Ahh. The dust is settling. And on the horizon, just visible through the mist and waiting to drive us all up the wall once again: the 2009 Oscar season.
I’ve been writing this year-in-advance column for probably six years now, and I always look forward to gazing ahead. No one dives in so pathetically deep this far out as yours truly, but in exchange for not having a life for the past few months, I get to unload this burden the day after our annual season’s peak and forget about little gold men entirely for a few months.
It’s quite liberating.
The most interesting thing about the season to come, from my vantage point, is the lack of a dreaded “frontrunner status” for any of the contenders. Some might say Clint Eastwood’s Nelson Mandela project (which is not called “The Human Factor,” mind you — the director says the film is currently untitled and is based on John Carlin’s book “Playing the Enemy”).
Others might say Rob Marshall’s “Nine” (coming from a money-tight company hoping to avoid echoes of “Memoirs of a Geisha”). But I don’t see a “Geisha” from here, or a “Charlie Wilson’s War,” expected heavies waiting to miss the mark. The field is curiously flat, and as a result, excitingly broad.
Let’s get to it, shall we?
It seems to me the most film-heavy slate of films will be over on Lankershim Boulevard as Universal Pictures has at least seven contenders that could make a play. While the populism of Judd Apatow’s “Funny People” or Kevin MacDonald’s “State of Play” may or may not register with Academy members, Richard Curtis’s “The Boat That Rocked” or a currently untitled Nancy Meyers project starring Meryl Streep and Alec Baldwin could sneak up on the awards watching community.
A wise betting man would keep his eyes on Michael Mann’s “Public Enemies” and Paul Greengrass’s “Green Zone,” and what a delight that should be for Uni publicity. These are two of the most exciting filmmakers working today. The former has the most AMPAS appeal by all accounts, but the studio led Greengrass to Oscar pastures for 2006’s “United 93,” so watch out for his latest Matt Damon starrer.
Add Focus Features’ quartet of hopefuls and you’re looking at a dozen hopefuls under GE’s belt. Who needs DreamWorks? Most fetching of all would have to be Ang Lee’s “Taking Woodstock,” scripted by Focus honcho James Schamus and a period vehicle that could be awards bait for a studio looking to capitalize after a good run with “Milk” last season.
Meanwhile, Sam Mendes switches gears from the heart-wrenching drama of “Revolutionary Road” to the lighter fare of “Away We Go,” a comedy starring “The Office”‘s John Krasinski and “Saturday Night Live” alumn Maya Rudolph. Alejandro González Iñárritu will be back in the fray three years after “Babel” with “Biutiful,” starring Javier Bardem and Rubén Ochandiano.
Finally, the Coen brothers are sticking with comedy with “A Serious Man,” which could be a sudden awards vehicle for character actor Richard Kind. What’s most interesting about the Focus lineup, however, is that the studio will be releasing two unconventional animated endeavors into the marketplace that may or may not make an impact with Oscar: Shane Acker’s “9” (based on his short film) and the Neil Gaiman adaptation “Coraline” (from famed animator Henry Selick).
Speaking of animation, it seems as good a time as any to detour into a category that could see five — count ’em — five Disney films nominated.
The safest assumption, as always, is that Pixar’s “Up” will find room in the category. Seriously, it’s becoming a surer thing than John Williams. Meanwhile, traditional animation could rear its head with “The Princess and the Frog,” while Hayao Miyazaki might certainly find the respect of his colleagues once again with “Ponyo on the Cliff by the Sea.”
And let’s not forget Robert Zemeckis’s “A Christmas Carol,” starring Jim Carrey in a multitude of roles. But will animators scoff at Zemeckis’s “animation” process like they did two years ago with “Beowulf?” Or perhaps “G-Force,” which was teased during the credits of last night’s Oscarcast.
Elsewhere, there is a new “Ice Age” film to contend with as well as Paramount’s “Monsters vs. Aliens,” among others. Check the newly re-stocked Contenders section for the scoop.
Speaking of Paramount, the studio that wishes “Slumdog Millionaire” had gone straight to DVD as planned has a trio of live action contenders in the fray, none of them, I’m told, specifically aimed at the awards season. But who wants to say they’re aiming for the awards season this far out?
