Isn't that the excuse they used for the Golden Globes as well? Does Universal really suck that much or is OscarWatch just grasping at straws to keep Munich in the race? Keeps things interesting at least.

I can buy that argument for Munich, but not for King Kong, which should have been seen by enough people to be nominated if they had liked it enough.

Still, overall, the industry support for Munich has not been strong.

The many critics top 10 placements really had me thought of Kong having quite a good chance at an academy nomination for best pic... so much for it... oh, well...

what a shit 5.

Sorry.

It's far too simple to produce a film like Capote or Crash IMO.

What the hell is that?

Aren't these the producers awards where they are supposed to nominate hits and not some obscure films like Capote? Capote is a movie that, no matter how well reviewed, will be forgotten within a year or two.

Anyway, King Kong's lost and so are Munich's chances at a win. Brokeback Mountain will take it.

I don't think you guys are giving Capote it's just desserts. Besides just PSH turning in what I'd say is the best performance I've seen all decade, the film was considered to be flawless by nearly every critic out there (in addition to 100% on RT's Cream of the Crop, Metacritic has it listed as the best reviewed film of the year that played in over five theaters). While it's true that the film is somewhat minimalistic, in a time when so many films suffer from bloated running times it certainly does stand out as all but a masterpiece to many.

And yet it won't turn into a cult favorite when years pass on, it won't be one of the most beloved movies around at any time, it won't cut any Top 10 lists of the decade/all-time and whatnot. It simply will not be remembered. Brokeback Mountain will be, King Kong will be, Munich will be, even Crash most likely will be. But Capote won't.

Just FYI - I didn't want to start a new thread but there are other categories

Producers Guild Awards 2006 NOMINATIONS

THEATRICAL MOTION PICTURE

BROKEBACK MOUNTAIN

Diana Ossana

James Schamus


CAPOTE

Caroline Baron

William Vince

Michael Ohoven



CRASH

Paul Haggis

Cathy Schulman



GOOD NIGHT, AND GOOD LUCK

Grant Heslov



WALK THE LINE

James Keach

Cathy Konrad





ANIMATED MOTION PICTURE



CHICKEN LITTLE

Randy Fullmer



MADAGASCAR

Mireille Soria



ROBOTS

Jerry Davis

John C. Donkin

William Joyce



TIM BURTON'S CORPSE BRIDE

Tim Burton

Allison Abbate



WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT

(Credits are pending arbitration)






TELEVISION: LONG-FORM



EMPIRE FALLS (HBO)

(Credits are pending arbitration)



INTO THE WEST (TNT)

(Credits are pending arbitration)



LACKAWANNA BLUES (HBO)

Ruben Santiago-Hudson

Halle Berry

Vincent Cirrincione

Shelby Stone

Nellie Rachel Nugiel



THE LIFE AND DEATH OF PETER SELLERS (HBO)

(Credits are pending arbitration)



WARM SPRINGS (HBO)

Mark Gordon

Celia Costas

Chrisann Verges





TELEVISION SERIES: COMEDY



ARRESTED DEVELOPMENT (FOX)

Ron Howard & Brian Grazer

David Nevins

Mitchell Hurwitz

John Levenstein

Richard Rosenstock

Chuck Martin

Victor Hsu



CURB YOUR ENTHUSIASM (HBO)

Larry David

Jeff Garlin

Robert B. Weide

Larry Charles

Tim Gibbons



DESPERATE HOUSEWIVES (ABC)

Marc Cherry

Tom Spezialy

Michael Edelstein

George W. Perkins



ENTOURAGE (HBO)

Doug Ellin

Stephen Levinson

Julian Farino

Mark Greenberg

Wayne Carmona



TWO AND A HALF MEN (CBS)

Chuck Lorre

Lee Aronsohn

Michael Collier





TELEVISION SERIES: DRAMA



24 (FOX)

Joel Surnow

Robert Cochran

Howard Gordon

Brian Grazer

Evan Katz

Jon Cassar

Stephen Kronish

Michael Loceff



BOSTON LEGAL (ABC)

Bill D'Elia

David E. Kelley

Mike Listo

Steve Robin

Janet Knutsen



GREY'S ANATOMY (ABC)

Mark Gordon

Shonda Rhimes

James Parriott

Betsy Beers

Peter Horton

Rob Corn



LOST (ABC)

J. J. Abrams

Damon Lindelof

Bryan Burk

Jack Bender

Jean Higgins

Carlton Cuse



SIX FEET UNDER (HBO)

Alan Ball

Alan Poul

Bruce Eric Kaplan

Robert Del Valle

Lori Jo Nemhauser



TELEVISION SERIES OR SPECIAL: NON-FICTION

30 DAYS (FX)

R.J. Cutler

H.T. Owens

Ben Silverman

Morgan Spurlock

Jonathan Chinn

Alison Ellwood

Keith Hoffman



60 MINUTES (CBS)

Jeff Fager



AMAZING RACE 6 (CBS)

Jerry Bruckheimer

Bertram van Munster

Jonathan Littman

Amy Chacon

Hayma "Screech" Washington

Evan Weinstein

Elise Doganieri

Scott Owens



AMAZING RACE 7 (CBS)

Jerry Bruckheimer

Bertram van Munster

Jonathan Littman

Amy Chacon

Hayma "Screech" Washington

Evan Weinstein

Elise Doganieri

Mark Vertullo



EXTREME MAKEOVER: HOME EDITION (ABC)

Tom Forman

Craig Armstrong





TELEVISION SERIES OR SPECIAL: VARIETY



77TH ANNUAL ACADEMY AWARDS (ABC)

Gilbert Cates



THE ELLEN DEGENERES SHOW (syndicated)

Ellen DeGeneres

Mary Connelly

Ed Glavin

Andy Lassner

Karen Kilgariff



LATE NIGHT WITH CONAN O'BRIEN (NBC)

Lorne Michaels

Jeff Ross

Tracy King

Frank Smiley

Daniel Ferguson



LATE SHOW WITH DAVID LETTERMAN (CBS)

Maria Pope

Barbara Gaines

Rob Burnett

Jude Brennan



REAL TIME WITH BILL MAHER (HBO)

Bill Maher

Scott Carter

Sheila Griffiths

Dean Johnsen

I'm not convinced it won't, but if it does, I think that the small release would be much more to blame then the film's quality. By that logic, you could tout Fantastic Four or Shrek 2 over Capote or Downfall.

