By MCN Editor editor@moviecitynews.com

84th Academy Award Nominees (2012)

Best Picture
“The Artist” Thomas Langmann, Producer
“The Descendants” Jim Burke, Alexander Payne and Jim Taylor, Producers
“Extremely Loud & Incredibly Close” Scott Rudin, Producer
“The Help” Brunson Green, Chris Columbus and Michael Barnathan, Producers
“Hugo” Graham King and Martin Scorsese, Producers
“Midnight in Paris” Letty Aronson and Stephen Tenenbaum, Producers
“Moneyball” Michael De Luca, Rachael Horovitz and Brad Pitt, Producers
“The Tree of Life” Nominees to be determined
“War Horse” Steven Spielberg and Kathleen Kennedy, Producers

Directing
“The Artist” Michel Hazanavicius
“The Descendants” Alexander Payne
“Hugo” Martin Scorsese
“Midnight in Paris” Woody Allen
“The Tree of Life” Terrence Malick

Actor in a Leading Role
Demián Bichir in “A Better Life”
George Clooney in “The Descendants”
Jean Dujardin in “The Artist”
Gary Oldman in “Tinker Tailor Soldier Spy”
Brad Pitt in “Moneyball”

Actor in a Supporting Role
Kenneth Branagh in “My Week with Marilyn”
Jonah Hill in “Moneyball”
Nick Nolte in “Warrior”
Christopher Plummer in “Beginners”
Max von Sydow in “Extremely Loud & Incredibly Close”

Actress in a Leading Role
Glenn Close in “Albert Nobbs”
Viola Davis in “The Help”
Rooney Mara in “The Girl with the Dragon Tattoo”
Meryl Streep in “The Iron Lady”
Michelle Williams in “My Week with Marilyn”

Actress in a Supporting Role
Bérénice Bejo in “The Artist”
Jessica Chastain in “The Help”
Melissa McCarthy in “Bridesmaids”
Janet McTeer in “Albert Nobbs”
Octavia Spencer in “The Help”

Documentary (Feature)
“Hell and Back Again”
Danfung Dennis and Mike Lerner
“If a Tree Falls: A Story of the Earth Liberation Front”
Marshall Curry and Sam Cullman
“Paradise Lost 3: Purgatory”
Charles Ferguson and Audrey Marrs
“Pina”
Wim Wenders and Gian-Piero Ringel
“Undefeated”
TJ Martin, Dan Lindsay and Richard Middlemas

Foreign Language Film
“Bullhead” Belgium
“Footnote” Israel
“In Darkness” Poland
“Monsieur Lazhar” Canada
“A Separation” Iran

Animated Feature Film
“A Cat in Paris” Alain Gagnol and Jean-Loup Felicioli
“Chico & Rita” Fernando Trueba and Javier Mariscal
“Kung Fu Panda 2” Jennifer Yuh Nelson
“Puss in Boots” Chris Miller
“Rango” Gore Verbinski

Art Direction
“The Artist”
Production Design: Laurence Bennett; Set Decoration: Robert Gould
“Harry Potter and the Deathly Hallows Part 2”
Production Design: Stuart Craig; Set Decoration: Stephenie McMillan
“Hugo”
Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
“Midnight in Paris”
Production Design: Anne Seibel; Set Decoration: Hélène Dubreuil
“War Horse”
Production Design: Rick Carter; Set Decoration: Lee Sandales

Cinematography
“The Artist” Guillaume Schiffman
“The Girl with the Dragon Tattoo” Jeff Cronenweth
“Hugo” Robert Richardson
“The Tree of Life” Emmanuel Lubezki
“War Horse” Janusz Kaminski

Costume Design
“Anonymous” Lisy Christl
“The Artist” Mark Bridges
“Hugo” Sandy Powell
“Jane Eyre” Michael O’Connor
“W.E.” Arianne Phillips

Documentary (Short Subject)
“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement”
Robin Fryday and Gail Dolgin
“God Is the Bigger Elvis”
Rebecca Cammisa and Julie Anderson
“Incident in New Baghdad”
James Spione
“Saving Face”
Daniel Junge and Sharmeen Obaid-Chinoy
“The Tsunami and the Cherry Blossom”
Lucy Walker and Kira Carstensen

Film Editing
“The Artist” Anne-Sophie Bion and Michel Hazanavicius
“The Descendants” Kevin Tent
“The Girl with the Dragon Tattoo” Kirk Baxter and Angus Wall
“Hugo” Thelma Schoonmaker
“Moneyball” Christopher Tellefsen

Makeup
“Albert Nobbs”
Martial Corneville, Lynn Johnston and Matthew W. Mungle
“Harry Potter and the Deathly Hallows Part 2”
Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
“The Iron Lady”
Mark Coulier and J. Roy Helland

Music (Original Score)
“The Adventures of Tintin” John Williams
“The Artist” Ludovic Bource
“Hugo” Howard Shore
“Tinker Tailor Soldier Spy” Alberto Iglesias
“War Horse” John Williams

