[Note: this is a really long post. If you're a skimmer, like myself, read the underlined and/or capitalized sentences and you'll get the jist.]
There are only a few redeeming qualities about winter. Growing up in Chicago, winters are
REAL. They aren’t your West Coast winter,
or even your East Coast winter. And
I’m not saying there’s something special about the Middle West (I mean there
is, but, hint: it’s the ridiculous
amount of corn.). I’m talking
CHICAGO WINTERS. So cold you think
you’re in the opposite day for hell, but it’s that way all the time, not just
one day! Anyway, the only two
redeeming qualities about winter are fresh snow (not that crappy snow two weeks
after the first snow. I’m talking
the night of the first snow, THAT
snow) and awards season. Now, in
Kenya, I have neither.
I don’t know why I’m obsessed, but I’m obsessed with
movies. I’m pretty sure I’m a cinephile,
but any word that ends in –phile just sounds creepy to me, so I prefer saying “I
really like movies.” I remember
watching the Academy Awards with my Mom when I was younger. I got to stay up later than I would
have on any given Sunday and, even when I hadn’t seen a majority of the
movies that were nominated, I still felt some deep connection to the
films. This will be the first time
I’ve missed the Oscars in, I’d say, at least 8 years. (I’m not going to miss
it, I’m just going to wait to see it until I get back thanks to my awesome Mom
for recording it for me!).
So… given that I’m missing the Oscars, and given that I’m
obsessed with the awards season and good films, and given that I’m considering
starting a blog about film… I’m going to give my Kenya blog readers a taste of
what’s been on my mind for the past few months: Oscar predictions.
GET YOUR SCORE CARDS OUT LADIES AND GENTLEMEN! IT’S OSCAR SUNDAY! I’ve starred the films and actors and
writers and directors that I want* to win and underlined
those I think will win.
Best Picture
Zero Dark Thirty*
Les Misérables
Argo
Amour
Django Unchained
Beast of the
Southern Wild
Lincoln
Silver Linings
Playbook
Life of Pi
Of all these films, the only one I haven’t seen is Amour. To be honest, the trailer looked boring, but that’s not why
I didn’t see it. Anyone who saw
the Best Foreign Film nominated picture The
White Ribbon (2008) will know that Amour is probably a really good movie. Haneke, the Austrian who directed both these films, made an
amazing film in The White Ribbon. I remember that Oscars moment because
my Spanish teacher had mentioned that an Argentine film, The Secret in their Eyes, was nominated for an Academy Award. Naturally, I watched it, loved it, and
was happy it came away with the Oscar gold despite The White Ribbon being a favorite to win. When I watched The
White Ribbon some time later, I was pleasantly surprised, but I still liked
The Secret in their Eyes better. Now I’m not so sure. Both films present a mystery. One leaves you satisfied at the end. The other doesn’t. When I was younger, I enjoyed
satisfying endings, but now closed-case, happy endings leaves me longing for more
depth and complexity (see my comments on Silver
Linings Playbook below). The Secret in their Eyes still has an
interesting twist to it, and suspense up the wazoo, whereas The White Ribbon has a slow burn that
keeps you intrigued throughout.
Anywho, I enjoyed The White Ribbon and would’ve liked to
see Amour BUT IT WASN’T PLAYING IN
ANY THEATRES NEAR ME! This is what
I get for living in New Jersey…
Speaking of happy endings, WHY IS SILVER LININGS PLAYBOOK SUCH A BIG DEAL? How did it win the Independent Spirit Award for Best Feature? The actors – both the main
characters and the supporters – all work together like the X and O teammates on
the films poster and deserve the acclaim they’ve been given. But come on. Best picture?
It’s a RomComDram with special guest star Mental Illness. When people ask me how I feel about
this film, I reply: “It’s a good
movie with a story that needs to be told.” But so was the Hunger Games but I don’t think THAT was Best
Picture (those who know me might call this statement blasphemous).
In short, I liked it, but I think this praise for the film as a whole
(not for the actors) is undeserved for a script and direction that seemed par
for the course of a Romantic Dramedy.
Those who have seen the film will get this next part. One of my major peeves about this film
was the cop – Bradley Coopers character Pat's parole officer – who is somehow ALWAYS AROUND. Middle of the
night, Pat breaks some glass, PAROLE OFFICER IS THERE AND READY. Daytime, Pat's straight chillin’
with his homie Chris Tucker, PAROLE OFFICER READY TO RUIN THE FUN. Pat and Tiffany duking it out on
the sidewalk, PAROLE OFFICER DRIVES BY AND JUMPS OUT OF HIS CAR. Does this parole officer ever
sleep? I just lost it.
