“It’s all new to me,” says Black, who understands that certain types of promotion could come off as “cheap.” “I don’t think I’m at the Clooney stage yet. But I’d do what they asked me to do — I’m proud of the work.”
One awards expert makes the point that the Academy is a notoriously snooty group and that members have a difficult time rewarding actors who are mainly known as a comedy “personality,” like Black. While Tom Hanks remains the gold (statue) standard for how a comedy actor can transition to a respected dramatic one — his five nominations and two wins put him in league with drama kings De Niro, Pacino and Day-Lewis — Black may be limited to a trajectory closer to that of Jim Carrey.
Carrey won the best actor, drama award at the Golden Globes for “The Truman Show” in 1999 and the best actor, comedy award for “Man on the Moon” in 2000, but both of those films were released by major studios. He also was nommed for the 2004 drama “Eternal Sunshine of the Spotless Mind,” which was released by Focus Features, but he has never scored an Oscar nomination.
The foreign press that votes on the Globes is decidedly more eager to reward comedic actors who stretch — Black himself was nominated for best actor, comedy in 2003 for “School of Rock,” also a Linklater-directed film. And “Bernie” seems like a shoo-in for noms at the Spirits for several awards. But the Oscars are almost certainly out of reach. Then again, crude funny guy Jonah Hill inexplicably landed a best supporting actor nomination for “Moneyball” last year, so maybe Academy members are more open-minded than I’m giving them credit for. But, like Carrey, Black remains more a fit for the MTV Movie Awards / People’s Choice Awards circuit.
For his part, Linklater is grateful for Millennium’s efforts to draw attention to “Bernie.” “It’s like the kid at the back of the class saying, ‘Don’t forget about us,’” he says. “I’ve made movies that I thought were pretty great, and they didn’t even send out screeners.”
As an example, Linklater points to Christian McKay’s performance in his previous film, “Me and Orson Welles,” in 2009. Freestyle Releasing, which handled the film, was late with sending out screeners, and it hardly got attention despite BAFTA and Spirit noms for McKay. Millennium isn’t making that mistake — it has already sent screeners of “Bernie” to Academy members in the hope that the film gets viewed before the deluge of year-end hopefuls washes the smaller films under.
But he downplays the potential this year. “I’m just back-up,” says Linklater, an Academy member who describes himself as “contrarian” when it comes to which acting performances he seeks to reward. “I’m here supporting Jack.”
Over the next several months, Millennium will keep waving its arms. Guild and Academy screenings are scheduled, along with Q&As and press events with Black and Linklater; screeners are going out to critics groups and guilds; additional events are planned for the Hollywood Foreign Press Association and other key media; and several private screenings for high-placed industry people that support Black are on tap as a conduit to voters — essentially, everything that is needed to replicate precedential successes from the awards-season playbook.
As another longtime indie-film player observed, however, the essential thing that “Bernie” has going for it is longevity — surprisingly, the film stayed in theaters from late April to mid-September. As a corollary, the 2003 drama “Whale Rider,” which was hardly a slam-dunk for awards recognition, was on screens for six months, June through November, and grossed nearly $21 million in the U.S. via Newmarket Films. Unknown 13-year-old Aussie star Keisha Castle-Hughes then managed to earn a best actress nomination to boot.
So Millennium may be making a shrewd business move, and Black could see his options widen come the spring.
Jay A. Fernandez is Indiewire's senior writer and news editor. You can follow him on Twitter (@writer730) and email him at firstname.lastname@example.org.