My dream Oscar ballot, part one

Posted by · 1:22 pm · January 22nd, 2011

For the past two years running, I’ve celebrated Oscar Nomination Eve by assembling my own ideal (and, usually, incredibly far-fetched) ballot, so here we go again. As well as a kind of last-ditch prayer to the Oscar gods, I also look on it as a salute to the worthy contenders who haven’t a hope in hell of hearing their names read out on Tuesday morning.

At the request of some readers, I’ve bent the rules to accommodate several titles unfairly ineligible for Oscar consideration in any category: most of you are aware of the arcane ruling that has denied “A Prophet” the chance to ever compete in a non-ghetto category, while the TV airings of “Red Riding” and “Carlos” keep them out of the game too. I’m less clear on why the likes of “White Material” and “Fish Tank” aren’t on the Academy’s list of eligible titles, but they aren’t, and I must make my peace with that.

Anyway, screw ’em: this ballot represents what I found most awards-worthy from all the theatrical features released in the US last year, and you can’t get fairer than that. I’ll begin, as usual, with the ten technical categories — in which I was pleased to end up with a healthy spread of 33 films across 48 slots. Jump in after the cut, and share your own thoughts in the comments. (Also, check out Kris’s very different ideal ballot here.)

Best Art Direction
Silke Fischer and Volko Kamensky, “Everyone Else”
Bjarne Hansen, “The Illusionist”
Michael Barthélémy, “A Prophet”
Cristina Casali, “Red Riding: 1974”
Darren Gilford and Lin MacDonald, “TRON: Legacy”

Next tier: “Black Swan,” “Carlos,” “Dogtooth,” “The Ghost Writer,” “Shutter Island”

So much of my favorite production design this year was about space more than spectacle: I’ve already discussed the brilliance of the contained, contemporary work in “Everyone Else,” while the vast, warren-like prison recreated for “A Prophet” is so impressive many don’t realize it is art direction at all. The first chapter in the “Red Riding” trilogy, meanwhile, pays particular attention to texture and finish in its smeary evocation of working-class 1970s Yorkshire. But there’s room for wonderment, too, in two very different forms: the sleek architectural minimalism of “TRON Legacy” and “The Illusionist”‘s breathtakingly detailed moving watercolor of 1950s Edinburgh.

Best Cinematography
Matthew Libatique, “Black Swan”
Robbie Ryan, “Fish Tank”
Harris Savides, “Somewhere”
Christophe Beaucarne, “Outside the Law”
Yves Cape, “White Material”

Next tier: “Blue Valentine,” “The Disappearance of Alice Creed,” “Enter the Void,” “The Fighter,” “Lourdes”

A rich field this year, so much so that only one of the perfectly commendable field of Oscar contenders in the category entered the conversation for me. Libatique’s ingenious use of Super 16 to participate in the performance of “Black Swan” finds a gritty Transatlantic counterpart in Ryan’s fluid, on-the-fly shooting, which strikingly employs the unusual Academy ratio. By contrast, there’s a lustrous vintage studio veneer to Beaucarne’s classical compositions, while Cape’s stately lensing of “White Material” lingers unnervingly on details of face and landscape alike. Savides, meanwhile, locates modest poetry in the severe California sunlight, a trick he also performed impressively in “Greenberg.”

Best Costume Design
Amy Westcott and Rodarte, “Black Swan”
Brenda Broer, “Cairo Time”
Françoise Clavel, “Carlos”
Mark Bridges, “The Fighter”
Antonella Cannarozzi, “I Am Love”

Next tier: “The American,” “Burlesque,” “Inception,” “Red Riding: 1974,” “The Runaways”

Not a corset or hoop skirt in sight, as all the costuming that most wowed me in 2010 came either from recent history or the present day. Of the two period pieces on my list, I’ve already said my piece on Bridges’s bang-on sartorial trip to the early 1990s, but Clavel’s decades-spanning wardobe for “Carlos,” so tangibly textured the film could be retitled “Blood and Polyester,” is equally impressive. Of the contemporary selections, “I Am Love” and “Cairo Time” both intricately chart their leading ladies’ sexual and emotional shifts through dress (and, well, dresses). Meanwhile, some may be fussing that Westcott didn’t design the performance costumes for “Black Swan,” but the fine gradations of color and cut in the characters’ everyday clothing are no less remarkable.