I lost the narrative – meaning I was too conscious of its movieness and
less on its realness, which is kind of important for a film like this to retain - too many times during this film, dissolving any chances it had of being my Best Picture pick. So no. If it wins Best Picture, I will be
upset. (Also, they used a Led Zeppelin song and it wasn’t even well used. I was happy it was Zepp, but I was sad it was Zepp at the
same time. At least I got to jam
out for a bit in the theatre.)
Les Mis… it ain’t gonna win. Honestly, when I first heard about this film – the whole,
singing live bit – I was like, “WOW.
Tom Hooper is going to revitalize the movie musical with this
film.” And then he just sat
there. And by that, I meant the
camera just sat there on people’s faces and did nothing. You’re
talking about how you’re taking musicals to a whole new level and then you have
boring, lazy camerawork while the actors are giving it their ALL. I was offended. Don’t get me wrong, the close up on
Anne Hathaway was GOLDEN (Globe-worthy).
It worked. But imagine if
that close up had been at the end of the film instead of the beginning. People would’ve been SO BORED of the
close-up, they wouldn’t’ve cared.
Which is how they felt about every close up toward the end of the
movie. You can’t just do
that. You ruin the opportunity for your actors and you bore your audience. Additionally, I was talking to a friend
of mine about the film and he mentioned how Les Mis is supposed to be a
sweeping epic. When you shoot it tight like that, you
eliminate its grandeur and undercut part of the ascetic that is Les Mis. It’s not Best Picture. Not even close (-up).
Zero Dark Thirty
was one of my three favorite films of the year. I know. Now all
my friends think I like torture and killing innocent people and guilty people
without a trial and everything. Or
that I’m totally cool with the government buying out film companies to spread
propaganda. For one, I don’t think
we can accuse Bigelow of spreading propaganda in the form of this film. I was told that Bigelow and Boal
started writing the film to showcase how torture WASN’T working in the manhunt
for Bin Laden, but then when they actually did catch Bin Laden, what were they
going to do, scrap the film?
Anyway, I didn’t read the film as a display of the glories of
torture. I hated when people
called Zero Dark Thirty the “9/11”
film. There were three films about
9/11: World Trade Center, Flight
93, and Fahrenheit 9/11. To me, this was not a film
about 9/11 or even about UBL. This
was a film about passion. There’s
not really a main character, but I guess it’s Maya (Jessica Chastain), even
though most of the time she’s more of an observer and not an active character
until the end (an observer to perhaps put us – the audience – in her role;
we’re observer her, she’s observing the manhunt situation). (I don’t want to go into details
because I don’t want to spoil the movie for anyone). Anyway, one of her friends is extremely passionate about
catching Usama Bin Laden any way possible and pays for it, big time. Maya then dives into the hunt HEAD
FRACKIN’ FIRST, not caring if there’s a rock waiting to paralyze her in the
water. Well, (SPOILER ALERT BUT NOT REALLY) they catch Usama, but then what
happens? Nothing. Maya has no one. She has no place. She has nothing. This is what passion does. It consumes us until we’re dead or
we’re empty. To me, that’s what Zero Dark Thirty is about. I think it’s about Americans passion
for a shadily defined “justice” and the emptiness that ensues when that
“justice” has been repaid. That’s why I liked this movie. If you look at it on the surface, maybe you just see torture
and killing. But take a second
look, or a first look, and think about what’s really going on. Do
I think it’ll win? No. Hollywood seems too upset over it to
give it an award. Do I think it should win? It should at least be a short list, and
it should at least beat Silver Linings
Playbook. Therefore, if Silver Linings Playbook wins, I will be
more even upset.
Django. Django
Django Django. To be honest, it wasn’t as good as
Inglourious Basterds, although I think part of what made Inglourious Basterds
epic was the casts of characters and their interlocking work like the gears of
a clock. We just didn’t see
that in Django Unchained. What we
did see was great filmmaking (and a great performance by the ensemble cast,
special props to Kerry Washington who hasn’t gotten much acclaim although her
performance was way up there) by who I consider one of the greatest auteurs of
the our time. If I had to rank it
on a Tarantino scale, I’d put it after Kill Bill, but before Deathproof (IB,
RD, KB1&2, DU, DP, PF, JB).
