The BAFTA nominations in all other film categories will be announced on Wednesday, but the British Academy got the ball rolling this morning will the five nominees for their Rising Star Award — now in its ninth year, and the only BAFTA category in which the winner is determined by a public vote. The nominees, meanwhile, are chosen by a jury of journalists and industry professionals, which this year included Gemma Arterton (a nominee herself for the award a few years ago), producer Pete Czernin (“The Best Exotic Marigold Hotel”) and chairwoman Pippa Harris, deputy head of BAFTA’s film committee. And the five names they’ve chosen are…

Dane DeHaan
George Mackay
Lupita Nyong’o
Will Poulter
Léa Seydoux

It’s a talent-laden roster, certainly, though also one that brings up the annual discussion of what constitutes a “rising star.” BAFTA has always stressed that the award isn’t about rewarding specific debut or breakthrough performances, but rather identifying names that, true to the award’s name, have long-term star potential.

That means nominees can range from genuine newcomers — with Nyong’o, of course, we have only one film performance to go on — to more established names whose stars, in some cases, may appear to have already risen. (Tom Hardy’s nomination, and subsequent win, in 2011 seemed a little late to the party.)

Many will wonder why Seydoux makes the cut over her more acclaimed “Blue is the Warmest Color” co-star Adèle Exarchopoulos, given that both actresses seem to have pretty bright futures. That Seydoux has a longer career, with more notable film credits, behind her clearly made the difference — though you might counter that if Nyong’o could get nominated on the basis of a single breakout performance, so could Exarchopoulos. So it goes; the system will never be ideal.

DeHaan’s 2013 double-shot of “The Place Beyond the Pines” and “Kill Your Darlings” makes him a worthy and well-timed nominee. The first of two British nominees, George Mackay is coming off a busy year that saw him appear in four UK films, most prominently alongside Saoirse Ronan in “How I Live Now” and most appealingly in the Proclaimers musical “Sunshine on Leith.” (He received a London Critics’ Circle nomination last month for his body of work.)

The youngest nominee, 20-year-old Will Poulter, has been on the radar since 2007’s “Son of Rambow,” while multiplex audiences know him for “The Chronicles of Narnia: The Voyage of the Dawn Treader” and his game comic mugging in last year’s “We’re the Millers.” That mainstream presence will, I’m guessing, secure him the public vote quite easily. (The Brits tend to side with their own in this category: the last non-native to win was Kristen Stewart, who rode the Twi-hard vote to victory in 2010.)

Other previous winners include James McAvoy, Eva Green, Shia LaBeouf, Noel Clarke, Adam Deacon and Juno Temple. This year’s champ will be announced at the BAFTA Awards on February 16. UK residents (and only UK residents, I’m afraid) can vote here.

No one likes to be told what to do, but with just two real days left for Academy members to submit their votes for the 86th Academy Awards ask our Oscar friends to indulge us in some unsolicited advice.  It may be their last chance to do the right thing before history is signed, sealed and delivered.

To be frank, we have compiled a list of potential nominees Academy members should seriously consider or re-consider before submitting their ballots. And, most importantly, these aren’t unrealistic long shots who don’t have a chance on getting in.  These are deserving nominees battling it out to make the cut. Sure, Scarlett Johansson work in “Her” is going to be a stretch in the best supporting actress race, but if any vocal performance is going to make history it may be this one.  Amy Adams, Oscar Isaac, James Franco and Chris Cooper face tough odds of making the cut in incredibly competitive categories, but we’re hopeful Oscar voters can deliver a pleasant surprise or two (as they usually do). A few others may already be safe and are ready to be announced on Thursday, Jan. 16, but it doesn’t hurt to throw out one last heap of praise where we can, does it?

So, whether you’re an Academy member, a relative of one (spread the word) or just a fan of the awards season game check out these 10 contenders who need a second look in the story gallery below.

Do you think any of these potential nominees will head to the Dolby Theater to partake in Oscar glory? Share your thoughts below.

GOLETA, Calif. – Forest Whitaker has a little ritual on the many occasions he has rung in the new year in Santa Barbara. He goes down to the water, sits in the sand with his family, looks out over the ocean and up at the stars, and he reflects on the year that was.

As he transitioned into 2014 last week, there was certainly plenty for the actor to reflect upon. Whether it was giving a SAG-nominated performance in “Lee Daniels’ The Butler,” appearing in other films like “Black Nativity” and “Out of the Furnace” or producing the critically acclaimed “Fruitvale Station,” Whitaker stretched himself considerably in 2013.

He was therefore a perfect choice for the Santa Barbara International Film Festival’s 8th annual Kirk Douglas Award for Excellence, which was presented to him at a fundraising dinner in advance of the fest Sunday night.

A number of clips were shown briefly throughout the evening, sort of a capsule version of the extended tribute reels that run for honorees during the festival itself each year. As you look across the product, something smacks you in the face: “Platoon,” “Good Morning, Vietnam,” “Bird,” “Fast Times at Ridgemont High,” “The Crying Game” – this is very much the canon of modern cinema. He has been a consistent force, never failing to impact, soft spoken but a titan. He finally won an Oscar for 2006’s “The Last King of Scotland,” running the table that season with an undeniable virtuoso performance. It seemed the cherry on top of a vibrant career, but much more was, and likely still is, in store.

“Fruitvale Station” star Michael B. Jordan and Whitaker’s “Black Nativity” co-star Angela Bassett attended the black tie affair. Each offered words of appreciation for their shared friend and colleague.

For Jordan, Whitaker unlocked something special in the young actor, who was having difficulty considering how he would portray the late Oscar Grant in Ryan Coogler’s film.

“Forest taught me that you couldn’t worry about that,” he said. “You have to focus on not giving an imitation but on his essence and what he stood for. That changed my entire approach to the project. It meant the world to me. It changed my life, honestly.”

Bassett, meanwhile, took stock of Whitaker’s intangible charisma, noting that “there’s nobody like anybody, but absolutely no one like Forest…I don’t know how he does it other than the fact that he always gives the full measure of his devotion, reaching, touching, striving for every moment’s honesty. Not unlike childbirth, he labors and delivers, characters so complex, so captivating, so sympathetic.”

But for Whitaker, it meant a lot to receive the honor so close to the new year, so close to his frequent ritual.

“Santa Barbara has been a place I have contemplated my dreams and tried to find a way to make them real,” he said. “That’s what cinema does for all of us…It allows us to remember our shared past and inspires us to act on all that’s possible for our shared future.”

