‘Oppenheimer’ Keeps Devouring Awards with Top Prize at Producers Guild, with Oscars up Next 

Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)
Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)
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‘Oppenheimer’ Keeps Devouring Awards with Top Prize at Producers Guild, with Oscars up Next 

Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)
Christopher Nolan, nominated for Best Director for "Oppenheimer" which is also nominated for Best Adapted Screenplay and Best Picture, and his wife Emma Thomas, producer of "Oppenheimer", attend the Nominees Luncheon for the 96th Oscars in Beverly Hills, California, US, February 12, 2024. (Reuters)

With two weeks to go before the Oscars, "Oppenheimer" looks unstoppable.

Director and producer Christopher Nolan’s tale of the life of J. Robert Oppenheimer and the birth of the atomic age won the top prize Sunday at the 35th Producers Guild of America Awards — a frequent predictor of Oscar best picture winners — the night after doing the same at the Screen Actors Guild Awards.

"Oppenheimer" won the PGA's Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures over the exact same set of 10 nominees up for best picture at the March 10 Academy Awards, including "Barbie,Poor Things" and "Killers of the Flower Moon," whose director, Martin Scorsese, was honored Sunday for his concurrent career as a producer.

The Zanuck Award winner has gone on to take the best picture Oscar for five of the past six years, and 12 of the past 15, including last year with "Everything, Everywhere All At Once."

From the stage at the Ray Dolby Ballroom in Hollywood, in the same complex where the Academy Awards will be held at the Dolby Theatre, Nolan thanked his fellow producer Charles Royen for giving him "American Prometheus," the book that led to "Oppenheimer," and "starting a chain reaction that’s spread all over the world."

Earlier in the show, Robert Downey Jr. called it "the highest-grossing film about theoretical physics yet made."

Downey on Saturday won best supporting actor at the SAG Awards, where "Oppenheimer" also won best ensemble, part of an awards season sweep that also included wins at the Golden Globes and Directors Guild Awards.

"Succession" and "The Bear" took the top television prizes at the PGA Awards after doing the same at the SAG Awards and last month's Emmy Awards.

"Spider-Man: Across the Spider-Verse," nominated for the animated feature Oscar, won the PGA's animated motion picture award. Its predecessor, "Spider-Man: Into the Spider-Verse," won the PGA award in 2019 before going on to win the Academy Award.

Scorsese joined Tom Cruise, Steven Spielberg and Kevin Feige as winners of the David O. Selznick award for an outstanding body of work as a producer of motion pictures.

Scorsese said the first film he remembers seeing, at age 4, was the Selznick written and produced "Duel in the Sun."

"It was condemned by the Catholic church, and my mother wanted to see it," Scorsese told the audience. "She said, ‘The kid likes westerns, I’m taking him.’"

Scorsese said: "The very first impact of classic Hollywood cinema starts right there for me. Slashes of color, movement, the landscapes, stunning set pieces."

He called them "Proustian sense memories" of early cinema.

"I was frightened by them," he said, "and thrilled."

The 81-year-old said he was grateful for the privilege of getting to spend his life exploring "beauty that’s at the core of what we all strive to do."

Scorsese-produced films include his own "Hugo,The Wolf of Wall Street,Silence" and "Killers of the Flower Moon," along with dozens of films for younger directors including Spike Lee’s "Clockers," the Safdie brothers’ "Uncut Gems" and Joanna Hogg’s "The Souvenir."

Other career achievement awards went to producers Charles D. King and Gail Berman.

King became the first Black winner of the PGA's Milestone Award, whose previous winners include Walt Disney, Clint Eastwood and George Lucas, for historic career contributions to the motion picture industry.

King was lauded for leaving his job as a Hollywood agent in 2015 to found MACRO, a media company dedicated to amplifying the voices of black artists and other people of color.

The company has produced films including 2016's "Fences" starring Denzel Washington and Viola Davis, who won an Oscar for the role, and 2021's "Judas and the Black Messiah," for which King was personally nominated for an Oscar as a producer.

King thanked "our ancestors who kicked down doors, made sacrifices and blazed a trail for me to be able to do what I’m blessed to do."

Berman, the only woman to have held the top job at both a major film company and television network, was given the Norman Lear Achievement Award in Television. Berman was the driving force behind the creation and airing of "Buffy the Vampire Slayer," whose star, Sarah Michelle Gellar, presented her with the award.

"Not a single person on this earth was interested in buying that television show," Berman said. "But I just couldn’t ignore my gut telling me there was something unique there."

