring.”

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Angela Bassett at the Oscars
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Yes, the In Memoriam montage moved much faster than usual.

“In memory is always a hard nut to break,” says Mills. “This year we focused on honoring the defeated people rather than performing. When a song was selected, the speed was matched to the tempo.”

Bryan Cranston, which aired at the Dolby Theater, said the Oscars will return to home base next year. But Mills said it has not yet been confirmed.

“You don’t have to be in Dolby,” he said. “I think there is greater hope that next year will be better than last year. But we will see. Definitely, if you said you would be at Union Station when you finished the show on February 9th last year, you would have thought you were crazy if you had said that the show would look like this. So you can never predict.”





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Kevin Can F**k himself EP on Sitcom Inspirations, Casting Annie Murphy

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Kevin Can F**k himself EP on Sitcom Inspirations, Casting Annie Murphy


The premise of creating Valerie Armstrong’s first series came to her in a simple and distinct sequence. A woman leaves the living room of a traditional sitcom set and enters the kitchen. The studio lights change to regular light bulbs and she can force a smile on her face. Then, “She looked straight into the camera and said, ‘I hate my husband,'” says Armstrong.

Four years later, that inspiration grew to “Kevin Can F**k Himself.” In the eighth episode, the first season is followed by Worcester Allison, Massachusetts (Emmy winner Annie Murphy), followed by a slow awakening. Her husband (the title Kevin played by Eric Petersen) is destructive and manipulative. The sitcom space is a space where Kevin can talk, do terrible things and laugh, but the story takes Alison out of that space and leads to a single-camera structure, where she and the audience can think a little harder about her sitcom husband’s actions. , a neighbor and father managed to escape for decades.

“How to make a sitcom wife a real woman in that DNA?” Armstrong talks about the show. “Recognizing that she knew how miserable she was was very important to making a pilot. For the woman to be there, she cannot know that she is miserable. She must be sure that this is where she should be. [and] Her happiness will ultimately be in her marriage because she’s been told she’s good.

“So in the pilot it was ‘Kevin is funny, Kevin is a great guy. You just have to know how to get him to work.’ Then you have to go where he understands that he’s not accidentally destructive. It may be a mask, and it may not always be completely intentional, but he manipulates her and has been like that for a while. So, frankly, I don’t think he’s getting any worse over the course of the show, but I think he’s starting to realize his behavior,” she continues.

Armstrong, who previously wrote for “SEAL Team” and “Lodge 49” while developing the show, said that every question audiences have when they sit down to watch the premiere: part of the show goes into Alison’s head, is she crazy, or is it within the show? Is there a show element, and/or if something supernatural is going on. For the record, the answer to all of this is no. “What happens in the multi-camera world is just as real as what happens in the single-camera world, and the way people in the room see the event. ” explains Armstrong.

Armstrong had to write a lot of rules about what could and couldn’t happen in each of these worlds. The crux is that when Kevin, his father Pete (Brian Howe) or neighbor Neil (Alex Bonifer) appears on screen, “it made the world a little sitcom that could air on CBS,” Armstrong says. It’s said to be a multicam catalyst, but it doesn’t give you action you won’t find in other sitcoms, nor does it include “sitcom scenes that don’t fit that episode of the sitcom. This means that if she made an episode completely Kevin-centric, it would be 42 minutes of multicam. (She doesn’t know that the show will do something like this in the future, but she admits she doesn’t do that in season 1.) The show could shift perspective to other characters like Neighbor Patty (Mary Hollis Inboden). See action in a single camera format.

When making the sitcom, Armstrong said he wants the audience to feel like they’re “alive” but immersed in a long-running show that’s familiar. Physically, she was inspired by, for example, the sets of “That ’70s Show” and “Roseanne”, and “Frasier” helped tell the sitcom what she could perform (including a five-episode French play). .

“We tried to make a sitcom that was funny on its own. And the more you learn how destructive Kevin is, the harder it is to watch as a harmless sitcom, but we always try to make you laugh despite ourselves. So in the last episode, when things are the darkest, it’s like laughing at a funeral,” she says.

