Hollywood filmmakers to fly drones on movie sets



The Federal Aviation Administration proclaimed a new era in aviation in September when it granted permission to six Hollywood filmmakers to fly drones on movie sets, a decision that opened the door to commercial drone flights in the United States.

“These companies are blazing a trail,” Transportation Secretary Anthony Foxx said at the time. “We are thoroughly satisfied these operations will not pose a hazard to other aircraft or to people and property on the ground,” added Michael Huerta, the chief of the FAA.
 
What the FAA did not reveal, however, was that senior officials had overruled objections from some of its safety inspectors, who had warned after a formal review that the filmmakers’ plans were too risky and should be prohibited, according to documents and e-mails obtained by The Washington Post.

The warning turned out to be prescient. On Wednesday, a camera-toting drone operated by one of the filmmakers, Pictorvision, flew off a set in California and disappeared, according to an FAA report. Tom Hallman, the president of Pictorvision, said crew members found the 20-pound drone the next day in “rugged terrain” on a private ranch about 100 yards from where they had been filming near Santa Clarita. He said no one was injured.

Since giving the go-ahead to Hollywood cinematographers three months ago, the FAA has been swamped with requests to fly drones from other companies. As of Friday, 167 applications from an array of industries were pending, and the government is bracing for hundreds more next year.
Several FAA employees, speaking on the condition of anonymity for fear of retaliation or losing their jobs, said supervisors are pressuring analysts to rubber-stamp the applications without a rigorous safety review.

“There’s huge political pressure to do quick approvals,” said one former FAA flight safety official. “Congress made very clear what they want, and safety is not at the forefront because of pressure from the industry.”

Safety inspectors said they were being marginalized in other ways. Last month, the FAA hired a lobbyist for the Hollywood filmmakers and other companies that want to fly drones. His task? Suggest ways to speed up the approval process.
 
“How is this not a conflict of interest?” Lance Nuckolls, an FAA safety inspector, complained in an e-mail to colleagues. “I’m now officially numb with total dismay and disgust with our leadership.”

After The Washington Post raised questions about the arrangement, the FAA acknowledged that it had been a conflict of interest and said it ended the contract Thursday.

The FAA’s caseload is cresting at a critical time and is aggravating disagreements within the agency over how to open the nation’s skies to drones. Cheap, easy-to-fly drones equipped with video cameras have become hugely popular with consumers and hobbyists. But in the absence of clear safety standards and effective oversight, the robotic aircraft are interfering with air traffic and threatening passenger planes.

Since June 1, pilots have reported 25 near-collisions with rogue drones and about 150 other incidents in which drones were spotted in forbidden airspace. Although most weighed only a few pounds, aviation experts said they could have caused a midair disaster if they had struck a plane or helicopter in a vulnerable spot.

Drones can also hurt bystanders on the ground. According to an FAA document, four people have been killed in recent years around the world after remote-controlled aircraft crashed into them.
James H. Williams, the head of the FAA’s unmanned-aircraft integration office, declined an interview request or to comment for this story. Last month, during a panel discussion at a drone-industry conference in Tysons Corner, Va., he said the agency always puts safety first.

“There are approximately 48,000 people in the FAA, and as far as I know, all of them have an opinion on unmanned aircraft integration, so coordinating across that body is an interesting challenge,” 

Williams said. “The FAA remains committed to our primary mission of safety, and that’s safety not only for the other aircraft in the air but for people and property on the ground.”


In a statement provided to The Post, the FAA said its drone application process was “rigorous” and “transparent.”


“The safety case for each application is thoroughly analyzed and the rationale for each decision is publicly available,” the FAA said. “As with any emerging technology, there is a very active debate about how to approach integration, and the FAA has decided to take a staged approach.”
Struggling to keep up
Bogged down by staff shortages and a slow-moving regulatory structure, the FAA has failed to keep up with rapid technological advances in the drone industry.

Although Congress has ordered the agency to integrate drones into the national airspace by September 2015, U.S. officials expect the FAA will miss the deadline by at least two years before it can finalize regulations for drones weighing less than 55 pounds. Devising rules for larger drones will take even longer.

