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Post by spideyfan914 on Feb 24, 2013 15:54:25 GMT -6
BEST SOUND Sh! .... Do you hear that? .... I doubt it, because I'm in a different country. Sound is something of the "invisible hand" of film: while many are aware of the stunning visuals present in the photography, the sounds of the movie tend to slip under the surface without notice, allowing to take a bigger toll on the subconscious element than anything else. Sound is also the butt end of every joke on set.
At the real Oscars, there are two sound categories, for mixing on set and design in post. I'm not good enough to do that, so here's both in one.
Argo The phrase "Argo fuck yourself" is not really relevant to the category, but worth a mention.
Les Miserables With new technologies, Les Miserables successfully employs live recording of the music on-set.
Lincoln A sterile sound design is one of many effects in Lincoln used to suck the audience in.
Looper It just is.
Skyfall Action movies are not new to this category, having a variety of effects which must be employed at this stage and a number of tracks to be mixed in a which will sound like something other than a complete mess.
And the Oscar goes to....
LES MISERABLES!! Most movie musicals are made by pre-recording the songs and then lip-syncing to them on set. With Les Mis' use of live recording, the actors are allowed to live, to breath. Nothing is forced, and the movie is brought to a new level of energy which could not have been achieved without its use of sound.
BEST EDITING It can take anywhere between a week and a year to write a film, and up to ten years to prepare it for shooting, and then when you finally get on set you realize there are still all these problems to be addressed. Really. That's how it is. So naturally, when the production is wrapped, directors like me just want to go home and take a nice long nap forever. This leaves the rest of the production with a lot of footage of twenty takes of each unnecessary shot, and no clue what to do with it.
The nominees are....
Argo Not just footage, but also a fine use of archival footage brought this movie to life.
Life of Pi Never rushed, Life of Pi paces its editing to create the feel of intense desperation.
Silver Linings Playbook With a beat of comedic timing, but never too exaggerated.
Skyfall Don't underestimate how easy it can be to let action take over and allow choppy editing. Skyfall maintains a logic without destroying the form.
Zero Dark Thirty This movie has its flaws, but the editing fits together seamlessly.
And the Oscar goes to....
ARGO!! An editor must do more than merely splice the footage together. He must create a sense of timing, of logic, of space. A good editor can redefine the entire pace of the movie. Argo flows through a variety of spaces, frequently jumping across the world five times in five shots. But a sense of place is never lost, the film never grows dull, and the suspense is so thick one can see it.
BEST PRODUCTION DESIGN Everything you see here is Production Design, from that computer in front of you, to that neat arrangement of pencils, to that half-eaten sandwich is your elbow is sitting in. Really, that's gross. A team of art directors are responsible for decorating the set, and whether it be a neat rich apartment or a shabby messy trash heap, they must let it fit the world of the film. As any architect may confirm, an entire story can be told just by the state of the set.
The nominees are....
The Hobbit: An Unexpected Journey A fantasy world not too much like our, The Hobbit displays a variety of cultures in incredible detail.
Les Miserables A set of France (despite the British accents, yes) which seems just very slightly off - like a stage.
Lincoln What sets Lincoln aside from other such films is that it just feels more authentic.
The Master Starkly clean suburban sets are the uneasy placement for the strange tale.
Prometheus The vast empty horizons of Prometheus were highlighted by the detailed patterns with the caves of the ship.
And the Oscar goes to....
LINCOLN!! This, I imagine, is what the world looked like in the nineteenth century. Not to say it isn't helped by an unsettling cinematography, but the art in Lincoln is truly incredible. Astounding sets make for what appears to be an authentic Washington DC of the Civil War. It's no wonder Spielberg wore suits to work - he must've thought he was really there.
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Post by spideyfan914 on Feb 24, 2013 16:24:35 GMT -6
BEST VOICE ACTOR This category does not exist at the real Oscars, but it should. Animation, like Live-Action film, relies on a number of crafts but is only ever awarded once. While most of these are talked about at the Annies, I feel voice acting is enough of a developed art form to warrant its own category. This will include actors and actresses together (yes, I know that's taboo), and will take no preference between Lead and Supporting, to make up for the small amount of eligible films. Also eligible are voice overs in live action film, though motion capture will not be included.
