LOS ANGELES — Netflix called it “‘Roma’ Experience Day.”
On a Sunday in December, the streaming giant rented two soundstages on a historic movie lot in Hollywood to evangelize for “Roma,” Alfonso Cuarón’s art film about a domestic worker in Mexico. Oscar voters perused a museum-style exhibit of “Roma” costumes. Mr. Cuarón and his crew sat for hours of panel discussions.
Breakfast? Lunch? Provided. There were “Roma” stickers, and “Roma”-stamped chocolates. Attendees were even superimposed into a “Roma” scene to share online.
All of it struck some voters as over the top. It was certainly a display of just how badly Netflix wants an Oscar — and how much faith it has put in the person behind the event, a strategist named Lisa Taback, to get it done.
Ms. Taback, 55, is an Oscar-campaign veteran who cut her teeth at Miramax with Harvey Weinstein in the 1990s and whose résumé includes best-picture winners like “The King’s Speech,” “The Artist” and “Spotlight.” Ted Sarandos, Netflix’s chief content officer, called Ms. Taback “the best of the best” when he named her vice president for talent relations and awards in July, adding that he wanted to “expand and deepen our efforts to celebrate the incredible creators and talent who bring their dream projects to Netflix.”
The hiring went off like a sonic boom in Hollywood, reverberating to the highest levels of rival studios. “Awards Landscape Rocked as Netflix Poaches Leading Strategist,” the Hollywood Reporter headline read. Netflix had aided its own awards operation while dealing a blow to competitors by taking a top campaigner off the market.
And now the costly Oscar push that Ms. Taback has orchestrated for “Roma” is starting to look historic. Mr. Cuarón’s film, shot in Spanish and Mixtec and deemed a masterpiece by many critics, heads into the 91st Academy Awards next Sunday as a strong contender to win the Oscar for best picture. If Netflix notches its first such triumph, “the game changes forever,” said Marty Kaplan, the Norman Lear professor of entertainment, media and society at the University of Southern California.
If a film primarily distributed online wins, the debate in Hollywood about what constitutes cinema is over. It would strike a blow to the big multiplex chains, which have refused to show “Roma” because Netflix offered them an exclusive play period of only three weeks; three months is the norm. As far as box office figures, Netflix has said the film has appeared in about 250 theaters in the United States since it was released on Nov. 21, but it refuses to disclose ticket sales. A win by “Roma” could embolden old-line studios like Universal and Warner Bros. to shorten their own theatrical “windows.”
Winning would also make it easier for Netflix to compete with traditional studios for top filmmakers. (Its lone Oscar for a feature-length film to date has been best documentary, in 2018.) Even victories in lesser categories — “Roma” has 10 nominations in total and “The Ballad of Buster Scruggs” earned three more — would buoy the Netflix brand, giving the company a glow of excellence and helping it defend against a coming onslaught of competitors. Disney, WarnerMedia and Apple are all introducing megawatt streaming services this year.
Ms. Taback declined to comment for this article. Strategists like Ms. Taback try to avoid the media spotlight, especially before the Oscars, contending that they don’t want to take attention away from the films. Another reason, of course, is that no studio wants to look like it is trying to manipulate voters.
With so much at stake, Netflix has empowered Ms. Taback and her colleagues in the company’s publicity department to mount a big, bombastic, back-up-the-Brink’s-trucks campaign. “Roma,” a black-and-white period film with no known stars, cost just million to make, but the company has spent an estimated million to million on promotion. Some rival companies, yowling behind the scenes about overspending by Netflix, insist those figures are conservative. Netflix insiders have howled back, saying that some of its spending has been to advertise “Roma” to consumers.
Whatever the cost, the campaign is easily the most lavish in history for a foreign-language film. (No foreign film has ever won best picture.)
In truth, no film wins the top Oscar unless it’s paid for. All eight of this year’s nominees have been draped in for-your-consideration campaigns for months. Awards strategists estimate that Warner Bros. has spent around million to promote “A Star Is Born,” with that film’s director, Bradley Cooper, flying private to campaign stops in New York, Los Angeles and London. Disney has not been stingy with its campaign for “Black Panther,” which has included television spots, lavish ads in The Los Angeles Times and stumping by Oprah Winfrey.
