Best Picture — 12 Years a Slave
Best Actor in a Leading Role — Matthew McConaughey (Dallas Buyers Club)
Best Actress in a Leading Role — Cate Blanchett (Blue Jasmine)
Best Actor in a Supporting Role — Jared Leto (Dallas Buyers Club)
Best Actress in a Supporting Role — Lupita Nyong’o (12 Years a Slave)
Best Animated Feature — Frozen (Chris Buck, Jennifer Lee, Peter Del Vecho)
Best Cinematography — Gravity (Emmanuel Lubezki)
Best Costume Design — The Great Gatsby (Catherine Martin)
Best Directing — Gravity (Alfonso Cuarón)
Best Documentary Feature — 20 Feet from Stardom
Best Documentary Short — The Lady in Number 6: Music Saved My Life (Malcolm Clarke, Nicholas Reed)
Best Film Editing — Gravity (Alfonso Cuarón, Mark Sanger)
Best Foreign Language Film — The Great Beauty (Italy)
Best Makeup and Hairstyling — Dallas Buyers Club (Adruitha Lee, Robin Mathews)
Best Original Score — Gravity (Steven Price)
Best Original Song — Let It Go – Frozen
Best Production Design — The Great Gatsby (Catherine Martin, Beverley Dunn)
Best Animated Short Film — Mr. Hublot (Laurent Witz, Alexandre Espigares)
Best Live Action Short Film — Helium (Anders Walter, Kim Magnusson)
Best Sound Editing — Gravity (Glenn Freemantle)
Best Sound Mixing — Gravity (Skip Lievsay, Niv Adiri, Christopher Benstead, Chris Munro)
Best Visual Effects — Gravity (Tim Webber, Chris Lawrence, Dave Shirk, Neil Corbould)
Best Adapted Screenplay — 12 Years a Slave (John Ridley)
Best Original Screenplay — Her (Spike Jonze)
Category Archives: Filmmaking
Why are Christian Films so Bad?
Four people this week asked me why Christian films are so bad. Each person defined “bad” differently, but they all realized that faith-based films are typically made differently than other films. They also suggested that non-Hollywood faith-based films must live up to a different standard than Hollywood films.
One of the ways a faith-based film differs from a Hollywood film is where the message is placed. Hollywood likes to keep the action plot clean of any messages to avoid it coming across as propaganda. Most faith-based films firmly plant the message into the action plot because the message is more important than the story.
According to Christian filmmaker Dallas Jenkins, “Message films are rarely exciting. So by their very nature, most Christian films aren’t going to be very good because they have to fall within certain message-based parameters. And because the Christian audience is so glad to get a ‘safe, redeeming, faith-based message,’ even at the expense of great art, they don’t demand higher artistic standards.”
Most faith-based audiences hold a strong sense of frugality when it comes to their view of spending money on message films. There is an unwritten rule that the producer must do his best and trust God to make up the difference, which he does by stretching the dollars.
Hollywood on the other hand has learned that the more money you put on the screen, the greater number of people you reach. Most faith-based producers do not hold to this concept, as they are honored for their frugality. The downside is that their message films are seen by far fewer audiences. However, this doesn’t cause any problems since they are rewarded for the message, not how many people the message reaches.
Faith-based filmmakers are also locked into the type of stories that they are allowed to make. The films are made based on how the niche audience defines a clean film, rather than based on a powerful story. This results in most faith-based films being void of bad language, conflict, and sinful struggles. In other words, everything is nice and sweet.
Years ago I spoke with Michael Landon, Jr. about his desire to make a gritty urban drama about redemption, but his fans wouldn’t allow him to do anything that wasn’t in keeping with his current Hallmark style of films. While his films weren’t officially faith-based, it did cater to a similar audience that held to high ideals.
When Les Misérables was released, I found the story to be one of the greatest demonstrations of redemption in the history of the motion picture industry. But it was not a faith-based film.
I was a bit confused though, when I saw many faith-based audience members Facebooking their friends with warnings not to watch such a disgusting film about a prostitute. Clearly they weren’t aware that the film was about a man – Jean Valjean. Nor were they aware of the films powerful message that was gently salted into a subplot.
Valjean was a recipient of grace and mercy. The gift was so empowering that he was compelled to pass it on to others by creating jobs for people. One person that he saved, had fallen into prostitution in an attempt to care for her child. On her deathbed Valjean commits to see that her daughter learns of grace and mercy too. He even sees to her marriage and a better life.
