Movie Awards Time!

[jo]

[jo]

[jo]

The greatest irony --

The AMPAS members voted twice for Best Original Song!

First, they put down REMEMBER ME ( I can only remember the first line) on their ballot.


But maybe more importantly, they instinctively voted with their hands, feet, and cheers for THIS IS ME at the Oscars itself!

And the whole world ( the Oscars are shown all over) saw that!


Jo

[jo]

Mar 6, 2018 14:41:31 GMT -5 jo said:

What's wrong with the Oscars -- why have people stopped watching Hollywood's biggest event?


decider.com/2018/03/06/the-oscars-have-a-movie-star-problem/

[jo]

Pasek and Paul (Greatest Showman/DearEvanHansen/LaLaLand)
Kristin and Robert Lopez (Avenue Q/Book of Mormon/Frozen/Coco)
Lin Manuel Miranda(Hamilton/Moana)


Music unites these songwriters of Broadway...and lately, of Hollywood!


Jo

[hughmanity]

To add one more to the accolades, this one really doles out the superlatives.  Read both the "best" and the "worst" mentions 


www.boxofficeprophets.com/column/index.cfm?columnID=19356

[jo]

Obviously a great SHOWMAN fan

#1) THE GREATEST PART OF THE SHOW, MAN: It brought me great pleasure to see a song from the year’s best musical - The Greatest Showman - be performed live. We don’t get them every year so this really was special. However, just when you expect the performance to relish in theatrical circus flair, the audience is treated to a much more important display of unity. Rather than set the stage on fire, the chorus all wore the same colored outfit so as to let their multi-colored faces light up the auditorium. It was beautiful and moving, which makes it all the more infuriating that this would be the only great Showman highlight of the night.

#1) THE GREATEST SHOW SNUB: Rather than award the equality anthem “This is Me” from The Greatest Showman, the Academy gave the Best Song statue to “Remember Me” from Coco. Coco deserved its win for Best Animated Film and that’s about it. It WAS NOT the best song of the year. We all know ABC is owned by Disney and they just wanted to promote Frozen on Broadway by awarding the songwriters of the movie another Oscar. #OscarsSoRigged

He missed on one --

Our young Zendaya beat many of the other glamor gals with a very classy Giambattista Valli gown and elegant yet spare accessories ( including hairstyle) on her tall & willowy image! Right out of Vogue!

www.dailymail.co.uk/tvshowbiz/article-5462067/Zendaya-flawless-chocolate-chiffon-gown-Academy-Awards.html

[jo]

The ratings are woefully down --

A practical article on why and how fixes can be made.

www.newspressnow.com/life/st_joe_live/the-shuffle-fixes-for-the-oscars/article_cb3ecd49-a905-579b-9b77-acf565cd9969.html

[jo]

The movie press ( represented by Mike Fleming and Peter Bart) discuss the debacle of the low Oscar ratings --

deadline.com/2018/03/oscars-ratings-political-hollywood-jennifer-lawrence-jimmy-kimmel-commentary-1202316434/

[jo]

[jo]

Awards-related schedule -- reported by Anne Thompson ( Indiewire)

www.indiewire.com/2018/09/awards-calendar-2018-2019-oscars-golden-globes-indie-spirits-1201991232/

The calendar is already full as publicists and awards wranglers hustle to meet submissions deadlines and voting groups try to cram as much content as they can.



October 2018

11 – Cinema Audio Society online submissions open
15 – Critics Choice Documentary Awards nominations announced
16 – International Documentary Association Series, Wolper, and Features Short List announcement
18 – Gotham Award nominations announced
25 – Cinema Eye Fall Lunch, first CEH19 awards announcements
26 – Britannia Awards Gala (BAFTA LA)
31 – Deadline for Golden Globe motion picture and television entry forms
31 – British Independent Film Awards nominations announced



November 2018

TBD – ASC Honorees Announcement: Lifetime Achievement Award, Career Achievement in Television Award
1 – ASC TV Awards eligibility period ends
5 – IDA Documentary Awards features and shorts nominations announced and member voting begins
5 – ASC deadline for TV entries
8 – Cinema Eye nominations announced
9 – Final documentary ballots due from BFCA/BTJA members
10 – European Film Awards nominations announced
10 – Critics’ Choice Documentary Awards Show
13 – ASC Student Awards winners announced
15 – SAG nomination ballots open
15 – IDA Best Audio Documentary (Radio/Podcast), Best Music Documentary and Creative Recognition nominations announced
16 – Deadline for WGA submissions: Theatrical + Documentary Screenplays and Videogames
16 – Independent Spirit Awards nominations announced
18 – AMPAS Governors Awards
20 – PGA documentary nominations announced
21 – Golden Globe nomination ballots mailed out to to HFPA members
26 – Gotham Awards
26 – DGA Feature Film online nomination voting opens
27 – National Board of Review winners announced
29 – Screen Awards
29 – NYFCC winners announced