Music (Original Song)
“Man or Muppet” from “The Muppets” Music and Lyric by Bret McKenzie
“Real in Rio” from “Rio” Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett

Short Film (Animated)
“Dimanche/Sunday” Patrick Doyon
“The Fantastic Flying Books of Mr. Morris Lessmore” William Joyce and Brandon Oldenburg
“La Luna” Enrico Casarosa
“A Morning Stroll” Grant Orchard and Sue Goffe
“Wild Life” Amanda Forbis and Wendy Tilby

Short Film (Live Action)
“Pentecost” Peter McDonald and Eimear O’Kane
“Raju” Max Zähle and Stefan Gieren
“The Shore” Terry George and Oorlagh George
“Time Freak” Andrew Bowler and Gigi Causey
“Tuba Atlantic” Hallvar Witzø

Sound Editing
“Drive” Lon Bender and Victor Ray Ennis
“The Girl with the Dragon Tattoo” Ren Klyce
“Hugo” Philip Stockton and Eugene Gearty
“Transformers: Dark of the Moon” Ethan Van der Ryn and Erik Aadahl
“War Horse” Richard Hymns and Gary Rydstrom

Sound Mixing
“The Girl with the Dragon Tattoo”
David Parker, Michael Semanick, Ren Klyce and Bo Persson
“Hugo”
Tom Fleischman and John Midgley
“Moneyball”
Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick
“Transformers: Dark of the Moon”
Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin
“War Horse”
Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson

Visual Effects
“Harry Potter and the Deathly Hallows Part 2”
Tim Burke, David Vickery, Greg Butler and John Richardson
“Hugo”
Rob Legato, Joss Williams, Ben Grossman and Alex Henning
“Real Steel”
Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg
“Rise of the Planet of the Apes”
Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett
“Transformers: Dark of the Moon”
Scott Farrar, Scott Benza, Matthew Butler and John Frazier

Writing (Adapted Screenplay)
“The Descendants” Screenplay by Alexander Payne and Nat Faxon & Jim Rash
“Hugo” Screenplay by John Logan
“The Ides of March” Screenplay by George Clooney & Grant Heslov and Beau Willimon
“Moneyball” Screenplay by Steven Zaillian and Aaron Sorkin Story by Stan Chervin
“Tinker Tailor Soldier Spy” Screenplay by Bridget O’Connor & Peter Straughan

Writing (Original Screenplay)
“The Artist” Written by Michel Hazanavicius
“Bridesmaids” Written by Annie Mumolo & Kristen Wiig
“Margin Call” Written by J.C. Chandor
“Midnight in Paris” Written by Woody Allen
“A Separation” Written by Asghar Farhadi

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One Response to “84th Academy Award Nominees (2012)”

  1. movielocke says:

    Some good stats and figures from a blogger who sort of moneyballs the awards by assigning them points and stats going back to the 1920s, so he comes up with interesting stats like: Extremely Loud and Incredibly Close has the least amount of precursor support since Three Coins in the Fountain in 1954.

    http://nighthawknews.wordpress.com/2012/01/24/allen-and-scorsese-redux-and-other-oscar-notes-for-2011/#more-6710

    “There are an incredible 41 feature films nominated this year. That’s the most since 1996 and the second most since 1956.”

    “Hugo also marks the fourth year in a row that a film has been nominated for the big five technical awards (Editing, Cinematography, Score, Sound, Art Direction) after a five year gap with no film doing it. It’s the first time Scorsese has done it (Gangs of New York and Aviator both had ineligible Scores). But, of the previous three only King’s Speech won Best Picture, while Curious Case of Benjamin Button and Avatar both lost.”

    “The Artist is already in the pole position for the Oscars. It has won the Broadcast Film Critics and the Producers Guild. Of the previous 9 films to win both, only Saving Private Ryan and Brokeback Mountain failed to go on to win the Oscar.”

    “Albert Brooks had already become the only person to win four critics award for Best Supporting Actor and not earn a SAG nomination (for Drive). But he also just became the only one not to get an Oscar nomination either.”

    “Interesting mix with Screenplay. In the previous two years combined, with 10 Picture nominees each, only three Picture nominees didn’t get Screenplay nomination. This year, with only 9 nominees, there were four: The Help, Extremely Loud and Incredibly Close, Tree of Life and War Horse. Since, of those four, only Tree of Life got a Director nomination, we have three Best Picture nominees with no directing or writing nomination – or, as many as the rest of the century combined (the only other three so far since 2000 are Moulin Rogue, Two Towers and Blind Side).”

    “War Horse was nominated but Spielberg wasn’t – making him now the only director since the Studio Era to have that happen to him three times (Jaws, The Color Purple).”

    “It might have happened, but I’m hard-pressed to think of a film like Tree of Life, where both stars were nominated for Oscars, but for other films.”

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon