In Contention

Tag: Hairspray

  • Shankman and Mechanic named new Oscarcast producers

    Adam Shankman on the set of HairsprayWell, we were getting a bit impatient for the names to drop, but finally they have: Adam Shankman and Bill Mechanic have formally been named as the producers of the 2009 Academy Awards telecast.

    As was the case last year, Oscar bosses have handed the reins to a pair of newcomers. Shankman, a choreographer-turned-filmmaker (not to mention “So You Think You Can Dance” judge) best known for his direction of “Hairspray” and “A Walk to Remember,” and Mechanic, a producer and former Fox chief, seem to represent a pairing of showbiz glitter with old-school industry brass.

    This kind of inside-baseball stuff isn’t really my forte, but I will venture a guess that the selection of Shankman indicates a willingness to stick to the musical-inspired, let’s-put-on-show mandate that Bill Condon and Laurence Mark set last year. (In which case Hugh Jackman might return as host after all.) And if Shankman brings the same level of slickness and sincere enthusiasm to this assignment as he did to “Hairspray,” I’m not complaining.

    Press release after the cut.

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  • All in the family: a note on the SAG nods

    I know I shouldn’t get upset. As Sasha Stone over at Awards Daily repeatedly intones, when it comes to awards analysis, “the trick is not minding.” You should coolly observe the trends, learn from them and be guided always by your head rather than your heart.

    But damn it, I’m only human. I can’t help getting invested in certain contenders. And I don’t mind admitting that I was utterly dismayed by this morning’s thoroughly unadventurous and, worse yet, insular set of SAG nominations. Did the voters really carefully consider all the possible options before putting pen to ballot paper? Did they really take time to decide which of the year’s performances and ensembles most moved and challenged them? Or did they simply reel off the five names in each category that they’ve heard the most about, and think are most likely to feature in the Oscar race?

    Maybe the answer to the first two questions is “yes.” But I doubt it. I find it hard to imagine that any actor adequately attuned to their own craft could consider all the female supporting performances of the year and somehow decide that Amy Adams’ performance in “Doubt” was more rich and complex than what Rosemarie DeWItt achieved in “Rachel Getting Married,” or Marisa Tomei in “The Wrestler.”

    I don’t believe (or at least I don’t want to believe) that actors who supposedly have some experience of ensemble work can fail to notice that the ensembles of “Synecdoche, New York,” “The Dark Knight,” “Happy-Go-Lucky,” “Vicky Cristina Barcelona” or even “Rachel Getting Married” are denser, more intricate and infinitely more integrated than those of “Frost/Nixon” or “Doubt.”

    A great ensemble is about more than the prestige of the names within it. You’d expect actors to understand that, and last year’s off-the-wall nominations for “Hairspray” and “3:10 to Yuma” suggested that maybe, just maybe, they did. This year, however, was back to business as usual, as they turn their highest and most unique award into yet another Best Picture-emulating copycat list.

    (More thoughts, and predictions, after the cut.)

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