Best Film Editing
Jon Gregory, “Another Year”
Andrew Weisblum, “Black Swan”
Frederick Wiseman, “Boxing Gym”
Jim Helton and Ron Patane, “Blue Valentine”
Pamela Martin, “The Fighter”

Next tier: “Carlos,” “Green Zone,” “The Social Network,” “Somewhere,” “White Material”

Probably the technical category in which I had the most difficulty limiting myself to five. Mike Leigh’s editors rarely get much credit for shaping narrative out of his famously unorthodox process, but Gregory’s work is particularly remarkable: the implications of entire scenes shift on his decisions over when to cut. Helton and Patane deserve kudos for keeping “Blue Valentine”‘s flashback-dependent structure fluid and consistently revealing, while Weisblum’s “Black Swan” dazzles cinematically while slyly keeping multiple narrative options open. Two boxing films round out the category, but while Weisman is transfixed by the rhythms of physical activity, Martin is as preoccupied with verbal sparring.

Best Makeup
“Black Swan”
“The Human Centipede: First Sequence”
“Sex & Drugs & Rock & Roll”

Next tier: “Barney’s Version,” “The Fighter,” “The Temptation of St. Tony”

Full disclosure: I haven’t seen a couple of the films shortlisted by the Academy’s makeup branch. That said, I’ve found I don’t always value the same things the voters do in this craft; final effect and performance-abetting ability is of more concern to me than technical wizardry. The technique on display in “The Human Centipede” is no doubt pretty rudimentary, but vividly realizes the premise, while Andy Serkis’s tour-de-force performance as punk icon Ian Dury in “Sex & Drugs & Rock & Roll” wouldn’t work without the makeup team’s replication of Dury’s wild onstage guises. The transformative work in “Black Swan,” meanwhile, impresses on both a theatrical and technical level.

Best Original Score
Sylvain Chomet, “The Illusionist”
Trent Reznor and Atticus Ross, “The Social Network”
Daft Punk, “TRON: Legacy”
Tindersticks, “White Material”
Dickon Hinchliffe, “Winter’s Bone”

Next tier: “The Ghost Writer,” “How to Train Your Dragon,” “Inception,” “Monsters,” “A Prophet”

To my ear, traditional film composers had to take a back seat this year, as a horde of immigrants from the world of popular music impressed most in this field. Dance masters Daft Punk surprised with the stunning orchestral breadth of their “TRON: Legacy” soundtrack, former Nine Inch Nails frontman Reznor collated both the most chaotic and most delicate ends of his repertoire, and British indie veteran Hinchliffe colored his trademark atmospherics with stabs of country. His former band Tindersticks was on more familiar, but no less haunting, form in their latest Claire Denis collaboration. Meanwhile, novice composer Chomet’s musical naïveté couldn’t have been more apt for his own fragile film. (Finally, outstanding interpolated work in “Shutter Island” and “I Am Love” made a strong case for the return of the Best Adapted Score category.)

Best Original Song
“But I Am a Good Girl” from “Burlesque”
“Welcome to Burlesque” from “Burlesque”
“La Donna in Viola” from “For Colored Girls”
“Chanson Illusioniste” from “The Illusionist”
“Life During Wartime” from “Life During Wartime”

Next tier: “Mother Knows Best” from “Tangled” and, um… a bunch of other songs from “Burlesque.”

Not exactly a vintage selection of contenders, but one I’d be more than happy to see staged at the Oscars. (That said, the “For Colored Girls” aria is exempt from recreating its accompanying rape scene through the medium of dance.) “Burlesque” offers a wealth of original song options, but while it’s the film’s power ballads that are predictably getting the awards buzz, its brassy cabaret pastiches trump them for both fun and songcraft. “The Illusionist”‘s sweet, lilting theme is a less showboaty retro exercise, while Marc Shaiman’s mordantly melancholy title composition for “Life During Wartime” effectively overcomes the distraction of its stolen Talking Heads title.

Best Sound Editing
“Black Swan”
“Frozen”
“The Good, the Bad, the Weird”
“Monsters”
“127 Hours”

Next tier: “Green Zone,” “Inception,” “Red Hill,” “Shutter Island,” “TRON: Legacy”

This craft was responsible for some of my most shivery involuntary reactions at the cinema this year, none more so than in “127 Hours”: while the camerawork and editing curiously work overtime to distract us from the hard reality of that moment, the sound editing is so clean and crisp as to ensure that shielding your eyes doesn’t help at all. “Frozen” achieved similarly claustrophobic results on a shoestring budget, while “Monsters” chalked up a more ambitious sonic showcase for the indies. I’ve already celebrated the clattering chaos of the sound work in “The Good, the Bad, the Weird”; “Black Swan”‘s subtly integrated, feathery effects are markedly more restrained.