Until then, the FAA has stitched together an interim patchwork of guidelines. Businesses are prohibited from flying drones without special approval. Recreational drone flights are allowed as long as the aircraft stay below 400 feet and five miles away from an airport. The military and other government agencies need a certificate to fly in civilian airspace.

The guidelines, however, are routinely ignored by drone enthusiasts. With an estimated half-million small drones spinning around America’s skies, the FAA has been overwhelmed.

To alleviate pressure from lawmakers and drone manufacturers to adopt a permanent set of rules more quickly, the FAA announced in May that it will offer a temporary remedy.

The agency said it will consider granting approval to certain types of low-risk businesses — such as pipeline inspectors, filmmakers and corporate farmers — to fly drones weighing less than 55 pounds. Requests would be reviewed on a case-by-case basis.

Within days, applications started pouring in.

Insurance giant State Farm wanted to fly 15-pound drones over houses to conduct roof inspections. Chevron and Dow Chemical wanted to use drones to keep an eye on their oil, gas and chemical plants. Amazon.com wanted to test drones to see if they can reliably transport packages to customers’ doorsteps (Jeffrey P. Bezos, the chief executive of Amazon, also owns The Post).

Each of those cases is pending. The FAA has said its policy is to make a decision on each application within 120 days. It met that timetable for the Hollywood filmmakers but has struggled to keep up with the avalanche of new cases.

From the outset, several FAA aviation-safety inspectors complained that senior officials were more interested in speedy approvals than ensuring safety, according to documents and e-mails.

“As I’ve said before, we can do this job ‘good’ or we can do it ‘fast,’ but we can’t do it ‘good and fast,’ ” James Ryan, an aviation-safety inspector, said in a July 24 e-mail to the FAA official in charge of reviewing the applications and several other colleagues.

No anti-collision systems
Satellite-guided drones can be purchased for less than $500 and flown right out of the box. But their affordability and simplicity masks a lack of basic safeguards that are required for other aircraft.
A fundamental principle of aviation safety is that pilots must be able to see and avoid other planes and objects in the sky — something that drones cannot do. Drones are equipped with cameras that have a limited field of vision. Researchers are working on substitute technologies, but solutions are years away.

Most models are too small to carry radar, transponders and anti-collision systems that regular planes rely on to avoid crashes. Radio transmissions that control navigation are vulnerable to interference and hacking. Many consumer drones are prone to “flyaways,” or flights that vanish and stop responding to commands.

The FAA has certified the airworthiness of only a few drone types for private use. Furthermore, the agency has yet to establish a new kind of pilot’s license for drone operators or minimum training standards.

As a result, when the Hollywood filmmakers filed their drone applications in May, they had to seek exemptions from 15 FAA safety regulations. That number alone raised red flags inside the agency.
“Seems to be a stretch concerning the world’s most robust aviation safety system,” safety analyst Silas Still wrote to colleagues in a June 4 e-mail. He did not respond to requests for further comment.
The six cinematographers — Astraeus Aerial, Pictorvision, Aerial Mob, HeliVideo Productions, Vortex Aerial and Snaproll Media — filed identically worded bids and were backed by the Motion Picture Association of America. Also submitting letters of support was the News Media Coalition, a group of publishers, broadcasters and wire services that includes The Post. The coalition advocates the use of drones for news gathering, a practice prohibited by the FAA.

The filmmakers’ applications omitted some rudimentary details, such as the make, model and performance history of the drones that would be used. They were described only as “rotorcraft” that would fly no faster than 58 mph.

After the FAA insisted on knowing more, the filmmakers identified the types of drones on the condition that the agency keep the details a secret, saying the information was “proprietary,” according to FAA case files.

 The cinematographers stated they would abide by other limitations: They wouldn’t fly the drones above 400 feet or for more than 30 minutes at a time. The aircraft would be restricted to closed movie sets on private or “controlled-access” property, and would have to remain within sight of the pilot or a ground observer.

