To call any foreign auteur attempting his first English-language feature a “fish out of water” doesn’t give him (or her) a great deal of credit: a fish out of water is a pretty dead fish, after all, and it’s hardly a novel observation that many artists are positively inspired by unfamiliar climes. But film history littered with enough unsuccessful crossover attempts to make us nervous whenever an esteemed world-cinema name decides to shed the subtitles (well, for us, at least).

Recently, Wong Kar-wai came badly (albeit prettily) unstuck when hitting the American highway in “My Blueberry Nights.” Three years after accepting an Oscar for “The Lives of Others,” Florian Henckel von Donnersmarck received only critical catcalls for his calamitous “The Tourist.” And while it was no train wreck, the indifferent response to “Things We Lost in the Fire” was enough to send Susanne Bier scuttling back to Denmark, whereupon she found she could make a middlebrow, Oscar-winning morality tale from the comfort of her own homeland.

So hopes, fears and, above all, curiosity were all running high when wild South Korean genre stylist Park Chan-wook unveiled his first American production, “Stoker,” at the Sundance Film Festival last month. As the closing credits rolled on this nasty, beautiful, Gothic-modernist fairytale, however, I could breathe a sigh of relief: Park had breezed through passport control with considerable panache, and without sacrificing one iota of his trademark creepy-kinky weirdness. You can read my full thoughts on “Stoker” in my Variety review, but  don’t mind adding that it’s my favorite new American film of 2013 so far. (There are those, and will be many more, who wildly disagree, but this is not a film looking to unite opinion with its narrative and stylistic extremities.) 

As well as extending Nicole Kidman’s fascinating record of collaborations with international auteurs (joining Lars von Trier in the “yes” column, stepping over the hunched figure of Oliver Hirschbiegel), Park joins a long list of successfully globe-trotting directors that is very nearly as old as cinema itself. From Jean Renoir to Rainer Werner Fassbinder, from Ernst Lubitsch to Louis Malle, from John Woo to Alejandro Gonzalez Inarittu, film has been richer for the expanded perspective of directors who have either relocated permanently from one filmmaking culture (and language) to another — as a flood of invaluable European immigrants, including Oscar winners Billy Wilder and Michael Curtiz, did in Hollywood’s golden age — or professionally vacationed in a variety of spots.

Only two days ago, the Academy handed a second a Best Director Oscar to one of its greatest international sons: Ang Lee, who began his career with two Taiwanese features nominated for Best Foreign Language Film, and has since worked with equal ease in British, independent American and Hollywood environs, twice returning to his home continent in “Crouching Tiger, Hidden Dragon” and “Lust, Caution.”

Lee’s Oscar triumph, combined with the release of “Stoker” this week, is a gratifying reminder that great filmmakers aren’t — or shouldn’t be — restricted by geographic or cultural borders.

With that in mind, this week’s list focuses on 10 directors, previously known exclusively for foreign fare, who aced their first English-language assignment. It’s a broad brief, and the list is by no means comprehensive, so I’ve arranged it chronologically rather than in preferential order. Think of it chiefly as a conversation starter: which directors are you gladdest made the transition to English-language fare, and which got it right first time? Click through the gallery below for my picks, and be sure to add yours in the comments.  

And that, as they say, is that. The 2012-2013 film awards season was, in so many words, exhilarating, competitive, contentious, record-breaking, precedent-setting and awe-inspiring. Whether your favorites won or didn’t even get an invite to the dance, the whole of it was a journey with many twists and turns. In the end, Ben Affleck’s “Argo” dominated the critics awards, the industry awards and, eventually, the Oscars. And even if things soon enough settled into a bit of predictability, getting there was a blast. So if you’d like to relive all of the craziness along the way, feel free to do so via the links below, charting the ups and downs throughout the season.

