City of God -- Fernando Meirelles
* The Lord of the Rings: The Return of the King -- Peter Jackson
Lost in Translation -- Sofia Coppola
Master and Commander: The Far Side of the World -- Peter Weir
Mystic River -- Clint Eastwood
Jackson did a terrific job, but it is not about this particular film, it has more to do with the whole trilogy. I think he deserved this award moreso for The Fellowship than for this specific product, but eventually it makes sense he received the award this year... back in 2001 my favorite directing work was Altman's.
Eastwood created a masterful film, a classic one. I loved the pulse of it but I'm not in love with the film itself being to dark for a soon second view... I liked Master & Commander a lot more than I thought I would, I greatly enjoyed it. But for some reason it's not a serious contender, neither for Director nor for Picture.
Sofia Coppola did it great. A film I could rewatch endlessly. The atmosphere and the rythm and practically everything about the film is her work. I love what she did with that tiny film. Even though I was thinking in preserving Jackson's award, she gets this one.
FilmFan... Supporting Actor '45
[PO] Penelope's Elimination Game
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HarryGoldfarb
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OscarGuy wrote:I think it may finally be time for someone with the time available to go through the list of categories we've completed and make a list of eligible categories that are still available. Sometimes it gets really difficult to search through the lists and find something even remotely interesting to choose.
mrlg: Supporting Actor '08. It was bound to happen sooner or later.
This weekend, I'll try to cull through and find available categories in each year. I’m rather busy this week, if someone else would like to volunteer...
I'll post a new lineup since we've been on this one for quite awhile.
mrlg -- remember: you have three passes and an immunity at your disposal!
Edited By flipp525 on 1252509559
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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OscarGuy
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I think it may finally be time for someone with the time available to go through the list of categories we've completed and make a list of eligible categories that are still available. Sometimes it gets really difficult to search through the lists and find something even remotely interesting to choose.
Anyway, for my part, since I see no reason not to preserve Annie Lennox and her only Oscar win or nomination. Of course it helps that I adore this beautiful song.
mrlg: Supporting Actor '08. It was bound to happen sooner or later.
Anyway, for my part, since I see no reason not to preserve Annie Lennox and her only Oscar win or nomination. Of course it helps that I adore this beautiful song.
mrlg: Supporting Actor '08. It was bound to happen sooner or later.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
Heh. No passes left, so no Jackson. That's okay, though. I gave it to him for LOTR1.
I'm not giving it to Weir. Master and Commander is a staggeringly dull film, with moments that rank in the stupid hall of fame (the Galapagos sequence). Weir deserves some credit for pulling a performance from Crowe that isn't overwhelmed by ego, however.
Eastwood.... there's no denying the potency of Mystic River. But to me it's a triumph over a weak script (I think the academy got it right in the adapted screenplay category). I'd like to rewatch it to see if my thoughts are justified, but after I rewatch everything else.
So it's between Mierelles and Coppola. I think Coppola's film is stronger by far, but City of God is a directorial achievement - getting performances that strong from a largely amateur cast, the overall kineticism of the piece. But Coppola's film is also largely a director's achievement. She gets the powerful sense of dislocation when you travel. She's aided immeasurably by terrific lensing from Lance Acord, great performances across the board (Johansson and Murray get a lot of the praise, but I think Anna Farris' giggly "Cameron Diaz" and Ribisi's work are also worth mentioning), but it still feels like it's her work. There's that dreamy feel that doesn't feel pretentious (like Marie-Antoinette) or unformed (Virgin Suicides). So I think I'm going with Sophia Coppola.
Oscarguy, tackle best song, 2003.
I'm not giving it to Weir. Master and Commander is a staggeringly dull film, with moments that rank in the stupid hall of fame (the Galapagos sequence). Weir deserves some credit for pulling a performance from Crowe that isn't overwhelmed by ego, however.
Eastwood.... there's no denying the potency of Mystic River. But to me it's a triumph over a weak script (I think the academy got it right in the adapted screenplay category). I'd like to rewatch it to see if my thoughts are justified, but after I rewatch everything else.
So it's between Mierelles and Coppola. I think Coppola's film is stronger by far, but City of God is a directorial achievement - getting performances that strong from a largely amateur cast, the overall kineticism of the piece. But Coppola's film is also largely a director's achievement. She gets the powerful sense of dislocation when you travel. She's aided immeasurably by terrific lensing from Lance Acord, great performances across the board (Johansson and Murray get a lot of the praise, but I think Anna Farris' giggly "Cameron Diaz" and Ribisi's work are also worth mentioning), but it still feels like it's her work. There's that dreamy feel that doesn't feel pretentious (like Marie-Antoinette) or unformed (Virgin Suicides). So I think I'm going with Sophia Coppola.
Oscarguy, tackle best song, 2003.
The Original BJ wrote:Flipp, Cinematography 1970.
I think some of the illegally-obtained New York City winter shots in Love Story garner the film a place in this line-up, but unfortunately the Academy disagreed that year.
The winner, Ryan's Daughter, contains some epically beautiful photography; practically the entire film is comprised of sumptuous beach shots. I'm not overly attached to the film though, so I'll save my pass for another time.
Airport, I honestly have a hard time taking seriously given the inane (but, camptastically wonderful) sequels it spawned. It will have to settle with housing Helen Hayes delightful performance. I can appreciate Patton on a historical level, but I think the cinematography is actually rather stale and unimaginative given the material they were working with. Tora! Tora! Tora! is that rare unseen 1970's film for me.
Women in Love is gorgeously shot from exterior to interior and employs the lush color photography in a way that manages to enhance the direction of the film -- what a good cinematographer should always strive for. I love the way it almost looks like it was a colorized 1920's film.
Okri: Director, '03.
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"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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Big Magilla
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There were only two official nominees each in black & White and color cinematography.The Original BJ wrote:I've actually got a question, maybe some of the Oscar-history connoisseurs around here can answer it: were there two nominations in the cinematography categories in '39 or were there a slew of nominations? The Academy website lists two, but IMDb lists a lot more.
See the bottom of the linked page for the explanation:
http://www.oscarguy.com/Oscars/Annual/12th/Oscar.html
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The Original BJ
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I've actually got a question, maybe some of the Oscar-history connoisseurs around here can answer it: were there two nominations in the cinematography categories in '39 or were there a slew of nominations? The Academy website lists two, but IMDb lists a lot more.
As I haven't seen most of the films on the expanded list anyway, for me it comes down to the top two: Wuthering Heights or Stagecoach. I think Gregg Toland deserves a huge share of credit for the visual beauty of Wuthering Heights (for Wyler, though a good director, was certainly no Welles). But Stagecoach is too good to vote against -- gorgeous Monument Valley vistas, exciting action sequences, and plenty of graceful, meaningful compositions typical of Ford's films.
Flipp, Cinematography 1970.
As I haven't seen most of the films on the expanded list anyway, for me it comes down to the top two: Wuthering Heights or Stagecoach. I think Gregg Toland deserves a huge share of credit for the visual beauty of Wuthering Heights (for Wyler, though a good director, was certainly no Welles). But Stagecoach is too good to vote against -- gorgeous Monument Valley vistas, exciting action sequences, and plenty of graceful, meaningful compositions typical of Ford's films.
Flipp, Cinematography 1970.