The series’ setting also helped with the timeless feeling she was going with, as she laughed “Worcester sometimes feels like she’s in the ’90s”.

Although Armstrong grew up in Connecticut and said, “I wanted to write people I knew and people I grew up with, and that meant repressed New Englanders,” she decided to set the show on a more “classic sitcom Blue Collar.” She thought most people thought of Connecticut.

“Wooster [was] My brother’s college roommate came from and he had a fascinating mix of shy and unaware of all his shortcomings, yet absolutely proud of his hometown. And he had the most fantastic intonation. I couldn’t distinguish Korea from a world ‘career’ like a job,” she recalls. “There was light and darkness. It looks like a place that Kevin could be proud of, but Allison sees everything as it is.”

Armstrong was originally looking for someone who would “surprise you just how much fun” on ‘SNL’ when casting Alison, who not only has to reliably move between the two worlds, but her worldview expands significantly as the first season progresses. they were.” Because the show “requested someone who didn’t take it too seriously. We noticed that the single-camera scene had a bad transfer. It can be tough. It can be very disappointing.” But eventually, Murphy, after spending the last six years on the Canadian sitcom “Schitt’s Creek” (who won an Emmy for comedy actor last year), got the show.

“Annie can do anything, so we went in a different direction,” Armstrong says.

Armstrong felt it was important to bring a bit of lightness and humor to the show’s single-camera world, even as Allison worked at a liquor store or reported that the car had been stolen, even as she plunges into non-luminous realities like pulling up a car. When she didn’t call him or when he didn’t come home when he expected her. She didn’t want people to feel uncomfortable watching single-camera scenes and eagerly wait to return to sitcom scenes. Especially since the single-camera scene really illuminates the system issues that both Allison and the audience must face.

“She goes through most of her first season, saying, ‘Kevin is the problem.’ She is pretty nearsighted,” Armstrong says. But “Kevin is just a symptom.”

“Kevin Can F**k Himself” airs on AMC Plus on June 13th and on AMC on June 20th at 9pm.





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Central Partnership, BF Films Partner on Horror Film ‘Schizophrenic’

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Central Partnership, BF Films Partner on Horror Film 'Schizophrenic'


Russian production and distribution powerhouse Central Partnership and Latin American film group BF Films announced their first co-production. Variety can be exposed.

“Schizophrenia” is a psychological horror film set in the real world of a serious mental disorder. Dark stories from real patients will be inspiring, and various schizophrenic symptoms, including conspiracy theories and altered reality perception, are part of the script.

The story was created by JP Jacobsen and the script is being written by Hernanny Perla (“Blink, “Revelation”, “Santería”), who has appeared twice on Hollywood’s blacklist. Perla is represented by Verve, Anonymous Content and attorney Marios Rush.

The film’s director and cast is currently scouting and will be announced in the coming months. The project will be filmed in English by an international team working in Russia at the end of 2021 or early 2022. Executive producers include Carlos Hansen, Partner and CEO of BF Films, Juliana da Cunha Jacobsen, Partner and Head of Acquisitions at the company, and Vadim Vereschagin, CEO of Central Partnership. .

“For over 15 years, we’ve been looking for the world’s best film projects and distributing them widely in Latin America,” Hansen said. “We know what works on our territory. Now is the time to work with our favorite international partners to develop and produce BF’s projects for the global market.”

Jacobsen said, “’schizophrenia’ is a vivid example of what BF Films is pursuing. “We all know that the horror genre is exploding around the world, and the challenge is to do something fresh to stand out in a complex market. This story has an interesting premise, two iconic female protagonists, and a lot of creative potential that we are sure will attract world-class talent.”

The film is distributed in Latin America by Central Partnership in Russia and BF Distribution. The company is also working as a partner to sell rights to other territories.

