![]() Given the unpredictability of the industry-because it is, after all, affected by the world at large-it’s maybe been even a little more interesting to spot what emerge as common threads. ![]() Again, Avatar: The Way of Water is hard to pin down, but interesting that Triangle of Sadness comes in second, likely due to the smaller crew size. On the other hand, the team from TÁR found themselves in isolation and away from their families, while the team from The Banshees of Inisherin grappled with technical challenges. As was the case with Dune last year, the extra time that several teams spent in post was an unexpected gift. Weeks in post-productionĬOVID-19 continued to play a part in the post-production process for the films released in 2022, with several teams reporting that they began by working from home and then transitioned to in-person work later (or vice versa).Īs was the case last year, some of the films scheduled for release in 2021-notably Top Gun: Maverick-were pushed to 2022. Top Gun: Maverick and Avatar: The Way of Water used crews that far exceeded productions like TÁR and Women Talking.Ĭompare Everything Everywhere All at Once with a crew that’s roughly a third the size of Top Gun’s, and it drives home the point that it’s possible to do a lot-with a lot less. And Top Gun, even (or maybe especially) with all the practical effects, exceeded Dune by a couple hundred. But this year, Avatar closed in on 2,000 people. Last year, Dune topped the chart with a team of 1,190. Only one film shot on actual film this year- The Fabelmans, using 8, 16 and 35mm, the smaller gauges to more authentically replicate the movies the young Spielberg created. Due to the unconventional production schedule for Avatar: The Way of Water, principle photography is hard to quantify. Director Ruben Östlund was determined to get as much in-camera as possible, which he did by creating elaborate sets and capturing multiple takes. What’s also of note is that the least-expensive movie of this year’s bunch, Triangle of Sadness, managed to pack in 72 shoot days. At a mere 38 days (and considering how many practical effects they did) you have to salute. Days of principal photographyĪs you’d imagine, Everything Everywhere All at Once was the most economical when it came to days spent in principal photography. We’ll talk more about the streaming services later on. This year, only Netflix has a Best Picture nominee with All Quiet on the Western Front. It’s also noteworthy that among the streamers, last year Netflix had three Best Picture-nominated films ( The Power of the Dog, Don’t Look Up, and Tick, Tick…Boom) and Apple TV+ took home the Oscar for CODA. If you compare this year to 2021, in which the largest budgets topped out at $35 million and two films cost well under this year’s $15 million, it seems the pendulum has swung as we emerge from COVID. ![]() Note that the budget for Women Talking was reportedly $135 million but that number was pulled down from IMDb Pro and now only appears here. Meanwhile, Everything Everywhere All at Once proved that a heartfelt story, clever and cost-cutting practical effects, and a scrappy approach can yield both critical and box office success. Not a news flash, but Avatar: The Way of Water cost nearly twice that of last year’s most expensive film, Dune-and more than quintupled its box office receipts. We’ll dig a little deeper further on, but let’s just say that the industry is healthy and thriving-despite the headlines surrounding consolidations, layoffs, red ink, and studio-executive changes. Obviously, this year everything from production costs and crew sizes to box-office receipts have varied wildly. The 2023 Oscars Best Picture nominees cover a wide range of genres. If you’ve read it previously, we thank you for joining us for the sixth consecutive installment.Įither way, we hope you’ll find something in it to awe, inspire, or inform you-because even while researching and writing it, we experience all three. If this is your first time reading our Oscars roundup, our goal is to give you a digest that highlights the arduous process of creating an award-worthy movie. (Now, who can we complain to about going back to Daylight Saving time on Oscars Sunday? Glam squad…where’s my concealer?!) ![]() You complained, they listened, order was restored. What a year! The billion-dollar blockbusters are back! Media giants continue to conglomerate! Streaming services scramble for subscribers! And an indie movie went to eleven (Oscar nominations, with seven wins) using Adobe Creative Cloud and Frame.io! We’re back with the annual Frame.io Oscars Workflow Roundup, covering the Best Picture and Best Editing nominees-who this year will at least get their moment in the spotlight during the broadcast.
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