Approval, despite rejection

The biggest hurdle was determining what kind of qualifications the drone pilots would need.
Under long-standing FAA rules, anyone operating an aircraft for hire must have a commercial pilot’s license. The Hollywood companies contended that a private pilot’s license — which is much easier to attain — would be sufficient for their drone operators.

Just because commercial pilots are highly qualified to fly regular aircraft, the firms argued, doesn’t 
mean they’d know how a drone works. Moreover, commercial pilots would pose a “significant financial burden” because they command higher pay and take longer to train, according to documents the filmmakers filed with the FAA.

The arguments didn’t pass muster with two FAA aviation-safety inspectors, James Ryan and James Kenney, who drafted a denial that would have shot down the filmmakers’ applications.

Enabling private pilots to work commercially would set a precedent, the inspectors wrote, boxing in the FAA while it developed a permanent set of drone regulations. They also noted that private pilots are twice as likely to be involved in fatal accidents as commercial pilots.

While the cinematographers said it would be safer to fly small drones than to film with a manned helicopter or airplane, the FAA inspectors questioned whether there were sufficient precautions to prevent an out-of-control drone from hurtling off a movie set.

“The petitioner has not explained an acceptable means of providing for the safety of the uninformed, non-participating public,” according to the inspectors’ draft denial.

The inspectors’ proposed rejection alarmed FAA supervisors, who urged them to reconsider, documents show.

“This is a high-priority activity,” Rob Pappas, the FAA’s special rules coordinator for drones, reminded the inspectors and other FAA employees in an Aug. 20 e-mail. He advised them to “think outside the box and be careful not to automatically fit rules that apply to aircraft weighing 1000s of pounds to these small [drones].”

Kenney and Ryan stood firm and submitted a recommended denial a week later.

Kenney and Ryan declined to comment, while Pappas did not respond to e-mails and a phone call seeking comment. Jonathan B. Hill, a Washington attorney who represents the filmmakers, declined an interview request.

In the end, the inspectors were overruled by senior FAA officials. The agency granted formal approval to the six filmmakers in September, finding that their plans were in the public interest and would “enhance safety” compared with using regular aircraft on a movie set. (A seventh cinematographer, Flying-Cam, won approval in October).

Hallman, the president of Pictorvision, the firm that had one of its drone fly away last week, said the FAA approval process was “extremely thorough” and dismissed suggestions that the agency had been too lenient. “I’ve never heard anyone say they didn’t go far enough.”

Ethics concerns
One person who was pleased by the approvals was John W. McGraw, a private aerospace consultant and former deputy flight standards director for the FAA. McGraw had been hired by the Hollywood firms to shepherd their bids through the FAA’s regulatory process.

At the drone-industry conference in Virginia in November, McGraw praised the FAA for approving the applications within 120 days. “I had advised my clients, I had downplayed the expectations,” he said. “Lo and behold, I have to say the FAA, not because I used to work there, did a magnificent job.”
As scores of new applications piled up, however, FAA leaders worried they would miss the 120-day deadline in other cases. So they decided to hire consultants to help streamline their case-review system.

On. Nov. 12, FAA employees were startled to learn that one of the new consultants would be McGraw, the advocate for the Hollywood filmmakers. A new organizational chart listed McGraw as reporting directly to Pappas, the special rules coordinator, even though McGraw still represented several companies with pending drone applications.

Lance Nuckolls, the FAA safety inspector who had e-mailed his colleagues to denounce the arrangement, said in a phone interview that he didn’t understand how the FAA could hire a consultant actively involved from the other side. “It was just a frustration over the ethics of it all,” he said. Nuckolls stressed that he otherwise fully supported the FAA’s review process for commercial drone flights.

Other documents indicated McGraw was working on behalf of SeaTec, an FAA contractor. According to briefing slides prepared by SeaTec, McGraw and other consultants were assigned to help the FAA devise a more “effective and efficient process” for approving drone applications.

In a phone interview, McGraw described his consulting role both as “very minor” and “at a very high level.”