With no further ado, the nominees for Best Voice Actor are....
Martin Landau for Frankenweenie For his role as an eccentric science teacher reminiscent of something Vincent Price related.
Kelly MacDonald for Brave The first Pixar heroine, a mention of her is almost a necessity.
Jack McBrayer for Wreck-It Ralph Fix-It Felix may feel like an adaptation of Kenneth from 30 Rock, but who can really get enough Kenneth?
Seth McFarlane for Ted Though this category doesn't exist at the real Oscars, he will be hosting them.
Alan Tudyk for Wreck-It Ralph A villain in a world of candy, it makes no sense that one actor should be able to balance these concepts.
And the Oscar goes to....
ALAN TUDYK!! For most, putting on a voice would run the danger of falling into a gimmick, but Tudyk manages to pull it off while maintaining a sense of character. I've never known him for his voice work, and so seeing his name in the end credits was a delight to no end.
BEST ANIMATED FEATURE At the real Oscars, these movies cannot win no matter what. That's how you know I'm better - I hold no biases, and would have gladly given the grand award to Toy Story 3. Still, for the time being, this is the category to run to if you don't want to bother yourself with themes too serious or mature unless the movie is Coraline or The Illusionist in which case HA!
The nominees are....
Brave The latest movie from Pixar, also known as "that company that always wins," Brave has some truly beautiful imagery which has been seldom matched.
Frankenweenie Called Tim Burton's best movie since Big Fish, Frankenweenie plays off old horror tributes mixed with a truly heartfelt and emotional central plot.
Wreck-It Ralph A dive into the world of arcade video games, Wreck-It Ralph's story of a villain who wants to be a hero has reached both gamers and non-gamers alike.
And the Oscar goes to....
WRECK-IT RALPH!! Just goes to show how a powerful story of wanting to break the mold that's been given to you, mixed in with an original and inventive world filled with clever characters can make a great movie. Wreck-It Ralph sounds like a gimmick at first glance, but is in truth a journey through a world which leaves a craving for more. And so, I hereby give Ralph the very medal he seeks.
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Post by spideyfan914 on Feb 24, 2013 16:44:55 GMT -6
BEST CINEMATOGRAPHY It is the director's job to select the shots and develop a style for the film, but it is the cinematographers job to execute that style. He is in charge of everything related to the camera and the lighting, and it is he that develops the "look" of the film. Dark and somber, overexposed and painful - these are just some of the most basic choices the cinematographer must make.
The nominees are....
Django Unchained A remarkable look at a more stylized Western, the photography here is a wonder to behold.
Life of Pi How many ways can you shoot a man drifting on the water? A lot, apparently. Whether it be super-reflective, or we can see fishes beneath, Life of Pi is especially inventive in its lighting schemes of the ocean and sky.
Lincoln Many movies ignore the lack of lightbulbs in the nineteenth century, but not this one. The film is exceptionally dark, with pools of light scattered around. It is mysterious and intriguing.
The Master A shallow depth of field and bizarrely uneasy look, I left the theater amazed that such shots were even possible.
Skyfall From the city of London, to the heights of Shanghai, to the landscapes of Scotland, Skyfall is practically a tour of the cameraman's flexibility.
And the Oscar goes to....
SKYFALL!! For Director of Photography Roger Deakins, this marks his tenth Oscar nomination, without any wins. But if Skyfall isn't convincing, I don't know what more he can do. A scene in which Bond duels with a sniper, the use of reflective glares against walls of glass is more than a technique, and blends as the defining feature of the fight. When fire erupts in Scotland, it is the display of colors that makes the scene brilliant. Deakins has brought all of his A-game to make this movie extraordinary.