Best Sound Mixing
“Red Hill”
“The Temptation of St. Tony”
“TRON: Legacy”
“White Material”
“Winter’s Bone”

Next tier: “Animal Kingdom,” “Black Swan,” “Enter the Void,” “The Good, the Bad, the Weird,” “The Social Network”

I confess I did a double-take when I read over my first draft of this ballot and discovered a 0-for-5 match-up between the two sound categories. Still, what better way to illustrate the fact that they are indeed two different disciplines? While less distinctive in the details, these five mixes proved utterly enveloping in the cinema: there’s a world of difference between the state-of-the-art bombast of “TRON: Legacy” and the doomy fridge-buzz drone of Estonian arthouse pic “The Temptation of St. Tony,” but they overwhelmed in oddly similar ways. Aussie thriller “Red Hill”‘s stark, storming mix offers the biggest gut thrills here, while “White Material” and “Winter’s Bone” take an equally effective slow-creep approach.

Best Visual Effects
“Enter the Void”
“Inception”
“Micmacs”
“Monsters”
“TRON: Legacy”

Next tier: “Black Swan,” “Iron Man 2,” “The Social Network,” “Scott Pilgrim vs. the World,” “Shutter Island”

By expanding this category to five nominees, the Academy opened up the possibility of nominating more resourceful work in lower-budget or less effects-driven films, but the shortlist they unveiled a few weeks back suggests we’ve yet to get there. A shame, since Gareth Edwards is as deserving of recognition for his financially constrained but vivid monster effects in his debut feature as many a generically realized blockbuster with money to burn. Two (!) French titles make up in narrative effectiveness what they lack in technical finesse. “Inception” offers the reverse of that equation, while “TRON: Legacy” overreaches on the Young Dude issue, but otherwise wows without reservation.

That it’s for today, then. Check in tomorrow for my picks in the main categories. For those keeping score, “Black Swan” currently leads my list with five mentions, “TRON: Legacy” follows with four, while “The Illusionist” and “White Material” score three apiece. I have a feeling one of those films might fall behind tomorrow.

[Photos: Fox Searchlight Pictures, Sony Pictures Classics, IFC Films, Paramount Pictures, The Weinstein Company, Tribeca Films, Roadside Attractions, Screen Gems, Magnet Releasing, Strand Releasing, Walt Disney Pictures]




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27 responses so far

  • 1 1-22-2011 at 1:41 pm

    Estefan said...

    I still astounds me that anybody could consider the songs in Burlesque to be better than Alan Freakin’ Menken. The Burlesque songs are nothing but complete and utter soul-less drivel with no heart to them whatsoever and the only downright stupid decision the Globes made in the motion picture categories this year.

    It’s nice to see Tron: Legacy get its due, but your song line-up is a crime against humanity.

    And yes, I do hate Cher. Thanks for asking.

  • 2 1-22-2011 at 1:47 pm

    JJ1 said...

    Great individual choices, Guy. I particularly like Red Riding 1974 for art d, Cairo Time for costumes, and 2 lesser know, but better songs from Burlesque. :)

  • 3 1-22-2011 at 1:50 pm

    Guy Lodge said...

    Actually, aside from the pretty cute “Mother Knows Best,” I think the songs in “Tangled” effectively amount to Alan Menken plagiarizing his own back catalogue.

    And I know you’re our resident “Tangled” die-hard, but “a crime against humanity?” Unclench a little, Estefan.

  • 4 1-22-2011 at 1:57 pm

    Estefan said...

    Yeah, that might have a little harsh. If it was just the three non-Burlesque songs, it wouldn’t have bothered me.

    But, Burlesque just gets my blood boiling. And I’m not that big of a Tangled die-hard (heck, I’m rooting for Toy Story 3 all the way). I just feel everybody is really under-estimating Tangled’s chances of getting a third slot. Really, it shouldn’t even be considered a fight for that third slot. Tangled’s got it.

  • 5 1-22-2011 at 2:10 pm

    Edward L. said...

    Guy: I weould choose the same two songs from Burlesque. ‘Welcome to Burlesque’ is my favourite of the songs – great, bouncy fun – and ‘I Am a Good Girl’ is the best-staged and best-edited number.

    The first of these is Oscar-eligible, so here’s hoping come Tuesday…

    And yes, I do love Cher! :-)

  • 6 1-22-2011 at 2:12 pm

    Nick Davis said...

