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Observations on film art. Kathleen Kennedy on the 1 January 2.

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Kristin here: Now that I have your attention …We are now well into the season when award speculation begins. Well, actually Oscar speculation knows no season these days, but it snowballs between now and the announcement of the winners on March 4–at which point the speculation concerning the 2. Oscar race revs up. Among the issues that will inevitably come up is the question of whether more women directors will get nominated, especially following the critical and box- office success of Patty Jenkins’ Wonder Woman. It would be great to see more female nominees for Best Director, but the real problem is achieving more equity in the number of women being able to direct films at all. Unless more women direct more films, their odds of getting nominated will be low. Maybe the occasional Kathryn Bigelow will emerge, but overall the directors making theatrical features remain largely male.

Variety recently ran a story about initiatives to boost women’s chances in Hollywood. It stressed the low percentage of women in various key filmmaking roles: The Center for the Study of Women in Television and Film at San Diego State University found that in 2. Hollywood’s top 2. Overall, of the 7. Discouraging, except that there’s one figure that doesn’t support the lack of women.

If 3. 3% of films were without female producers, that means 6. One thing that has struck me as odd is the lack of attention paid to the distinct rise in the number of female producers being up for Oscars in the recent past. This Variety article, however, is the first one I’ve seen offering numbers to show that women are doing a lot better in the producing field than in other major areas. The missing names. Kathleen Kennedy, the lady illustrated at the top of this entry has produced seven films nominated as Best Picture, and she is considered one of the most powerful people in Hollywood.

How could she not be? She produced Steven Spielberg’s films, alongside others, for many years and since October, 2.

DB here: If there’s one film technique that probably everybody notices, it’s acting. Reviewers are obliged to judge performances, and viewers often comment that.

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President of Lucasfilm in its incarnation as a subsidiary of Disney. She runs the Star Wars series. In the Indie realm, producer Dede Gardner is on a roll, having since 2.

Others, such as Megan Ellison and Tracey Seaward, have enjoyed multiple nominations. I’m using the film’s year of release rather than the year when the award was bestowed.) As we’ll see, female producers are beginning to catch up to their male colleagues in number as well as prestige. Why no fuss about such important strides? I think the main reason is that there’s no “Best Producer” category. If there were, I suspect our image of women in the industry would be very different.

But there’s just a Best Picture one. In most cases neither the industry journals nor the infotainment coverage lists the producers alongside the titles of the Best Picture nominees. So who’s to know that the “Best Picture” race also is, faut de mieux, the “Best Producer” contest. Another, perhaps less important reason why producers draw less attention is that because a film often has several producers.

It’s more complicated to assign responsibility for who did what. Most people have a general idea of what directors do. They’re on set, they make decisions, and they supervise other artists. A female producer, like a male one, may have been included for many reasons. She might have done most of the work in assembling the main cast or crew members or she might have concentrated on gaining financial support. She might instead be termed a producer as a reward for crucial support at one juncture. We can’t know, and that perhaps makes it difficult for the public to get enthusiastic about producers.

Of course, if journalists covered them more in the entertainment press, the public might gain more of a sense of what producers do. Yet whatever their contribution, those producers played some sort of crucial role, and they are the ones who get up and receive the statuettes when that last climactic announcement of the evening is made. Lately there has been a trend for the every member of the cast and crew and all their relatives present to rush onto the stage for a grand finale, but it’s the producers who give the thank- you speeches.) They can take those statuettes, with their names engraved on them, home and put them on their mantels or to their office to display in a glass case. Yet few have any name recognition outside the industry, the entertainment press, and a few academics. Despite these producers’ importance, it’s difficult to find out who they have been over the years.

Go to almost any website, including the Academy of Motion Picture Arts and Sciences’ own, in search of Oscar nominees stretching back through the years, and you will usually find names listed in all the other categories–but only the title of the nominated films in the Best Picture category. I finally found a complete list of Best Picture nominees’ producers compiled by an industrious contributor to Wikipedia. Going through and doing some counting and cross- checking, I have created and annotated my own list. With it I’ve tried to show the fairly steady progress that women have made in this category.

I call them “nominees” below. Somewhat paradoxically, they win the Oscars, though technically the film is the official nominee. To keep this list from becoming even longer, I’ve listed only nominated films which had one or more women among their group of producers. Up to 2. 00. 8 there were five films each year. Starting in 2. 00.

I give the number of nominated films starting in 2. Assume any films not listed were produced by men. If you’re curious about who those men were, click on the link in the previous paragraph. Here’s how things developed, including only years when female producers were “nominated.” (My comments in red.) Be patient.

It gets off to a slow start, but things pick up. And the nominees are …1. The Sting  (WINNER)  Tony Bill, Michael Phillips, and Julia Phillips. Julia Phillips becomes the first female producer nominated since the Oscars began in 1. E. T.  Steven Spielberg and Kathleen Kennedy.

The second female producer nominated. Places in the Heart. Arlene Donovon. The third nominated female producer. Fatal Attraction. Stanley R. Jaffe and Sherry Lansing. The fourth nominated female producer.

Driving Miss Daisy. WINNER) Richard D. Zanuck and Lili Fini Zanuck. Lili Fini Zanuck is the second female producer to win. The Prince of Tides.

Barbra Streisand and Andrew S. Karsch. 1. 99. 4  Forrest Gump. WINNER)  Wendy Finerman, Steve Tisch, and Steve Starkey. The Shawshank Redemption.  Niki Marvin. Wendy Finerman (right) becomes the third woman producer to win a Best Picture Oscar.

This is the first year when two women are nominated. From this point to the present, there has been no year without at least one female producer nominated.

Sense and Sensibility.  Lindsay Doran. Shine.  Jane Scott. As Good as It Gets. James L. Brooks, Bridget Johnson, and Kristi Zea. The first year when four women are nominated. The first time two women are nominated for the same film. Shakespeare in Love.

WINNER) David Parfitt, Donna Gigliotti, Harvey Weinstein, Edward Swick, and Marc Norman. Elizabeth.  Alison Owen, Eric Fellner, and Tim Bevan. Life Is Beautiful. Elda Ferri and Gianluigi Brasch. Gigliotti is the fourth woman to win a producing Oscar. The Sixth Sense.  Frank Marshall, Kathleen Kennedy, and Barry Mendel. First year when a woman producer, Kennedy, is nominated for a second time.

Chocolat.  David Brown, Kit Golden, and Leslie Holleran.