Vereshchagin said, “We are excited to start a new chapter in the history of Central Partnership and to start a joint project with our outstanding partner BF Distribution, one of the largest independent content distributors and creators in Latin America.” “’Schizophrenia’ makes a strong statement and is perfectly positioned to be a successful horror film. This story appeals to one of the most relatable human fears. It will be understood and felt by a wide audience not only in Russia and Latin America, but also around the world.”

The project was announced at the Key Buyers Event held online from June 8-10. Also on the slate of the Central Partnership during the KBE is “The World Champion” (pictured), a drama based on the legendary 1978 chess match between Soviet world champion Anatoly Karpov and dissident Viktor Korchnoi. the 1920s drama “December”, which follows the last days of Sergei Yesenin, a famous Russian poet and American dancer in love with Isadora Duncan; ‘Row 19’ is a psychological thriller centered on a young doctor and a 6-year-old daughter who is caught in a storm by her 6-year-old daughter on a red-eye flight.





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‘Love, Victor’ Season 2 Captures Parents’ Struggle to Accept Gay Son

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'Love, Victor' Season 2 Captures Parents' Struggle to Accept Gay Son


Spoiler warning: Don’t read if you haven’t seen season 2 of “Love, Victor” streaming on Hulu right now.

The second season of ‘Love, Victor’ (a spin-off series on the 2018 groundbreaking feature ‘Love, Simon’) begins where Atlanta teenager Victor Salazar (Michael Cimino) tells his parents he’s gay, where the first stops. Start. . After waiting a year, audiences will finally see how Armando (James Martinez) and Isabel (Ana Ortiz) react to their son’s announcement.

no scary – No tears or screams, no accusations or rejections. But at first, neither parent accepts who Victor is. Armando at least awkwardly asks about his girlfriend (i.e. an attempt to convince him that Victor can be with a girl) and wonders out loud when he decides he’s gay.

But Isabel remains silent. When Victor finally asks her to say something, she whitens.

“Well, I think I should get some rest,” she said, barely listening. “And we can talk about it tomorrow.”

When the episode ended 10 weeks later, Victor and Isabel still hadn’t talked about it. As the season begins, Armando attends a meeting of the local chapter of the LGBTQIA+ alliance support group led by Simon’s father Jack (Josh Duhamel), working to understand his son, while Isabel tries to accept the fact that Victor is gay. really struggling for

Co-showrunner Brian Tanen said, “It’s dishonest when he comes out and everything goes well. “In 2021, parents just want to hug their children and say that everything will be fine. But our job on this show was to tell a different opening story than what Simon had in the movie.” – Simon’s parents understood and embraced him almost immediately.

“Love, Victor” shows a different course, which is a bit more subtle. When Victor begins his first same-sex relationship with boyfriend Benji (George Sheer), Isabel doesn’t spend time with Benji, not to mention flinching and admitting that she’s dating her son.

Ortiz said about Isabel’s arc in season 2, “It’s going to sound a little weird, but I was actually a little excited when they told me,” Ortiz says. “It was really exciting to play. It was really different.”

In the stories that usually come up, a mother is someone who understands and is committed to her LGBTQIA+ children. Ortiz played the role perfectly as Hilda Suarez, fiercely protecting her young gay son Justin (Mark Indelicato) in ABC’s beloved telenovela “Ugly Betty.” So she enjoyed the twist.

“I thought Continuously” Ortiz says about the difference between Hilda and Isabel. “They are two sides of the same coin, right? Hilda will fight anyone who sees Justin in the eye. Isabel, on the other hand, thinks people are too clingy to her, her family, and to thinking of her as a mother. ‘How can you raise a gay son? If it were me, I wouldn’t make him gay. ‘ I’ve heard quite a bit from people in my community. ‘I do not know, no — Say he can’t be gay. Tell her you can’t do that. ‘”

Ortiz saw these dynamics at work within his family. She conveys how her late cousin Freddy devoted herself to her paternal grandmother Ramona, even though for a long time Ramona could not accept the fact that Freddy was gay. That dynamism helped inform Ortiz’s understanding of why it took Isabelle so long to support Victor.