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Post by spideyfan914 on Feb 24, 2013 17:14:34 GMT -6
BEST ORIGINAL SCREENPLAY Not to brag, but I'm in a writing class now, and with four feature-length scripts behind him, I feel I am best suited to comment here. Many think writers just sit around and come up with dialogue all day, but it's more than that. It is the development of an idea, the setting of the structure, fleshing of characters, and in the case of an original screenplay, the conception. The screenplay is the blueprint of the film, and must therefore exist before anything else.
The nominees are....
Amour A heartfelt tale of two lovers grown old and dying. The simplest of scenes go the farthest.
Cabin in the Woods The exact opposite of Amour, Cabin in the Woods plays off our expectations of the horror genre to create something absurd and ludicrous in all the best of ways.
Moonrise Kingdom We're taught, in writing class, to always beat around the bush, but Wes Anderson insists on his characters stating everything directly, and proves for certain that writing instructors don't always know what they're talking about.
This Is 40 An overlooked comedy from Judd Apatow, the sort-of sequel to Knocked Up is as far removed from Knocked Up as two films could possibly be within the same genre - and far superior.
Wreck-It Ralph Excellent character work in a fascinating and complete world, Wreck-It Ralph became so much more than what it almost could have been.
And the Oscar goes to....
THIS IS 40!! Raunchy R-rated humor has come to be considered something of a "lesser" genre. But This Is 40 takes it to an entirely different level, defying conventional plot structure or the usual perfect ending. Rather, it is an episodic feature, a splice of life detailing all the events that happen around this couple over the period of the few months between their fortieth birthdays. It is funny, but it is also desperate, and can be disturbingly real.
BEST ADAPTED SCREENPLAY An adapted screenplay is taken from a previous source. In other words, these are the best ideas Hollywood ripped off this year. Meaning we never need to read these books again! Huzzah!
The nominees are....
Argo This tale of a CIA rescue mission is racked with suspense.
The Avengers Taking a bunch of different superheroes, from a bunch of movies of completely different tones and genres, The Avengers had all its cards laid out to fail. And it didn't, and this is in large part due to the brilliance of the script and how it plays the characters off each other.
Life of Pi My comment about books was in jest, as the magnificence of the script for Life of Pi was so inviting and ever-changing that I actually might read this one.
Perks of Being a Wallflower High school has been done before, but this movie gets it much closer to reality than any other.
Silver Linings Playbook This romantic comedy about two lost souls is the strangest one in years.
And the Oscar goes to....
SILVER LININGS PLAYBOOK!! It employs Pat and Tiffany in a never-ending roller coaster journey to reunite Pat with his lost wife. The twist is that they're both crazy - and simultaneously the most sane and relatable characters in the film. They will say the things we all think but never voice, going on rants about the endings to books, demanding recognition for his determination, and explaining "I ordered cereal so it's not a date." The dialogue here is so energetic and pitch-perfect, it is inevitably enjoyable.
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Post by spideyfan914 on Feb 24, 2013 17:26:44 GMT -6
BEST DIRECTOR He's the big man upstairs. He clears all the decisions made by everyone, and guides the picture into the state it must become. The director is the one with the vision, and it is his job to point the cast and crew into that direction. He's essentially a tour guide. He knows where they're going, and how to get there, but can't do it without the tour, because that would be pointless. And it is ultimately they (the cast and crew) who determine if they will do the work. But they must be guided.
The nominees are....
Ben Affleck for Argo Never my favorite, by the time I finished this movie I was a bit disappointed to admit that I now like Affleck. But if this is Affleck's new standards, then I'll say it: "I like Affleck."
Michael Haneke for Amour A rare visionary, Haneke has etched Amour with a great deal of care and precision, giving each shot a distinct purpose, never wasting anything.
Tom Hooper for Les Miserables It's hard to say his direction is perfect, but it is certainly original. Hooper took risks and tried new things, as he does in each of his movies, and the best parts of the film were when Hooper did anything unusual.
Sam Mendes for Skyfall Mendes always knew what he was doing, and laid out clear plans for each scene. Watching this film unfold is like a master lesson in directing.
Steven Spielberg for Lincoln Lincoln is shot with a great control and dominance. Spielberg takes charge of each shot, keeping everything focused and never allowing for any loose end.
And the Oscar goes to....
MICHAEL HANEKE!! He does not rush anything in this film. Haneke's method, it would seem, is to let the story tell itself, a concept so rare in cinema that it is mesmerizing when done. Haneke shows a great deal of respect and reverence for the actors and their craft, as well as for the space of the film. He keeps everything in order through the simplest, most basic of methods with unmatched subtlety and zero gimmickry.
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Post by spideyfan914 on Feb 24, 2013 17:49:16 GMT -6
BEST ACTRESS IN A LEADING ROLE This is the award for actresses playing love interests in romantic movies, and CIA agents. With a movie resting on their shoulders, these actresses need to be something more than great, to convey emotion and range in such a way no one else can imitate.
The nominees are....
Jessica Chastain for Zero Dark Thirty She has wowed us with a range of roles this past year, and now she plays an obsessive American hero who shines greater with each minute, down to the very VERY last.
Judi Dench for The Best Exotic Marigold Hotel Sure, why not?
Jennifer Lawrence for Silver Linings Playbook Her character in the book is older than Lawrence, but somehow she comes forth with this maturity of years she's never lived which makes it a simple matter to overlook.
Emanuelle Riva for Amour 86 years old today? Happy birthday, Emanuelle Riva!
Quvenzhane Wallis for Beasts of the Southern Wild She's only 9 years old, and was even younger when the film was shot. Most child actors are god-awful to watch, but Wallis is able to carry a movie which, with anyone else, would have failed.
And the Oscar goes to....
EMANUELLE RIVA!! I can't believe it's her birthday! You can't deny her an Oscar on her birthday. But in all seriousness, her performance is one of such grace and magnificence, she really does deserve this. Riva, along with co-star Jean-Louis Trintignant, carry a film about two old folk. Even through a demented mind, Riva displays a depth which brought tears to my eyes.
BEST ACTOR IN A LEADING ROLE We all know what this means. It's the lead man, the hardened inspector, the President of the United States. The actor's craft is a complicated one, and whether you exile yourself like Daniel Day-Lewis or just kind of wing it, a great performance is an absolute necessity to the power of cinema.
There's been many powerful performances this year, and it's been hard to pick only five, but alas, here are the nominees:
Bradley Cooper for Silver Linings Playbook His role as a bipolar man is one of remarkable wit and playfulness. Cooper's turn into critical acclaim has not been lost on me, and I look forward to seeing him again!
Daniel Day-Lewis for Lincoln Daniel Day-Lewis is one of many talents, most notably of being so elusive in what he may really be like that it is impossible to actually tell.
John Hawkes for The Sessions Unable to move the majority of his body for the film, Hawkes managed to act this one with nothing but his face and voice, and came forth with excellence.
Joaquin Phoenix for The Master The performances were really the best part of this movie. Phoenix plays crazy to make you never know if you like him or not.
Denzel Washington for Flight A performance of incredible depth, Washington shows his struggle with alcohol with ease.
And the Oscar goes to....
DANIEL DAY-LEWIS!! Duh. He is so frighteningly good in this movie, it is legitimately frightening. I would never be able to work with Day-Lewis because I'd be afraid to tell him what to do. Having previously known him mostly from Gangs of New York and There Will Be Blood, seeing him suddenly calm down and talk softly was an entirely different experience, as he disappears into the role. But even talking with modesty, Day-Lewis sucks you into his performance. Calmness and unrelenting power: Where else can you find both?