Academy of Motion Picture Arts and Sciences (Academy Awards) – Nominees | Winners

African American Film Critics Association

Alliance of Women Film Journalists – Nominees | Winners

American Cinema Editors (ACE Eddie Awards) – Nominees | Winners

American Film Institute’s Top 10

American Society of Cinematographers (ASC Awards) – Nominees | Winners

Annie Awards – Nominees | Winners

Art Directors Guild (ADG Awards) – Nominees | Winners

Austin Film Critics Association

Australian Academy of Cinema and Television Arts (AACTA Awards)

Black Film Critics Circle

Boston Online Film Critics Association

Boston Society of Film Critics

British Academy of Film and Television Arts (BAFTA Awards) – Nominees | Winners

British Independent Film Awards – Nominees | Winners

Broadcast Film Critics Association (Critics’ Choice Movie Awards) – Nominees | Winners

Canadian Screen Awards – Nominees | Winners

César Awards – Nominees | Winners

Central Ohio Film Critics Association

Chicago Film Critics Association – Nominees | Winners

Cinema Audio Society – Nominees – Winners

Cinema Eye Honors – Nominees | Winners

Costume Designers Guild (CDG Awards) – Nominees | Winners

Dallas-Ft. Worth Film Critics Association

Denver Film Critics Society – Nominees | Winners

Directors Guild of America (DGA Awards) – Nominees | Winners

Detroit Film Critics Society – Nominees | Winners

Empire Awards – Nominees | Winners

European Film Awards – Nominees | Winners

Evening Standard Film Awards – Nominees | Winners

Film Comment’s Best of 2012 Poll

Film Independent Spirit Awards – Nominees | Winners

Florida Film Critics Circle

Gay and Lesbian Film Critics Association – Nominees | Winners

GLAAD Media Awards

Gotham Awards – Nominees | Winners

Hollywood Foreign Press Association (Golden Globe Awards) – Nominees | Winners

Houston Film Critics Society – Nominees | Winners

Indiana Film Journalists Association – Nominees | Winners

International Documentary Association Awards – Nominees | Winners

International Film Music Critics Association – Nominees | Winners

International Online Film Critics’ Poll

International Press Academy (Satellite Awards) – Nominees | Winners

Iowa Film Critics Association

Kansas City Film Critics Circle

Las Vegas Film Critics Society

London Film Critics’ Circle – Nominees | Winners

Los Angeles Film Critics Association

Lumiere Awards – Nominees | Winners

Motion Picture Sound Editors (MPSE Golden Reel Awards) – Nominees | Winners

MTV Movie Awards – Nominees | Winners

NAACP Image Awards – Nominees | Winners

National Board of Review

National Society of Film Critics

Nevada Film Critics Society

New York Film Critics Circle

New York Film Critics Online

North Texas Film Critics Association

Oklahoma Film Critics Circle

Online Film Critics Society – Nominees | Winners

Phoenix Film Critics Society – Nominees | Winners

Prix Louis-Delluc

Producers Guild of America (PGA Awards) – Nominees | Winners

San Diego Film Critics Society – Nominees | Winners

San Francisco Film Critics Circle

Saturn Awards – Nominees | Winners

Screen Actors Guild (SAG Awards) – Nominees | Winners

Sight & Sound’s Best of 2012 Poll

Southeastern Film Critics Association

St. Louis Gateway Film Critics Association – Nominees | Winners

Toronto Film Critics Association

UK Regional Film Critics’ Awards

USC Scripter Awards – Nominees | Winners

Utah Film Critics Association

Vancouver Film Critics Circle – Nominees | Winners

Visual Effects Society – Nominees | Winners

Washington D.C. Area Film Critics Association

Women Film Critics Circle

Writers Guild of America (WGA Awards) – Nominees | Winners

FESTIVAL WINNERS:

Sundance Film Festival

Berlin Film Festival

Cannes Film Festival

Toronto Film Festival

London Film Festival

—

Check out The Circuit 2011-2012.

What can one really say at the end of a season this contentious, this exciting, this tight every step of the way other than: “Gee, that was fun.”

