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如何拿下2016年奧斯卡獎(jiǎng)?秘密在這里

如何拿下2016年奧斯卡獎(jiǎng)?秘密在這里

Chris Lee 2016年02月29日
對(duì)于那些有幸獲得提名的演員和制片商來(lái)說(shuō),爭(zhēng)奪小金人的過(guò)程一點(diǎn)不比拍電影輕松,整個(gè)過(guò)程就像“總統(tǒng)競(jìng)選”一樣忙亂。

要想拿獎(jiǎng),得砸下幾百萬(wàn)美元。

2月29日早9:30(美國(guó)當(dāng)?shù)貢r(shí)間2月28日),第88屆奧斯卡金像獎(jiǎng)面向全球直播頒獎(jiǎng),吸引了約3000-4000萬(wàn)美國(guó)觀眾。然而,獎(jiǎng)項(xiàng)的角逐早在直播之前就已悄悄展開(kāi)。對(duì)此,《財(cái)富》雜志網(wǎng)站采訪了多位深諳奧斯卡大獎(jiǎng)季的操作人士。據(jù)他們介紹,對(duì)那些有幸獲得提名的演員和制片商來(lái)說(shuō),爭(zhēng)奪小金人的過(guò)程一點(diǎn)不比拍電影輕松。

熟知好萊塢影視操作的人都知道,在奧斯卡金像獎(jiǎng)的各項(xiàng)提名公之于眾后,會(huì)進(jìn)入一個(gè)讓人興奮的、俗稱(chēng)為“第二時(shí)段”的活動(dòng)期(相對(duì)應(yīng)的,之前叫做“第一時(shí)段”)。這段時(shí)間就是獲得提名的演員和制片商的游說(shuō)時(shí)間。這有點(diǎn)像“總統(tǒng)競(jìng)選”。

辛西婭?施瓦茲所在的娛樂(lè)公關(guān)公司Strategy PR/Consulting負(fù)責(zé)為《歸來(lái)者》、《史蒂夫?喬布斯》、《45年》和《房間》做奧斯卡獎(jiǎng)宣傳。她評(píng)價(jià):“這段時(shí)間非常忙亂,要參加各種各樣的活動(dòng)。先去領(lǐng)美國(guó)演員工會(huì)獎(jiǎng),然后去英國(guó)參加英國(guó)影視藝術(shù)學(xué)院電影獎(jiǎng)角逐,再趕回來(lái)。得到處出差。很多時(shí)候,提名電影還得去海外市場(chǎng)宣傳,也得擠出時(shí)間?!?/p>

施瓦茲為《撞車(chē)》、《低俗小說(shuō)》、《芝加哥》、《拆彈部隊(duì)》等多部贏得奧斯卡提名的影片做過(guò)幕后宣傳。她說(shuō):“大家都想把提名當(dāng)成推廣工具。所以這幾周日程非常緊湊?!?/p>

競(jìng)逐之路

進(jìn)入奧斯卡獎(jiǎng)的淘汰環(huán)節(jié)后,各位獲得提名者要在多個(gè)活動(dòng)中走紅毯,在新聞發(fā)布會(huì)上微笑留影,和媒體寒暄,與學(xué)院評(píng)委們觥籌交錯(cuò),還要跟評(píng)委們自拍合影。此外,他們還要出席多個(gè)電影業(yè)評(píng)判委員會(huì)和等級(jí)低于奧斯卡的獎(jiǎng)項(xiàng)開(kāi)幕式。

在第一時(shí)段,各大電影制片公司可能投入1000萬(wàn)美元用于廣告宣傳、制作專(zhuān)供評(píng)委和影評(píng)人觀看的內(nèi)部預(yù)覽版光碟;還要舉辦豐盛的自助餐、音樂(lè)會(huì)和香檳酒會(huì)招待評(píng)委。