He said he was not involved in reviewing individual applications and has merely explained the FAA’s inner workings to SeaTec. “We had a lot of discussion about how to firewall me.” He said the FAA organizational chart that listed him as a team member had been drawn up in error.

At the same time, McGraw said he realized some safety inspectors had objections to how the agency was handling drone applications in general.

“I’m not surprised some people are concerned about it,” he said. “Change is hard.”


In a statement, the FAA said it had been “assured by the contractor” that McGraw would not work on the project to streamline the drone application review process. “Upon further review we learned that . . . the contractor did allow him to participate on the project, creating a conflict of interest.” As a result, the agency said it “stopped work” with SeaTec and would not rely on any of its recommendations.


Jack Schmitt, a SeaTec executive in charge of the project, did not respond to requests for comment.

In a subsequent interview, McGraw said he was disappointed by the decision, noting that FAA officials had originally approved the arrangement.


“We asked that question before the project started and the FAA said, ‘No, you’re fine,’” he said. 

“There was nothing that was done that would affect any of my clients, so the reality is there was no influence.”

Craig Whitlock covers the Pentagon and national security. He has reported for The Washington Post since 1998.

Walt Disney: Always and forever in our hearts.



"All our dreams can come true, if we have the courage to pursue them."
~Walt Disney


Today in 1966, Walt Disney the visionary whose pioneering spirit and inimitable creativity made the impossible possible, turning dreams into reality and building the foundation of The The Walt Disney Company of today, dies at age 65. He passed away of acute circulatory collapse (caused by lung cancer) at St. Joseph's Hospital, where he had been in the hospital since November 30th, just ten days after his 65th birthday.
 

The creator of Mickey Mouse and founder of Disneyland and Walt Disney World, Walt was an animator, a filmmaker, a visonary and an innovator. Walts optimism came from his unique ability to see the entire picture. His views and visions, came from the fond memory of yesteryear, and persistence for the future. Walt loved history. As a result of this, he didn't give technology to us piece by piece, he connected it to his ongoing mission of making life more enjoyable, and fun. Walt was our bridge from the past to the future. He was way ahead of his time and will be remembered always.

Sony suspends filming after hackers hit payments

‘Exodus’ Vies For The Masses; Will Faith-Based Auds Show Up? – Box Office Preview





Top Five

Elsewhere this weekend, Paramount is opening the Chris Rock self-homage comedy Top Five, which it bought out of the Toronto Film Festival for $12.5M, in 975 locations. The studio is eyeing a three day of $6M-$8M in hope of expanding to more venues based on word-of-mouth. Lionsgate’s The Hunger Games: Mockingjay – Part 1 should file behind Moses at No. 2 with $11M, while Warner Bros will unspool Paul Thomas Anderson’s private-eye comedy Inherent Vice in New York and Los Angeles in five theaters with an $80K per theater; that’s slightly higher than the cult director’s Adam Sandler absurdist comedy Punch Drunk Love, which made $73K in five venues.

“We’re going after everyone,” Fox’s distribution chief Chris Aronson says about how the studio is making a play for a four-quadrant audience for Exodus in 3,503 theaters. Fox hopes it has the event film that will draw all family members to the cinema this holiday season.

Image (5) russell-crowe-as-noah-014-noah-s-russell-crowe-says-that-banning-was-to-be-expected__140330150022.jpg for post 706444In the same fashion that a studio needs to appease and engage the fanboy audience to turn a big-screen comic-book adaptation into a crossover success, it’s essential for a studio to reach out to the faith-based on a biblical film like Exodus, as they’re the folks who will line up first and fuel repeat business.

Like Noah, Exodus has some deviations from the Old Testament — though arguably fewer, according to Christian and Jewish groups. For example, “I Am” aka God is played by a petulant boy; Moses is a young, virile warrior, not a meek 80-year-old man; and the film doesn’t depict God taking his people out of Israel — rather they revolt against the Egyptians.