It’s the word I settled on in the podcast this afternoon and it’s the word I’ll stick with here. It was fun. It was up, it was down, and I certainly tried not to take it to heart too much. Would I have liked to see Emmanuelle Riva grasping an Oscar on that stage? You bet. But can I really hold too much against an actress in Jennifer Lawrence that I’ve been praising in this space since “The Burning Plain,” a year before most of the industry caught up to her in “Winter’s Bone?” Not really. Lawrence is a live wire, a beautiful spirit and a fetching addition to Oscar’s lineage. I look forward to her getting better and better from here.

One might have known when the roof blew off of the Chuck Jones Cinema in Telluride, Colorado that “Argo” was destined for Oscar greatness. One might not have anticipated the blowback that came with that inevitability, however. Would I have preferred a number of the other nominated Best Picture players take the stage in victory? You bet. But can I really hold too much against a guy like Ben Affleck who has improved (in my opinion) with each filmmaking endeavor and done one of the hardest things you can do in this business, turned his career on a dime? Not really. “Argo” is not an embarrassing Best Picture winner by any real measure and is emblematic of the kind of workmanship that used to be the status quo. Maybe we should get back to that.

The winners on the whole were difficult to argue, I’d say, despite this or that minor qualm. I was pleased to see Quentin Tarantino clutching another golden guy. The sound editing tie was a historic occasion that, as I mentioned in the podcast, pretty much spoke to how competitive the year was. Ang Lee is a treasure and a gentleman and seeing him breathe that sigh of relief and pride at the end of what was a massive undertaking was nice. All of the films but poor “Beasts of the Southern Wild” (that had really already won so much coming into the evening) got their due. I can’t complain at a spreading of the wealth, even if I would have preferred this, that or the other thing.

“Life of Pi” got four, “Argo” and “Les Misérables” got three each, “Django Unchained” and “Lincoln” each got two, “Amour,” “Anna Karenina” and “Brave” got one. Oh, and “Skyfall” split one with “Zero Dark Thirty.” So is that one-and-a-half total for the former and a half for the latter? Or two for the former, one for the latter? How do you figure that out? Whatever the case may be, the whole thing reads pretty fair to me.

Guy’s eloquent send-off to the season is very much in keeping with my own take, honestly. I’m perfectly fine with how things turned out and I’m ready to move on. I can’t possibly bog down in thoughts on the telecast because I’m apparently in the minority that thinks, you know what, it wasn’t that bad. The fire and brimstone flying this morning, well, the outraged are free to it. I’m just a caveman who laughed his ass off at the sock puppets. Alan Sepinwall gave a fair review of the show from the unimpressed perspective, though, and I’ll leave that at that.

Predictions have been accounted for. Not my best showing. Indeed, I think most were down on the whole this year. Even the titans of this stuff (in my view), Pete Hammond and Steve Pond, hit huge snags. But again, in a year as contentious as this, as close as this, one feels a bit safer in stepping just a little farther out onto this or that limb. Alas. No one threw that dart without being a bit blindfolded this year, though. It was truly anyone’s guess in a number of areas. And that’s what made it so compelling.

So that’s that, right? Next year we’ll be talking about Alexander Payne, Alfonso Cuarón, George Clooney (again), Nicole Kidman, Naomi Watts, Jason Reitman, Leonardo DiCaprio, Matthew McConaughey (again), Bennett Miller, Woody Harrelson, Christian Bale, Tom Hanks, Ridley Scott, Meryl Streep, etc., etc., etc.

Here’s hoping it’s half as interesting and enthralling as the 2012-2013 film awards season, which you can relive if you so choose, as always, via The Circuit. And remember, like Mr. Affleck said, it doesn”t matter how you get knocked down in life, because that”s gonna happen…

…all that matters is that you gotta get up.

Once again, the winners of the 85th annual Academy Awards are…

Best Picture
“Argo”

Best Director
Ang Lee, “Life of Pi”

Best Actor
Daniel Day-Lewis, “Lincoln”

Best Actress
Jennifer Lawrence, “Silver Linings Playbook”

Best Supporting Actor
Christoph Waltz, “Django Unchained”

Best Supporting Actress
Anne Hathaway, “Les Misérables”

Best Adapted Screenplay
“Argo”

Best Original Screenplay
“Django Unchained”

Best Cinematography
“Life of Pi”

Best Costume Design
“Anna Karenina”

Best Film Editing
“Argo”

Best Makeup and Hairstyling
“Les Misérables”

Best Music – Original Score
“Life of Pi”

Best Music – Original Song
“Skyfall” from “Skyfall”

Best Production Design
“Lincoln”

Best Sound Editing
(tie) “Skyfall” and “Zero Dark Thirty”

Best Sound Mixing
“Les Misérables”

Best Visual Effects
“Life of Pi”

Best Animated Feature Film
“Brave”

Best Foreign Language Film
“Amour”

Best Documentary Feature
“Searching for Sugar Man”

Best Documentary – Short Subject
“Inocente”

Best Short Film – Animated
“Paperman”

Best Short Film – Live Action
“Curfew”

. @theacademy u jst rooind an old ladys 186th birthdy. hope u happy lol

– Michael Haneke (@Michael_Haneke) February 25, 2013

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Welcome to Oscar Talk.

In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

And that’s pretty much a wrap. Today Anne and I dig in on last night’s Oscar telecast, the sights and sounds, the winners and losers.

Have a listen to the new podcast below. If the file cuts off for you at any time, try the back-up download link at the bottom of this post. You to subscribe to Oscar Talk via iTunes here. And as always, if you have a question you’d like us to address on a future podcast, send it to OscarTalk@HitFix.com.

“Here I Come” courtesy of Stuart Park.

Hours before last night’s Academy Awards ceremony, I was called up by a UK news network that required a last-minute talking head to discuss the evening ahead. In the cab on the way to the studio, the channel’s researcher briefed me on the ground we’d cover, before asking, “So what’s the big story of the night going to be?”

I reeled off something about “Argo” being the probable Best Picture winner, with a side order of The Vindication of Ben Affleck, but inside I was slightly thrown by the question. What was the big story going to be at the end of a long, circuitous race in which no one film has had everything its own way — but one which looked ready to test any number of rare precedents, and perhaps create one or two of its own?

The question was no easier to answer as a lengthy, sluggish, tonally conflicted ceremony drew to a close with host Seth MacFarlane and pocket-sized pep factory Kristin Chenoweth smarming out the last and least welcome of the show’s many — most would agree too many — musical numbers. What narrative had we been left with? Was there more than one? Or was there not one at all, beyond the Academy telling us, “Here are some films we liked, and here are some prizes we’ve given them?” I’m not sure.

“Argo,” to the surprise of absolutely no one who had been paying even tangential attention to this race for the past two months, did indeed win Best Picture, along with the writing and editing prizes that seemed inevitably bound to it when it became the inarguable frontrunner. (Remember the number of pundits tying themselves in knots over the always-faint possibility of the film winning nothing but The Big One? Seems a long time ago.)

And yes, one could say Ben Affleck was vindicated, though that would imply he had been roundly turned away by Hollywood at any point in the season — which, as demonstrated by the swift and sincere show of industry affection for him from the very day a branch of just 369 Academy voters collectively announced they slightly preferred the work of five fine filmmakers to his, was hardly the case. (You could reach further back, claiming that this amounted to an official pardon for Affleck’s odd, undeserved career slide in the early 2000s, back when he carried a different Jennifer on his arm, but even that’s surely water under the bridge: “Hollywoodland” and, more auspiciously, “Gone Baby Gone” both earned him industry favor over half a decade ago, even if Oscar was slower to come around.) 

Rather than a pointed rejection of Affleck himself, or the product of a conspiracy against handsome, talented actors-turned-directors by some sinister cabal of gnomic auteurs, Affleck’s Best Director omission was simply One Of Those Things That Sometimes Happens — not an especially clear or compelling narrative, as they go, but it’s the one we got. 

The Academy — which, despite the cause-and-effect theories dreamed up by more excitable pundits, was looking likely to reward “Argo” well before the nominations were announced — responded by making the best of an unusual, not necessarily embarrassing, situation. Voters unable to pick their favorite film for Best Director were given the opportunity to hand a major prize to another film they admire — a conundrum, one would think, only to those who follow the widespread internet logic that any Oscar race comprises a) your favorite, and b) four other unworthy nominees WHO MUST LOSE AT ALL COSTS. (It’s an approach that leaves you perilously unlikely to enjoy the ceremony, particularly if, like me, you’d only personally have voted for the eventual winner in two-and-a-half of 24 categories. I don’t advise it.)   

As it turned out, the film that gained the most from this curious turn of events wasn’t Steven Spielberg’s nomination leader “Lincoln” but Ang Lee’s “Life of Pi,” which numerically led all comers with four awards at the evening’s close — the first time since 2004 that the Best Picture winner hasn’t at least tied for most wins of the night. It’s a result that, to judge from the response I observed on Twitter and at the industry party I attended last night, surprised more onlookers than it did pundits, many of whom had some time ago sensed that Spielberg’s stately, ever-so-slightly chilly presidential biopic was more respected within the Academy than it was fiercely loved.

“Life of Pi,” by contrast, turns out to have been arguably the most interesting stealth contender of the season, one that has exceeded awards expectations at many a turn — and for no other reason than the fact that a lot of people do love it, and are in equal measure moved and awed by its rare fusion of spirituality and spectacle. (Not for nothing is comfortably the highest-grossing Best Picture nominee internationally, a strangely underplayed advantage throughout the season.) That emotional kick, combined with universal, near-childlike “how did he do that” wonder at Lee’s luminous craftsmanship, is surely what edged it ahead of “Lincoln” in a Best Director showdown that, for all its exciting uncertainty, could hardly have been more gentlemanly in tenor.

Many might be tempted, upon observing “Lincoln’s” relatively paltry Oscar returns — two awards from a mighty 12 nominations, the least accrued from that many or more since “Becket” in 1964 — to forge a narrative along the lines of “The Academy turns against ‘Lincoln.'” But that wouldn’t be true, either. It was clear, from the auditorium-wide warmth that greeted Daniel Day-Lewis’s history-making Best Actor win, from the unexpected singling-out of the film’s intricate but understated production design, that this was a film the Academy wanted to see rewarded — just as they wanted to see “Argo” rewarded, just as they wanted to see “Life of Pi” rewarded, and several others besides.

Yes, Ben Affleck would almost certainly have brought “Argo’s” win total to four had he been nominated for Best Director, but that doesn’t mean “Life of Pi” was simply a surrogate for their affections. (I’ll leave it to Seth MacFarlane to bring a smutty Helen Hunt joke into this.) Had voters been so defensively devoted to “Argo” that they wanted to see it win at all costs, it could easily have taken an extra win for Alexandre Desplat’s score, or muscled into that fragile tie for Best Sound Editing.

But it didn’t. Voters liked a lot this year. Whether many individuals consciously vote this way or not, the collective vote arranged itself so as to honor as much of what they liked as possible. And three cheers for that. When the Academy expanded the Best Picture field from five nominees four years ago, the intended aim was to celebrate a broader spread of titles, and this year saw the highest percentage of Best Picture nominees walk away with a prize since the change’s inception.

Eight out of nine films took at least one win, and if that seems a little hard on “Beasts of the Southern Wild,” any cutaway during the telecast to an elated-looking Quvenzhane Wallis — joyously brandishing her puppy-dog handbag and plainly having the time of a life destined for greater times still — made it clear how welcome she and her scrappy little film felt in the Academy’s embrace. (Off-color cracks by Seth MacFarlane notwithstanding.)