The first is Peter Jackson’s “The Lovely Bones,” which might have too many prognosticators getting ahead of themselves from afar. I’m told Jackson really digs in on the difficult material in this adaptation and that as a result, “Oscar movie” isn’t being thrown around by those involved — for now. And last year’s holdover, “The Soloist,” will essentially be dumped into a more fiscally sound spot this year but may still carry enough weight to land a supporting actor nomination for Jamie Foxx.
The big hopeful on Melrose Avenue will be Martin Scorsese’s “Shutter Island,” and even though I’m hearing that no one in Marty’s camp wants to think about the “O” word, the fact is you don’t go around describing the film as “a period ‘Departed’” without thinking maybe — just maybe — something can come of it.
The only other film in the Paramount stable that seems fetching (for the moment) is one many are chalking up as a Globes contender more so than an Oscar favorite: Jason Reitman’s “Up in the Air,” starring George Clooney and Vera Farmiga. The director didn’t do too bad the last time he found himself in the hunt. Same goes for Clooney. Oh, and sure-fire blockbusters “Star Trek” and “Transformers: Revenge of the Fallen” will do well in the tech categories for the studio.
Warner Bros. Pictures hit a brick wall on January 22 this year when “The Dark Knight” failed to land an unlikely Oscar nomination, but the studio will jump right back on the horse this year. I don’t think anyone expects Oscar heights for Guy Ritchie’s “Sherlock Holmes,” but you never know. There’s an esteemed below-the-line crew on that production. However, there are two contenders that could be quite formidable over in Burbank: Eastwood’s “Untitled Nelson Mandela Project” and Steven Soderbergh’s “The Informant” (which I’m hearing is quite good).
Eastwood’s film will likely land Morgan Freeman his fifth nomination (“It seems to be the role he was born to play,” the director said at the Santa Barbara International Film Festival in January), while Soderbergh’s agri-business thriller could pit Freeman against his “Mandela” co-star Matt Damon. In fact, Damon could be a double nominee this year if a supporting bid is also in store for his work in Eastwood’s film.
Did someone say double nominee? Penélope Cruz just won her first Oscar for “Vicky Cristina Barcelona,” but she’s already one of the most buzzed performers of the new season with a leading role in Pedro Almodóvar’s “Broken Embraces” (from Sony Pictures Classics, which also has high hopes for Sundance sensation “An Education”) and the most exciting supporting role of Rob Marshall’s “Nine.”
Which brings us to Harvey Weinstein, who crashed the 2008 Oscar party with his first Best Picture nomination since venturing out on his own with brother Bob. In addition to “Nine,” which could bring any number of tech nominations in addition to potential gongs for actors like Daniel Day-Lewis, Marion Cotillard and Judi Dench, The Weinstein Company will finally get around to releasing the Cormac McCarthy adaptation “The Road.”
The earliest word I heard on this film was dreadful, but recent screenings have lit a more positive fire under the film. Perhaps there is enough water left in the McCarthy well for another run, but best bets are assuredly Viggo Mortensen in the lead actor category and relative newcomer Kodi Smit-McPhee in supporting.
The Weinsteins will also have the Andrew Jarecki-directed “All Good Things,” which may or may not be something former nominees Ryan Gosling and Frank Langella can sink their teeth into. We’ll see. And let’s not forget Quentin Tarantino’s “Inglourious Basterds.” Better yet, let’s try to forget it…
I briefly mentioned Sundance and Sony Classics’ “An Education,” but another film worth discussing in that vein is “Precious” (formerly “Push: Based on the Novel by Sapphire”), which dominated Park City this year. Mo’Nique seems set for a supporting actress campaign while newcomer Gabourey Sidibe may even be a competitor in lead. We’ll just have to see if Lionsgate can compete.
Moving on, Miramax Films didn’t manage a Best Picture nod for last year’s “Doubt,” but perhaps the studio can get somewhere with the already critically approved “Chéri.” We all know a certain Oscar blogger who’ll lose his mind if Michelle Pfeiffer can manage another lead actress nomination, which she certainly might. Strangely enough, I’m more interested in Miramax’s “The Tempest” from visionary director Julie Taymor. A gender switch in the lead role could bring a fourth Oscar nomination for Helen Mirren (if currently distributorless films like “The Last Station” and “Love Ranch” can’t turn the trick for her).