The only thing I will say about it is that Leonardo DiCaprio deserved a
Best Supporting Actor nod and I was visibly offended when he did not receive
one. That man cut his hand while
engrossed in his role and he plays it as he plays every role I’ve seen him in,
marvelously. It will not win Best Picture (unless their scoring based on how many
times the N-word is said), but I’m hoping it will pull off Best Original
screenplay if that award doesn't go to Moonrise Kingdom (which should've been nominated for Best Picture).
Beasts of the Southern
Wild was my favorite movie of the summer. It was wonderful in its mixture of simple tone with a
complex, heartwarming character arc.
I’ll talk more about it when I get to the Best Actress nominations, but
as a film on the whole, it was wonderful.
The shortest film nominated this year, Beast of the Southern Wild is a movie everyone should see. It’s only flaw is the sometimes unreal
aspect of magical realism. As a
genre, magic realism is about magical things happening, but everyone in the
story reacts to the magic as if it were commonplace. For the most part this worked, but the auraks were just too
weird and not easily understandable, leaving them out of the realm of
ordinary. Possible Best Picture given that it was even nominated – I was sure
everyone had forgotten about it – but I think in the case of this film, the
nomination was the prize.
Lincoln shouldn’t
win, but it might. Spielberg,
Day-Lewis, Field, and an ensemble large enough to field a high school water
polo team three strings deep is what makes this epic a favorite. It’s a film every American should see
because it exposes politics for what it is: a couple of men (sadly, still what it seems to be today)
pulling strings for what they see is the right path. Ultimately, you vote for who you would align with best and
the things they want are the things you want, but it just put things in
perspective for me. I don’t know why this shouldn’t win, but I
just don’t think it’s Best Picture worthy. It doesn’t go that extra mile. I think it surprised me by how good it was (I had really low
expectations considering I thought War
Horse looked like a crappy movie; still haven’t seen it), but I still can’t
see why it would earn Best Picture. It just leaves something to be desired. Maybe it was the lame ending. Or the monologuey dialogue that made it feel too static. However, I think I’m going to hop
on the big company bandwagon and say this will be the winner. Either this or Playbook, or Argo, but I’ll be so pissed if it’s Playbook.
Life of Pi was NOT
boring, as previously anticipated by me (that’s just the ugliest worded
sentence ever. Sorry you have to
read this crappy writing…). It was kind of like Castaway, but instead of a seasoned actor like Tom Hanks, you’ve
got a nobody (who knows how to hold his own) and instead of Wilson the Volleyball, you’ve got
a Richard Parker the Psycho Tiger. I hadn’t read the
book (people we reading it in 7th grade, but since I was a slow
reader, I hated reading and didn’t do it for fun so I never read it), so
everything in this movie was new to me and it pulled at my heartstrings. It was also just a beautiful film. Ang Lee is amazing. [SPOILER ALERT] I left the theatre
thinking: so, if he was “the
Tiger” in this metaphor, why was the Tiger trying to eat him? If you have any ideas, please let me
know. All I can say is, it won’t win, but it was thoroughly entertaining.
Argo is DEFINITELY A CONTENDER. When I first saw it nominated, I thought no way, but after Ben Affleck took home
the Golden Globes in Directing and Outstanding Picture and then racked up another Argo
win at the BAFTAs, I began to reconsider. I think it could definitely take home top prize, but it shouldn't. It was suspenseful, but too sensational and it left me thinking: "That was fun," while no other thoughts really came into my head. I like a movie that MAKES ME THINK! While it wasn’t the Best Picture of the
year, I certainly think it has more merit than some of the other films on this
list (*cough cough* Silver Linings
Playbook).
Best Actor
Daniel Day-Lewis
Bradley Cooper*
Hugh Jackman
Denzel Washington
No contest.
It’s Day-Lewis. The Best
Actor category this year was amazing dull, not for lack of amazing
performances, but for lack of competition. When someone plays
the “Best” (or at least most noteworthy) President America has ever had, and
when that man is NOT AMERICAN, you give him the Oscar. Although, of all the nominations Silver Linings Playbook received,
Cooper’s is the one I feel is most deserved. About half way through the movie, I stopped and thought,
wait, does Bradley Cooper have bipolar disorder? That’s how real it felt to me.