“She’s not a monster,” Ortiz says. “She loves her son and loves her family. The road that got me in was to think about Freddie and Ramona and how much we all loved her in spite of its flaws. She was still there for Freddy, but there was always a little thing until it wasn’t there. Until the light changes.”

Ana Ortiz as Victor’s mother Isabel and George Sear as Victor’s boyfriend Benji in “Love, Victor”
Courtesy of Michael Desmond/Hulu

The “Love, Victor” writers also mined personal experiences that come to their parents as they craft Isabel’s journey this season. Postpone a difficult conversation with Victor to another day with Isabel’s initial reaction.

“The idea that there is no answer to people who don’t accept the idea that their parents are coming out right away is something we hear over and over,” Tanen says. “The idea that the parents are just hesitant and don’t want to say one side or the other is a bit shocking for A and B doesn’t want to say anything negative, but they are traveling.”

One of the biggest stubbornnesses between Victor and Isabel is Victor’s refusal to tell his brother Adrian (Mateo Fernandez) that he is gay. This is a development that stemmed from a small argument when “Love, Victor” first moved out of their home. From Disney Plus to Hulu Before Season 1

Tanen said this move helped the show, allowing Season 2 to portray the sex life of Victor and Benji in a rare, candid way, but decided that “Love, Victor” couldn’t be on a more “family-friendly” Disney Plus. “It sparked an interesting conversation in the writer’s room about whether LGBT issues are inherently more adult.”

“They are in some ways a discussion of sexuality, and sexuality is more of an adult subject,” he continues. “We wanted Isabel to think about whether it’s okay to have these conversations with the kids. Of course it is. This is a conversation about people. are.”

When Adrian learns that Victor is gay, he accepts it without thinking again, and Isabel faces the biggest obstacle between her and Victor: a lifelong commitment to the Catholic Church. Early in season 2, Isabel also asks her bride about Victor. He advises her to help her son get back to Jesus, that is, stop homosexuality.

“When Victor agrees to be reluctant to come out, she doesn’t want to hear it,” Tanen says. “Looking at her face, she wants the bride to turn her around on this matter. Her heart and mind are elsewhere.”

Later, when Adrian tells Isabel that the bride hinted that Victor’s soul is in danger, there is the same light switch moment Ortiz’s grandmother had with Ortiz’s cousin Freddy, and she marched into the bride’s room to announce him. do.

“I was brought up to believe in a lot of ugly things, Dad,” she says. “It seems like it will take me to forget the rest of my life, but I will.”

Ortiz liked the scene, but said the director had to keep reminding her to reverse her reaction. “My instinct is, ‘Free me!'” she said with a laugh. “But that’s not Isabel. She still conquers a lot more about it.” (Still, Tanen remembers “people clapping” after the scene ended while she was reading the table for the episode.)

Tanen, who’s been writing Ortiz’s scenes after “Ugly Betty,” wrote the second episode of the season, in which Isabel finally tells Victor the desperate story he wants to hear: “I accept you, Victor. I love every part of you.”

That kind of happy ending doesn’t reflect every parent’s reaction to their child’s sexuality, but Tanen says it fits the larger mandate for “Love, Victor” to avoid the trauma of coming out.

“We want to feel inspired and uplifted at the heart of the show,” he says. “It can be an emotion in a writer’s room when people recall their journey, but it can also be incredibly cathartic. And it’s also a chance to make some wishes come true. Even if it’s not perfect, it’s an opportunity to rewrite history to show the LGBT audience, ‘This is the way to go.'”

Even telling queer stories in place empathy can lead to unexpected places.

“It is now a little easier to talk to someone in the family. [homophobic] Look,” she says. “Before I go to dinner and have a screaming argument. Now I think we can talk to them and take a closer look at them from their side.”

“I think it’s really important to have those conversations. “Now everyone is so angry. I mean, the world is upside down. But when it comes to family, when it’s a loved one… You can keep these conversations calm. And you can watch the show with them and say, ‘Now we can talk about it.’”





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