Bette Davis

Escalon Times - - ENTERTAINMENT - By Tony Rizzo

What does earn­ing a best­pic­ture Oscar nom­i­na­tion mean? Here are grosses, af­ter the Os­cars, for the nine films nom­i­nated: “La La Land” ben­e­fited the most (thanks to best ac­tress Emma Stone and best direc­tor Damien Chazelle’s wins), vault­ing $28 mil­lion to $397 mil­lion. “Hid­den Fig­ures” won no big awards, but still climbed $23 mil­lion to $195 mil­lion.

“Moon­light’s” best pic­ture and Ma­her­shala Ali’s sup­port­ing-ac­tor win af­forded it a $16 mil­lion surge to $42 mil­lion. “Lion,” with best sup­port­ing nods for Dev Pa­tel and Nicole Kid­man, saw a $14 mil­lion boost to $103 mil­lion. “Hack­saw Ridge,” with An­drew Garfield and direc­tor Mel Gib­son’s nom­i­na­tions, had a bump of $11 mil­lion to $175 mil­lion. “Manch­ester by the Sea,” de­spite Casey Af­fleck’s best ac­tor and direc­tor Ken­neth Lon­er­gan’s orig­i­nal screen­play wins, rose only $8 mil­lion to $67 mil­lion, and Vi­ola Davis’ sup­port­ing ac­tress win didn’t help “Fences” be­yond a $2.5 mil­lion rise to $61 mil­lion.

“Ar­rival” and “Hell and High Wa­ter” (with Jeff Bridges sup­port­ing ac­tor nom­i­na­tion), are out of theatres but had their DVD and Blu-Ray sales el­e­vated from the at­ten­tion. The real rea­son for hav­ing nine best-pic­ture nom­i­nees in­stead of five is be­cause it pays to ad­ver­tise, and the Os­cars have the big­gest au­di­ence to do that!

*** Host Jimmy Kim­mel, per­pet­u­at­ing his “fake news” feud with Matt Da­mon, claimed, on the Os­cars, that Matt’s film “The Great Wall” was a flop. True, it cost $150 mil­lion to make and only earned $41 mil­lion in the U.S. and Canada, but it also made $279 mil­lion in China and other ter­ri­to­ries world­wide, for a to­tal of $320 mil­lion.

*** “Feud: Bette & Joan,” the campy eight-part series on FX, takes cer­tain lib­er­ties with what ac­tu­ally hap­pened, which some­times makes for bet­ter drama. I got this straight from Bette Davis, who ex­plained how her feud with Joan Craw­ford be­gan.

“MGM dropped Craw­ford’s con­tract in 1944 be­cause they were go­ing younger with their con­tract peo­ple, and she slith­ered over to see Jack Warner, at my stu­dio, Warner Broth­ers, un­der the guise of giv­ing her ser­vices free for “Hol­ly­wood Can­teen,” the film John Garfield and I were mak­ing to ben­e­fit the Hol­ly­wood Can­teen. She man­aged to talk Jack Warner into a four-pic­ture deal. My peo­ple, in the script de­part­ment, al­ways tipped me off about books bought for film­ing, and when I asked Jack about “Mil­dred Pierce,” he told me he’d promised it to Craw­ford. I wasn’t thrilled and was less thrilled when she won an Oscar for it.”

We’ll have more on their fa­mous “Feud,” next time. And you thought “Fam­ily Feud” was fun!

Photo credit:­te­

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