Universal sent a bound volume of five books to voters on behalf of “First Man,” in addition to an annotated copy of the screenplay. It didn’t help much: “First Man” received four Oscar nominations but was shut out of the marquee categories.
This has been one of the most rough-and-tumble Oscar seasons in memory. Backstabbing and subterfuge are always part of this game, but the vote-mongering has grown more intense than usual, in part because there has been no clear front-runner for best picture. “BlacKkKlansman,” “Roma,” “Green Book” and “Black Panther” are in a dogfight for the prize.
“Competition has never been more fierce because it seems there is a battle for the future of Hollywood, the film industry and the Oscars themselves — not just in terms of saving the telecast from plummeting ratings, but also in terms of Netflix having a seat at the table,” said Sasha Stone, a longtime Oscar observer who runs the blog AwardsDaily. “Whether publicist- or civilian-driven,” Ms. Stone added, whisper campaigns and the resurfacing of old Twitter posts have been widespread.
Ms. Taback is not the only awards strategist involved in this year’s race who used to work for Mr. Weinstein, who is credited with turning Oscar campaigning into a blood sport. Tony Angellotti has led the “Green Book” get-out-the-vote effort; he helped Mr. Weinstein push films like “The English Patient” and “Shakespeare in Love” to best-picture victories in the 1990s. “BlacKkKlansman” has been steered by Dani Weinstein (no relation), who served as the Weinstein Company’s publicity chief from 2012 to 2016. Cynthia Swartz, who spent the 1990s at Miramax, has been consulting on both “BlacKkKlansman” and “Black Panther.”
Even so, Ms. Taback is the only one to work for Netflix, which has poured money into its hunt for Emmys and Oscars on a scale that Hollywood executives say they have rarely if ever seen before. Most studios, for instance, sent a couple of movies on DVD to voters for consideration this season. Netflix sent 17.
A Netflix spokesman said this reflected the large number of films the company is now producing, which is why, unlike most Hollywood studios, it decided to bring its entire award effort in-house.
Ms. Taback, who grew up in Los Gatos, Calif., where Netflix is based, previously ran her own company, LT-LA Communications, and in recent years worked for studios like Lionsgate, A24, Sony Pictures and 20th Century Fox. She brought her entire LT-LA staff to Netflix, where the awards department now has roughly 20 people.
The “Roma” campaign started in some ways on Aug. 13, when Ms. Taback and Netflix’s film publicity chief, Julie Fontaine, got buzz started by inviting a handful of film reporters (this one included) to an off-the-record cocktail party and screening of footage. Mr. Cuarón was on hand to chat afterward.
Then came screenings for the film at a string of important festivals. As the campaign intensified, Netflix had celebrities like Angelina Jolie and Charlize Theron host “tastemaker” screenings in Hollywood for Oscar voters. There were parties at restaurants like Spago in Los Angeles and the Pool in New York.
Additionally, mailers went out to voters of awards groups that are important stops on the route to the Oscars: an elaborate pamphlet containing a digital player that ran the “Roma” trailer on loop; Mexican chocolates with a note (“!FELICES FIESTAS!”) from one of the film’s actresses; a six-pound, 5 book of stills.
A barrage of ads in Los Angeles — in trade publications, on Netflix-owned billboards — continued for months.
Everyone who matters in Hollywood knows Ms. Taback, and they all seem to have a strong opinion. Admirers call her “brilliant” and “scrappy” — a “general” who figures out clever ways to connect films to the cultural moment. Detractors complain that she is ruthless and takes more credit for campaigns than she sometimes deserves.
