2014 will likely be remembered as a great year for Technicolor. At the recently concluded Academy Awards, Technicolor talent and customers were honored with Oscars across most of major categories – including Best Picture and Director for filmmaker Alejandro González Iñárritu and his audacious indie satire, Birdman or (The Unexpected Virtue of Ignorance). Birdman also received the Oscar for Achievement in Cinematography, awarded to director of photography Emmanuel Lubezki, AMC, ASC – the 2nd year in a row that “Chivo” won the Oscar (last year for Gravity) – both films having been color-finished at Technicolor Hollywood whom provided creative and innovative solutions to the filmmakers.
Even more impressive were the Oscars awarded to Technicolor’s Craig Mann and Ben Wilkins whom handled the sound-finishing work on director Damien Chazelle’s indie-darling, Whiplash.
Both Whiplash and Birdman pushed the creative edges of the envelope most successfully and resulted in the most sublime wins. Both films are essentially “back-stage” dramas, in the case of Birdman about an erstwhile motion picture mega-star trying to reclaim past glory. Likewise, Chazelle’s Whiplash explores some of the same fundamental notions of success and commitment – in this case exploring the world of jazz and told from the perspective of a young rising drummer. Whiplash is even that much more remarkable given its “indie” budget and short production schedule and turnaround time before the film’s world premiere at Sundance where it won a number of the festival’s major awards. Technicolor’s sound team, located at the company’s Paramount Studios facility, provided its latest innovations in sound services. Both Whiplash and Birdman’s successes are documented in two case study published by Technicolor and found here: http://www.technicolor.com/en/who-we-are/press-news-center/news/whiplash and here: http://www.technicolor.com/en/who-we-are/press-news-center/news/birdman.
One of the consistent themes being developed on our 100th Anniversary blog is that Technicolor, over its entire history, has successfully responded to the creative needs of its clients – knowing well that all filmmakers share the creative trait of wanting to push the edges-of-the-envelope with every new project. Over our entire history, Technicolor has embraced that fundamental challenge. The upside of this can be found in the many awards Technicolor and its clients have received going back to the early 1930’s when the company celebrated its first Scientific and Technical Achievement Award from the Academy of Motion Picture Arts and Sciences – the first being for an early full-color process, in support of filmmaker Walt Disney’s earliest color animated classics.
Since 1932, Technicolor, and its affiliated divisions have received 24 “Sci-Tech” awards from the Academy, the most recent being earlier this year for our visual effects boutique, MPC that won a “Sci-Tech” for its “Kali Destruction System,” a VFX computer program. Since 1939, the year in which the company received its own Oscar, for the company’s singular contribution to bringing motion picture color to the big screen, Technicolor has served 34 motion pictures that received Oscars for Best Picture. Since 1936, Technicolor has served 51 films that received Oscars for Achievement in Cinematography. Over the last four years, Technicolor has provided production and finishing services to many of the most innovative and imaginative films, including last year’s Gravity; 2012’s Life of Pi, that which also won MPC its first Oscar for Achievement in Visual Effects; and director Martin Scorsese’s 2011 classic homage to early French filmmaker Georges Melies, Hugo.
In 2014, Technicolor (in total) contributed to 29 projects that received Oscar nominations. Other major projects included: Oscar-winner The Theory of Everything; and MPC projects: Guardians of the Galaxy, and X Men: Days of Future Past both nominated for visual effects.
Download the case studies:
Whiplash PDF (1.28 MB)
Birdman PDF (2.67 MB)