December 2018

TBD – ASC Board of Governors Award recipient announced
1 – Final screening date for Golden Globes
2 – Golden Globes deadline for ballots
2 – British Independent Film Awards
3 – Critics Choice nominating ballots go out to BFCA members
3 – ASC Spotlight Award submissions due
3 – IDA member voting period for Best Feature and Best Short ends
3 – Annie Award nominations announced
4 – AFI Awards nominations announced
5 – Online nomination voting begins for Art Directors Guild feature film and television
6 – PGA nomination polls open television programs
6 – Golden Globes nominations announced
6 – WGA TV, New Media, Radio, News, Promo Writing, Graphic Animation noms announced
7 – DGA online voting for TV noms opens
8 – IDA Documentary Awards Ceremony
10 – ASC feature film nomination ballots mailed
10 – Critics’ Choice Awards TV nominations announced
10 – Critics’ Choice Awards Film nominations announced
10 – SAG nominations voting closes at 5PM PST
10 – Makeup & Hairstyle Guild nominations voting begins
10 – ACE Eddie Awards nominations ballots mailed
12 – SAG nominations announced
13 – Cinema Audio Society nomination ballot voting begins
13 – PGA nominations poll open for motion pictures and animation features
14 – Round one BAFTA nominations voting begins
15 – European Film Awards announced
17 – Golden Globes final ballots mailed
17 – Academy announces all nine shortlists — foreign-language films, animated and live-action shorts, documentary short and features, makeup and hairstyling, visual effects, original scores and songs




January 2019

1 – Annie Award online voting opens
2 – Deadline for receipt of final Golden Globe ballots from HFPA members
2 – ASC nomination polls close (Feature Film)
2 – BAFTA Round One voting closes
3 – Palm Springs International Film Festival Awards Gala
3 – ACE Eddie Awards nominations ballots due
3 – BAFTA EE Rising Star Award nominees announced
3 – PGA nominations polls close for motion pictures and animated motion pictures and television programs
3 – Cinema Audio Society nomination ballot voting ends
4 – Voting ends for Art Directors Guild nominations
4 – AFI Awards luncheon
4 – PGA Awards TV, animated, motion pictures and digital nominations announced
6 – Golden Globe Awards
7 – Academy Award nominations voting opens at 8AM PST
7 – NYFCC awards dinner
7 – ASC nominations announced
7 – Art Directors Guild nominations announced
7 – ACE Eddie Awards nominations announced
7 – Makeup and Hairstyle nominations voting closes
7 – DGA online voting for feature films closes
7 – WGA theatrical, documentary and videogame screenplay nominations announced
7 – Oscar nomination voting opens
7 – DGA TV, Commercial and Documentary nominations announced
8 – Final Online Voting Begins for ADG awards
8 – WGA online voting for final screenplay and series begins
8 – National Board of Review gala
8 – Cinema Audio Society nominations announced
8 – DGA feature film and first-time feature nominations announced
9 – BAFTA nominations announced
10 – Cinema Eye Honors Award Ceremony
10 – Final ballots go out to BFCA members
10 – Final ballots go out to BTJA members
11 – Deadline for BFCA returning final ballots
11 – Deadline for BTJA returning final ballots
13 – Critics’ Choice Awards
14 – Academy Award nominations voting closes at 5PM PST
18 – PGA final voting closes
19 – PGA Awards
19 – SAG final voting closes
20 – Annie Award final voting closes
21 – Makeup & Hairstyle final voting begins
22 – Academy Award nominations announced
24 – Cinema Audio Society final voting begins
27 – SAG Awards
31 – Art Directors Guild Awards final online voting ends
31 – WGA deadline for final screenplay and series online voting




February 2019
1 – DGA online voting ends
1 – ACE Eddie Awards gala
2 – Annie Awards
2 – ADG Awards Gala
2 – DGA Awards
4 – Oscar Nominees Luncheon
6 – BAFTA Round Two voting closes
6 – Cinema Audio Society final voting ends
8 – Makeup & Hairstyle final voting closes
9 – USC Scripter Awards
9 – Scientific and technical Oscars
9 – 33rd Annual ASC Awards
10 – BAFTA Awards
12 – Academy Award final voting opens at 8AM PST
16 – Makeup & Hairstyle Guild Awards Gala
16 – Cinema Audio Society Awards
17 – WGA Awards
19 – Academy Award final voting closes at 5PM PST
23 – Independent Spirit Awards
23 – BAFTA Tea Party
24 – 91st Oscar telecast

[jo]

The Oscar nominations will be announced very shortly.