'Exodus' Opening Weekend Box Office: Will Christians Attend?But not all Christians will have a problem with this, according to Marshall Mitchell, who co-founded faith-based entertainment marketing firm Different Drummer, which handled the religious outreach for Fox on Exodus. “There’s not one homogeneous evangelical crowd, so people are going to be all over the place (with their opinions). For a lot of Christian audiences, Exodus is another stop along the journey of religious discovery and faith engagement. Exodus isn’t expected to define their (Christian) faith, but it’s a tool that they will agree with strongly or disagree with strongly.”

Mitchell points out that even Cecil B. DeMille’s 1956 classic The Ten Commandments took liberties with the Old Testament, filling in narrative gaps, and that film hasn’t suffered over time from the religious establishment.

“I think people are going to approach Exodus individually, taking a piece of Moses that resonates with them.”

Different Drummer implemented numerous forms of outreach to drum up awareness for Exodus, including playing the trailer at several Christian conferences over the past two months, inviting a number of Jewish, Muslim and Christian leaders from various sects to a 40-minute sizzle reel of the film in select cities as well as advance screenings. The lobby of the American Bible Society’s HQ in New York is adorned with Exodus ads. TV spots for Exodus were bought specifically during NFL events, given the sports crowd’s Christian sensibility. Rev. Floyd Flake of New York’s Greater Allen A.M.E. Cathedral, which counts 30,000 members, even publicly extolled Exodus. Faith Driven Consumer, a marketing firm that bridges the gap between 41 million Christians who it says spend $2 trillion annually at the consumer market, says that 78% of all Christians will see a film if their church recommends it.

Mitchell adds, “There wasn’t an effort to get endorsements (from religious leaders or groups), as Moses is a well-known story.” Mark Burnett and Roma Downey’s feature production Son Of God — which Fox released to a solid opening of $25.6M for a film of its size ($22M) and final domestic B.O. of $59.7M — garnered a number of endorsements including Cardinal Roger Mahoney, Archbishop Emeritus of Los Angeles; Archbishop Emeritus Desmond Tutu; and Bishop TD Jakes.

isaac andrewBut then there are those Christian groups that prophesize complications for Exodus. Faith Driven Consumer responded to the casting of young British actor Issac Andrews — who the NY Times called “Children of the Corn terrifying” — “as a deal breaker, likely to have significant impact on the box office returns of Exodus.” Last spring, the org’s sister stat firm American Insights published a survey stating that 73% of all adults would be likely to see Exodus if it accurately portrays the biblical account of Moses leading the Jewish people out of captivity. However67% of all adults would be unlikely to see the pic if it does not accurately portray the Bible.

“We might call that creative license, but to Christian moviegoers, it’s called heresy!” barks another faith-based film marketing consultant about Exodus‘ liberties.

joel edgertonFaith Driven Consumer projected gloom and doom for Noah, however, that film assailed to solid heights. The group’s founder Chris Stone observed that Noah transcended its core crowd because “the public loves apocalyptic stories, whether it’s The Walking Dead on TV or the Mayan calendar disaster film 2012.” And working in Exodus’ favor in terms of wide appeal are the series of diabolic situations that God wages on the Egyptians.
There also was some scuttlebutt on social media about Exodus in recent weeks. News Corp Chairman and CEO Rupert Murdoch received some heat on Twitter after he defended Scott’s choice to cast white movie stars as Egyptians over those of color. In the wake of Murdoch’s tweets, #boycottexodusmovie became a trending topic. Scott in an AP article told prospective snubbers to “Get a life.” Just like Exodus isn’t racking up a slew of endorsements, it’s not racking up a number of prolific of boycotters in the Last Temptation Of Christ sense. It’s doubtful that these squabblers will impact Exodus’  box office.

Social media tracker RelishMIX sees Exodus as having a modest, but growing, 46.2 SMU (social media universe including YouTube views, Facebook likes and views, and Twitter followers and tags combined), which includes 24.4M YouTube views. Exodus star Bale’s 23 Facebook and Twitter fan pages have been driving the film’s engagement during the past month. By comparison, Noah opened with a SMU of 60.4M and 20.4M YouTube views, heavily driven by Emma Watson. Son Of God found an audience with much softer social strategy with a SMU of 7.1M and only 3.6M views.

Exodus Opening Weekend Box Office: Will Christians Attend?But again, a movie about Moses doesn’t just boil down to Christian crowds, but those of the Jewish and Islamic faith as well. Rabbi David Baron, head of the Beverly Hills Temple of the Arts, consulted the Exodus screenwriters, pointing out those discrepancies from the Old Testament that were bound to rub traditionalists the wrong way — in particular, a child portraying the Almighty.

Still, Baron thinks that Exodus won’t alienate Jewish audiences; rather, it will re-engage a younger generation to the faith and the Bible story.
“I think audiences know going into the movie they’re not going to get a clergyman’s account of these events,” he said. “I think what gets lost in the analysis of this discussion is how a Hollywood production such as this will create a new palette on which to paint the portrait of Exodus, one of the greatest stories of freedom, and connect it to a new generation.”

The CIA and The Bee Gees stopped Jim Carrey from killing The Grinch due to EIGHT AND A HALF HOUR make-up regime (via @heatworld)

The CIA and The Bee Gees stopped Jim Carrey from killing The Grinch due to EIGHT AND A HALF HOUR make-up regime (via @heatworld)

James Bond film titles explained

By  

Which Bond film owes its title to a typo? Who was Goldfinger? And what's a quantum? Ahead of the Bond 24 announcement, we reveal the meanings of previous 007 titles

1. Goldfinger (1964)
The first James Bond film to win an Oscar took its title from a man 007 creator Ian Fleming used to know called ErnÅ‘ Goldfinger. He was the cousin (by marriage) of Fleming’s golf partner, John Blackwell, and threatened to sue over the use of his name. The matter was settled out of court.
 
2. You Only Live Twice (1967)
Fleming was inspired by the 17th-century Japanese poet Matsuo Basho, who wrote these words more than 300 years before they were used as the title for the 12th Bond novel.
 
3. Diamonds are Forever (1971)
In 1947, copywriter Frances Gerety coined the phrase "A Diamond Is Forever" in an advertising campaign for De Beers. It seems inconceivable that Fleming wouldn’t have been directly influenced by this.
 
4. The Spy Who Loved Me (1977)
Unlike the film, The Spy Who Loved Me novel is told in the first person by a young Canadian woman, Vivienne Michel, and Bond doesn’t appear until two thirds of the way through. The title makes a lot more sense when you think about it that way.
 
5. Octopussy (1983)
The 1983 movie takes its name from a coracle Ian Fleming received from his neighbour – and lover – in Jamaica, Blanche Blackwell (the small boat was called Octopussy).
 
6. A View To A Kill (1985)
This grammatically suspect title comes from an unrelated Fleming short story called From A View To a Kill. The film attempts to make some sort of sense of it with the following lines of dialogue from villain Zorian (Christopher Walken) and his henchwoman May Day (Grace Jones): Her: "What a view." Him: "To a kill!"
 
7. Licence to Kill (1989)
Timothy Dalton’s second Bond outing was originally titled Licence Revoked, which makes perfect sense given that in the film M suspends 007 after he refuses to give up the hunt for the person who fed his friend Felix Leiter to a shark. However, because polled American audiences said the phrase reminded them of confiscated driving licences, it was changed to Licence to Kill – absurd, really, when you consider it’s the only film he’s not legally allowed to shoot people.
 
8. GoldenEye (1995)
Pierce Brosnan made his Bond debut in this 1995 film, named after Ian Fleming’s estate in Jamaica. The novelist claimed a number of origins for the name of the estate, including Carson McCullers’s Reflections in a Golden Eye and Operation Goldeneye, a plan he developed during the Second World War for maintaining communication between Britain and Gibraltar. Goldeneye is also a type of duck 

9. Tomorrow Never Dies (1997)
The film was originally supposed to be called Tomorrow Never Lies – a reference to the (fictional) newspaper, Tomorrow, run by the villainous Elliot Carver (played by Jonathan Pryce). Word has it, however, that when the title was faxed to MGM, there was a typo, and the marketing department preferred the incorrect version. The title for Tomorrow Never Lies, meanwhile, came to scriptwriter Brucen Feirstein while he was listening to The Beatles’ trippy song, Tomorrow Never Knows.
 