The PGA announced an initiative during the show that seeks to provide healthcare coverage for its member producers who are not covered other ways. Members of the actors and writers guilds have long used the unions for health insurance.

"Producers deserve to be covered," PGA Co-President Stephanie Allain said.

The effort involves asking production companies, including major studios and streamers, to include contributions to producers’ health coverage on its production budgets.

Film companies Blumhouse, Legendary and King's MACRO already have signed on.



‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
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‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)

Neither Pixar nor zombies were enough to topple “How to Train Your Dragon" from the No. 1 slot at North American box offices over the weekend. The Universal Pictures live-action remake remained the top film, bringing in $37 million in ticket sales in its second weekend, despite the sizeable new releases of “Elio” and “28 Years Later” , according to studio estimates Sunday. “How To Train Your Dragon” has rapidly amassed $358.2 million worldwide, The Associated Press reported.

Six years after its last entry, the Dean DeBlois-directed “How To Train Your Dragon” has proven a potent revival of the DreamWorks Animation franchise. A sequel is already in the works for the $150 million production, which remakes the 2010 animated tale about a Viking boy and his dragon.

Pixar's “Elio” had a particularly tough weekend. The Walt Disney Co. animation studio has often launched some of its biggest titles in June, including “Cars,” “WALL-E” and “Toy Story 4.” But “Elio,” a science fiction adventure about a boy who dreams of meeting aliens, notched a modest $21 million, the lowest opening ever for Pixar.

“This is a weak opening for a new Pixar movie,” said David A. Gross, who runs the movie consulting firm FranchiseRe. “These would be solid numbers for another original animation film, but this is Pixar, and by Pixar’s remarkable standard, the opening is well below average.”

“Elio,” originally set for release in early 2024, had a bumpy road to the screen. Adrian Molina — co-director of “Coco” — was replaced mid-production by Domee Shi (“Turning Red”) and Madeline Sharafian. Back at Disney’s D23 conference in 2022, America Ferrera appeared to announce her role as Elio’s mother, but the character doesn’t even exist in the revamped film.

Disney and Pixar spent at least $150 million making “Elio,” which didn’t fare any better internationally than it did in North America, bringing in just $14 million from 43 territories. Pixar stumbled coming out of the pandemic before stabilizing performance with 2023’s “Elemental” ($496.4 million worldwide) and 2024’s “Inside Out 2” ($1.7 billion), which was the company's biggest box office hit.

“Elemental” was Pixar's previously lowest earning film, launching with $29.6 million. It rallied in later weeks to collect nearly half a billion dollars at the box office. The company's first movie, “Toy Story,” opened with $29.1 million in 1995, or $60 when adjusted for inflation. It remains to be seen whether “Elio's” decent reviews and “A” from CinemaScore audiences can lead it to repeat “Elemental's” trajectory.

With most schools on summer break, the competition for family audiences was stiff. Disney’s own “Lilo & Stitch,” another live-action remake, continued to pull in young moviegoers. It grossed $9.7 million in its fifth weekend, bringing its global tally to $910.3 million.

“28 Years Later” signaled the return of another, far gorier franchise. Director Danny Boyle reunited with screenwriter Alex Garland to resume their pandemic apocalypse thriller 25 years after “28 Days Later” and 18 years after its sequel, “28 Weeks Later.”

The Sony Pictures release opened with $30 million. That was good enough to give Boyle, the filmmaker of “Slumdog Millionaire” and “Trainspotting,” the biggest opening weekend of his career. The film, which cost $60 million to make, jumps ahead nearly three decades from the outbreak of the so-called rage virus for a coming-of-age story about a 12-year-old (Alfie Williams) venturing out of his family’s protected village. Aaron Taylor-Johnson, Jodie Comer and Ralph Fiennes co-star.

Reviews have been good (90% fresh on Rotten Tomatoes) for “28 Years Later,” though audience reaction (a “B” CinemaScore) is mixed. Boyle has more plans for the zombie franchise, which will next see the release of “28 Years Later: The Bone Temple” next year from director Nia DaCosta.

“28 Years Later” added another $30 million in 59 overseas markets.

After its strong start last weekend with $12 million, A24’s “Materialists” held well with $5.8 million in its second weekend. The romantic drama by writer-director Celine Song and starring Dakota Johnson, Pedro Pascal and Chris Evans has collected $24 million so far.

Next weekend should also be a competitive one in movie theaters, with both “F1,” from Apple and Warner Bros., and Universal’s “Megan 2.0” launching in cinemas.