In the meantime, here is an interesting article from COLLIDER which ranks most of the Best Picture winners through the years with annotations on which movie the site thinks should have won that year.



collider.com/best-picture-winners-ranked/#driving-miss-daisy


Intro --

Every Best Picture Oscar Winner Ranked
by Chris Cabin January 21, 2019


As much as the people who handle the marketing for the Academy Awards would like to present the honor as an artistic one, its not entirely true. Arguably, that’s what their Governors Awards are for, but the true rewards of receiving an Oscar come in the form of funding. It’s essentially a great PR boost and that shouldn’t be looked down on or considered any less important than any honors in artistic accomplishment and technical skill. Martin Scorsese secured money for towering, radical masterworks like The Wolf of Wall Street and Silence because of the Oscar love for one of his least ambitious works, The Departed. The late Jonathan Demme’s wins for his own masterpieces, Philadelphia and The Silence of the Lambs, allowed him to continue a career defined by audacity in form and subject matter. The same could be said of Spike Lee, Steven Soderbergh, Richard Linklater, and a number of other filmmakers that have defined the best of American filmmaking over the last few decades.

And yet, for those who have been and likely always will be drunk on the movies, it’s an impossible task to not feel that the Oscars should be a reflection of the state of cinema in America, reserved for movies that are fearless, unique, and overflowing with political and philosophical ideas. In rare cases, such as with The Best Years of Our Lives or The Hurt Locker, the distance between the artistic merits of the year’s Best Picture winner and its polished reflection of what Academy members want to be seen as caring most about is not that far. To bolster a movie about the startling psychological damage and fatalistic pull of war at a time when the public is exhausted with the Iraq War makes the governing body look smart and serious while also celebrating an artist as thoughtful and excessively talented as Kathryn Bigelow. Most of the time, however, the divide is much greater.

To separate the great from the good and the good from the bad, I have ranked every single Oscar winner for Best Picture and plan to update it on an annual basis. If you just can’t stand the numbers here, sound off in the comments.

If you are a film buff of a certain age -- you might enjoy the trip down memory lane


Jo

[jo]

For the 2019 Oscar nominations - you may want to watch this live coverage ( check the YTube link inside the article), via THR --

www.hollywoodreporter.com/news/what-time-will-2019-oscar-nominations-be-announced-what-know-1177640

[jo]

The Oscars will no longer show certain awards on live TV as they are presented!

What a shame! Filmmaking can do without songs ( How many movies have original songs anyway?). But it cannot do without the creative arts of cinematography, film editing, and costume/makeup&hairstyle to create the best ambiance to tell the story! Shame on the AMPAS Oscars producers for allowing the need for TV audience stats to re-prioritize what the essence of awards are -- to honor the work of those who have contributed the best to the many aspects of filmmaking!


Jo

[njr]

Feb 11, 2019 20:18:04 GMT -5 jo said:

The Oscars will no longer show certain awards on live TV as they are presented!

What a shame! Filmmaking can do without songs ( How many movies have original songs anyway?). But it cannot do without the creative arts of cinematography, film editing, and costume/makeup&hairstyle to create the best ambiance to tell the story! Shame on the AMPAS Oscars producers for allowing the need for TV audience stats to re-prioritize what the essence of awards are -- to honor the work of those who have contributed the best to the many aspects of filmmaking!


Jo

I bet they are just trying to shorten the show.

Nancy

[jo]

They want to shorten it because they think the overly long telecast is driving people away, with too much on the plate.

But they have to face the backlash, so close to the coming telecast.

www.hollywoodreporter.com/behind-screen/american-society-cinematographers-president-issues-statement-2019-oscars-1185826


Excerpts --

Also on Monday, Roma's Alfonso Cuaron, who is nominated this year in the cinematography category, added his voice, tweeting, "In the history of CINEMA, masterpieces have existed without sound, without color, without a story, without actors and without music. No one single film has ever existed without CINEMAtography and without editing."


Guillermo del Toro, director of last year’s best picture Oscar winner, The Shape of Water, tweeted, “If I may: I would not presume to suggest what categories to cut during the Oscars show but — Cinematography and Editing are at the very heart of our craft. They are not inherited from a theatrical tradition or a literary tradition: they are cinema itself.”


Cuaron's collaborator Emmanuel "Chivo" Lubezki, the Oscar-winning cinematographer of Gravity, Birdman and The Revenant, posted on his Instagram account: "Cinematography and editing are probably the 'elementary particles,' the primordial components of cinema. It's an unfortunate decision."

[njr]

It definitely was an unfortunate decision. I read that the show was close to 4 hours long last year and that was why they did it. You’d think they could cut something else besides Cimematography and Editing.

[jo]

Among Hugh films, one of the finest examples of how cinematography elevated it to its excellent reputation among dark movies was PRISONERS! It created the near-brooding atmosphere which added to the drama and the suspense. It also captured the intense dramatic moments! It was the work of eventual Oscar-winner Roger Deakins ( who was nominated for his work in cinematography some 17 times, including one for Prisoners).

Another fine example of cinematograhic work was from the movie THE FOUNTAIN. Matt Libatique, a usual teammate by the director in a few movies, gave the Aronofsky movie the intense and almost fantasy-laden atmosphere that made the movie a cult favorite years later. Matt is among the 5 nominees for the Cinematography Oscar for this year (Star is Born)! He was also co-nominated with Aronofsky for their work on Black Swan. For The Fountain, he received nods from non-Oscar awards bodies. On a personal note, it is sad for my countrymen that we will not be able to see how he fares on Oscar night as he is someone of Filipino descent who has made America his home.


Jo

[jo]

Roger Deakins capturing the intense moments between Loki and Keller Dover in the closed confines of a car - adding to the drama and sense of frustration!






Matt Libatique helped create this fantastic finale for The Fountain.

[jo]

Another fine work in cinematography was the work done by Danny Cohen ( nominated for an Oscar for The King's Speech) for LES MISERABLES, albeit some found it controversial. Here's an interesting article on how they achieved the outstanding work on Best Picture nominee LES MISERABLES.

britishcinematographer.co.uk/danny-cohen-bsc-les-miserables/


A bit long but it makes us fully appreciate the impact of cinematography on the making of a film, one as dramatic as Les Miserables, in a musical, and in a period-setting!

Had the social media bias against Tom Hooper (for having won for THE KING'S SPEECH) been left out, the movie could have easily won Best Picture for the year! Sad, but still -- Les Miserables is often quoted this day for some of the most remarkable scenes, performances, and emotional impact!

Les Misérables, Victor Hugo’s classic 1862 novel, takes places against the baroque backdrop of early 19th century France. This latest cinematic version of the oft-told tale is based on the hugely successful theatrical musical, which has been seen by more than 25 million people. The cast of the new movie includes Hugh Jackman as Valjean, Russell Crowe as Javert, and Anne Hathaway as Fantine.

The talent behind the scenes included director Tom Hooper (The Damned United) and cinematographer Danny Cohen BSC. The pair had previously collaborated on The King’s Speech, which earned an Oscar for Hooper, an Oscar nomination for Cohen, and BAFTA nominations all around. For Les Misérables, they had roughly 70 production days, spent at locations including Winchester College, Her Majesty’s Naval Base Portsmouth, and Boughton House in Northamptonshire, with a few scenes and backgrounds shot in Digne, France, where the original novel is set. More than half of the shoot, however, was done at Pinewood Studios. The film is scheduled for release on Christmas Day in North America, and in early January in the United Kingdom. David Heuring caught up with Cohen as he was grading the movie in London.


Did you look at any of the many previous film versions of Les Misérables, like the 1935 feature film shot by Gregg Toland ASC?

Yes, I think we looked at every single previous version. That’s a fun aspect of prep. They’re really interesting. I think my favourite was that 1935 film with Charles Laughton. They all gave us something to think about, even though we were doing things differently as a full-on musical. At the same time, Tom has always gone for something with authenticity. For me, the task was to do something that felt real, something where people seem genuinely poverty-stricken – the conditions were pretty grim. The question was how to integrate and balance the singing with the hideous conditions of the time. The minutiae that Victor Hugo described is incredible. But he was describing a world where nobody was singing.


What else did you do during the prep period?

We did quite a bit of testing. We compared Alexa and 35mm film. We looked at 3D, and 65mm film, the quality of which is amazing. In the end, for a variety of reasons, we chose 35mm. What film has over digital is that it’s organic, it’s slightly softer, and there’s grain. There’s a certain sharpness to digital; you can treat it, but if you shoot on 35mm, what you see is what you get. You get an amazing image without a lot of post production. We shot with three cameras on the main unit, and there were various other units rattling away as well.

We shot well over a million feet of film using (Kodak Vision3) 200T, 500T, and 250D. We also shot a tiny bit of 50D. We started off using some 50D, but with the English weather, the 250D gives you a little more flexibility for exteriors as the light fails at the end of the day.


Which format did you settle on and why?

We shot Super 35mm 3-perf, and the aspect ratio was 1.85:1. One might think it’s a no-brainer, the film would have to be widescreen because it’s an epic, massive story with armies fighting and lots of action. But obviously, when you go widescreen, you lose a lot of the height in the frame. That means you’ve got to come back wider on a wide lens to see more of what’s upstairs. Why not let the spaces have more room on the screen? When you start something like this you ask yourself tons of questions, trying to work out how to do it. In a sense, there’s really no right way of doing it and there’s no wrong way of doing it. Basically, you make some decisions which, hopefully, are the right choices to tell the story.


You used Arricam LT and ST cameras, Zeiss Master Prime lenses, and Angenieux Optimo zoom lenses. What was the thinking behind your lens choices?

We used the zooms quite a bit on the exteriors and at the locations. Often we wanted to get two or three cameras into very tight spaces, and that was another reason to shoot handheld. We could get more cameras and more camera crew in if we didn’t have a lot of heavy machinery. Often these questions are answered by the practical reality of shooting. Tom has got a great aesthetic that we used quite a lot on The King’s Speech, which was shot with wide lenses but quite near the actors. From a lighting perspective, it’s the worst-case scenario. You’ve got absolutely nowhere to put the lights. On a longer lens, away from the actors, the angle of view is quite narrow, so at least you’ve got places to put lights, but shooting wide and tight means lighting through windows, practical sources and being sneaky about where you end up putting lights.

The period also meant that we used a lot of candles and torches to give the movie real atmosphere. To me, it required a balance between natural and theatrical lighting, so that’s what I was trying to achieve – to make it feel like the singing is just integral to the film, but not making it overblown and too stagey. It will be interesting to see if I got it right. Initially, I think people are going to be slightly gob-smacked, but hopefully it will feel natural very quickly so they’re singing but that’s just how the story gets told.



You shot on a combination of locations and stages, correct?

Yes. I’d estimate that we did about 60% on a few stages at Pinewood. We needed a properly soundproofed studio. One set was a street that ran the length of the studio, and around that were a lot of different, smaller sets that we squeezed in. A café with three floors at the head of the street where the students gather was also a big element.


How did you handle the singing on set? Were there pre-recorded tracks playing back as you shot?

We shot the singing live and recorded as we shot. That was another thing we tested, whether you feel the difference between an actor singing to playback and an actor singing to live accompaniment in an earpiece. There was no question – the live performance grabs you, it makes the hair stand up on the back of your neck. The actor leads the music, and the actor can perform and do what he or she wants to; it’s much more powerful than singing to something prerecorded months ago. You want the audience to connect emotionally to what’s on the screen. I think it’s a no-brainer too – you have to do it live. It’s a complication, because it’s like filming a live performance every day.


What was your general strategy for shooting performances?

We gave the actors as much space and freedom as possible, even in the real locations. We tried to light through windows and not complicate things with too much gear getting in the way. We often had three cameras shooting, sometimes all handheld. We tried to shoot the music as a performance, so we had to capture it in one take, if possible. That meant using every method – cross-shooting, wide and tight, endless variation – depending on the song and the blocking. On later takes, we might pick up sections. The music department could very quickly pick up and play music from take one and record the singing for a certain section during take three. I think the key was that it was more about the performance. That’s what makes it work in the film. The game is to make it feel like it wasn’t over-sophisticated.


Can you give an example of your approach to camera movement?

A lot of the film is handheld and quite rough. But there is a big moment when Hugh Jackman comes out of church, rips up his parole papers and throws them into the abyss. We shot part of that at an Oxfordshire church, and that element was to be dropped into a CGI mountain environment. It was planned as a big, sweeping crane move with magnificent vistas. But it occurred to us that to have these spectacular crane moves now and again would be slightly jarring. So what we ended up doing was a handheld move back as Hugh Jackman runs out of the church. The camera operator then stepped back onto a crane, and we turned away from Jackman and headed to the heavens. Rather than a slick Technocrane move, it’s all a bit messy but much more part of the film.

" I think the key was that it was more about the performance. That’s what makes it work in the film. The game is to make it feel like it wasn’t over-sophisticated."
- Danny Cohen BSC

Of course, the story includes a classic, climactic chase in the Paris sewers.

Yes. Initially, we were going to shoot in an amazing location in Finsbury Park, a large underground aquifer built in the 19th century. One of our references was The Third Man (1949; photographed by Robert Krasker BSC). Unfortunately, there was torrential rain in London and the location suffered some damage making it unsafe to film there. So we ended up doing it on the stage. Eve Stewart, the production designer, built the sewer set on a stage. It worked out really well.


The production design looks astonishing in the trailer.

The production design is amazing. It’s the detail that will blow people away. Initially, we did some scouting in France and we thought that maybe we should spend more time shooting real locations in France. We gathered lots of images and photos. We did shoot a week in France, but the practicalities of shooting something this size in real locations abroad can throw off the schedule.



How do you plan to use the digital intermediate?

We’re doing the DI grade at Company 3 in London with Adam Glasman. What’s great for me is that our rushes went through Company 3 as well. There were a lot of complicated scenes. This film is like a jigsaw puzzle. There’s never going to be a lot of time in post. What’s nice about film is that we can make the rushes feel like what we’re going to do in the final DI. People know the look of the movie. Of course, there is a chunk of work to do in the DI. The big sequence at the end of the film is dusk to night to sunrise. It includes an assault by 200 troops on the barricades and 200 students coming and defending the barricade. There are sky replacements, to be done by The Mill. The whole sequence takes place as the sun rises and making two weeks work feel like 10 minutes in real time is what we are trying to achieve.


Any general thoughts about translating this material to the screen?

I think we tried to stay very faithful to the book. But it’s a monster of a book, about 1,200 pages. It’s a fantastic page-turner, engrossing and exciting. But it’s quite daunting. How do you squeeze that much into a two-and-a-half-hour movie? Of course, a lot of the actual detail in the book doesn’t make it into the movie. The music and songs dictate a lot of the story. I think that’s what is fun about the movie – you’ve got the emotions from the films and the musical. The musical is so familiar; 25 million people have seen it. I’m interested to see how die-hard fans of the stage version are going to feel about it. I’m excited and very nervous.

[njr]

“In the case of the four categories that will be announced during commercial breaks, the winners' speeches will air later in the broadcast, he said.”

www.hollywoodreporter.com/news/academy-unveils-4-oscars-categories-be-presented-commercial-breaks-1185505?utm_source=twitter&utm_source=t.co&utm_medium=referral

Nancy

[jo]

Back to NORMAL

The AMPAS backtracks!


deadline.com/2019/02/oscars-reverse-decision-categories-live-show-controversy-1202558670/

[jo]

No more movie-star glamour at the Oscars ?


nypost.com/2019/02/25/sundays-whocares-oscars-left-us-longing-for-big-star-glamour/

[alma]

Thanks, Jo.
But I don’t agree with the article. It SHOULD be about great character actors, not “stars” who are famous for scandals in their private life or their fabulous looks. I’m probably going against the majority here, but I don’t consider Lady Gaga a good actress. I suspect they nominated her ...to raise Oscar ratings!
And it worked, but...

Alma

[jo]

From DEADLINE.COM --

Here are the key dates for the 2022 Oscar season (all times Pacific):

Tuesday, November 15, 2022
General entry categories submission deadline

Saturday, November 19
Governors Awards

Monday, December 12
Preliminary voting begins 9 a.m.

Thursday, December 15, 2022.

Wednesday, December 21
Oscar Shortlists Announcement

Saturday, December 31
Eligibility period ends Saturday

Thursday, January 12, 2023
Nominations voting begins 9 a.m.

January 17, 2023
Nominations voting ends 5 p.m.

Tuesday, January 24
Oscar Nominations Announcement

Monday, February 13
Oscar Nominees Luncheon

Thursday, March 2
Finals voting begins 9 a.m.

Tuesday, March 7
Final voting ends 5 p.m.

Sunday, March 12
95th Annual Academy Awards