The Oscars face a litany of problems, some of which are out of the organization’s control and others that are self-inflicted.
To filmmakers who grew up watching the Oscars, this Sunday is supposed to be their Super Bowl. With its parade of fashion, movie stars and acclaimed films, the annual awards show, which once brought in tens of millions of viewers, inspired generations of artists to get into the business.
Those include the unpopularity of the nominees, the fragmentation of the TV audience and the controversial pared broadcast presence of eight awards, meant to preserve ratings but which hasA major source of anxiety is that relatively few people have seen or heard of the movies that are most expected to win the main statuettes.
“The first question you have to ask is, ‘Who’s it really for?’” said a veteran film executive who requested anonymity to protect relationships. “You can’t say it’s for the public when you honor movies the audience hasn’t seen and doesn’t care about.” The value of an Oscar has changed over the years. Winning the gold-plated trophy was once a way for movies to get a huge bump at the box office and on home video, a strategy Harvey Weinstein perfected with films like “Shakespeare in Love.” Winning an Oscar remains a lifetime goal and the ultimate résumé booster for actors, directors, hairstylists and composers.
. Take Ryûsuke Hamaguchi’s “Drive My Car,” a languorous, Chekhov-infused Japanese film that is nominated for best picture. Or even “Parallel Mothers,” Pedro Almodóvar’s Spanish-language drama nominated for lead actress and original score .
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