I find stories like Les Misérables to be far more powerful than most faith-based films. In fact, I found a list of stories that have powerful Judeo-Christian messages, yet are not faith-based:
- Man of Steel (2013)
- Les Misérables (2012)
- The Blind Side (2009)
- The Lord of the Rings trilogy (2001-2003)
- In America (2002)
- Bruce Almighty (2003)
- Changing Lanes (2002)
- About Schmidt (2002)
- Signs (2002)
- Magnolia (2000)
- The Iron Giant (1999)
- The Prince of Egypt (1998)
- The Apostle (1998)
- Dead Man Walking (1996)
- Braveheart (1995)
- The Shawshank Redemption (1994)
- Grand Canyon (1992)
- The Mission (1986)
- Hoosiers (1986)
- Places in the Heart (1984)
- Tender Mercies (1983)
- Chariots of Fire (1981)
I’ve seen many of the above films and can vouch for the inclusion of strong messages, but by no means do these films come close to being faith-based films. The violence, sin filled struggles and choices force the films out of the category.
However, these films are very realistic, raw and honest about the struggles that the main characters face. The realism and gutsy truth, in my mind, are far more powerful and important than my need for watching a squeaky clean movie.
I think it’s time for someone to create a faith-based film that is excellent and breaks all the rules. I’d love to see a lot more money put on screen for a wider reach. I’d also like the message salted into a subplot rather than in the action plot. And, I’d like to see a very realistic drama versus one that is made squeaky-clean. Then, I think people will stop asking me why Christian films are so bad. But then again, the film that breaks all of those unwritten rules would no longer be seen as a faith-based film.
How to Become a G.R.E.A.T. Screenwriter
Over the past few years I’ve spoken with a couple dozen screenwriters including three Oscar® winners. In each conversation I’ve asked how I should best spend my 10,000 hours in becoming a great screenwriter. For those of you not familiar with Outliers, author Malcolm Gladwell repeatedly mentions the “10,000-Hour Rule”, claiming that it took experts in any given field 10,000 hours of task specific practice to master their craft.
In this article, I’ve summarized the various answers that I’ve received and created the G.R.E.A.T. acronym to share how to set 21-40 hours a week aside to become a great screenwriter.
G. GO TO THE MOVIES every week (2-4 hours/week). Screenwriters go to a minimum of one movie every week on average. Additional movies can be watched on NETFLIX or from a personal DVD/Blu-Ray library (which all screenwriters own), but it’s critically important for screenwriters to attend films in theatres every week. This brings an advantage of understanding their audience and how they react to various types of scenes in a movie.
R. READ A SCREENPLAY every week (2-3 hours/week). Studios make their best screenplays available every year for Oscar® nomination consideration. Screenwriters download the 20-30 screenplays and read each one to learn about their competition and to glean any useful information to improve his or her skills. Screenplays can also be found online and purchased from writer stores.
E. EXERCISE WRITING SKILLS every day (14-28 hours/week). Authors write and screenwriters do the same every day. Yes, every day. Screenwriters experience what some refer to as a form of withdrawal when they don’t write. The creative side of the brain is very aware of its lack on the days that the writer doesn’t reduce some thoughts to writing. All professionals stay up on their writing to stay polished and creative.
A. ASSOCIATE WITH SCREENWRITERS every month (1 hour/week). While networking is critical in the entertainment business, staying connected to associate screenwriters is also important. The creative soul is helped by the sharing of tips and tricks, along with the sharing of related circumstances that only writers understand. These comradery sessions encourage us to better ourselves regularly so we have something worth sharing.
T. TAKE NOTES every day (2-4 hours/week). Screenwriters find great moments in every day life that are worth capturing for their “future” folder. During the research phase of a given story everything is captured in multiple forms for later. This might include roughing out a quick draft of a given scene, collecting clips from another source that can be adapted, or research notes captured on a napkin or scratch pad when submerged in the library or surfing the net. Those who try to stash the information in their memory typically lose those great moments.
The G.R.E.A.T. Screenwriter is a person who does all of the above without giving it consideration, as it is a part of who he or she is. The process is fulfilling for the screenwriter and makes total sense. However, the person who wants to be a screenwriter, but doesn’t have it in their veins will find the above list painful to execute.
For instance, a screenwriter will not only watch the films they love and the types of films they desire to write, but will also watch films they would never normally watch to better understand the genre, style, and narrative structure. On the other hand, the non-writer who wants to craft a screenplay will avoid films they don’t like and that don’t match the type of story they want to write.
While studying Scorsese’s film, The Wolf of Wall Street, I learned that the screenwriter used the F-word 506 times. Due to the rule of diminishing returns, the word was weakened to a meaningless quip. By understanding the lack of impact that film made on me, I was able to rewrite an action film without any language. By the end of the story when the main character screams out, “No!”, it actually makes a far greater impact than the F-word did in Scorsese’s film.
Copyright © 2014 by CJ Powers