第二時(shí)段規(guī)則

美國(guó)電影藝術(shù)與科學(xué)學(xué)院制定了一系列規(guī)則,指導(dǎo)獲得獎(jiǎng)項(xiàng)提名者在第二時(shí)段宣傳各自的影片和取得的成績(jī),規(guī)管該階段里所謂的“增加附加值機(jī)會(huì)”。

其中首要的一條規(guī)則是:任何評(píng)選活動(dòng)均不包括招待會(huì)和其他供應(yīng)食品或飲料的活動(dòng)。在介紹影片主創(chuàng)的問(wèn)答環(huán)節(jié)結(jié)束后,不得進(jìn)行超過(guò)四次放映(以此限制影片投票期間的明星效應(yīng))。在爭(zhēng)取提名階段,秉持的是“發(fā)動(dòng)一切力量搖旗吶喊、博得喝彩”的營(yíng)銷(xiāo)理念,而第二時(shí)段拼的則是推廣思路,因?yàn)槊恐苤荒馨l(fā)送一封宣傳電郵,也只能送給每位評(píng)選一張DVD提名候選片光碟。

每年從美國(guó)的勞動(dòng)節(jié)(9月第一個(gè)星期一——譯者注)到圣誕節(jié),是非正式的沖獎(jiǎng)季節(jié),一年里最有份量的電影紛紛上映。這幾個(gè)月里,各類(lèi)機(jī)構(gòu)的評(píng)委會(huì)投票選出奧斯卡各獎(jiǎng)項(xiàng)的提名。比如導(dǎo)演評(píng)委會(huì)選出最佳導(dǎo)演獎(jiǎng)項(xiàng)提名者,錄音剪輯師、服裝設(shè)計(jì)師等專(zhuān)業(yè)人士也會(huì)選出各自領(lǐng)域的提名者(因此奧斯卡頒獎(jiǎng)典禮或許可以稱(chēng)為最引人矚目的業(yè)內(nèi)精英認(rèn)證大會(huì))。不過(guò),第二時(shí)段不會(huì)有來(lái)自機(jī)構(gòu)的投票,美國(guó)電影藝術(shù)與科學(xué)學(xué)院的全體成員都可以為各個(gè)獎(jiǎng)項(xiàng)投票。

奧斯卡頒獎(jiǎng)前的各類(lèi)工會(huì)獎(jiǎng)是關(guān)鍵

戰(zhàn)略分析師認(rèn)為,這就是為什么奧斯卡提名者出席各類(lèi)工會(huì)獎(jiǎng),不管是頒獎(jiǎng)還是提名都很重要。這三大工會(huì)獎(jiǎng)包括分別于1月23日、1月30日和2月6日頒發(fā)的美國(guó)制片人工會(huì)獎(jiǎng)、美國(guó)演員工會(huì)獎(jiǎng)和美國(guó)導(dǎo)演工會(huì)獎(jiǎng)。除了讓贏得提名者提高獲獎(jiǎng)自信,出席這些獎(jiǎng)項(xiàng)其實(shí)和美國(guó)大選初選有異曲同工之妙:讓獲提名者保持公眾曝光,也有機(jī)會(huì)和廣大潛在投票者面對(duì)面接觸。

但第二時(shí)段不只提供了大量拍照的機(jī)會(huì),還關(guān)系到角逐風(fēng)向的重大轉(zhuǎn)變,直接導(dǎo)致一些后來(lái)居上的大逆轉(zhuǎn)。2011年,《國(guó)王的演講》在評(píng)選期間一直不為眾多影評(píng)家看好,落后于《社交網(wǎng)絡(luò)》,直到宣布奧斯卡提名當(dāng)天,才開(kāi)始展現(xiàn)黑馬之姿,最終一舉奪得最佳影片、最佳男主角、最佳導(dǎo)演和最佳原創(chuàng)劇本四項(xiàng)奧斯卡大獎(jiǎng)。最后一刻翻盤(pán)的經(jīng)歷同樣出現(xiàn)在2013年,本?阿弗萊克并沒(méi)獲得奧斯卡獎(jiǎng)最佳導(dǎo)演獎(jiǎng)提名,可他執(zhí)導(dǎo)的《逃離德黑蘭》卻在第二時(shí)段能量爆發(fā),最終奪得最佳影片和最佳改編劇本大獎(jiǎng),上演了一出灰姑娘變公主的好戲。