10. The World Is Not Enough (1999)
This phrase, believed to originate from Alexander the Great’s epitaph, appeared in the 1963 Bond novel On Her Majesty’s Secret Service as the family motto of Sir Thomas Bond, whose Coat of Arms 007 is shown while on assignment.
 
11. Die Another Day (2002)
There’s a 1896 poem by AE Housman’s called A Shropshire Lad, which features the line “But since the man that runs away / Lives to die another day”. That’s the only explanation for this terrible title for an equally terrible film.
 
12. Quantum of Solace (2008)
After this title was announced in 2008, many struggled to understand its meaning – including the film's screenwriter, Paul Haggis. "I have no idea," he admitted when asked. "It's not my title." Indeed, it's the title of a Fleming short story about Bond meeting a cuckolded husband, and more inquiring minds were quick to point out that "quantum" is the smallest possible amount of a physical property. For Daniel Craig, it was about relationships: "When they go wrong, when there's nothing left, when the spark has gone, when the fire's gone out, there's no quantum of solace," he clarified. But perhaps comedian Adam Buxton explained it best in his alternative Quantum of Solace theme song: “I want a quantum of solace, but just a quantum / I know they do big bags of solace, but I don’t want ‘em.”

'Birdman' tops Golden Globes with 7 nominations

By JAKE COYLE

NEW YORK (AP) — "Birdman" squawked loudest in the Golden Globes nominations, flying away with a leading seven nods including best picture in the comedy or musical category.

In nominations for the 72 annual Golden Globes announced Thursday morning by the Hollywood Foreign Press Association, "Boyhood" and "The Imitation Game" trailed with five nods apiece. Those two films led a best drama category that also included "Foxcatcher," "Selma" and "The Theory of Everything."

In the best picture, comedy or musical, category, "Birdman" was joined by "St. Vincent," "Grand Budapest Hotel," "Into the Woods" and — in a surprise — the independent British film "Pride."
Alejandro Gonzalez Inarritu's "Birdman, or (The Unexpected Virtue or Ignorance)," in which Michael Keaton plays a Hollywood star trying to mount a serious drama on Broadway, earned nods for Keaton and supporting players Edward Norton and Emma Stone, as well as for its direction, screenplay and score.


(AP) In this image released by 20th Century Fox, Ben Affleck, left, rehearses a scene...
Richard Linklater's long-in-the-making coming-of-age drama "Boyhood," thus far the critical darling and the perceived front-runner of Hollywood's awards season, added nominations for Linklater's direction and script, and supporting actors Ethan Hawke and Patricia Arquette.


 The World War II code breaker drama "The Imitation Game," starring Benedict Cumberbatch as mathematician Alan Turing, also went over well with the HFPA. In addition to its best picture nod, the Weinstein Co. release won nods for Cumberbatch as best actor, Keira Knightley for best supporting actress, Graham Moore for best screenplay and Alexandre Desplat for best score.

The other nominees for best actor in a drama were Steve Carell ("Foxcatcher"), David Oyelowo ("Selma") and Jake Gyllenhaal ("Nightcrawler") and Eddie Redmayne ("The Theory of Everything").

"I've been a bit frantic," said Redmayne, who plays Stephen Hawking in the film, on the phone from London. "I'm trying to finish all my Christmas shopping in a day, and now I got this phone call. I'm about to have a few mulled wines to celebrate."

Most of the awards season favorites were rewarded with decent showings Thursday, though some hopefuls failed to break through. Most notably, Angelina Jolie's World War II drama "Unbroken" yielded no nominations at all, though Jolie has seven times previously been nominated (winning thrice), including a nod for best foreign language film for her previous directing effort, "In the Land of Blood and Honey."