    I would love to believe lots of AMPAS voters would start with a ballot this refreshingly diverse and gloriously reasoned, even in the one or two categories in which they nominate. But I doubt it. This is a great read.

  • 7 1-22-2011 at 2:16 pm

    Liz said...

    Maybe I’m not giving the movie enough credit, but Patricia Clarkson’s costumes in “Cairo Time” kind of bothered me. The short skirts, sleeveless dresses, and very low-cut tops in a conservative country like Egypt? And she even pointed out that other women were wearing long-sleeved dresses or even all-covering body cloaks, so I feel like it should have occured to her, “Hey, maybe these aren’t the most appropriate choices.”

    I liked the clothes themselves, but their presence in the movie didn’t make a lot of sense to me.

  • 8 1-22-2011 at 2:28 pm

    Robert Hamer said...

    While I wouldn’t call your song nominees a crime against humanity, I’m surprised to see no mention of the hilarious, memorable and appropriately messy songs from Scott Pilgrim vs. the World.

    “Ramona,” “Garbage Truck,” and “Threshold” were great songs that make you think about death and get sad and stuff!

  • 9 1-22-2011 at 2:29 pm

    JTag said...

    I’d have Inception down for Editing due to the way the four levels were managed effectively. Otherwise, I love that your list managed to avoid the “and these are the noms for the top five Best Picture candidates”.

  • 10 1-22-2011 at 2:34 pm

    Chris said...

    Oh my god, Micmacs gets a mention. It’s one of my favorite films of the year.

  • 11 1-22-2011 at 2:43 pm

    Guy Lodge said...

    Liz: Interesting you should say that, since my mom made exactly the same observation after she watched Cairo Time. For my part, I thought the clothes were in keeping with the character’s cultural naïveté. Moreover, she does make concessions to the culture as the narrative progresses — notably, that traditional turquoise formal gown with the accompanying shawl.

    Chris: Honestly, I can’t stand Micmacs. But I’m glad its inclusion makes you happy!

  • 12 1-22-2011 at 2:43 pm

    Speaking English said...

    No, you’re confused. I’m the resident “Tangled” die-hard. ;) And “I See the Light” is the best song from the film, with second “When Will My Life Begin.”

    I also agree “The Illusionist” has a beautiful score.

  • 13 1-22-2011 at 2:57 pm

    Keil Shults said...

    Life During Wartime is one of my favorite Talking Heads songs.

    That is all.

  • 14 1-22-2011 at 3:19 pm

    Conrad Hilton said...

    I love your delightfully queer sensibility. You went a bit overboard on The Fighter (that Goodwill garb over the sultry, sparkly outfits from Burlesque?), but then hasn’t everybody? There are some inspired choices here from Harris Savides to Human Centipede in Makeup to I Am Love in Costumes. You’re one of the few Oscar bloggers who truly knows and loves movies.

  • 15 1-22-2011 at 6:05 pm

    Carlo said...

    Awesome picks Guy:)

  • 16 1-22-2011 at 6:17 pm

    Ed D. said...

    Why is The Social Network is in your top 10 for visual effects?

  • 17 1-22-2011 at 6:44 pm

    Guy Lodge said...

    Mostly for the Winklevi. Not state-of-the-art stuff, I realize, but effective.

  • 18 1-22-2011 at 9:02 pm

    Nic said...

    Burlesque is full of great songs, but i am surprised you didnt include ‘You havent seen the last of me”. I think its brilliant! Also, Black Swan has the best editing of anything i’ve seen recently.

  • 19 1-22-2011 at 9:29 pm

    N8 said...

    Nice call on The Illusionist in Art Direction. It made my top five in that category too.

  • 20 1-22-2011 at 10:29 pm

    billybil said...

    I interpreted this as meaning you actually wanted us to share our ballots, so…

    Best Picture (I select based on risk plus achievement and an overall vitally memorable experience in the theater)
    127 Hours – unique, arresting & moving
    Black Swan – weird as shit, shocking and very entertaining
    Blue Valentine – wonderful real human specificity and very evocative
    The Fighter – big, fun, roller coaster with marvelously fascinating characters
    Inception – mind fuck with gorgeous actors and really fun visual/auditory experiences
    Kids Are All Right – perfect cast of appealing, fascinating HUMAN BEINGS with surprises and charm galore
    King’s Speech – wonderfully comfortable, classy film with a big, cheesy ending that made me cry
    Social Network – intelligence out the wazoo, beautifully made, marvelously acted – I felt respected and pampered sitting in the audience
    Toy Story 3 – the most moving and exciting and funny movie of the year for me – I will never forget the shock of how much horrific danger those silly characters found themselves in
    Winter’s Bone – a mood piece, totally transporting, filled with intriguing faces and voices and a harsh, harsh edge