今年,雖然在整個(gè)獲獎(jiǎng)季都被《聚焦》甩在身后,但《大空頭》已經(jīng)后程發(fā)力,躋身最有可能奪走奧斯卡最佳影片獎(jiǎng)的領(lǐng)跑者之列,部分原因是該片已經(jīng)拿下美國(guó)制片人工會(huì)獎(jiǎng)。

是否太過(guò)關(guān)注得獎(jiǎng)?

施瓦茲是業(yè)內(nèi)普遍視為最優(yōu)秀的獎(jiǎng)項(xiàng)宣傳人士之一,她的聲望來(lái)自每年同對(duì)手電影公司競(jìng)爭(zhēng)推廣影片的資歷。和一些業(yè)內(nèi)人士一樣,她也認(rèn)為,第二時(shí)段經(jīng)歷了由電影業(yè)內(nèi)部關(guān)注到公眾關(guān)注的變化,轉(zhuǎn)變的過(guò)程也與媒體報(bào)道奧斯卡獎(jiǎng)項(xiàng)角逐的時(shí)間一致。如今,提名者雀屏中選的幾率要看每天的輿情,有時(shí)甚至要關(guān)注每小時(shí)風(fēng)向變化。

“起先,媒體主要報(bào)道影片內(nèi)容,但現(xiàn)在變成了類(lèi)似體育賽事的報(bào)道,主要關(guān)注‘誰(shuí)得獎(jiǎng)機(jī)會(huì)上升了?誰(shuí)陣勢(shì)下去了?’”施瓦茲說(shuō),“真是遺憾。報(bào)道視角的偏移讓人忽視了獲得提名本身的榮譽(yù)。其實(shí)得到提名本來(lái)就是一件光榮的事。如果提名沒(méi)有那么重要,為什么像‘奧斯卡太白’這種質(zhì)疑白人提名者太多的話(huà)題會(huì)引起不滿(mǎn)?人們?cè)诤醯木褪翘崦 ?/p>

作者克里斯?李曾是美國(guó)娛樂(lè)雜志《娛樂(lè)周刊》(Entertainment Weekly)、《洛杉磯時(shí)報(bào)》(The Los Angeles Times)、《新聞周刊》(Newsweek)和新聞網(wǎng)站《每日野獸》(The Daily Beast)的專(zhuān)職撰稿人。他在洛杉磯做娛樂(lè)、文化與商業(yè)報(bào)道。

譯者:Pessy

校對(duì):夏林

It costs millions.

Oscar watchers won’t know the big winners until Sunday when the 88th Academy Awards are broadcast to a projected national audience of somewhere between 30- and 40 million viewers. But the awards race quietly reached the finish line with the official end of Oscar voting on Feb. 23 — a deadline that caps the frenzied, 33-day span of last-minute campaigning known among Hollywood insiders as “Phase 2.”

Kicking off Jan. 22 with the Academy Awards nominations announcement, Phase 2 involves no small amount of legwork for the actors and filmmakers being honored in marquee categories, according to several awards season veterans contacted by Fortune.com.

“It’s a very hectic time,” says Cynthia Swartz, whose firm Strategy PR/Consulting is running Oscar campaigns for The Revenant, Steve Jobs, 45 Yearsand Room. “It’s going to the various events. You’ve got the [Screen Actors Guild] awards, then you go to the UK for the BAFTAs. Then you come back. There’s a lot of traveling. And a lot of the time, films have to do international promotion so they’re trying to shoehorn that in.”