(AP) This image released by IFC Films shows Ellar Coltrane at age six in a scene from the...

Clint Eastwood's "American Sniper," starring Bradley Cooper as Navy SEAL Chris Kyle, also went unnoticed. Christopher Nolan's sci-fi epic "Interstellar" landed only a nomination for Hans Zimmer's score.

In the best actress category, 11-year-old Quvenzhane Wallis ("Annie") joined a battery of veteran performers in Julianne Moore ("Maps to the Stars"), Helen Mirren ("The Hundred-Foot Journey"), Amy Adams ("Big Eyes") and Emily Blunt ("Into the Woods").

On the dramatic side, the best actress category was notable for two stars in notably less adorned performances: Reese Witherspoon in the hiking drama "Wild" and Jennifer Aniston for "Cake." Also nominated were Moore (her second, for "Still Alice"), Felicity Jones ("The Theory of Everything") and Rosamund Pike ("Gone Girl").

"'Wild' is truly my baby and was a labor of love from the beginning," said Witherspoon, who also produced the adaption of Cheryl Strayed's memoir.

One of the surprise winners of the day was "Grand Budapest Hotel." Along with a best picture nod in comedy, it earned nominations for Ralph Fiennes as best actor, and Wes Anderson for screenplay and director.


(AP) In this image released by FX, Kathy Bates appears in a scene from "American Horror...
Fiennes and Keaton were joined in best actor, comedy or musical, by Bill Murray ("St. Vincent") and in a few less expected choices, Joaquin Phoenix for "Inherent Vice" and Christoph Waltz for "Big Eyes."

 The Globes are known for sometimes idiosyncratic choices that help populate its flashy red carpet with celebrities, but there weren't many odd picks in the style of its infamous attention for "Salmon Fishing in the Yemen" and "The Tourist" in years past. The Globes wrapped up the attendance of one star — George Clooney — ahead of Thursday's nominations by selecting the actor-director for its honorary Cecil B. DeMille Award.

Meryl Streep added her 26th nomination (eight wins) with a best supporting actress nod for the Stephen Sondheim musical "Into the Woods." She joins Stone, Arquette, Knightley and Jessica Chastain for "A Most Violent Year."

"I have no words," said Stone, noting that she was honored to be a part of "the beautiful madness that is 'Birdman.'" "Now can someone please explain who this 'Meryl Streep' woman is?!"?
In supporting actor, J.K. Simmons ("Whiplash"), Mark Ruffalo ("Foxcatcher") and Robert Duvall ("The Judge") joined Hawke and Norton.
 
Among the TV categories, "Fargo" led with five nominations, including best TV miniseries or movie. HBO dominated with 15 nominations, while upstarts Netflix (seven nods) and Amazon (two) also made inroads.

The best drama series nominations went to "The Affair," "Downton Abbey," "Game of Thrones," "The Good Wife" and "House of Cards." The nominees for best TV comedy series are: "Girls," "Jane the Virgin," "Orange is the New Black," "Silicon Valley," and "Transparent."

For the third time in a row, the Globes telecast will be hosted by Tina Fey and Amy Poehler. The show will air live from the Beverly Hills Hotel in California on Sunday, Jan. 11. Last year's awards drew 20.9 million viewers, marking it the most-watched Globes since 2004.

Going into Thursday's nominations, "Boyhood" had emerged as the unlikely favorite in Hollywood's awards season, taking top honors from the New York Film Critics Circle and the Los Angeles Film Critics Association.

But support has also been strong for "Birdman," which topped the Gotham Independent Awards. On Wednesday, the Screen Actors Guild — a strong predictor of the Academy Awards since its memberships overlap a lot — nominated the ensemble casts of "Birdman," "Boyhood," "The Imitation Game," "The Theory of Everything" and "Grand Budapest Hotel."

Last year, the Globes chose the eventual Academy Awards best-picture winner, "12 Years a Slave," as its best drama. Best comedy or musical went to "American Hustle."


Derrik J. Lang and Sandy Cohen contributed to this report from Los Angeles.