“Am I a ruthless tiger about pushing someone out of the way? No. My strategy has never been that,” Ms. Taback told the trade news site Deadline in 2017. “My strategy has been to be tireless. I’ll take clever over nasty any day of the week.”B:
看图猜生肖马报【徐】【阳】【看】【了】【一】【眼】【店】【掌】【柜】【的】，【他】【才】【发】【现】【其】【实】【店】【掌】【柜】【一】【直】【在】【看】【他】。 【徐】【阳】【觉】【得】【其】【实】【这】【样】【的】【观】【察】，【是】【非】【常】【的】【合】【理】【的】，【徐】【阳】【心】【想】，【如】【果】【他】【是】【店】【主】【人】【的】【话】，【那】【么】【他】【肯】【定】【也】【会】【这】【样】【做】【的】。 【只】【见】【店】【掌】【柜】【的】，【好】【像】【在】【考】【虑】【着】【什】【么】，【然】【后】【他】【给】【徐】【阳】【说】【了】【一】【句】【话】，“【这】【位】【大】【仙】，【我】【决】【定】【给】【你】【开】【启】【这】【一】【个】【法】【阵】，【不】【知】【道】【你】【什】【么】【时】【候】【有】【时】【间】？”
【陈】【阳】【在】【服】【用】【了】【如】【意】【丹】【之】【后】【实】【力】【直】【接】【提】【升】【到】【了】【人】【仙】【境】【巅】【峰】【的】【层】【次】，【这】【种】【实】【力】【在】【整】【个】【人】【仙】【境】【都】【是】【最】【顶】【尖】【的】【存】【在】。 【如】【果】【现】【在】【这】【个】【时】【候】【让】【他】【再】【碰】【上】【六】【大】【至】【尊】【的】【话】，【估】【计】【根】【本】【就】【不】【用】【浑】【天】【城】【的】【帮】【忙】，【他】【自】【己】【就】【能】【轻】【松】【对】【付】【了】。 【只】【可】【惜】，【现】【在】【给】【他】【表】【现】【的】【机】【会】【实】【在】【是】【太】【少】【了】。 【毕】【竟】【鬼】【灵】【世】【界】【当】【中】【人】【仙】【境】【强】【者】【也】【不】【是】【大】【白】【菜】
“【昨】【晚】【的】【北】【欧】【神】【话】【看】【的】【怎】【么】【样】？” “【看】【过】【了】，【不】【怎】【么】【样】。” 【贝】【克】【特】【一】【口】【一】【个】【小】【蛋】【糕】，【回】【忆】【着】【那】【资】【料】【上】【记】【载】【的】【内】【容】。 【奥】【丁】，【众】【神】【之】【父】。 【大】【部】【分】【北】【欧】【神】【都】【与】【他】【有】【着】【血】【缘】【关】【系】，【情】【种】【无】【数】。 【与】【贝】【克】【特】【所】【遇】【到】【的】【那】【个】【只】【有】【海】【拉】【一】【个】【女】【儿】【的】【奥】【丁】【截】【然】【不】【同】。 【至】【于】【说】【海】【拉】……【那】【就】【更】【是】【无】【稽】【之】【谈】【了】。 “
【夏】【元】【成】【功】【兑】【换】【出】【了】【火】【焰】【山】【的】【地】【图】，【让】【他】【心】【惊】【的】【是】，【自】【己】【的】【精】【气】【值】【竟】【然】【已】【经】【积】【累】【到】【八】【千】【多】【万】【了】。 【这】【么】【多】【的】【精】【气】【值】，【如】【果】【全】【部】【拿】【来】【抽】【奖】，【能】【不】【能】【抽】【出】【一】【大】【堆】【强】【者】？ 【夏】【元】【仔】【细】【的】【沉】【吟】【了】【片】【刻】，【最】【终】【决】【定】【还】【是】【算】【了】。 【系】【统】【其】【它】【方】【面】【还】【算】【正】【常】，【抽】【奖】【系】【统】【绝】【对】【是】【个】【坑】。 