    Best Director:
    Darren Arnofsky – Black Swan – showy, unique, and virtuosic
    Danny Boyle – 127 Hours – courageous and visionary
    David Fincher – magnificently professional
    Christopher Nolan – really skillful imagination popping out all over the place
    Lee Unkrich – Toy Story 3 – a remarkably assembled film demonstrating a supreme sense of timing and nuance

    Best Actor:
    Jeff Bridges – True Grit – an amusing, disgusting, powerful presence that makes everything seem possible & REAL
    Jesse Eisenberg – Social Network – smart, subtle, fearless & very, very funny in a very, very specific way
    Colin Firth – King’s Speech – appropriately pompous with vulnerability the audience adores – a true star turn and a true joy to behold
    James Franco – 127 Hours – wild and impassioned and believable with manliness battling it out with sensitivity in almost every frame
    Hrithik Roshan – Guzaarish – remarkably vulnerable with an edge of steel and a level of frustrated yearning that blew me away

    Best Actress:
    Annette Bening – Kids Are All Right – stern, intelligent yet moving and likeable – it takes a real pro to accomplish that with such style and verve
    Nicole Kidman – Rabbit Hole – heartbreaking but resilient – a perfect balance between broken and fixed – it is so joyful to watch a character so succinctly communicated
    Lesley Manville – Another Year – heartbreaking with closeup after closeup of vulnerability and grasping hope – truly a fragile and pulsating performance
    Julianne Moore – Kids Are All Right – courageous and oh so human – sexy and vulnerable in an earthy way – her struggles with herself are the heart of the movie and she carries it magnificently and warmly
    Natalie Portman – Black Swan – the tour de force this year – the crazy, emotionally volatile core of a crazy, emotionally volatile film – some wonder if it might be “easer” to play such big emotions but the incredibly thin wire she has to traverse in such an extreme environment is daunting and she makes it work and gives us believability and solicits true sympathy in the middle of a fright fest – a truly accomplished achievement

    Supporting Actor (I really try, but don’t always succeed, to focus on the SMALLER parts that blow me away):
    Christina Bale – The Fighter – amazingly appealing and interesting as a real scum bag – he makes him fascinating, understandable, and sympathetic AND he does so with flair and power
    Andrew Garfield – Never Let Me Go – I know, I’m supposed to prefer him in Social Network, but I didn’t – in fact, he sort of didn’t do it for me in that film but in Never Let Me Go he was moving and had a lost, hopeless but yearning aura about him that I found very haunting
    Mark Ruffalo – Kids Are All Right – very joyous, very charming, very sexy, and totally believable – he made me want to sleep with him and then have a nice long heart to heart with him too!
    Geoffrey Rush – King’s Speech – strong, mischievious, charming as all hell, and very intelligent – he made a far-fetched character really work
    Miles Teller – Rabbit Hole – God this guy blew me away – I could sit and watch him watch Kidman for hours – the vulnerability, the hopeless hope, the teary eyes – he melted my heart in that film more than anybody else – I’ve already been to IMDB to see what his next project will be!

    Best Supporting Actress:
    Dale Dickey – Winter’s Bone – a rare moment when I am absolutely convinced I am seeing a real person doing her very first movie – tough as nails, hard as ice, powerful as all get out – she blew me away more than anyone else in that film
    Keira Knightley – Never Let Me Go – very interesting with a fierceness and an undercurrent of instability that made her wonderfully fun to watch
    Melissa Leo – The Fighter – gnarly and mean, powerful mother tiger who seems so of that time and place – a real entertaining performance
    Jackie Weaver – Animal Kingdom – Gosh, I guess I really liked the tough women this year! But Weaver is the sickest of the bunch and does it with such a unique smarm – fantastic revelation for us non-Australians
    Dianne Weist – Rabbit Hole – OK, the performances in this movie obviously got to me – I will admit to a certain preference for “real life” performances in “glamorous” family dramas like this but Weist is just so perfect in this part – tired, brittle, but loving as well – God, can this woman play subtext!!