The 29th annual Santa Barbara International Film Festival runs Jan. 30 – Feb. 9. Whitaker’s “Butler” co-star Oprah Winfrey will be recognized there next month with the Montecito Award for her work in the film.

Jonah Hill isn’t buying the recent criticisms surrounding “The Wolf of Wall Street.”

While being honored at Variety’s Creative Impact Awards and 10 Directors to Watch brunch in Palm Springs on Sunday, the actor said he doesn’t believe the Martin Scorsese drama glorifies the behavior of penny-stock fraudster Jordan Belfort (Leonardo DiCaprio) and his associates.

“I personally take away the message from the film that this behavior, this lifestyle, leads to a very bad ending,” Hill said. “I think the movie is not glorifying this behavior, it is showing that it leads to bad places whether their judicial punishment doesn”t reflect that is one thing. Where your life ends up, who you are as a person, is another.”

Hill plays the role of Belfort’s crony Donnie Azoff in the film.The character is based on Belfort’s real-life business partner Danny Porush, who along with Belfort was convicted of securities fraud and money laundering through their now-infamous brokerage firm Stratton Oakmont. The film is based on Belfort’s memoir of the same name.

What did you think of “The Wolf of Wall Street”? Does it celebrate or condemn Belfort’s behavior?

Nope, we’re not quite done with the regional critics’ awards yet. North Carolina has weighed in with their nominations, and while the list reads much as you’d expect — “12 Years a Slave,” of course, leads with seven mentions — there are a few quirks and variations here and there. Sarah Paulson notches up a Best Supporting Actress nod for “12 Years a Slave,” for example, alongside the ubiquitous Lupita Nyong’o, while John Goodman scores a supporting actor bid for “Inside Llewyn Davis.” Most refreshing of all is a Best Adapted Screenplay nomination for Francois Ozon’s “In the House,” though the film oddly doesn’t place in their Best Foreign Language Film category. Full list below; everything else at The Circuit.

Best Picture
“American Hustle”
“Gravity”
“Inside Llewyn Davis”
“12 Years a Slave”
“The Wolf of Wall Street”

Best Director
Alfonso Cuarón, “Gravity”
Steve McQueen, “12 Years a Slave”
Alexander Payne, “Nebraska”
David O. Russell, “American Hustle”
Martin Scorsese, “The Wolf of Wall Street”

Best Actor
Bruce Dern, “Nebraska”
Leonardo DiCaprio, “The Wolf of Wall Street”
Chiwetel Ejiofor, “12 Years a Slave”
Matthew McConaughey, “Dallas Buyers Club”
Robert Redford, “All Is Lost”

Best Actress
Amy Adams, “American Hustle”
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Adèle Exarchopoulos, “Blue Is the Warmest Color”
Emma Thompson, “Saving Mr. Banks”

Best Supporting Actor
Barkhad Abdi, “Captain Phillips”
Michael Fassbender, “12 Years a Slave”
John Goodman, “Inside Llewyn Davis”
Jonah Hill, “The Wolf of Wall Street”
Jared Leto, “Dallas Buyers Club”

Best Supporting Actress
Scarlett Johansson, “Her”
Lupita Nyong”o, “12 Years a Slave”
Sarah Paulson, “12 Years a Slave”
Julia Roberts, “August: Osage County”
June Squibb, “Nebraska”

Best Original Screenplay
Joel and Ethan Coen, “Inside Llewyn Davis”
Spike Jonze, “Her”
Bob Nelson, “Nebraska”
Jeff Nichols, “Mud”
David O. Russell and Eric Singer, “American Hustle”

Best Adapted Screenplay
Julie Delpy, Ethan Hawke and Richard Linklater, “Before Midnight”
Scott Neustadter and Michael H. Weber, “The Spectacular Now”
François Ozon, “In the House”
John Ridley, “12 Years a Slave”
Terence Winter, “The Wolf of Wall Street”

Best Animated Film
“The Croods”
“Despicable Me 2”
“Frozen”
“Monsters University”
“The Wind Rises”

Best Documentary Film
“20 Feet from Stardom”
“The Act of Killing”
“Blackfish”
“Muscle Shoals”
“Stories We Tell”

Best Foreign Language Film
 “Blue Is the Warmest Color”
“The Great Beauty”
“A Hijacking”
“The Hunt”
“The Past”

Tar Heel Award
“All Is Bright”
“Bad Grandpa”
“The Conjuring”
“Iron Man 3”
 “The Way Way Back”

The North Texas Film Critics Association has declared Alfonso Cuarón’s “Gravity” the year’s best film. The space drama also received prizes for Best Director, Best Actress and Best Cinematography. Chiwetel Ejiofor (“12 Years a Slave”), Jared Leto (“Dallas Buyers Club”) and Jennifer Lawrence (“American Hustle” rounded out the acting victories. Check out the full list of winners below and remember to keep track of it all via The Circuit.

Best Picture: “Gravity”

Best Director: Alfonso Cuarón, “Gravity”

Best Actor: Chiwetel Ejiofor, “12 Years a Slave”

Best Actress: Sandra Bullock, “Gravity”

Best Supporting Actor: Jared Leto, “Dallas Buyers Club”

Best Supporting Actress: Jennifer Lawrence, “American Hustle”

Best Cinematography: “Gravity”

Best Animated Film: “Frozen”

Best Documentary: “20 Feet from Stardom”

Best Foreign Language Film: (TIE) “Blue is the Warmest Color” and “The Grandmaster”

PALM SPRINGS, Calif. – The 25th annual Palm Springs International Film Festival Awards Gala was held Saturday night and a wide array of stars came out to fete and be feted. Tom Hanks, Julia Roberts, Ewan McGregor, Jane Fonda, Matthew McConaughey, Gary Oldman, U2’s Bono, Amy Adams, Sandra Bullock and Meryl Streep were just a few on hand as the Oscar season dived headlong into the new year.

There was a theme of quality, particularly in true-life stories, that Chairman’s Award recipient Tom Hanks couldn’t help but comment upon after accepting his prize from friend and colleague Julia Roberts. Pointing to such films as “Dallas Buyers Club,” “American Hustle,” “12 Years a Slave” and his own “Captain Phillips” and “Saving Mr. Banks,” he took a moment to take stock of the profound non-fiction mined for entertainment this year. And he added, with levity, “‘Gravity’ – fake. But also real. Hasn’t happened but it could. ‘August: Osage County.’ I grew up in a family just like that. That dinner? Had one just like it two weeks ago.”

