Born July 9, 1900 in Los Angeles, California, Joseph LaShelle was trained as an electrical engineer, but went to work at Paramount as a lab technician in order earn money for tuition at Stanford University. Promoted to superintendent of the printing room within three years, he decided to forego his college education and stay on at Paramount.
Mentored by cinematographer Charles G. Clarke, he became his assistant cameraman in 1925. He later worked for Arthur C. Miller and followed him to Twentieth Century-Fox where he assisted Miller on How Green Was My Valley and The Song of Bernadette among other films. Shortly thereafter he became a credited cinematographer with 1943’s The Happy Land. With 1944’s Laura he earned his first of nine Oscar nominations and the only one that would result in a win.
Among the 1940s films that LaShelle put his stamp on were A Bell for Adano, Cluny Brown, The Late George Apley, The Foxes of Harrow, Captain from Castile, The Luck of the Irish and Come to the Stable for which he earned his second Oscar nomination. His 1950s films for Fox included Under the Skin, Where the Sidewalk Ends, Mister 880, The 13th Letter, Les Misérables and My Cousin Rachel for which he earned his third Oscar nomination.
“A Nous La Liberte” (1931)
Every month, we’re going to be looking at the Oscars in a different way. While most of our content deals with predictions and precursors and reviews and previews and everything in between, the facts and statistics surrounding the Oscars are seldom referenced but in passing. These articles will change that. Every week, we’ll take a narrow look at statistics about and surrounding the Oscars.
When putting together last month’s look at Foreign Language Films at the Oscars, I came across a lot of interesting data that would make for a very long post. As such, I broke it down into two different posts, finishing up with this article.
Finding a place to start with this set of statistics is a daunting task. There are so many angles at which to go at these numbers that starting with a quick comparison is probably best. 300 films have been nominated for Best Foreign Language Film at the Oscars to date. That’s 5 nominees a year for the last 60 years (2016 was the 60th anniversary of the category). This number does not include the eight films that won Oscars prior to the category’s existence, but it does include the only film ever disqualified for this category: A Place in the World. Uruguay submitted the film for the 1992 Academy Awards, but it was later revealed that artistic control was predominantly held by Argentina and thus the film was ruled ineligible.
We had two films release this past weekend with the potential for Oscar nominations.
Returning to the world of Cars, 11 years after narrowly losing Best Animated Feature to the now-largely-forgotten Happy Feet, Pixar is hoping to return to the Oscar race with only the second film they’ve made more than one sequel to. The other, Toy Story 3 was an industry darling, handily winning the Best Animated Feature Award, possibly because the first two films came out before the category existed.
The problem is that in 2011, Cars 2 set a precedent that Pixar hasn’t been able to escape since. After that picture, no sequel or prequel to a Pixar feature has scored an Oscar nomination for Best Animated Feature. Not Cars 2, not Monsters University, not Finding Dory. That kind of history is hard to ignore and may hinder Cars 3‘s chances.
Every week, we’ll take a look back in 5-year intervals at the box office past to explore how Oscar’s nominees were doing at the box office each weekend historically. All data is collected from Box Office Mojo. The first section under each year is the positioning of all Oscar nominees during that weekend at the box office (as well as a section looking at the inflation-adjusted numbers). The third section is an alphabetical list of those films and the categories in which they were nominated. And to start each week off, we’ll be looking at the films releasing over the weekend that have the best chance of getting Oscar nominations and specifying the categories where we think they have the best shots at this stage of the game. If you have any suggestions for more data you’d like to see, please let us know.
This Year: Potential Oscar Nominees Releasing This Weekend
Cars 3 (Wide)
Oscar Potential: Animated Feature, Original Song, Sound Mixing, Sound Editing.
The Journey (Limited)
Oscar Potential: Actor (Timothy Spall, Colm Meaney).
Oscar Potential: Actress (Sally Hawkins).
Born December 8, 1949 to an executive at a voting machine plant and his wife, an interior designer, Nancy Meyers is an American director, producer and screenwriter.
At the age of 12, Meyers became interested in the theatre after reading Moss Hart’s autobiography, Act One. Upon graduating college, she spent a year working in public television in Philadelphia. She later moved to Los Angeles where she got a job as a production assistant on The Price Is Right.
Inspired by The Mary Tyler Moore Show, Meyers obtained work as a story editor working with screenwriters on projects in development. This led to writing her own scripts, which led in time to partnering with Charles Shyer and Harvey Miller on the script for her first film, 1980’s Private Benjamin, which was also the first film she produced. She and Shyer, who had been in a relationship with Meyers since 1975, along with Miller, received an Oscar nomination for the script of the successful comedy which was turned into a TV series in 1981.
Meyers wrote the original story for 1984’s Protocol and the screenplays for 1984’s Irreconcilable Differences, 1986’s Jumpin’ Jack Flash and 1987’s Baby Boom which became her biggest hit to date. This, too, was turned into a TV series for which she wrote three episodes in 1988.