【以】【现】【在】【自】【己】【跟】【系】【统】【的】【关】【系】，【就】【算】【八】【千】【多】【万】【个】看图猜生肖马报【我】【们】【每】【个】【人】【在】【任】【何】【人】【的】【眼】【睛】【里】【都】【是】【不】【一】【样】，【都】【是】【有】【很】【多】【的】【形】【象】【存】【在】，【对】【我】【们】【的】【评】【价】【都】【是】【不】【一】【样】，【并】【不】【是】【表】【现】【的】【越】【好】【就】【会】【被】【人】【认】【可】，【耍】【的】【小】【把】【戏】【别】【人】【一】【眼】【就】【可】【以】【看】【得】【出】【来】，【只】【是】【顾】【忌】【面】【子】【的】【问】【题】【别】【人】【不】【愿】【意】【讲】【出】【来】【罢】【了】，【在】【生】【活】【中】，【我】【们】【接】【触】【到】【的】【每】【一】【个】【人】【的】【时】【候】，【相】【处】【的】【时】【间】【长】【了】【并】【不】【是】【表】【面】【看】【到】【的】【样】【子】，【有】【很】【多】【有】【趣】【的】【性】【格】【跟】【外】【表】【是】【完】【全】【不】【一】【样】【的】，【都】【不】【想】【被】【别】【人】【轻】【视】，【都】【想】【出】【众】，【只】【有】【自】【身】【的】【能】【力】【出】【众】，【强】【大】【起】【来】，【才】【不】【会】【被】【比】【人】【看】【扁】，【真】【正】【的】【实】【力】【是】【不】【用】【费】【尽】【心】【思】【来】【证】【明】【的】，【不】【会】【被】【人】【看】【扁】【的】【星】【座】，【能】【力】【出】【众】，【实】【力】【强】，【一】【起】【来】【认】【识】【下】【吧】。
【第】181【章】【万】【古】【森】【林】 【看】【着】【安】【琪】【儿】【的】【大】【眼】【睛】，【慢】【慢】【又】【睁】【开】【了】，【乐】【无】【弦】【笑】【着】【说】【道】，“【好】【了】，【今】【天】【就】【两】【杯】，【小】【仙】【舟】【不】【错】，【这】【么】【快】【就】【到】【了】【万】【古】【魔】【兽】【森】【林】【了】。【我】【们】【也】【该】【下】【去】【了】。” 【安】【琪】【儿】【笑】【着】【点】【头】，【只】【见】【乐】【无】【弦】【朝】【小】【仙】【舟】【打】【了】【一】【道】【法】【诀】，【小】【仙】【舟】【便】【缓】【缓】【落】【了】【下】【来】。 【乐】【无】【弦】【伸】【手】【一】【抱】，【揽】【着】【安】【琪】【儿】【的】【腰】，【从】【小】【仙】【舟】【里】【飞】【了】
【雪】【团】【被】【带】【去】【皇】【后】【宫】【的】【第】【一】【天】【小】【顺】【子】【便】【一】【声】【接】【一】【声】【叹】【气】，“【皇】【后】【娘】【娘】【这】【样】【和】【娘】【娘】【不】【对】【付】，【能】【对】【雪】【团】【好】【吗】？“ 【我】【正】【在】【将】【银】【丝】【鎏】【金】【球】【里】【的】【香】【丸】【取】【出】，【同】【时】【到】【处】【下】【层】【的】【香】【会】，【冷】【冷】【道】，“【自】【然】【不】【会】【好】。“ “【那】【娘】【娘】【还】【把】【雪】【团】【送】【过】【去】？” 【我】【将】【香】【灰】【倒】【进】【他】【手】【中】【石】【盂】【中】，【头】【也】【不】【抬】，“【我】【们】【当】【初】【带】【雪】【团】【进】【宫】，【不】【就】【是】【为】【了】
【按】【照】【以】【毒】【攻】【毒】【的】【方】【式】，【蒋】【钦】【绝】【在】【耐】【心】【研】【究】【解】【药】【配】【方】。【这】【些】【密】【密】【麻】【麻】【的】【研】【究】【材】【料】【此】【刻】【正】【堆】【在】【洞】【穴】【里】，【无】【端】【生】【出】【几】【分】【叫】【人】【烦】【闷】【的】【逼】【仄】【感】【觉】。 【在】【她】【的】【右】【手】【旁】【稍】【远】【位】【置】，【寒】【暝】【正】【满】【脸】【乖】【巧】【地】【端】【正】【着】【姿】【态】，【一】【动】【不】【动】【地】【坐】【在】【一】【块】【岩】【石】【上】，【看】【山】【洞】【中】【的】【身】【影】【忙】【上】【忙】【下】。 【时】【间】【仿】【佛】【静】【止】，【又】【好】【似】【从】【来】【没】【有】【时】【间】。【渐】【渐】【地】，【某】【人】【腹】