Two weeks ago, Netflix's Chief Content Manager, Bela Bajaria, surrounded across the stage at the Egyptian Theatre in Los Angeles, squealed about the company's 13 Oscar nominations for the Spanish musical “Emilia Pérez.”
“We just received an Oscar nomination more than any other studio,” she boasted.
Finally, the most coveted award, Academy for Best Picture, seemed within its grasp as it had escaped the streaming giant.
How fleeting the moment proves?
Just three days later, Netflix was releasing an apology on behalf of the film's lead actress Karla SofÃa Gascón – the first openly trans actor to be nominated for an Academy Award – a journalist replies a series of dim-like comments After surfaced, Gascón posted the year. On Twitter, now known as X, she slandered many people, from Muslims to George Floyd and even Oscars.
Streaming Giant has one of the biggest global awards operations in the business. Under the guidance of Lisa Taback, the leading Oscar strategist who cut his teeth during Harvey Weinstein's rough fall campaign era, the company will focus on promoting films and shows for various awards shows, including the Oscars, Emmys and more. It employs approximately 60 people. And the British buffta.
But instead of attacking, Netflix finds himself trying to limit fallout and saves chances for candidates like Zoe Saldaña, who has won the best supporting actress for her role in the film Masu.
The company removed Gascone from signs around Los Angeles (she remains in several group ads), and featured her in an email blast to Oscar voters. During the weekend trio award show, Saldanya carried the film torch and embraced the critically selected award, calling the film the “little film that can be done.”
On Saturday, Saldanya introduced the film from the American Director Guild of America Awards along with film director Jack Audido and again performed the Producer Guild Awards just below the street. Gascon was initially ready to showcase the film with Saldanya.
“I don't think I've ever seen a situation like this where the fate of a film has changed like an asteroid hit it,” said Stephen Galloway, dean of Chapman University's Film School, in an interview.
Netflix declined to comment.
Two people with knowledge of discussion within the company said the Netflix team initially hoped Gascon's repentant apology would quell the noise. Gascon had other plans. On Wednesday, she wrote a long mission on Instagram and said the post was out of context. She then appeared on CNN En Español, giving an hour-long tearful interview, saying she would not withdraw from the Oscar race.
Netflix didn't know about either promotion until they were released, said the two, who have knowledge of discussions within the company. Comment could not be reached for this article. In a Thursday Instagram post, she wrote:
Netflix continues to spend money on other “Emilia Perez” stars and their directors, but has not offered to pay for Gascon's flight this past weekend. She was scheduled to appear in Southern California for many events. American Film Institute Lunch, Critics' Choice Award, she was nominated. Producer Guild Award. And the Santa Barbara International Film Festival was intended to award the award along with her co-star Serena Gomez and others.
When Tabak joined Netflix in 2018 with a team of four employees, it was to expand the tech company's Hollywood aspirations. (She had already worked with the company to win the first Oscar, the best documentary for “The White Helmets.”) With a large salary and seemingly unlimited resources, Taback often lavishes his competitors. I overtaken it in a way. (Renting two soundstages for a museum-style display featuring costumes from Alfonso Cuaron's black and white drama “Roman” was one such example.)
The company's nominations have always been greater than victory, but the resources invested in over the past seven years have helped attract filmmakers to the streaming giants. And it worked to some extent.
“Hollywood doesn't understand what makes Netflix work. It's not an Academy Award. Richard Greenfield, analyst and partner at media research firm Lightshed Partners, said: “The award is the Hollywood System. It's about soothing. If I were Netflix, I would spend twice as much money.”
Martin Scorsese, Bradley Cooper, Jane Campion, David Fincher and Noah Baumbach all brought passion projects to the service. In some cases, the film wasn't commercial enough or too expensive to be made in a traditional studio, but also because it's taken care of by Netflix.
“Netflix has assured me of my total freedom in terms of frameting the final cut privileges that only my team and godlike filmmakers like Spielberg get,” Scorsese said, 3 and a half hours. He talked about his 3.5-hour film about the film “The Irishman.” 10 Oscars. I got zero.
“Emilia Perez” was a little different. Netflix purchased US, Canada and UK rights to the completed films at last year's Cannes Film Festival for $8 million at the request of new film president Dan Lin. (The cast includes Gascon, Saldanya, Selena Gomez and Adriana Pas, who won the festival's Best Actress Award.) Many have received 13 Oscar nominations for a Spanish musical starring French directors and trans actresses. I've got it. Netflix subscribers see it as a feat in itself.
Aside from Gascon's controversy, people in the company say they don't think the award strategy will change. The money is still spent. The event is still luxurious.
Of course, there is one change. We believe that social media accounts of people Netflix partners will be viewed more closely.