Swartz has worked behind the scenes on campaigns for such Oscar-anointed films as Crash, Pulp Fiction, Chicago and The Hurt Locker. She adds, “Everyone wants to utilize the nominations as a marketing tool to drive business. It’s a very compressed several weeks.”

The campaign trail

Just to reach this Oscars’ knock-out round, the nominees have already strolled a procession of red carpets at gala events, smiled for cameras at press meet-and-greets and raised toasts and posed for selfies with Academy voters — in addition to attending numerous industry panels and lower tier awards ceremonies.

And during Phase 1, major movie studios can spend as much as $10 million on ad campaigns, watermarked screeners; and feting balloters with lavish buffets, concerts and champagne receptions.

The rules of Phase 2

A demanding set of rules laid down by the Academy of Motion Picture Arts & Sciences governs how nominees can promote their films and performances during Phase 2, regulating what are known as “value-added opportunities.”

Chief among them: “no screening event may include a reception or otherwise offer complimentary food or beverages.” No more than four screenings followed by question-and-answer sessions featuring the talent from the films (thereby limiting the overall effect of star power on balloting). And unlike the nomination phase, where a “l(fā)et’s run everything up the flagpole and see who salutes” marketing mentality reigns, Phase 2 maintains a limit of one promotional email per week and just a single screener DVD to each member.

Over the months that unofficially comprise awards season — roughly from Labor Day through Christmas when the year’s most prestigious movies reach the theatrical marketplace — Oscar nominations in specific categories are voted upon by members of various branches. Directors vote for directors. Sound editors vote for sound editors. Costume designers, for costume designers, and so on (hence the Oscars’ renown as perhaps the world’s most glamorous employee recognition party). During Phase 2, however, the silos between the branches vanish and every Academy member can vote in every category.

Guild awards before the Oscars are key

Which is why, according to awards strategists, nominees’ attendance as both presenters and nominees at various guild awards — the big three being the Producers Guild Awards (Jan. 23), The Directors Guild Awards (Feb. 6) and the Screen Actors Guild Awards (Jan. 30) — becomes crucial. Above and beyond furthering perceptions of themselves as winners, such appearances function as campaign stops not unlike an election primary: they give those nominated a chance to press the flesh with a wide swath of potential voters while remaining squarely in the public eye.

But more than the sum of its photo opportunities, Phase 2 is associated with momentum shifts that can result in stunning come-from-behind victories. In 2011, after trailing The Social Network across a raft of critics awards in the lead-up to Oscar nomination day, the historical biopic The King’sSpeech began a dark-horse run that ultimately yielded Academy Awards for best picture, best actor, best director and best screenplay. Likewise, after Ben Affleck was snubbed by the Academy in the best director category in 2013, Argo found a burst of new energy during Phase 2 that resulted in Oscars for best picture and best adapted screenplay to become the year’s Cinderella story.

And this year, after trailing Spotlight throughout awards season, The Big Short has surged to the front of the pack as the odds-on favorite to take home the Academy Award for the Best Picture, in part due to the fact that it won the Producers Guild Award.

Is there too much attention on winning?

Swartz, widely considered one of the best awards campaigners in the business, has cultivated thisreputation by working on competing films from rival studios on any given year. Still, she is among those who think the evolution of Phase 2 from an industry concern into a matter of public scrutiny has coincided with media coverage of the awards race.Nowadays, gurus of gold handicap nominee odds on a daily — and sometimes hourly — basis.

“It went from being something the press primarily covered the films to being this thing of, ‘Who’s up? Who’s down?’ Really aggressively covering it like a sport,” Swartz said. “That’s unfortunate. It’s taken away from the honor of just being nominated. They really are honored to be nominated. If it isn’t an honor to be nominated, then why is everybody so upset by #OscarsSoWhite? People care about the nominations!”

Chris Lee is a former staff writer for Entertainment Weekly, The Los Angeles Times, Newsweek and The Daily Beast. He covers entertainment, culture and business in Los Angeles.

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