Desert Palm Achievement Award recipient Matthew McConaughey (introduced by Gary Oldman) also paused before accepting to account for the quality work on display this year. “We put out damned good product,” the “Dallas Buyers Club” star said of Hollywood’s 2013 crop. “A lot of films this year are two things: important and entertainment.” He called “Dallas” the “acting adventure” of his career, noting that “we didn’t have enough money; we shot it for under $5 million. We didn’t have enough time; we shot it in 28 days. We had enough food, but we couldn’t eat it!” Indeed, his weight loss for the role, as well as Jared Leto’s for his supporting turn, is an outward sign of the commitment the project demanded.

“Gravity” star Sandra Bullock was the actress recipient of the Desert Palm prize this year and after accepting from legendary actress Gena Rowlands, she won the audience over with a typically self-deprecating speech. She joked that she had Googled herself before the event and read through various comments sections, often to her horror. But that was just a device through which to illustrate what she’s learned and how she’s grown over the years. “I’ve sparred with Betty White and I’ve flown into space,” she said. “I’ve had a pretty good life.”

Bullock also commented on the level of quality this year, noting that when she looks across the wide spectrum of cinematic accomplishments in 2013, and specifically the historical accounts on display, “I know that one day I can show my son how far we’ve come.”

Career Achievement Award recipient Bruce Dern – who was introduced by his friend and two-time co-star Jane Fonda (“They Shoot Horses Don’t They?,” “Coming Home”) – noted that just 100 yards from the Palm Springs Convention Center that was playing host to the gala, he shot Roger Corman’s 1966 motorcycle film “The Wild Angels.” He continued the “little engine that could” narrative of his 2013 film “Nebraska,” again extending thanks to director Alexander Payne for giving him the role of a lifetime. Touched by what the season has meant to him so far, he said, “A bunch of you folks have gotten together and said Bruce can come out and play.”

U2’s Bono, in accepting the Visionary Award on behalf of his band, gave certainly the most meaningful speech of the evening (printed in full here), a consideration of the success of AIDS intervention programs around the world and particularly a salute to “the greatest activist of them all, Nelson Mandela.” In presenting the Ensemble Performance Award, David O. Russell introduced a great many of his “American Hustle” cast and, perhaps cluing into where his head is at as of late, called that film and his last two projects (“The Fighter” and “Silver Linings Playbook”) “stories of reinvention.” And Julia Roberts, in accepting the Spotlight Award, spoke briefly of the “scientific fact” that birds fly better in formation than they do alone, a nod to the collaborations of her career, not least of them being “August: Osage County.”

Few were so eloquent as “12 Years a Slave” director Steve McQueen, however, recipient of the Director of the Year Award. “The only way I know how to live is to love,” he said. “And sometimes that’s painful.” It was a commentary on the harsh truths of his film that are nevertheless born out of deep love for the man, Solomon Northup, and something mirrored in actress Lupita Nyong’o’s acceptance of the Breakthrough Performance Award: “Steve, you entrusted me with a role that required me to avail myself to great pain,” she said. “But I did not suffer.”

Others who received awards included “Saving Mr. Banks” composer Thomas Newman and “August: Osage County” star Meryl Streep, the first recipient of the Icon Award since Michael Douglas won it in 2011.

The 25th annual Palm Springs International Film Festival continues through Jan. 13.

PALM SPRINGS, Calif. – As part of the 25th annual Palm Springs International Film Festival’s awards gala Saturday night, rock superstars U2 were recognized with the organization’s Visionary Award, the first time the honor has not gone to a filmmaker. The band, whose original song “Ordinary Love” is featured in the film “Mandela: Long Walk to Freedom” have long been associated with activism, particularly in the realm of AIDS intervention and awareness (a cause dear to Nelson Mandela’s heart), and in accepting the honor with bandmate Edge at the Palm Springs Convention Center, lead singer Bono took the opportunity to speak at length about the work being done domestically and internationally. What follows is the entirety of his speech.

I guess this is an award for not shutting up and sticking to what you’re good at. This is kind of an award for being a pain in the arse, isn’t it? That’s what this is. And we do understand that people find it insufferable when artists stray out of their box, but for a lot of us in this room, that is the definition being an artist, straying out of your box.

It is worth mentioning that more people live off their imaginations in California than any other place in the world. No other geography comes close. People around here like to ask questions about the real as well as the imaginary world, and this, of course, is the start of being annoying. Demanding answers is when you upgrade to the proper pain in the arse status of the activist, although some people here have managed to do the activist thing without being annoying. I am of course thinking of Jane Fonda. How could you not? I’m thinking of Meryl Streep in “Sophie’s Choice.” Steve McQueen has challenged intolerance his entire career. Idris Elba, Naomie Harris were activists long before they took on the giant lives of the Mandelas. Julia Roberts, before she took on “Erin Brockovich,” she was an activist and is an activist, and an extraordinary movie star, the definition of, I would say. And we’d like to pause for a minute to consider our Chairman, Tom Hanks, and his stigma-defying, game-changing role in “Philadelphia.” And what Matthew McConaughey has done again now in “Dallas Buyers Club.” Extraordinary performances.

HIV/AIDS has stolen so many lives in this country. 650,000 to be exact, and 23 million lives outside of this country. What people like Harvey Weinstein and groups like amfAR did for the domestic AIDS problem, ONE and RED and many others are trying to do for the global AIDS crisis. Our one simple belief is that where you live should not decide whether you live.

Now our leader in this campaign lost a son to the disease. His name was Nelson Mandela, the greatest activist of them all. His genius was a refusal to hate, not because he hadn’t experienced rage, but because he thought love would do a better job. His cleverness was to put aside tribalism and partisanship, the kind of partisanship, I think you’ll agree, that has betrayed this great nation and the great American idea at the heart of it, even in the last couple of years. It’s ironic that by following an African’s example, American and European AIDS activists like ONE were successful in encouraging Democrats and Republicans here in the US to put aside their differences and work together on what is turning out to be the largest health intervention in the history of medicine. Thank you, America.