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Post by spideyfan914 on Feb 24, 2013 19:29:45 GMT -6
And now.... BEST PICTUREIn the form of a Top Ten List!! 10ARGO: A suspenseful thriller about a true CIA operation to rescue six Americans trapped in a hostile Iran, the originality of the film comes in the plan they devise. Ben Affleck enters the country under the cover of a location scout for a sci-fi film. The movie is well-crafted and stitched together with an enormous mastery of the craft, creating a pacing which is both suspenseful and humanizing. Simply put, Argo is a thoroughly enjoyable film. 9SILVER LININGS PLAYBOOK: David O. Russell's romantic comedy centers around two depressed and crazy people who find love. It's funny, heartfelt, and real, with terrific performances of strange characters and energetic ever-changing dialogue. It contrasts football with a dance tournament, and this collision of tones mixed with the crazy creates an experience all its own. 8WRECK-IT RALPH: It's not easy to create an entire world, but Wreck-It Ralph does it. There are rules to the world, and they all seem to fit together and make sense - but not only that, they actually support the story as a whole. Not to mention it's work on character and some of the best voice performances of the year. Wreck-It Ralph is an unstoppable movie in need of a worthy sequel. 7SKYFALL: It's the best crafted Bond film you'll ever see. In the hands of Sam Raimi and Roger Deakins, and with Javier Bardem as the villain, it was hard not to be excited for the film, and surprising when it met those expectations. Skyfall is a movie which never ceases to be thrilling, constantly topping itself with each sequence in terms of glamour, performance, camera, and thrill. And just when you think it could be over, there's more. It is everything one could ask for in an action film. 6THIS IS 40: A depressingly realistic dark comedy from Judd Apatow, This Is 40 is a bizarre twist from what we are used to seeing in the genre. It was not well-received probably for that exact reason, so let me be clear that this is not Knocked Up. This Is 40 is the tale of a dysfunctional couple - a legitimately dysfunctional, quarreling couple - growing old together and fearing every minute of it. The arguments they have are all very much arguments a real couple would have, albeit amplified to the genre of R-rated comedy. There is always a hint of hope, and nothing is really resolved at the end. They are still together, but for how long? It's a film ahead of its time which will likely fade into obscurity, becoming a hidden gem for future generations to wander into. 5CABIN IN THE WOODS: It has been called a comedy, but many forget it is also a horror film. Few movies are able to pull off the stunt of Cabin in the Woods successfully: to keep the darkness, the horror, while allowing it to be hyper-realistic and absurd. And it is absurd. This is The Evil Dead meets The Truman Show, yet for the characters and their inter-relatability it manages to work. It is a movie which comments on movies and the people that watch them, but also seeks to simply enjoy itself. It's not as much a critique as an enthusiast, and is all the better for it. 4LIFE OF PI: I went into this expecting it to be overdone and pretentious, yet it was neither of those things. Pi is a boy who loves all religions and wishes to practice them all, and it is because of this that faith is able to be an ever-present theme without ever feeling demanding. It is beautiful to watch, with a great story to match, as Pi is forced to befriend the tiger Richard Parker (no relation to the father of Peter Parker) in order to survive. It is the creation of a symbiotic relation between forces what should be mortal enemies that creates the intrigue in the story, and the magnificent visuals that sustain it. 3LES MISERABLES: The movie where everyone sings. Les Miserables was, of course, a musical before it was a movie, and a book before it was a musical. It is an age-old story, but a great one at that, and Tom Hooper's unique direction brings it to life again. With its new sound mixing techniques, the actors were all performing their songs live, with imperfections and actual performance mixed in. It is for this reason that the songs never fall into a routine as a break from the story and acting, but mix into it and become as much a necessity to the play as the law is to Javert. 2THE AVENGERS: A movie which by all means should have failed, Joss Whedon has made into a world-renowned hit. The Avengers is a non-stop geek orgasm, with a range of energy and thrill that brings to life the characters from the page. I'm at the point in my studies where it's hard to watch anything without constantly considering the techniques being employed. And yet, The Avengers is one of the few for which I can simply ride. It is what every comic book movie should be, but few are. 1AMOUR: And at the opposite end of the spectrum is Amour. This beautiful masterpiece is a simple one, taking place almost entirely within a single apartment, and focusing on the mundane lives of two elderly people in the last days of the dying wife. It is heart-breaking but magnificent, and the mysterious light pouring into the frame is reminiscent of the light we see in death. It is about loss, but it also about life and love. It is, most of all, about humanity and the bonds we make.
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