We can’t wrap things up without discussing this decade’s Cinderella story: Fox Searchlight Pictures. Peter Rice’s company finally brought home the gold this year after fighting the good fight for a long time and this writer couldn’t have been happier. The studio started 2008 without a horse in the derby but soon picked up “Slumdog Millionaire” and “The Wrestler” in Toronto. This year, things look somewhat similar. Beyond the rather standard-looking “Amelia” (from director Mira Nair, and very possibly an Oscar pony to compete with), there isn’t much on the slate. Maybe a trip through the festival circuit will change that.
With that in mind, there are a number of films without current U.S. distribution that could quite easily fight their way into the Oscar season. Jane Campion’s “Bright Star,” Scott Cooper’s “Crazy Heart,” Jon Amiel’s “Creation,” Grant Heslov’s “Men Who Stare at Goats,” Terence Malick’s “The Tree of Life” and Jean-Marc Vallée’s “The Young Victoria” are a few examples. It is a general rule that I don’t list a film in my Oscar charts until it picks up distribution (or has deafening buzz and therefore seems destined to pick one up soon). That’s why a number of these flicks are absent from my year-in-advance charts, but all films, with or without U.S. distribution, are accounted for in the Contenders section.
And of course, who knows what eventual Oscar heavies I haven’t listed here or elsewhere in our so-early-it’s-pathetic coverage of the 2009 season? Something always creeps up on us, and it generally waits until right when the season is heating up — seven months from now — to do it. But it would be foolhardy to take this or any year-in-advance speculation to heart. I think I’ve done plenty of heavy lifting for anyone who wants to shed more light on the upcoming season, though, so have at it if you must. For now, I’m off the Oscar beat. At least for a little while (save for the expected scattered coverage of last night’s fallout).
You take a break, too. You deserve it.
(P.S.: One film I didn’t mention in the column is James Cameron’s “Avatar.” You can tell by the materials below that it’s clearly on my mind. However, I can’t really figure out how to qualify it for awards quite yet. We really need to see what he’s come up with first. It could be a game changer or merely a technical dazzler. Time will tell.)
Have your say. What are your insane year-in-advance predictions for the 2009 Oscar season?
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218 responses to “OFF THE CARPET: Handicapping 2009 a year in advance!?”
Yeah, there’s no way all of those actresses would be campaigned as supporting.
Does anyone think “Where the wild things are” has a chance? Is it a kids only film?
im hoping where the wild things are has a chance
Kris, I know.
Also: John Malkovich for “Disgrace”
I’m currently fixing my own “never-too-early” predictions, but here’s one that I’m pretty confident about predicting now and that hasn’t been mentioned yet: “The Lovely Bones” for Best Visual Effects. 1) It’s a Peter Jackson film; all three “LOTR” films and “King Kong” won that; and 2) a big part of the book (and the film, undoubtedly) is set in heaven. Surely Jackson’s “heaven” would involve a lot of CGI magic?
Haven’t they actually said that Marion Cottilard has the lead female role in the film? People were talking like it was Cruz but the producers came out and said it was his wife that had the biggest part.
Expect Streep to land again for playing Julia Child in Julie & Julia. The word is she is astonishing. They may throw her a bone for not winning Sunday night.
I’m not really feeling Kathryn Bigelow, if only because at the Indies, her actors were nominated but she and her movie were not; and it just feels like if she’s not a contender there, she won’t be an Oscar contender.
I think Demitri Martin, Mo’Nique, and Carey Mulligan would be interesting breakouts. I watched the first two eps of Demitri’s show after I read this list, and he’s charming and charismatic and has good timing. The show itself is a bit inconsistent, and it’s hard to tell how good of an actor he is from sketch and standup type comedy, but I’m rooting for him.
I wonder if Taraji P. Henson & Ed Harris (the second-most nominated actor in the last fifteen years, and he still has no wins) in Once Fallen or Ken Watanabe & Rinko Kikuchi (the only Oscar-nominated performers alive) in Shanghai can do something.
Speaking of Harris, the other most-nominated (or, in one evil case, just winngest) actors in the game this year seem to have a good chance to repeat: Judi, Meryl, Depp (0/3)…and, unfortunately, Hoffman (freaking three in the last four years) and the Swank.
My early predix: Taking Woodstock (Wishful thinking, yes, but Eastwood/Swank, Marshall, and Scorsese have Best Pictures this decade. Lee does not. Of course, by that logic The Hulk would have been a contender.), Marshall (In your top ten, the directors either have recent wins or do not have that much pedigree yet; he didn’t win for Best Pic Chicago.); Johnny Depp (for the 0/3 wins thing, though Leonardo DiCaprio has the same record, albeit over a longer period of time, and Kate and Leo in consecutive years could be interesting); anyone but Hilary Swank…um, Saoirse if they want to reward young talent, Thompson or Pfeiffer if they want old, er, comeback, talent; Matt Damon (only one in your top ten besides already-winner Foxx who’s been nominated, and he’s in a lot of baity movies this year), Meryl Streep (one of nine in your top ten to have at least a nomination, but again it’s been over 25 years; I feel that a nom will be the reward for Mo’Nique and she’ll have a Hathaway season, while Williams…not to be insensitive, but I think she may benefit from sympathy to be a contender upon getting her second nomination, her first being the one where she met him, especially since Scorsese’s much baitier than Wendy/Lucy).
Screenplay, Lee/Scorsese/Eastwood’s films should contend, but Eastwood’s last big one didn’t win screenplay. And I don’t think translating a musical from stage to screen requires brilliant screenwriting. Original, it’s about time Pixar wins.
One interesting category is Animated Feature. Three of your top five are being distributed by Disney: the frontrunner Pixar film (Pixar has a 4 for 6 record.), a Miyazaki film (Spirited Away won the only time there were five nominees.), and a Disney Princess film (its first in a decade; in the 90’s, Disney won Best Song and Best Score the majority of the time, got the only animated Best Pic nom ever for Beauty and the Beast, and two Best Comedy/Musical Globes). Dreamworks won the first time the award was presented but hasn’t since. Coraline is the best-reviewed film of the (short) year thus far, distributed by Focus, which does pretty well with pushing critically acclaimed but un-blockbuster-y fare. I’m hoping that this is the year when an animated film finally is Beauty and the Beast’s successor, hopefully due to backlash about Wall-E’s robbing that doesn’t lead to reverse backlash against animated films…well, as long as it’s not the Dreamworks film (Besides the double whammy of greatness in ’98, none of their animated films has been good; yes, I hate Shrek.).
Nominees (much of it being based on your tops, though for the categories you put new-ish talents in, I mostly filled in the already-acclaimed)
Picture: Nine, Woodstock, Mandela, Shutter…Up/Princess & the Frog.
Director – Same as above, but with Foreign-nominated (Oscar/Globe/Bafta) Mira Nair instead of animated, though I would like the director-writers of Little Mermaid and Aladdin to be rewarded.
Actress – Pfeiffer, Ronan, Thompson, Swinton, Weisz…perhaps Audrey (Maybe Cotillard factor could help.)
Actor – Depp, Bardem, DiCaprio, Day-Lewis, Freeman…perhaps Martin for newness
Sup Actress – Cotillard, Mirren, Williams, Mo’Nique, Streep…maybe Dench.
Sup Actor – Matt Damon, Sean Penn (Tree of Life), Djimon Hounsou (Tempest), Richard Gere (Amelia), Ben Kinglsey (Shutter Island)…maybe Groff (Tony nominee)
Adapted Screenplay – Cheri (Oscar winner), Shutter Island (Oscar winner), Amelia (Oscar winner), Lovely Bones (Oscar winner), Woodstock (Oscar/Bafta/WGA nominee)…maybe Nine (Bafta winner)
Animated – Up, Ponyo, Princess
Of your top tens in techs, I’d root for Harry Potter (art direction/makeup/visual effects), though the films aren’t as good as the best books of all time), Nine (Cinematography, although maybe I’m just thinking of Chicago’s), Potter or Nine (Costumes), Woodstock (Editing), Up (Score, Sound, Sound…oh, and not tech but Original Screenplay as an animated film still hasn’t won).
…Yeah, I like to procrastinate rather than doing actual work.
Oh, I meant to add “Asian” re: Rinko & Watanabe; clearly, there are many other Oscar-nominated performers alive.
And I meant winningest, not winngest.
I read over my predictions, which don’t correspond w/Adapted, so:
Screenplay, of the big films, Shutter’s writer has an Oscar. Mandela’s is new. I don’t think translating a musical from stage to screen requires brilliant screenwriting. So…Woodstock.
Here is who i want to see nominated this year:
Mo’nique
Stanley Tucci (The Lovely Bones)
Emily Mortimer(Shutter Island)- hopefully a big part
Mark Ruffalo
Richard Kind
Penelope Cruz (Broken Embraces)
Bill Nighe (The Boat That Rocked)
and… there might be someone else, but i can’t recall someone else…
Anyway, just some thoughts on the race.
Breakthrough performances to watch in 2009
Kodi Smitt McPhee/The Road
Carrie Mulligan/ An Education
Demetri Martin/Taking Woodstock
Channing Tatum/Public Enemies
Fergie/Nine
Mo’ nique/Precious
Rupert Friend/Cheri
Sam Worthington/Avatar
Diane Kruger/Inglorious Basterds
Nice starting list Kris, the best picture nominations look plausable till the unexpected newcomer appears around Toronto.
I have read Shutter Island and Emily Mortimer’s character is an extremely juicy role. I think she will get a nomination.
part of me wonders if Mortimer will go lead for Shutter Island, so Williams can get supporting, or vice versa. I’m not familiar with the plot, so they could both be strictly supporting roles.
The Supporting Actress race is gonna be quite loaded this year, what with all of the actresses from Nine, and Mo’Nique seeming like a distinct possibility this far out.
I’ll take a stab at best picture and actor:
Taking Woodstock
Nine
Tree of Life
The Lovely Bones
Biutiful
Lewis
Mortensen
Freeman
Bardem
Damon
JAB
Both are supporting characters in the book but Emily Mortimer’s character plays a bigger part.
Leonardo diCaprio’s character is so effing juicy in Shutter Island. There is NO WAY he is not being nominated. I’m sorry, but just no way he will be ignored. Not only because of his character, what a great actor he is, but also because Scorsese is directing.
Michelle Williams has a WAY stronger chance to be a supp. actress nominee over Emily Mortimer. her role is way juicier, and bigger than Emily’s.
Also think Ben Kingsley has a stronger chance than Mark Ruffalo for a supp. actor nod…. but I can see itgoing either way, or mybe even both.
Emily Mortimer plays a mental patient, right? Which is why I think she’ll be nominated (and win, since I said it in June. I need to keep that up! can’t give up now).
Also, all three of Julie Taymor’s movies have received costume nominations so I would think “The Tempest” is looking for even from this early stage.
best movie; PUBLIC ENEMIES
best director; MICHAEL MANN
best actor; JOHNNY DEPP
Yes, Glenn, Emily plays a “mental patient” in one scene, but while Michelle’s character is not actually a mental “patient”, she IS mentally ill, and has way more scenes, that are way more baity…
Emily has more than one scene. Also keep in mind that they will probably expand her chacacter for the film.
Michelle Williams has a decidedly pivotal role in Shutter Island, one which she herself called the most intense she’s ever played. I can’t say anymore having read the book, but it is extremely baity, very emotional and sad and she’s the kind of actress who’s starting to really percolate.
Ah, ah, ah– I said only one scene as a “mental patient”…
*SPOILER*
She has a couple other scenes, as the nurse that she actually is… and those scenes aren’t very interesting for her at all…. and no, her part hads not been expanded for the film.
in conclusion: Michelle Williams more likely to get a nod? and more likely to go lead if either of them do?
I think Michelle could go lead. She is a supporting character in the book but they probably have changed some things from the book. Plus there have been plenty of supporting roles that have been considered lead. I mean just look at Reese Witherspoon in Walk the Line.
