I find it kind of disheartening that his great work on Harry Potter and the Half-Blood Prince is being roundly ignored this year. It's just as good as his previous two noms.OscarGuy wrote:Bruno Delbonnel twice, it should be noted.
The ASC Nominees
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Looking back at the 10-films lists of the late 30s and early 40s, you certainly do have those odd statistical anomalies that never would have appeared on a five-film slate, or even be mentioned...think Grand Illusion in 1938, or even films like The Ox-Bow Incident which garnered only a Best Picture nomination. Could The White Ribbon be this year's Grand Illusion?
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I agree, rain bard. Until that first set of ten comes out, we have no idea what the new normal will be, and for the moment people are mostly expanding their field based on past results -- with A Serious Man maybe occupying the outer edge of what most are able to envision. A few months back, many were even suggesting that, had the new system been in effect in
'04, Vera Drake might still not have made it, despite writing/directing/acting nods, because it just didn't feel like a best picture type film. It may be we're underestimating a small but concentrated pocket of more art-appreciating voters for whom the compromise candidates of old will not be of interest, and who might be just numerous enough to propel something that seems unlikely onto the best picture slate.
'04, Vera Drake might still not have made it, despite writing/directing/acting nods, because it just didn't feel like a best picture type film. It may be we're underestimating a small but concentrated pocket of more art-appreciating voters for whom the compromise candidates of old will not be of interest, and who might be just numerous enough to propel something that seems unlikely onto the best picture slate.
I keep thinking that doubling the number of nominees is going to do things to the best picture slate that we longtime prognosticators can't expect, yet almost all BP predictions I've seen don't seem to stray far from the kinds of films we'd predict if there were 5 slots this year. For a while I've been wondering if a "not in the general best picture race" film like The White Ribbon might crack the top ten thanks to a coterie of passionate supporters too small to go noticed in a five-wide field.Mister Tee wrote:especially one not in the general best picture race?
It appears that there's at least one contingent of likely voters who are considering the film. Interesting that it's the cinematographers, surely the group least likely to watch the contenders on screener, if they can possibly get to an Academy screening.
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ASC & Foreign Nominees:
2004: A Very Long Engagement
2001: Amelie
2000: Crouching Tiger, Hidden Dragon
1987: The Last Emperor
And that's it. All four earned Oscar nominations.
Bruno Delbonnel twice, it should be noted.
2004: A Very Long Engagement
2001: Amelie
2000: Crouching Tiger, Hidden Dragon
1987: The Last Emperor
And that's it. All four earned Oscar nominations.
Bruno Delbonnel twice, it should be noted.
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If you look at the past decade nominations of the ASC, they have never nominated a foreign film and then not have that film nominated for its cinematography by the Academy. I think THE WHITE RIBBON is here to stay.The Original BJ wrote:GASP! Great for The White Ribbon!
I thought MAYBE the Academy would go for it, but I never thought the more mainstream ASC would. Wow. Now, I'll be really disappointed if it doesn't make the Oscar list.
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Can someone with better recall tell me -- how many times previous has this guild nominated a foreign language film...especially one not in the general best picture race? I know we've had multiple such instances at AMPAS over recent years, but it seems to me they rarely shown up at ASC. Which is my way of saying, this would appear to be huge news for White Ribbon.
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Could very well be our Oscar nominees though I think Lance Acord (Where The Wild Things Are) or Roger Deakins (A Serious Man) COULD still sneak in there somewhere.rolotomasi99 wrote:Barry Ackroyd, BSC for The Hurt Locker
Dion Beebe, ASC, ACS for Nine
Christian Berger, AAC for The White Ribbon
Mauro Fiore, ASC for Avatar
Robert Richardson, ASC for Inglorious Basterds
On nominations day, The White Ribbon's (possible) inclusion in the Best Cinematography category would have been one of the most pleasant surprises of the year. The problem of all these precursors is that, if it happens, it will be less surprising now; but still the proof that nominations & awards can still get it right sometimes and recognize, in the year of Avatar, The Hurt Locker and The Blind Side, TRUE art.
Because the cinematography of The White Ribbon is, simply, a work of art. And the film itself deserves AT LEAST an adjective which I wouldn't use for many other movies I've seen recently. It's intelligent.
Because the cinematography of The White Ribbon is, simply, a work of art. And the film itself deserves AT LEAST an adjective which I wouldn't use for many other movies I've seen recently. It's intelligent.
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