Sitting firmly at the tail-end of the major precursor nomination timeline, the DGA is usually the wisest of the group. I get the sense that they vote with their hearts a great deal of the time, favoring grand, difficult, complex works which reflect the best of their faction–at least they have for the past 10 years or so.
While clarity is the last thing the DGA brought us last year–they actually broke a 9-year streak of agreeing with the Oscar winner by giving Ben Affleck (who wasn’t even nominated for the Oscar) their top prize for feature film–their nominations will help whittle the current race down to a solid crop of contenders.
Things to look out for tomorrow, when the DGA announces its annual nominees:
1) Joel and Ethan Coen
The Coens’ Inside Llewyn Davis has had a rough week. Days ago, they missed out on any love from the Producers Guild. Shortly thereafter, though, they nearly swept the National Society of Film Crtics’ awards. The film is polarizing audiences and industry figures alike, as the critics seem to love it, but the guilds are hesitant to reward such a peculiar, subtle film.
The highs and lows the film has seen over the last month don’t bode well for its once-promising position as a prime Oscar contender. The DGA aren’t fond of the Coens. They’ve won once for 2007’s No Country for Old Men, and Joel was nominated for Fargo in 1996. True Grit missed out on a nomination entirely, as did A Single Man, both of which were Best Picture contenders within their respective years. If Inside Llewyn Davis misses a nomination here, the film’s Oscar chances will drop drastically.
2) Ryan Coogler and 3) Lee Daniels
Along with Steve McQueen, both Coogler and Daniels have helped make 2013 a historic year for black filmmakers. Each has directed a film that was highly influential. Coogler’s Fruitvale Station riled overwhelming critical and precursor support (its name has consistently shown up everywhere from honorary critics’ awards to the Independent Spirit nominations).
Daniels’ The Butler might not be on the same trajectory to Oscar greatness as McQueen’s 12 Years a Slave, but it has solidified itself as a legitimate hit with audiences worldwide, grossing $116 million domestically and another $45 million around the globe. Daniels has also established himself as perhaps the most prominent black filmmaker of the modern age, what with his 2009 film Precious also garnering intense awards season love. Both Coogler and Daniels represent the shifting landscape of American cinema, where black films and filmmakers are no longer voices the American public are afraid to hear, but rather ones they are willing to shell out money to see on more than just a fluke basis.
Daniels’ film is an epic of vast proportions, encompassing a huge ensemble cast (that was nominated over with the SAG, mind you), and shows the director’s ability to effectively helm material with a gargantuan scope. Coogler’s film is a bit small for the DGA’s taste, but Daniels could very well prove to squeak a nomination out of a guild that favors drama and spectacle not unlike that which he gave us with The Butler.
4) Alfonso Cuaron and 5) Steve McQueen
Both filmmakers have dominated the Best Director discussion since their respective films wowed festivalgoers at Telluride, Toronto, and Venice late last year. Both helmed fantastic films, and will become first-time DGA nominees tomorrow morning. The only problem is that their films are vastly different.
Gravity is a showy spectacle for the most part (not to discount its thematic and visual metaphors running throughout the film), while 12 Years a Slave is a challenging, gritty masterwork that remains firmly rooted in an emotional tone that lacks the grandiose, loud, overwhelming visual presence of Gravity. My money is on Cuaron for the win, but McQueen’s story would fit nicely into the narrative the Academy would like to weave (McQueen would be the first black director to win at the DGA or the Oscars, or both) what with their evolving image, membership, and taste.
Gravity fits within a narrative as well. In a year where, for the first time since 1997, a film with a female-driven performance rules yearly U.S. box-office (Catching Fire today surpassed Iron Man 3 as the year’s top-grosser), the Sandra Bullock-driven, one-woman show that is Gravity would be a welcome Best Picture winner for the Academy’s diversifying image. The DGA nominations for both men will tomorrow cement their positions as leaders within the race.
6) David O. Russell
Only nominated here once before (for The Fighter), even Russell’s heyday failed to impress the DGA. Even as Silver Linings Playbook swept the early awards discussion in 2012, his name was left off of DGA ballots in favor of Kathryn Bigelow, Tom Hooper, and Ben Affleck (Lee and Spielberg had been locks for quite some time). This year, his monumental achievement American Hustle is far too big for the DGA to ignore. He’s played the Oscar game so well, crafting three drastically different films over the course of four years, showing range, dynamism, and an ability to get three Oscar-winning performances out of his casts (along with another four acting nominations for other cast members). His on-set antics undoubtedly rub many directors the wrong way, but his achievements are no less significant. A nomination here will further fuel American Hustle‘s position as one of the top three contenders for Best Picture.
Though the DGA has little clout over Oscar nominations with the recent date changes (their announcement comes only one day before Oscar ballots are due), their crossover membership with the Academy is generally good for influencing winners once Oscar nominees are announced.
The Directors branch of the Academy tends to favor more independent, smaller films than the DGA, most likely because the guild itself is for the advancement of their craft, and showy films like Avatar or Argo encompass vast sources from all reaches of the industry, and people can easily see the spectacle a showy director creates. This is how you explain Tom Hooper getting in for Les Miserables last year over the likes of eventual Oscar nominees Benh Zeitlin and Michael Haneke.
The issue of Martin Scorsese has come up a lot, as well, and I just don’t see him making it into the race this year. His film is polarizing, and the film was released far too late in the year to have been a legitimate awards contender. Recognition for the film will come for the picture as a whole when the Academy nominates it for Best Picture, a broad inclusion that doesn’t pinpoint anything specific is the least controversial route to go. Honoring Marty with a nomination implies that they agree with the film and its trajectory as a thematic vehicle, not just as a spectacle of superb film direction.