Best Actress
Quvenzhané Wallis*
Jennifer Lawrence
Naomi Watts
Jessica Chastain
Emmanuelle Riva
Everyone in this category has been nominated before except
for the youngest nominee in the history of the Academy Awards ever (not
counting the special Youth Academy Awards from back in the day) and the almost oldest
nominee in this category (if Emmanuelle Riva wins she’ll surpass Jessica Tandy
for oldest winner). This is competition city. The only person I know won’t win is Naomi Watts. Sadly, I didn’t see her performance
either (when I got to the theatre, all set to watch it, the show was sold out),
but given the buzz surrounding the others, it
would be nearly IMPOSSIBLE for Watts to pull off a win (see what I did
there?). Everyone else is a contender. Okay, Q. Wallis probably isn’t a
contender either because she’s so young and the Academy is agist, but in my
eyes SHE DESERVES TO WIN THIS
AWARD. OUT OF THE REMAINING THREE
NOMINEES, WALLIS IS THE ONLY ONE WHO CARRIED HER FILM TO THE WONDERFUL, GLORIOUS
MOOD POEM THAT IT IS. THE OTHER
NOMINEES RELIED ON OTHER ACTORS TO ELEVATE THEM BUT ALL HUSHPUPPY HAD WAS THE
BAYOU. GIVE THIS BABY THE OSCAR ALREADY! Okay, I’m glad I got
that out. Since I haven’t seen
Riva, it’s totally possible the same goes for her. I’ll have to make retroactive judgment on this one if Riva
takes the Oscar home. And she
could! But I also don’t think she
will. Her win at the BAFTAs was
only slightly surprising, but possibly indicative of how Europeans believe she
delivered a stellar performance and won’t win the Academy Awards (because she’s
European. The Academy is also
xenophobic sometimes. See the Best Director category for more instances of biased selectivity.).
So that leaves Chastain and Lawrence. And honestly, their past work and
accomplishments puts them on equal footing. Sure, Chastain is older, but both have a previous nomination,
and both spent several years in the indie circuit before breaking into more
mainstream cinema. Both took home
Golden Globes (Chastain in Drama, Lawrence in Comedy) for their roles. You could say Lawrence has a leg up
because she won the SAG, but the SAG is usually not the best litmus test for
the Oscar. I feel like Lawrence is riding a bigger buzz wave right now, so if I
had to bet, I’d put money on her.
That, and the fact that Zero Dark
Thirty still has a shadow over it.
Again, if Silver Linings Playbook takes the win in this category I will be
upset because Q. WALLIS DESERVES THIS OSCAR!
As an aside, as soon as I saw the nominees in this category,
I thought of the following conversation that – in a world in which I played god
– would certainly happen at the Oscars nominee brunch.
Begin.
Q. Wallis: Hi
Jennifer.
J. Lawrence (unsure of
the pronounciation): Hi
Qhuvanz…
Q. W.: I just
wanted to say, I really loved your performance of Katniss in The Hunger Games. It was my favorite movie of 2012!
J. L.: Thank
you.
Beat. J. L. looks around, trying to spot
someone else to go talk to.
Q. W.: But I
just want you to know, I’m going to win the Oscar.
J. L. (taken aback): I’m sorry, what?
Wallis flashes her
Hushpuppy smile at Lawrence.
Q. W.: I’m going
to win. People like Hushpuppy
better than they like a self-proclaimed slut.
J. L. (under her
breathe): What the f*ck?
Beat. J-Law gathers herself and pounces back.
J. L.: You said
you liked The Hunger Games, right?
Q. W.: Yeah.
J. L.: Well,
you know, you remind me a lot of Rue.
Q. W. takes a hard
swallow.
J. L.: And you
know what happened to Rue, right?
Don’t f*ck with me Wallis.
End.
So actually, I hope this would never happen because these
two actresses both seem like the nicest people. But I just thought it was funny that Wallis reminded me
somewhat of Rue and Lawrence was Katniss in The
Hunger Games (ONLY 9 MORE MONTHS ‘TIL CATCHING FIRE!)
Best Supporting Actor
Alan Arkin
Robert De Niro*
Phillip Seymour Hoffman
Tommy Lee Jones
Christoph Waltz
Honestly, I have no idea. But if I were to guess, I’d say Waltz or De Niro. Waltz is coming off a Golden Globe win
and an Academy Award for basically the same character three years ago from
Inglourious Basterds. To be
honest, I didn’t see the Hoffman’s performance in The Master, but the late summer indie, much like Beasts, seems to be happy just to be
nominated. Tommy Lee Jones took
the SAG in this category, but again, that’s not saying much. He definitely deserves props for
wearing that wig though, because he looked damn ugly during that whole
film. Alan Arkin could come away
with it, but I think his presence in Argo was not as strong as the presence of
the other nominees in their respective films. At the end of the day (you probably can’t believe I’m saying
this), I want De Niro to win. Honestly, Leondardo DiCaprio should win,
but between Waltz and De Niro, how could I give it to Waltz. He’s THE SAME CHARACTER that he won for last time, plus a little
more empathy. De Niro pieces
together the main characters and the ensemble cast. He’s a major link in this film and he plays is well. I don’t know if he’ll win, but he
should.
Best Supporting Actress
Amy Adams
Sally Field
Anne Hathaway*
Helen Hunt
Jacki Weaver
If Anne Hathaway doesn’t win this, I’ll be shocked and appalled. Firstly, put aside an irrational hatred
you have for the woman and consider her body of work. It’s fabulous.
Yes, there are shortcomings here and there, but really, she’s a
gem. Was this role her best role
ever? No. (And no it wasn’t Mia Thermopolis in The Princess Diaries either. I’d say Rachel Getting Married, which was a fabulous film.). This
year, she was in two blockbuster movies where her supporting performances stood
out as the highlights of the film (I’m talking Cat Woman in The Dark Knight Rises and Fantine in Les Misérables). I just don’t think anyone else will
win. I don’t know if anyone should
– having only seen Sally Field’s and Jacki Weaver’s performances, I can tell
you, they shouldn’t beat out Hathaway – but perhaps Helen Hunt (fresh off an
Independent Spirit Award for The Sessions)
could produce a scare, but I doubt it.
Nate Silver would predict this as a 90% chance of a Hathaway take
away. We’ll see, but I would be
really surprised if it didn’t happen.
Best Original Screenplay
Amour
Django Unchained
Flight
Moonrise Kingdom*
Zero Dark Thirty
This is probably my favorite category every year. I’m kind of trying to write
screenplays, and one of my dreams is winning an Academy Award. I would get up there and say, “EVERY
SINGLE PERSON ON THE PLANET MADE THIS HAPPEN” even though that’s kind of a lie,
but kind of not, then I’d babble and say I wasn’t going to swear but then I’d
accidentally drop the f-bomb and I’d keep babbling and the music would play me
off, but I wouldn’t leave. And
then security would come and try to kick me off, but I still wouldn’t leave,
and then they’d literally bulldozer me off stage. And then I’d be super famous for being that weirdo at the
Academy Awards. And I’d also have
an Oscar.
Okay, enough with the day dreams. What script will win?
What script should win? My
money’s on Amour. Like I said earlier, Haneke’s hitting
more of a mainstream audience with this film in comparison to The White Ribbon. More people are taking notice and more
people are liking it. I don’t
think it’ll win much else, but here’s a way the Academy can award it at least
something. That being said, I want Moonrise
Kingdom to win. I know what
you’re thinking: “Erisa, you’re a
die-hard Tarantino fan. What is
this?” I know, it shocks me to
say this, but Django Unchained lacked
the deeper personal element I felt while watching Inglourious Basterds. I
just didn’t think it was his best (which is Basterds)
nor his most innovative (which is probably Pulp
Fiction for which he won his first and only Academy Award). But, he’s coming off a Golden Globes
win where he triumphed over the epically mediocre script that was Silver Linings Playbook (more hatred
below), although neither Moonrise Kingdom
nor Amour where in the category. Thus, Tarantino’s win means little in
the Oscar race. But I just think Haneke’s emotionally
moving piece (or so I’ve been told) will triumph over a Western homage. So why do I want Moonrise? I think Wes
Anderson is a wonderful auteur, albeit polarizing. I don’t think his camera work is innovative, but I do think
his stories are interesting. Until
I saw Moonrise Kingdom, my only concern was that his films didn’t go deep
enough. It felt like we were
always skimming the surface with hilarious characters in the foreground and
little else in the background. I
left his movies feeling entertained, but not really moved in anyway, nor
thinking about anything (other than that was a funny movie). But
this film about juvenile angst really hit home and the lead actors (although
being basically nobodies) made it all feel real. So much realer than The
Royal Tennenbaums or The Life Aquatic
with Steve Zissou or Bottle Rocket. So yes, I liked this film. And yes, I thought the script was
moving. He’ll never win Best
Director, or Best Picture, but Anderson deserves this.
Best Adapted Screenplay
Lincoln
Beasts of the Southern
Wild*
Argo
Life of Pi
I have no idea who'll win, but all I know is I want Silver Linings Playbook to LOSE. For the past several thousand words,
I’ve been really sh*tting on this film.
In reality, it was good, it was decent, and I liked it. But it doesn’t deserve praise because
the script is boring, predictable, and doesn’t give me anything. How it won an Independent Film Spirit Award
for its script is beyond me. I’ve
lost all respect for the Independent Film Spirit Awards (seriously, the Weinstein’s produced
this. How is that
independent?). I left the theatre
thinking: “Okay, well that was a
pretty OK movie.” I could’ve left
one hour in and predicted the ending.
I HATE THOSE KINDS OF MOVIES.
What’s the point? The point
was, the actors were good. The
script was not. I know it’s
adapted from a book, but that doesn’t excuse the fact that it’s NOT GOOD. If I adapted Go Dogs Do, even though that’s an awesome book, it doesn’t mean it
should win an Academy Award because it WOULD BE A LAME MOVIE. THE END.
I think Silver Linings
Playbook will win, but that just upsets me. So I’m going to pretend it’s not even nominated and tell you
Argo will probably win. How do you
make a movie, in which you know that at the end, everyone gets out alive, but
you’re still SUPER NERVOUS THAT EVERYONE’S GOING TO DIE? Somehow Terrio did that with his script for Argo. At times it felt too sensational, but
you’ve got to give it props for balancing the tone of comedy and drama pretty appropriately. Lincoln shouldn’t win because it’s less
of a script and more of a series of monologues. Life of Pi won’t
win. It just won’t. I just feel it in my bones. I like Beasts of the Southern Wild and want that to win.
Of all these nominees, it just feels right. It feels like the best story and the best execution of that
story. Not too sensational, a
valiant effort at cinematic magical realism (which by the way, is really hard
in film.). I want it to win, but
like many wants, I don’t think it’ll happen.
Best Director
Michael Haneke
Ang Lee
David O. Russell
Steven Spielberg
Benh Zeitlin
Kathryn Bigelow*
Welcome to the sausage fest that is the Best Director
category. Did you know only four
women have ever been nominated:
Lina Wertmüller, Jane Campion, Sofia Coppola, and Kathryn Bigelow. Did you know there have been more than
four women directors in the history of American cinema? Why weren’t these women nominated maybe?
Okay, so, Kathryn Bigelow director one of the best movies of
the year that was one of the best movies of the year because she directed it
(seriously, the raid scene is so wonderful in its realism, not going for the
typical flash-bang of Hollywood).
So I want her to win (kind of like how I want Leo to win Best Supporting
Actor). But since that's impossible
because the Academy sucks, I actually don’t care who wins, but I would guess
Spielberg or Haneke. David O.
Russell’s coming off an Independent Spirit Award (hold on, let me go vomit),
but I think it’s between these two old timers. Ang Lee, maybe?
Benh Zeitlin, long shot; nominated just to be recognized. The difficulty in forecasting these
results is that none of these guys has won any of the important lead ups (like
Golden Globes or BAFTAs) because Ben Affleck has. But since he’s snubbed from a nomination because he cast himself in a movie when
the guy he’s supposed to be playing is Hispanic, that leaves the Oscars wide
open for any man. Well, we’ll
see. But honestly, I don’t even
care…
Other Stuff
Adele should win for the song “Skyfall.” I mean, when was the last time an
original song was also a hit on the airwaves?
I want Roger Deakins (veteran of most Coen Brothers and Sam
Mendes films) to win for Best Cinematography for his work on Skyfall, but I fear the beautiful Life
of Pi might steal it away.
Also, Robert Richardson, who
won last year for Hugo (hold on, got
to go vomit again) is also nominated for his work with Django Unchained, so perhaps that’ll win. I don’t know. I
saw all these films and they were all beautiful, but Skyfall really stood out as the shadow imagery implemented subtly and elemental to the theme of
the film. Therefore, I’m pulling
for Deakins, especially given he’s never gotten a win.
I don’t really care about the other categories.
Anywho, THAT’S ALL FOLKS! Leave comments with your picks to win.
E
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