You probably don’t know this, but there are now 10 million lives in the developing world saved by antiretroviral therapy, and American taxpayers have paid for about three quarters of them. Thank you, America. 7.8 million sentient souls are alive because of AIDS drugs that the United States of America paid for, and they are not just alive, but allowed to thrive, to have healthy kids, to be alive to raise those kids, to work, to contribute to their economies. And we’re at the tipping point – amazing to be able to say this – we are actually at the tipping point if we keep up the pressure. We are within reach of declaring the first AIDS-free generation. What a thought. What a thought for this community. And it’s down to the activism of this generation, actors, directors, producers, musicians, but also students, doctors, nurses, priests, NASCAR drivers, soccer moms, CEOs, NGOs, politicians, people who just don’t normally hang out together not just hanging out together but working together. And that’s what it takes.

Edge and myself have had our mind and our values shaped by some important books and scribes, but for us, in truth, it was movies and music that kindled that fire and put our imaginations on a course to meet you tonight. So thank you to the visionaries in this room, and you all know that a vision without a promise is just a fantasy, and we’re not interested in that. Thank you and good night.

Check back later tonight for a full report on the awards gala and the numerous honorees recognized at the event.

A slew of former Oscar winners and nominees headed to the desert for the annual Palm Springs International Film Festival Awards gala Saturday evening.  The reason for the 2 hour plus ride from Los Angeles? Well, almost all of the famous faces on hand are hoping to earn Academy Award nominations later this month or assist a specific film in landing a best picture nod.  It’s become a staple on the awards season circuit and one reason stars from “American Hustle,” “12 Years A Slave,” “August: Osage County” and “Gravity” were on hand.

HitFix’s Kristopher Tapley will have more details from the actual awards ceremony later tonight, but in the meantime check out some images from the red carpet and inside the show itself in the story gallery below.

The National Society of Film Critics announced its 2013 honorees this afternoon and gave a much needed boost to the Oscar nomination chances for “Inside Llewyn Davis.” 

“Davis” earned best film, best director (Joel and Ethan Coen), best actor (Oscar Isaac) and best cinematography (Bruno Delbonnel) honors. The NFSC also gave kudos to “American Hustle’s” Jennifer Lawrence for best supporting actress and “Spring Breakers'” James Franco for best supporting actor.  Cate Blanchett once again won another best actress honor for “Blue Jasmine.”

The NSFC has over 60 members from publications around the nation and their choices have historically not always lineup with their own local critics groups. The past five previous best film winners include “Amour,” “Melancholia,” “The Social Network,” “The Hurt Locker” and “Waltz with Bashir.”  “The Hurt Locker” and “Million Dollar Baby” are the only films the organization has chosen as best film that also won the Oscar for best picture in the past 20 years. You can find a somewhat dated list of the membership on their official website here.

The complete list of winners and runners up, with vote totals and commentary, are listed below.

Picture: “Inside Llewyn Davis” (23)
Runners-up: “American Hustle” (17); “12 Years a Slave” (16); “Her” (16)

Lowdown: It appears the strong East Coast membership of NFSC gave a nice boost to “Hustle” in second place.

Director: Joel and Ethan Coen, “Inside Llewyn Davis” (25)
Runners-up: Alfonso Cuaron, “Gravity” (18); Steve McQueen, “12 Years a Slave” (15)

Lowdown: If the Coens can snag a DGA nomination this Tuesday they might make the Oscar five.

Actor: Oscar Isaac, “Inside Llewyn Davis” (28)
Runners-up: Chiwetel Ejiofor, “12 Years a Slave” (19); Robert Redford, “All Is Lost” (12)

Lowdown: Wonderful honor for Isaac. Cracking the Oscar five may be a lost cause.

Actress: Cate Blanchett, “Blue Jasmine” (57)
Runners-up: Adele Exarchopoulos, “Blue Is the Warmest Color” (36); Julie Delpy, “Before Midnight” (26)

Lowdown: If she wins the SAG Awards honor, the race is effectively over.

Supporting actor: James Franco, “Spring Breakers” (24)
Runners-up: Jared Leto, “Dallas Buyers Club” (20); Barkhad Abdi, “Captain Phillips” (14)

Lowdown: Too little too late for Franco?  Should A24 Films invested a bit more in campaigning for him? 

Supporting actress: Jennifer Lawrence, “American Hustle” (54)
Runners-up: Lupita Nyong”o, “12 Years a Slave” (38); Sally Hawkins, “Blue Jasmine” (18); Lea Seydoux, “Blue Is the Warmest Color” (18)

Lowdown: Anyone who thinks the Academy or SAG or the HFPA is afraid to honor Lawrence with a win in back to back years is gravely mistaken. We’ve been waiting for the new Meryl for almost 25 years. She may be the Girl on Fire.

Screenplay: Richard Linklater, Ethan Hawke and Julie Delpy, “Before Midnight” (29)
Runners-up: Joel and Ethan Coen, “Inside Llewyn Davis” (26); Eric Warren Singer and David O. Russell, “American Hustle” (18)

Lowdown: Nice win for the almost forgotten “Before Midnight” crew. Adapted is always competitive for Oscar, but they hopefully will sneak in later this month.

Foreign-language film: “Blue Is the Warmest Color” (27)
Runners-up: “A Touch of Sin” (21); “The Great Beauty” (15)

Nonfiction: “The Act of Killing” and “At Berkeley” (tie, 20)
Runner-up: “Leviathan” (18)

Lowdown: “The Act of Killing” is the only documentary out of the three with a shot to earn an Academy Award nomination.

Cinematography: Bruno Delbonnel, “Inside Llewyn Davis” (28)
Runners-up: Emmanuel Lubezki, “Gravity” (26); Phedon Papamichael, “Nebraska” (17)

Lowdown: Huge fan of Belbonnel’s work in “Davis,” but words fail me.

Film Still Awaiting U.S. Distribution: “Stray Dogs” and “Hide Your Smiling Faces”

Film Heritage:
“Too Much Johnson”
“American Treasures From the New Zealand Film Archive”
“Allan Dwan and the Rise and Decline of the Hollywood Studios”
“The Hitchcock 9″

What do you think of the NSFC picks? Share your thoughts below.

Earlier this week, Kris, Greg and Drew put their heads together to compile a list of their 25 most anticipated films of 2014. It was certainly a fine, blockbuster-heavy list, but the cinematic buffet ahead of us stretches a lot further than just 25 films — so we decided there was room for another list, focusing slightly more on the year’s more specialist options.

“Prestige film” is, of course, a loose term, one that covers everything from broad Oscar bait to the most esoteric of art house fare. It covers, but is of course not limited to, auteur cinema — but then, what is an auteur? Mike Leigh is one, yes, but so is Christopher Nolan. And the “festival” label isn’t as exclusive as is sometimes implied — mainstream smashes debut alongside buried treasure at festivals all the time, be it at Toronto or Berlin.

With that in mind, we kept the brief for this list flexible. Prestige is so often in the eye of the beholder, and these are all films that, between us, we thought a little more classily appetizing than the rest. That may include high-end pulp like David Fincher’s “Gone Girl” or lower-profile exotica like Luca Guadagnino’s “Body Art” — we’re not out to put films in boxes. Not all prestige cinema is Oscar bait… or Palme d’Or bait, for that matter.

I should offer the caveat that this list isn’t as heavy as it could be on foreign film — the exclusion wasn’t conscious, but world cinema is less easy to track far in advance. Still, the films left standing once Kris, Greg and I had each submitted our own lists — and believe me, we touched on a lot more than 25 titles between us — are a pleasingly diverse bunch all the same.

Major directors, of course, abound, from Paul Thomas Anderson to Lars von Trier to David Cronenberg, but there are some exciting up-and-comers in the mix, including two Hollywood megastars taking a turn behind the camera. Patricia Highsmith pops up twice. Oh, and so does Michael Fassbender — once with his natural head, and once without.   

Some will get the festival red-carpet treatment, others may make their way more quietly to cinema screens, and one has already premiered — and landed on two of our Top 10 of 2013 lists. Some may well be in the awards conversation this time next year; others most certainly will not. One film returns after initially showing up on the 2013 release calendar; others, of course, may yet be delayed or pushed to 2015. It’s early days yet.

All in all, however, they point to a rich and rewarding year at the movies — all the more so with the knowledge that this is just the tip of the iceberg. Every year, some of the year’s most thrilling festival sensations and awards hopefuls are hardly seen coming in January. How many people were aware of “Blue is the Warmest Color” a year ago, after all?

Have a browse, then, through our 25 most anticipated prestige films of 2014 in the gallery below, and share your own thoughts and hopes for the year ahead in the comments.   

http://players.brightcove.net/4838167533001/BkZprOmV_default/index.html?videoId=4911814373001

“We’ve done pretty much all you can do to a boat,” director J.C. Chandor says of his latest film “All is Lost” in an exclusive featurette we’re premiering for you today. And indeed, the production of this film was a substantial undertaking from a crafts standpoint and it’s a treat to see all of the principals in one video giving their perspective on the film.

Editor Pete Beaudreau notes that the concentration on mood and feeling and action made the project one of “pure editing.” Supervising sound editor Richard Hymns (who went out onto the San Francisco Bay in a small craft advisory to collect a number of the sounds used in the film) calls the film “a sound editor’s dream.” Producer Anna Gerb details the three boats used for different means throughout the shoot and production designer John P. Goldsmith speaks up on what his challenges were as well.

I’m happy to see underwater photographer Peter Zuccarini get some time to shine here, though. Here’s a guy whose work was a huge part of the overall beauty of last year’s “Life of Pi,” but who doesn’t get the immediate notice of Oscar winner Claudio Miranda or perhaps talented DP Frank G. DeMarco on this film, but whose contribution is invaluable on a project like this.

Others you’ll see in the video, which is embedded at the top of this post, include producer Neal Dodson, sound designer Steve Boedekker and, of course, star Robert Redford, who pretty much did all his own stunts on this film. It’s a below-the-line feat, to say the least, and we’re happy to bring you more from behind the scenes.

“All is Lost” hits DVD/Blu-ray on Feb. 11.

The Writers Guild of America (WGA) has announced this year’s list of narrative and documentary feature screenplay nominees, and given the wave of ineligibilities, which included such Oscar players as “12 Years a Slave,” “Philomena” and “Fruitvale Station,” it was a much smaller crop for the guild to choose from.

“American Hustle” is there. “Dallas Buyers Club” is there. Both are notable because they are now the only two films to receive all three major guild nominations: SAG ensemble, PGA and WGA. “Gravity” failed to show up today, however, which is disheartening. I’m blue in the face from calling it deceptively simple at this point. But at the same time, that original screenplay category is packed this year. So packed, in fact, that apparently the guild couldn’t find room for the Coen brothers, as “Inside Llewyn Davis” takes another shot after missing with the PGA tomorrow.

It’s been in the air for this film, that it’s leaving people cold, that it’s not registering like it has for critics. It’s starting to look like a Best Picture nomination is an incredibly uphill climb and if it does indeed miss, I think that will be one of the great embarrassments for the Academy this year. But hope is not lost yet.

In the adapted field, the only real surprise is “Lone Survivor” showing up, but the category is thin enough as it is without the ineligibilities. “The Wolf of Wall Street” popped up, keeping a steady guild keel after predictably missing out with SAG (as many members had not yet seen the film by the time ballots were turned in).

That’s pretty much all there is to say. How will this list be different from the Academy’s? We’ll know in just under two weeks.

Check out the full list of WGA nominees below.

ORIGINAL SCREENPLAY

“American Hustle,” Written by Eric Warren Singer and David O. Russell; Columbia Pictures
“Blue Jasmine,” Written by Woody Allen; Sony Pictures Classics
“Dallas Buyers Club,” Written by Craig Borten & Melisa Wallack; Focus Features
“Her,” Written by Spike Jonze; Warner Bros.
“Nebraska,” Written by Bob Nelson; Paramount Pictures

ADAPTED SCREENPLAY

“August: Osage County,” Screenplay by Tracy Letts; Based on his play; The Weinstein Company
“Before Midnight,” Written by Richard Linklater & Julie Delpy & Ethan Hawke; Based on characters created by Richard Linklater & Kim Krizan; Sony Classics
“Captain Phillips,” Screenplay by Billy Ray; Based on the book A Captain”s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea by Richard Phillips with Stephan Talty; Columbia Pictures
“Lone Survivor,” Written by Peter Berg; Based on the book by Marcus Lutrell with Patrick Robinson; Universal Pictures
“The Wolf of Wall Street,” Screenplay by Terence Winter; Based on the book by Jordan Belfort; Paramount Pictures

DOCUMENTARY SCREENPLAY

“Dirty Wars,” Written by Jeremy Scahill & David Riker; Sundance Selects
“Herblock – The Black & The White,” Written by Sara Lukinson & Michael Stevens; The Stevens Company
“No Place on Earth,” Written by Janet Tobias & Paul Laikin; Magnolia Pictures
“Stories We Tell,” Written by Sarah Polley; Roadside Attractions
“We Steal Secrets: The Story of Wikileaks,” Written by Alex Gibney; Focus Features

Hoyte Van Hoytema hit most cinephiles’ radar in 2008 with the Swedish horror film “Let the Right One In.” It was a dazzling display, a crystalline vision from director Tomas Alfredson aided by rich visuals that found Van Hoytema’s work prominently recognized in an annual In Contention feature celebrating the greatest images in cinematography (and again a few years later.)

From there, the director of photography made his move into domestic features as David O. Russell – who has an eye for top cinematography talent, from Newton Thomas Sigel to Peter Deming to Masanobu Takayanagi – tapped him for the award-winning “The Fighter” in 2010. He kept the Alfredson partnership going with the director’s 2011 English-language debut “Tinker Tailor Soldier Spy” and in 2013 found himself collaborating with Spike Jonze on the critically acclaimed “Her.”

But perhaps the biggest exposure for the Dutchman is yet to come as his work will be seen on a blockbuster scale in Christopher Nolan’s “Interstellar” later this year.

“I think every director you’ve been mentioning, for me, they’re all great auteurs,” Van Hoytema says. “Every one of them has a totally different approach to sort of manifest themselves or how to mediate their feelings and mediate their ideas, but they all have strong ideas, yet unique methods to achieve them. I think every one of them is a very important and powerful auteur. I’m totally lucky.”

For “Her,” however, Van Hoytema was stepping into someone else’s shoes. Up until this point Jonze has collaborated with DP Lance Acord on films like “Being John Malkovich,” “Adaptation” and “Where the Wild Things Are.” But with Acord moving further into directing with his Park Pictures production company, Jonze found himself interviewing a number of indivudals, looking for someone who could share in his futuristic vision of Los Angeles. With Van Hoytema, it all started with a Skype call – a long Skype call.

“We started Skyping and then two hours later we were still Skyping,” Van Hoytema says. “We just had a very nice connection and the first thing Spike wrote me in the morning was, ‘That was crazy. We Skyped for two hours and time flew by!’ That was, of course, for us, a very good sign that we should try to work together.”

In that initial call, they talked a lot about the movie, but Van Hoytema says what you discuss much more in such an instance is what you think movies should be, how they should feel, your approach to your work in seeing that vision through. “You’re feeling each other out on a much more personal level,” he says. “Of course, when we started working, things became more concrete. Spike was telling me what his ideas and visions were for this film. But that was not something that was the base for the collaboration. It was much more of an intuition or chemistry-level thing.”

Jonze talked a lot at the beginning of pre-production about how he didn’t want the future they were capturing to be a dystopia. He wanted it to be a very comfortable future, and indeed, the film conveys a world of disconnected longing in warm and soothing hues. “We started talking about references, looking at photo books, and it’s kind of a hybrid between being a little bit conceptual and being very theoretical,” Van Hoytema says of the developing visual identity of the film. “But at least half of it is being sort of intuitive and going with your own taste.”

The DP was particularly inspired by the work of Japanese photographer Rinko Kawauchi, whose 6×6 square photographic studies of very trivial things in life had a compelling texture and a nice sort of palette. “She had a lot of influence, but of course it’s always a collection where you’re sort of trying to define some sort of a taste,” he says. “You’re always trying to explain to somebody else what your taste is, and it’s never like, ‘This photographer tells it exactly.’ It’s always a collection of sources that define it.

“In every project, I sort of find 30 or 40 stills that, in a way, capture one part of this thing that you’re maybe after. And if you’re collaborating with somebody, the other person understands that and those certain elements that are represented there. But you never really know it until you start working and start putting everything together and making concrete images. And then the pictures you create yourself become the reference, and you start learning from them and putting things together from those. It’s a very hybrid, liquid, abstract process for me.”

When it came to the color scheme of the film, Van Hoytema says he was very meticulous about eliminating the color blue. It’s not that he has anything against blue, of course, but he felt that if they restricted a primary color like that, it would elevate the richness of the film’s look and give it a unity. “It’s very easy to say we want everything to be warm, but what is warm,” he asks rhetorically. “It was not only that we wanted to colors to be warm but we wanted colors to have a specific identity.”

Blue is also a color very strongly represented in science-fiction, he says, something that is always identified with technology or modernity. And in a way, the goal was to counteract that, because while “Her” is very much a work of science-fiction, it is not a genre piece full of genre tropes.

“It’s like K.K. Barrett and the production design,” he explains. “Modern is often very sleek and very stark, but we didn’t really want that. Part of that vision of the future was that modern should be very soulful and warm and tactile. And I guess that’s part of the reason we eliminated blue, but I don’t want to make it sound like it was an intellectual reason. There was very much an intuitive drive behind it.”

The result is one of the most exquisitely photographed films of the year, a full-bodied extension of Spike Jonze’s vision as a director through the lens of one of the most gifted cinematographers working today.

And what can we expect of “Interstellar?” Of course, Van Hoytema is mostly mum on the subject. Nolan is a director adamant about keeping a lid on his work until he’s ready to release it into the world, but it’s an interesting transition from “Her” to that film, given the sci-fi link – however tenuous – that the two share.

“In sort of the big picture I can tell you every movie for me gets the same attention and it triggers some curiosity in me,” Van Hoytema says. “In many ways I approached them the same way. I can’t do it different. One movie happens to be very big and one happens to be very small, but I always have to sort of rely on myself and my own taste and my own social confidence to do them. And I think, also, every movie brings its own set of challenges, technically or socially or philosophically. I always pick movies that are challenging in different ways. For me I cannot compare those two movies right now. It’s, like, impossible. But I think it’s going to be great. I loved every minute of it, deeply. It was a fantastic experience.”

“Her” moved into wider release on Jan. 10. “Interstellar,” meanwhile, hits theaters on Nov. 7.

Sony Pictures Classics is usually the dominant force in the Best Foreign Language Film Oscar race — they’ve won the award for the last four years running. But they took a knock when the Academy unveiled the nine-film shortlist last month: with “The Past” and “Wadjda” failing to make the cut, the savvy campaigners were left without a contender in the hunt. Until now. SPC has picked up one of the two distributor-less titles on the list, Hungary’s hard-edged Holocaust drama “The Notebook.” It was already a strong nomination possibility, given the Academy’s seemingly tireless taste for films on that era. Now that it has Sony’s undivided attention in this competitive category, however, it’s a formidable threat. [Deadline] 

Ramin Setoodeh looks at the list of 2013’s highest-grossing female-directed films, and concludes that we still have a long way to go. [Variety]

Between J.Law in “American Hustle,” ScarJo in “Don Jon” and, uh, M.Rob in “The Wolf of Wall Street,” who wins the battle of the Long Island blondes? [Vulture]

Steve McQueen says the history of slavery has still not been sufficiently addressed by the film industry. [The Guardian]

Anne Thompson on 27-year-old Megan Ellison’s pair of PGA nominations yesterday, for “American Hustle” and “Her.” [Thompson on Hollywood]

Melena Ryzik notes how the “20 Feet From Stardom” team is singing its way through the Oscar race — Glenn Close is among the believers. [New York Times]

Joaquin Phoenix was not entirely sold on his high-waisted trousers in “Her.” [Hollywood Reporter]

Nathaniel Rogers talks to “Blue Jasmine” hopeful Sally Hawkins about Woody Allen and Godzilla. (Not at once.) [The Film Experience]

Musical biopic “Monica Z” leads the nominations for Sweden’s Guldbagge Awards. [Screen Daily]

“Gravity” picked up another Best Picture prize on the critics circuit today as the Central Ohio Film Critics Association handed it the year’s top honor. Alfonso Cuarón won Best Director for the film and Emmanuel Lubezki won Best Cinematography. Top acting honors went to Chiwetel Ejiofor and Adèle Exarchopoulos and James Franco was recognized for his work in “Spring Breakers.” Check out the nominees here, the full list of winners below and remember to keep track of the season at The Circuit.

Best Picture: “Gravity”

Top 10 Films
1. “Gravity”
2. “Her”
3. “American Hustle”
4. “Frances Ha”
5. “The Wolf of Wall Street”
6. “12 Years a Slave”
7. “Inside Llewyn Davis”
8. “Before Midnight”
9. “Upstream Color”
10. “Nebraska”

Best Director: Alfonso Cuarón, “Gravity”

Best Actor: Chiwetel Ejiofor, “12 Years a Slave”

Best Actress: Adèle Exarchopoulos, “Blue is the Warmest Color”

Best Supporting Actor: James Franco, “Spring Breakers”

Best Supporting Actress: Jennifer Lawrence, “American Hustle”

Best Adapted Screenplay: “The Wolf of Wall Street”

Best Original Screenplay: “Her”

Best Cinematography: Emmanuel Lubezki, “Gravity”

Best Score: “Her”

Best Animated Film: “The Wind Rises”

Best Foreign Language Film: “The Wind Rises”

Best Overlooked Film: “Short Term 12”

Best Ensemble: “American Hustle”

Actor of the Year (for exemplary body of work): Matthew McConaughey, “Dallas Buyers Club,” “Mud,” “The Wolf of Wall Street”

Breakthrough Film Artist: Adèle Exarchopoulos, “Blue is the Warmest Color” (actress)

As you may have noticed earlier today, we are now firmly into the Guild stage of the season — with the critics (bar a few groups, notably the august National Society) having largely had their say, it’s time for the industry to pinpoint their favorites of the season. More often than not, Guild nominations usher in a wave of dull consensus: while you’d hope various groups of professional peers would single out different films for different reasons, they have a tendency to zero in on the same tightening circle of Oscar contenders, whether the films particularly excel in their department or not. (Remember when “Sumdog Millionaire” won everything from the SAG ensemble prize to the Costume Designers’ Guild award a few years back?)

With that in mind, the idiosyncratic qualifying requirements for the Writers’ Guild Awards are something of a mixed blessing. Every year, a number of films that are either written by non-Guild members, produced by companies that aren’t Guild signatories or outside Guild guidelines are disqualified from the race — which usually leaves a number of heavyweight titles on the sidelines. Only last year, eventual Oscar winner Quentin Tarantino was WGA-ineligible for “Django Unchained”; ditto “Beasts of the Southern Wild” and “Amour,” also nominated by the Academy’s writers’ branch. (“Zero Dark Thirty,” “The Perks of Being a Wallflower,” “The Master” and “Looper” all benefited from their absence.)

On the one hand, it’s unfortunate whenever red tape prevents the recognition of good work. On the other, however, the disqualifications make the WGA less predictable than most Guild honors, while the elimination of otherwise surefire favorites gives less-hyped underdogs a moment in the sun. “I Love You Philip Morris” was a particularly unexpected nominee in the adapted field a few years ago; “Zodiac,” shamefully ignored throughout the 2007 race, found some respite here. The WGA is also kinder than the Academy to commercial comedy and genre film — Judd Apatow, never cited by the Academy, is a two-time nominee for Best Original Screenplay — though animation is largely barred. Swings and roundabouts, then.

This year, the most crucial WGA disqualifications are in the Best Adapted Screenplay race. Rather than expanding our options, however, they have the unfortunate effect of making an already lean category practically threadbare. John Ridley’s screenplay for “12 Years a Slave,” widely agreed to have the Oscar just about in the bag, is out of the running; same goes for Steve Coogan and Jeff Pope’s Venice-laureled, semi-comedic script for “Philomena,” widely tipped for an Oscar nod whether the film scores for Best Picture or not.

Three adapted screenplays would appear to be fixed in place, both here and in the Oscar race. Richard Linklater, Julie Delpy and Ethan Hawke received Oscar and Guild nods for their spry, organically developed work on “Before Sunset” nine years ago, and there’s no reason to think they won’t do the same for a follow-up as beloved as “Before Midnight.” (Both are original screenplays, of course, but let us not carp.) “Captain Phillips” may seem more a director’s showcase than a writer’s one, but it’s proved a solid all-rounder in the race thus far and should net “Hunger Games” alumnus Billy Ray his first WGA nod. And “The Wolf of Wall Street,” divisive as it may be, is surely too flashily loquacious for the writers to resist, particularly with Terence Winter already a four-time WGA winner for his TV work on “The Sopranos” and “Boardwalk Empire.”

What benefits from the absence of “12 Years a Slave” and “Philomena,” then? “August: Osage County,” most likely: Tracy Letts hasn’t exactly done his Pulitzer-winning play many favors in this overly compressed adaptation, but residual prestige should overcome the tepid reception. More interestingly, look for the WGA to stick up for an indie darling in Scott Neustadter and Michael H. Weber’s much-admired script for “The Spectacular Now.” The duo were Guild-nominated and Academy-ignored four years ago for “(500) Days of Summer,” and look set to repeat that feat. Beyond that, options are few and not especially tempting: “Labor Day?” “The Book Thief?” “The Secret Life of Walter Mitty?” Probably not.

There’s a greater range of possibilities for Best Original Screenplay; sadly, there also seems to be less wiggle room at the top end of the ballot. Unlike its adapted counterpart, all the major Oscar contenders are WGA-eligible. So look for Woody Allen to score his 21st WGA nod for “Blue Jasmine” tomorrow: he’s not infallible with the Guild (he missed for “Match Point” in 2005), but the film’s semi-surprising PGA nod this morning is a significant sign of strength. “Inside Llewyn Davis,” meanwhile, may have been passed over by the producers, but it’s harder to imagine the writers doing the same: the Coen Brothers have six previous WGA nods, including two (“Burn After Reading” and “The Man Who Wasn’t There”) for films passed over by the Academy.

Another previous nominee, of course, is David O. Russell, sure to be nominated again (with Eric Singer) for his playful, plotty work on “American Hustle” — with the film shaping up as a major Best Picture threat, he may well be our default winner here. (Fun fact: he was first nominated here for “Three Kings.” His co-writer? “12 Years a Slave” scribe John Ridley.) Spike Jonze hasn’t been WGA-nominated before, but it sure feels like he has — so close was his connection with Charlie Kaufman on his first two features. The same kind of familiarity-by-association, only in reverse, applies to “Nebraska” writer Bob Nelson: Alexander Payne’s last four bittersweet character comedies all scored here, and that seems likely to continue even without Payne’s name on the script.    

And there’s the rub: five spots seemingly filled already, and that before we’ve even got to Nicole Holofcener, a surprise nominee three years ago for “Please Give,” on stronger form in “Enough Said.” Or Alfonso and Jonas Cuaron for “Gravity” — before you raise your reservations about the space spectacular’s (perfectly fine) script, remember that the WGA nominated “Avatar” in 2009. Or Craig Borten and Melisa Wallack for “Dallas Buyers Club” — after the film quietly nabbed SAG and PGA nods, why couldn’t it continue its stealthy progress here? As for “Saving Mr. Banks,” the film may seem to be losing steam — but might the writers not respond to a film so heavily focused on the pains of adaptation and script development? 

Much to think about, then. But here are my best guesses:

Best Original Screenplay
“American Hustle” (David O. Russell and Eric Singer)
“Blue Jasmine” (Woody Allen)
“Her” (Spike Jonze)
“Inside Llewyn Davis” (Joel and Ethan Coen)
“Nebraska” (Bob Nelson)

Best Adapted Screenplay
“August: Osage County” (Tracy Letts)
“Before Midnight” (Richard Linklater, Julie Delpy and Ethan Hawke)
“Captain Phillips” (Billy Ray)
“The Spectacular Now” (Scott Neustadter and Michael H. Weber)
“The Wolf of Wall Street” (Terence Winter)

What do you expect (or hope) to see nominated tomorrow? Share your thoughts in the comments!
 

It’s enough of a challenge to capture a life like Nelson Mandela’s in a 146-minute film, but how do you use music to reflect such an extraordinary man? That is the challenge that faced composer Alex Heffes on Justin Chadwick’s “Mandela: A Long Walk to Freedom,” and his compositions have since earned him a Golden Globe nomination for Best Original Score.

Heffes, who had worked with Chadwick before, was advised of the feature early on. “I originally spoke to Justin before filming even started – what he wanted to achieve in terms of the movie and how he was thinking about it,” Heffes says. “He was trying to focus on the family story and how his public life impacted his personal life.”

However, Heffes did not start composing until Spring 2013. “The actual writing was quite quick but I went to South Africa to record,” he says. “It was rather unusual – a long period of gestation, a quick turn around and a long period of post-production.”

The film required a blend of dramatic personal themes, traditional African-styled music and a delicate balancing of accentuating what we see on screen without taking away from the performances. And while Heffes cites complementing the performances of Idris Elba and Naomie Harris as “the start” of his work and what he could never get away from, it was his journey to the great continent that was particularly unique.

But Heffes “was conscious of not wanting to make the work into a travelogue,” he says. “There is a lot of authentic African music in the street scenes. I felt that was well-captured already in the film. I wanted to concentrate on the family and personal struggle. That’s universal.”

There was a layer of African/South African music that he wanted to integrate into the score and he sought out authentic musicians to play the instruments. “We wanted some percussion from the Eastern Cape where Mandela was born and we brought in people who could do correct infractions,” he explains

In this respect, it was the people who were more important than the instruments. There were percussion instruments in the score he had never used before. And while a lot of the instruments  were recognizable, the way they are played on the score is very different. “Seeing how South African musicians would react to the music and put their own stamp on it was fascinating,” he says.

Even throughout this process, however, Heffes was also conscious about making sure the film spoke with “melodic integrity.” It’s one thing to have indigenous flare but another to speak the language of film music, and to tie the two concepts together.

Composing involved more than sitting alone in a room writing music and traveling to South Africa to record it, however. It also involved collaborating with the film’s sound artists and film editor. “I first saw a cut in late February 2013,” Heffes says. “It was a first cut and it was very, very powerful. It was longer than the cut is now but was structured pretty much the same way.”

The first person on the film Heffes would usually work with was of course director Chadwick, who Heffes describes as “very very open. He hires people that he trusts and he gently steers in the direction he wants it to go. He has an openness and willingness to collaborate and a very clear vision.”

Something that was quite unusual as the film was sculpted in post-production is that a few scenes were actually re-cut for music. Typically picture edit is locked by the time a composer comes around to it. When he felt he had a perfect cue that needed some extension, “Justin would literally hear the cue and he’d phone up the editor and ask to add ten seconds,” Heffes says.

The principle challenge, however, was “the responsibility of telling such an important story and remaining true to it and remaining as honest as I could,” Heffes explains. “I think the story is so dramatic that if you hadn’t seen it in real life you wouldn’t believe it. It needed to be respectful to the people involved and true to the movie.

“This is one of the most complicated narrative stories because the time span of the film covers such a long period. Just navigating that – it had to start off in the 1930s and morph through the ’40s and ’50s palette to get more present day. I consciously tried to evolve the music over time. Audiences may not be aware of it but subliminally my hope is that it conveys that.”

And now, the film comes at an extraordinary time. Mandela’s daughters were at the London premiere where it was announced at the end that the great freedom fighter had passed away, the whole of Heffes’ and the filmmakers’ work taking on a whole new shape. “The lens of scrutiny is very much focused,” he says.

“Mandela: Long Walk to Freedom” is now playing in theaters.