I don;t think it's about the quality, though.

These are producers...they're supposed to go for Kong, or Munich.

What is there to produce in a small budget, character driven drama like Capote? Yknow?

No, you see, people won't remember F4 and Shrek 2 (well, maybe Shrek 2, but hey it had splendid reviews as well) either as classic. They won't appear on any lists either.

Downfall is much different. It has 8.6/10 at IMDB for a reason and it made its way into the all-time Top 50 already and should remain there. Good luck on Capote getting anywhere close.

Fantastic Four won't be remembered 5 years from now unless they kept making sequels. Shrek 2 will only be talked about when we are discussing the all-time box office chart or when another Wednesday opener starts with a disappointing number. Capote and Downfall are similar in that they are both small, but Downfall will be remembered much longer than Capote will be, even though I haven't seen Downfall yet. It's currently in the IMDb's top 50 list. It has passionate fan supports from those who have seen it, very much like Eternal Sunshine or City of God. Capote simply doesn't have that. It'll be another Kinsey and American Splendor instead, very well reviewed for that year but not much talked about after.

Exactly. That's exactly how I think of it as well.

PEACE, Mike.

Very well said.

And that brings me to wondering why on earth PGA nominates Capote, but snubbed Eternal Sunshine which was much more successful, much more widely beloved and had at least just as much critical support.

Meh whatever maybe it won't be remembered as widely as some of those films, but that doesn't change the fact that it was all but unanimously thought to be a flawless stroke of genius.

Which you agree with because otherwise you wouldn't be defending it so much on here, heh.

Unless I'm seriously misunderstanding the point of guild awards, this award should not be to the best film of the year...just like the DGA should pick the best directed and the WGA should pick the best written, this should be the best produced. And I agree with loyal...I just don't think small budget, character dramas deserve such high recognition (especially over something like King Kong)

I don't know, you make a good point but in defense of the smaller films (at least Crash and Capote) they both got the releases they did because the producers got them into film festivals and used old fashioned word of mouth to get them a wide release distribution. That sure sounds a lot tougher to me then knowing that your film will be released in over 2,000 theaters nationwide no matter what happens.

Hmmm, a movie like Crash with such a director/screenwriter and cast wouldn't need the festivals even.

I doubt Crash had much problem being released. Brendon Frasier, Matt Dillon, Sandra Bullock, Don Cheadle, Ludacris, Ryan Phillipe, Thandie Newton, Haggis coming off the MDB BP win, Jennifer Esposisto...The cast was A-list enough that there was no way this was flying under the radar.

I'll have to do a search, but I remember Lion's Gate picking it up from a film festival, and some of the people talking about how much of a journey the production was. However, I was referring much more to Capote when I said that, just so you all don't pick it apart. Oh, and for the record, the cast really isn't much as far as selling goes. Don Cheadle was "that one guy", and really... well, I'm looking through all the other names and can't find one person who I'd be surprised to see in a direct-to-video film.

Hm. Maybe I have the wrong idea of what exactly the producer does.

From what I understand/stood, the producer basically handles the money (keeping within budget and such) and makes sure everything goes smooth, basically gets the film made. That's why I assume when you have a director working with a good script, a good cameraman and incredible actors, with no major special effects or big money on the line, the producer wouldn't have as big a job. With Kong, and even something like Munich (or even to a lesser degree, Memoirs) there are big budgets on the line, lots of action and special effects stuff that could go wrong, and generally a more hectic job. I just figured producers would realize that "producing" something like Kong and getting basically everything from financing to distributing through smoothly and within budget/time would be more recognition worth than...well, Capote, or Crash.

who knows, though...obviously, they're the producers, they know what their job entails, and they voted how they did...so I could be way off base. It's just not what I would have expected....

but really, of all the award stuff out there right now, this is easily one of the absolute..."who cares" of em all...i mean, for me personally. I have no stake in any of this, their work really isnt as recognizable instantly as acting or directing or writing...so why it even bothers me (or does it?) is beyond me.

I would think producing a movie on a shoestring, limited budget is harder than producing a movie where the budget is virtually unlimited (how many blockbusters do we hear about going over-budget?), but then again I'm not a producer so this is pure conjecture. And the other side of that coin makes sense too. But for whatever reason, the producers saw Capote being more of a feat than King Kong or Munich. Or maybe they just thought Capote was a better movie. Or maybe they didn't get the screeners for Kong or Munich in time. And so on and so forth...

Someone else at OW also made a point that the films that are nominated this year are all good profit-makers, while King Kong and Munich is still trying to cover their production costs domestically. However, it's still a drastic change from what producers had done in the past, where they had ignored indie-success and nominated similar big-budget films such as The Aviator which hadn't made half of its cost by the nomination time. It's really a head scratcher, I have to say, and the most shocking result I've seen from any guilds since I started paying attention.

Crash was filmed or finished probably at the same time or months before Million Dollar Baby was even released.