Meryl Streep is leading honey, you can not underestimate her like that. She is lead, and taking home the third. Sorry for your article…
MERYL STREEP will no be nominated for supporting, she is lead. Her character’s name is in title. What the fuck you are trying to do? Screaming she is supporting so they listen to you and get her in supporting. If they listened to you honey, Cate Blanchett would be this year’s Best Actress winner. Live on it, and go find yourself something new.
[…] this year before scads of sites came out with their 2009 Oscar shapings.В Kris Tapley wrote a very extensive one.В So those of you are wanting to start your Oscar watching (very) early can do so.В Me, I’m […]
I think there might be a lot of repeat nominations. Meryl Streep for Lead, Amy Adams for Supporting. Robert Downey Jr for Sherlock Holmes. Brad Pitt and Sean Penn could both get supporting noms for Tree of Life. I heard Brad redeems himself after many were disappointed with Benjamin Button. I wish Brad and Robert Downey Jr had not got nominated for these past Oscars because it might reduce their chance at being nominated for the upcoming Oscars for actual deserving performances.
I also think The Last Station might be a strong awards contender. Christopher Plummer for Best Actor and Helen Mirren for Supporting Actress. I am pretty sure Johnny Depp will be nominated for Public Enemies. Morgan Freeman for Best Actor. Emily Blunt might get nominated for The Young Victoria. I heard William Dafoe for Fireflies in the Garden was really good.
Best Actor: Christopher Plummer, Morgan Freeman, Robert Downey Jr, Johnny Depp, Matt Damon.
Best Actress: Meryl Streep, Emily Blunt, Hilary Swank, Julianne Moore, Rachel Weisz
Best Supporting Actor: Brad Pitt, Sean Penn,
Guy Pearce, William Dafoe, Richard Gere
Best Supporting Actress: Fiona Shaw, Helen Mirren, Rachel McAdams, Amy Adams
Of course, it is still early. I don’t think Nine will make the Oscar cut in the major categories.
“Brad Pitt and Sean Penn could both get supporting noms for Tree of Life.”
I don’t know what the Tree of Life will be like, but Malick doesn’t have a history of having his actors getting nominated, largely due to his style of filmmaking.
I don’t think Meryl Streep is going to get a nomination in a Nora Ephron film. Also people are ignoring Peter Sarsgaard in An Education, Hugh Dancy in Adam, Rose Byrne in Adam, and Maggie Gyllenhaal in Away We Go. Gyllenhaal and Sarsgaard are both due for a nomination and Sarsgaard has an accent in this one. Dancy got rave reviews for Adam at Sundance which was picked up by Fox Searchlight and is about a man with Asperger’s syndrome who falls in love with Rose Byrne. We all know how great Fox Searchlight is at getting these films nominated.
I think Streep will get in for Julie and Julia. Yes itВґs a Norah Ephron film (but Streep can get nominated without a great director, Wes Craven anyone?)
Julia Child is a yummy part (we all know how the academy love the biopicparts) and early word on her performance is great. I think people who donВґt predict her for this is clearly underestimating her chances.
Oh and by the way people who have seen the film says that Streep and Adams are co-leads, if anything itВґs more StreepВґs movie. So Streep is lead most likely.
Maria Hallis: From afar, those working on the film indicate supporting.
I guess that should also be aimed at Kate, though the sniping (and uninformed sniping, which is worse) from the two of you over an actress’s placement in my charts is a bit bizarre.
what about cate blanchett in Robin Hood?
Is that movie even happening this year? Robin Hood, that is.
Its set to start filming in early april on a budget of 130 million, although Im more curious about Speilbergs Lincoln myself
So i had a thought… If “Let the Right One In” was not eligible for last year’s oscars… could it be eligible for this year’s oscars?
Paul, Wes Craven is a great director. Seriously A Nightmare on Elm Street is a masterpiece of the genre and Red Eye, Scream, Scream 2, and Last House on the Left are all really good films. Nora Ephron hasn’t shown anywhere near the craft that Wes Craven has shown.
Kris, why haven’t you placed Robert Downey Jr in your top 10 for Sherlock Holmes? It certainly is a baity role, so I guess you don’t have faith in the film?
Same question about Rachel Weisz in Agora.