    Original Screenplay:
    Black Swan – crazy and it works!
    Blue Valentine – oh so real
    Inception – imagination on paper
    Kids Are All Right – delightfully dramatized reality
    King’s Speech – elegant, classy, and moving

    Adapted Screenplay:
    127 Hours – no way this should have worked this well
    The Fighter – highly entertaining family drama that actually makes yet another boxing story work
    Social Network – oh come on, so damn clever, so damn succinct, so damn entertaining – Lord!
    Toy Story 3 – go ahead, set out to make grown men cry and see how you do – a remarkably fresh and creative 3rd visit – the character of Ken alone is worth the price of admission
    Winter’s Bone – so damn real and special

    Cinematography (it’s true, I’m probably not that sophisticated – beautiful, magical shots thrill me)
    Never Let Me Go
    Secretariat
    Shutter Island
    True Grit
    Winter’s Bone

    Editing (again, I like the more showy cuts)
    127 Hours
    Black Swan
    The Fighter
    Inception
    Toy Story 3

    Art Direction:
    Alice in Wonderland
    Guzaarish
    Harry Potter
    I Am Love
    Inception

    Costume:
    Alice in Wonderland
    Made in Dagenham
    Secretariat
    Social Network
    True Grit

    Make Up:
    Alice In Wonderland
    Black Swan
    The Fighter (a lot of credit to the hairstyles!!)
    Splice
    True Grit
    (Yes, I saw Wolfman, but I thought Splice was more exciting and here I would prefer to acknowledge sophistication)

    Score:
    How to Train Your Dragon
    Inception
    Secretariat
    Tangled
    Toy Story 3

    I CAN’T SEEM TO MANAGE PICKING SONGS

    Sound Mix:
    Black Swan
    Inception
    Monsters
    Predators
    Unstoppable

    Sound Effects:
    Harry Potter
    How to Train Your Dragon
    Iron Man 2
    Megamind
    Predators

    Visual Effects:
    Alice In Wonderland
    Harry Potter
    Inception
    Iron Man 2
    Predators

    I did not see most of the big special effects movies this year like Transformers, Clash of the Titans, Tron, etc.

    Animated Feature:
    How to Train Your Dragon
    The Illusionist
    Toy Story 3

    I know, I nominated 5 everywhere else but these 3 animated films stand above all the rest I saw this year (which were all the major releases except for Ga’Hoole and the wolf one [and NOT Yogi Bear!])

    I just don’t see enough DOCUMENTARIES to be selective although I did love Restrepo and Joan Rivers.

    I’m going to follow the Academy’s approach to THE PROPHET. However, if I did include it I think it would probably appear in at least Picture, Actor, maybe S. Actor, Screenplay, and maybe Cinematography.

    If you’ve waded through all this crap, thanks!

  • 21 1-23-2011 at 4:26 am

    Brook said...

    Massive props/kudos/love for including the Tindersticks and Hinchcliffe. Love those films; and those scores.

  • 22 1-23-2011 at 7:47 am

    Dominik said...

    Wow, didn´t know Tindersticks were composing the White Material-score. Haven´t seen the film yet but definitely have to. Tindersticks are just amazing!

  • 23 1-23-2011 at 8:21 am

    Guy Lodge said...

    How familiar are you with Claire Denis’s work, Dominik? If you aren’t, you’ve a treat in store, since her partnership with Tindersticks goes back a long way.

  • 24 1-23-2011 at 9:13 am

    Dominik said...

    Guy, I´m not very familiar with her work. Did a research at imdb and found out that I´ve only seen one film produced for TV (“US go Home” from 1993- liked it very much) and “Nenette et Boni”.

    By the time I saw these movies I didn´t discover the Tindersticks yet.

  • 25 1-23-2011 at 10:01 pm

    Tom said...

    Just don’t fathom your visual effects love for Black Swan. One spectacular transformation shot, a few more cool make-up and leg breaking prosthetics shots, and a ton of rather simple but tedious camera paint-out mirror shots. What gives? I feel like the rest of the world is ooh-ing and aah-ing over rather simple work. Granted, it’s well done & beautifully supports the film. But one of 5 nominees?! Seriously?!!!!

  • 26 1-24-2011 at 4:15 am

    Guy Lodge said...

    Tom: I think you jumped to the comments section before actually reading my ballot. Black Swan is plainly not one of my five Visual Effects nominees.

  • 27 1-24-2011 at 6:49 am

    Anita said...

    I finally caught up with Red Riding this weekend and I’m glad to see 1974 on here. It was stunning to look at. And the costumes made me as happy as Milk’s did.