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With California on lockdown, Hollywood is keenly aware that no matter how much we miss normalcy, this is no time to hang on to the rules of the road. Distributors large and small are crunching the numbers, weighing the immediate returns from VOD against revenues from theaters \u2014 whenever they return. As they assess how long theaters will be dark versus the best release strategy for their product, that creates a challenge for the 2021 Oscars: How will it adjust to this breakneck change?<\/p>\n
This much is known: Hollywood\u2019s production pipeline will be compromised. Many films will have halted or interrupted production, and may not make their original release dates. That means many films won\u2019t be ready for fall festivals, and might not be ready by the end of the year.<\/p>\n
For its part, the Academy of Motion Picture Arts and Sciences acknowledges the crisis, and the potential for changes to come. \u201cThe Academy is focused on helping our staff, our members, and the industry safely navigate through this global health and economic crisis,\u201d stated the Academy. \u201cWe are in the process of evaluating all aspects of this uncertain landscape and what changes may need to be made. We are committed to being nimble and forward-thinking as we discuss what is best for the future of the industry and will make further announcements in the coming days.\u201d<\/p>\n
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\nUpdate: For its part the British Academy of Film and Television Arts spokesperson stated to Deadline: \u201cBAFTA is reviewing how to ensure that films scheduled for release during this uncertain period remain eligible, and are working with distributors and studios on this. It would be unfair that films scheduled for release during this period would be at a disadvantage for BAFTA Film 2021.<\/p>\n
\u201cIn addition, BAFTA\u2019s own screening and events programme cannot happen as normal so we are in discussions with distributors to see if we can make these available online supported by online Q&As where feasible. The health and wellbeing of our members, guests, industry partners and our staff remain our top priority.\u201d<\/p>\n
At this writing, distributors must weigh a very difficult question: Do they capture much-needed cashflow, and throw away Oscar chances, on a VOD release? Or, do they take their chances and wait until later in the year?<\/p>\n
It\u2019s a concern that will become more pressing as the year goes on. In the first quarter, only a few Oscar-eligible early releases are in the mix (\u201cEmma\u201d), while others like Eliza Hittman\u2019s Sundance hit, \u201cNever Rarely Sometimes Always,\u201d were cut off at the knees by a March 13 release date, days before most theaters closed.<\/p>\n
For now, the release calendar includes titles like \u201cIn the Heights\u201d (Warner Bros., June 26), the John Chu musical based on Lin-Manuel Miranda\u2019s Broadway hit; Wes Anderson\u2019s \u201cThe French Dispatch\u201d (Searchlight, July 24), which was expected to premiere at the now-delayed Cannes Film Festival; and Christopher Nolan\u2019s hotly anticipated \u201cTenet\u201d (Warner Bros., July 17).<\/p>\n
Looking further ahead, there\u2019s undated fall titles like Guillermo Del Toro\u2019s \u201cNightmare Alley\u201d and Taika Waititi\u2019s \u201cNext Goal Wins,\u201d both from Searchlight, Paul Greengrass\u2019 antebellum drama \u201cNews of the World\u201d (Universal, December 25) starring Tom Hanks, and Steven Spielberg\u2019s musical remake of \u201cWest Side Story\u201d (Disney\/20th Century, December 18). These are films that need the full complement of theaters, critics, festivals, and press attention, with all the bells and whistles of award season.<\/p>\n
\u201cTheatrical still provides the best opportunity to market upscale independent films via PR, marketing in theaters and word of mouth,\u201d said Roadside Attractions co-president and Academy member Howard Cohen. Roadside, which took \u201dJudy\u201d on a long festival and theatrical March to a Best Actress Oscar win for Renee Zellweger, currently has two titles anticipated for theatrical release in 2020, Julie Taymor\u2019s \u201cThe Glorias\u201d and \u201cIronbark\u201d starring Rachel Brosnahan and Benedict Cumberbatch. Both were acquired at the recent Sundance Film Festival.<\/p>\n
Oscilloscope Laboratories made the call to maintain its post-theatrical VOD release for hard-hitting Sundance immigration drama \u201cThe Infiltrators,\u201d even without a date for the theatrical component. Originally set to open March 27 in New York and April 3 in Los Angeles, after national theater closings the distributor opted to keep its digital release date of June 2. An Oscilloscope rep said it will book the movie in theaters later, when it\u2019s possible.<\/p>\n
That will be tough. For smaller distributors, booking decent theaters is often a challenge; so is a VOD date, which has to be nailed down two or three or four months in advance. The fact is that even when the the dust settles, there may be even fewer screens as weaker theaters go out of business.<\/p>\n
\u201cMoving the date with no guaranteed opportunity to take the film to theaters anyway felt like it could be fruitless,\u201d said Oscilloscope president Dan Berger. \u201cWhen we come out of this, there will be a glut of films, with two or three times the usual number of movies vying for the same theaters.\u201d<\/p>\n
A24 said it will bring back to theaters Kelly Reichardt\u2019s well-reviewed arthouse western \u201cFirst Cow,\u201d which bowed March 6, at a later date. Focus Features is mulling a similar decision for Hittman\u2019s abortion drama, which won raves at Sundance and Berlin. Technically, the movie may not have fulfilled the Academy\u2019s one-week eligibility rule, as its theaters shut down during its run.<\/p>\n
\u201cNever Rarely Sometimes Always\u201d<\/p>\n
Focus Features \/ screen cap<\/p>\n
Given these circumstances, this is why many are asking if the Academy might consider changing its rules. For example, if Focus took \u201cNever Rarely Sometimes Always\u201d to VOD \u2014 like its Oscar-eligible \u201cEmma\u201d \u2014 would the Academy allow the abortion drama in light of the theater closings? Could the Academy consider films that opened on VOD eligible for Oscars, since theaters were forced to be closed? Would the Academy push back the Oscars (again!) to allow delayed films a chance to catch up?<\/p>\n
\u201cDepending on how long the down period is,\u201d said Cohen, \u201cthe Academy could extend the eligibility into January and push the ceremony accordingly if possible.\u201d<\/p>\n
View this article at IndieWire<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" The Academy Must Consider Major Changes, Including Oscars Eligibility for VOD Releases With California on lockdown, Hollywood is keenly aware that no matter how much we miss normalcy, this is no time to hang on to the rules of the road. Distributors large and small are crunching the numbers, weighing the immediate returns from VOD
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