Brits shift in bid to redraw the kudos map
LONDON — The Hollywood kudos season, which kicked off with the National Board of Review in early December and climaxes with the Academy Awards in late March, has always been an all-American affair. But now the Brits are crashing the party.
The British Academy of Film & Television Arts has shifted its film awards to Feb. 25 from its old April slot in a bold bid to redraw the Oscar campaign map.
Slap bang between the Golden Globes (Jan. 21) and the Academy Awards (March 25), the British Academy is pitching itself as a stepping-stone toward the ultimate prize.
Although the awards are technically named the Orange British Academy Film Awards, in deference to their sponsor, everyone calls them the Baftas. (The org abbreviation is BAFTA in capital letters.)
So will Hollywood embrace the interloper or give it the cold shoulder? Much, say studio sources, depends on whether this year’s Bafta ceremony proves worthy of long-term support.
But big American players are already pouring far more cash and effort than ever before into wooing BAFTA’s members — 3,000 industry insiders in Blighty and approximately 800 expats in Los Angeles and New York.
Out on a new date
“We’ve had a fantastic response from the studios and big independents,” said Steve Woolley, chairman of BAFTA’s film section, who visited Los Angeles in September with chief exec Amanda Berry to talk up the date switch.
Not only are there far more special screenings and more videos being sent out this year, but studios and talent are bending over backward to press the flesh.
Geoffrey Rush (“Quills”), Michael Winterbottom (“The Claim”), Joel Schumacher (“Tigerland”), Michael Douglas and Curtis Hanson (“The Wonder Boys”), and Kate Hudson and Patrick Fugit (“Almost Famous”) have already graced screenings at BAFTA’s Piccadilly HQ in London.
A host of screenplays, glossy brochures, CDs and other goodies are heading to BAFTA’s members. By contrast, the org’s U.S. counterpart, the Academy of Motion Pictures Arts & Sciences, does not allow such campaigning.
“We have a larger budget and more leverage to get the talent over,” confirmed Richard Napper, managing director of Columbia TriStar U.K.
“Everyone is looking at it as a stepping-stone,” said Andrew Cripps, president of United Intl. Pictures, which reps Universal and Paramount.
With no U.S. TV coverage lined up this year, Woolley admitted that the BAFTAs cannot compete with the Golden Globes for public impact. The one-two Globes to Oscars punch is a proven prescription for Hollywood marketeers, and that’s not likely to change easily, especially given the perception that the Baftas represent — in the words of one top studio exec — “nothing more than a free trip to London.”
But with a significant minority of BAFTA members also members of AMPAS, the Brit event could offer the industry a real clue to the way the Oscar winds are blowing.
And if the British awards do eventually establish themselves as a more accurate Oscar predictor than the Globes, whose track record in the past couple of years has been decidedly mixed — there might not be too many tears among those who chafe at the power of the 90 journalists who comprise the Hollywood Foreign Press Assn.
Not everyone is convinced the new Baftas will suddenly be so much more important than the old. David Livingstone, Universal’s London-based president of international marketing, plays down the Oscar link.
“I do like the Baftas, but I don’t think they pave the way for the Academy Awards, albeit that they are now on the way,” he said. “It’s of less significance than I would hope it to be. In reality, nine out of 10 people in Hollywood don’t know the Baftas exist. Its level of significance may have gone up 25%, but what was its level before? Negligible.”
U’s “Billy Elliot” could well sweep the board at this year’s event, but Livingstone suspects such a British victory could be discounted in Hollywood as evidence of hometown favoritism.
It’s true that BAFTA has a tradition of honoring Brits, whether in local or Hollywood movies. But it is also proud of its support for American or other foreign talent overlooked by U.S. prizegivers.
A couple of years ago, “The Truman Show” won consolation prizes at the Baftas after its Oscar shutout, and last year Pedro Almodovar beat Sam Mendes, the British-born Oscar winner, for the director award.
The delicate question is how far BAFTA’s quirky independence will be compromised by its desire to become a pointer to the Academy Awards.
BAFTA has already built a certain, ahem, flexibility into its qualification rules to ensure that all the main Oscar candidates are also in the running for its awards.
Many Oscar films that are released Stateside in December don’t find their way to British cinemas until February or March.
So BAFTA admits any film released up to March 16, as long as it gets a one-week qualifying run somewhere in Britain by the end of December. Last year, over half of the Bafta noms went to films released after the end of 1999.
BAFTA’s nightmare would be to find films ineligible for Oscars scooping up awards. This year there are two top-quality contenders that could spoil BAFTA’s party: Paul Thomas Anderson’s “Magnolia” and Christopher Nolan’s “Memento.”
The former was eligible for 1999 Oscars; the latter will open in the U.S. next year.
Woolley admits that re-positioning the Baftas is an “experiment.” But success should help iron out such anomalies in future years, as distribs make greater efforts to tailor release dates to the ceremony.
For the time being, BAFTA’s priority is to prove it can lay on a splashy bash to impress Hollywood.
But above all, it’s BATFA’s hope that raising the profile of its awards will encourage more of the British film industry’s bright young things to join an organization that tends to be seen as an old boys’ network.
“There is an appalling gap in our demographic,” Woolley said. “If people know they are going to get lots of videos, maybe we can bring the average age down a bit closer to the 20s than to the 60s.”
(Claude Brodesser in Los Angeles contributed to this report.)