No real reason for Weisz but for Downey I don’t have a lot of faith in the film…yet. Not as an Oscar vehicle, anyway.
kris why is it that you dont have the Lovely Bones in top 10 for multiple categories, low expectations?
Michelle Williams’ characrer in Shutter Island has not been boosted. The only lead character male or female is DiCaprio’s.
Ruffalo, Kingsley, Williams, Sydow, Mortimer, Clarckson are ALL supporting…
Too soon to predict real nominees but these below are mine possible award considerations in the main categories:
Picture:
The Burning Plains
Bright Star
Mandela
Tetro
Shutter Island
Creation
The Informant
The Last Station
The Lovely Bones
Nine
The Soloist
Public Enemies
Taking Woodstock
The Tree of Life
Winged Creatures
An Education
Peacock
Directing:
Peter Jackson – The Lovely Bones
Francis Ford Coppola – Tetro
Clint Eastwood – Mandela
Ang Lee – Taking Woodstock
Michael Mann – Public Enemies
Rob Marshall – Nine
Lone Scherfig – An Education
Jon Amiel – Creation
Steven Soderbergh – The Informant
Martin Scorsese – Shutter Island
Jane Campion – Bright Star
Kathryn Bigelow – The Hurt Locker
Joe Wright – The Soloist
Terence Malik – The Tree of Life
Michael Hoffman – The Last Station
Michael Lander – Peacock
Actor in a Leading Role:
Matt Damon – The Informat
Christopher Plummer – The Last Station
Paul Bettany – Creation
Jim Carey – I Love You, Phillip Morris
Daniel Day Lewis – Nine
Johnny Depp – Public Enemies
Leonard Di Caprio – Shutter Island
Robert Downey Jr – The Soloist
Morgan Freeman – Mandela
Vincent Gallo – Tetro
Demitri Martin – Taking Woodstock
Viggo Mortensen – The Road
Edward Norton – Leaves of Grass
Ben Winshaw – Bright Star
Brad Pitt – The Tree of Life
Actress in a Leading Role:
Amy Adams – Julie and Julia
Halle Berry – Frankie and Alice
Penelope Cruz – Broken Embraces
Hilary Swank – Amelia
Carey Mulligan – An Education
Michelle Pfeiffer – Cheri
Tilda Swinton – Julia
Saoirse Ronan – The Lovely Bones
Audrey Tatou – Coco Avant Chanel
Robin Wright Penn – The Private Lives of Pippa Lee
Charlise Theron – The Burning Plains
Actor in a Supporting Role:
Jamie Foxx – The Soloist
Billy Crudup – Public Enemies
Ewan McGregor – Amelia
Mark Ruffalo – Shutter Island
Jeff Daniels – Away We Go
Jeffrey Dean Morgan – All Good Things
Channing Tatum – Public Enemies
Alfred Molina – An Education
Kodi Scott-McPhee – The Road
Ray Winstone – The Edge of Darkness
Richard Kind – A Serious Man
Actress in a Supporting Role:
Kathy Bates – Cheri
Patricia Clarkson – Whatever Works
Penelope Cruz – Nine
Vera Farmiga – Up in the Air
Kirsten Dunst – All Good Things
Mo’Nique – Precious
Susan Sarandon – The Lovely Bones
Meryl Streep – Julie and Julia
Imelda Staunton – Taking Woodstock
Maribel Verdu – Tetro
Helen Mirren – The Last Station
Sophia Loren – Nine
Ellen Burstyn – Lovely, Still
Ellen Page – Peacock
Emily Mortimer – Shutter Island
Josh:
Well taste differs I suppose…
LetВґs just say that Craven hasnВґt done anything remotely close to something appealing to the academy while Ephron has in fact been oscarnominated three times for screenplay (Silkwood, Harry met Sally and Sleepless).
I can just feel that Julia Child will be a great part for Streep and I still say that most people greatly underestimate StreepВґs chances for this.
I stand by that sheВґs a lead also. People who has attended screenings have said so.
Where is Streep for Julie and Julia?
Kris: You might want to add Gustavo Sanaolalla as a contender for the score of “Biutiful” He is 2/2 for oscars and tremendously talented
Mike: Clearly listed in the supporting actress chart.