Is that the narrative? Everyone’s a winner, even when they lose? It’s corny, but we’ll go with it. After all, it’s a narrative Michelle Obama tried to convince us — during a presenting gig that must count as the ceremony’s most significant surprise — that all the Best Picture nominees themselves are aiming to peddle. I, for one, am uncertain of what obstacles “Amour” teaches us we can overcome, but I’ll avoid splitting hairs. And speaking of “Amour,” I wanted to see Emmanuelle Riva become history’s oldest Oscar winner as much as anyone, but I refuse not to be delighted for the klutzily radiant Jennifer Lawrence, excited for the brilliant career that lies ahead of her, or enduringly appreciative of her performance in “Silver Linings Playbook,” the kind of spitting, sparking catherine-wheel of a comic turn that I’d like to see recognized more often.

I’d like to say that the show emerged as victorious as the films it rewarded, but even that resists a clear story angle. Neither as diabolical as the morning’s more inflamed reviews insist it was, nor anything like as fresh and subversive as Seth MacFarlane’s defenders will claim it was with increasing revisionist enthusiasm, it was a labored, out-of-time affair that I have little inclination to review in great detail — partly because the ever-eloquent Alan Sepinwall has relayed my very thoughts in almost uncanny detail.

And yet its few moments of greatness — Daniel Day-Lewis’s humble, witty, perfectly pitched acceptance address, 76-year-old Shirley Bassey’s ferocious rendition of a Bond classic that ought to have ushered in a similarly gold-plated medley, the delicious surprise and even more delicious fairness of that Best Sound Editing tie — will last a lot longer in my memory than that shouty, narrowly conceived musicals tribute or MacFarlane’s icky Clooney-Quvenzhane sex jokes and bizarrely unnecessary dismissal of incumbent Best Actor winner Jean Dujardin’s career. (Hey Seth, call us when you have a Scorsese project in the pipeline.)

My single favorite moment of the telecast was an all-too-brief one: former exotic entertainer Channing Tatum and trained ballet dancer Charlize Theron taking to the floor for a swirling Rogers-Astaire tribute in which neither artist could have looked more beautiful, or more simultaneously in and out of their element. (Hey, casting directors: anyone wanna give those kids a musical?) It was a moment of two superstars in perfectly paired partnership, the kind of graceful collaborative spirit Hollywood often only pretends to be about, usually by way of florid acceptance speeches — but it was an apt lead-in to a larger dance where the spread of films rewarded left us with far more perks than wallflowers.

Here’s a nice story that totally blind-sided me today. Did you know that Oscar-winning filmmaker Sean Fine (“Inocente”) is a huge Redskins fan? It goes deeper than that, actually, and this blog post from Stephen Czarda lays out the story, which led to Fine sporting some nifty burgundy and gold socks on the red carpet last night.

“[Fine’s] journey to Oscar winning journalist…started at the bouncing bleachers of RFK Stadium,” he writes. “His grandfather, Nate Fine, was the team”s official photographer for over half a century. He spent countless hours perfecting each and every photo for Redskins nation. Remember, a majority of his work was done well before the modern technology of today where photo uploading, editing, and special effects make photography much easier to tackle.

“The Redskins have one of the largest fan bases in the world and without his photographs, many would have been simply unable to see the franchise.

“In 1988, the Redskins dedicated their Super Bowl XXII thrashing of the Denver Broncos to Fine after his years of dedication…The Redskins portrayal of elegance and beauty emulated the millions of photos that Fine produced, and his grandson, dedicated his victory at the Academy Awards with a Redskins portrait of his own.”

I don’t think I need to convey here that I’m a fellow Redskins fan, so sue me if this makes me love “Inocente,” a charming and beautifully mounted documentary short about artists and homelessness and the need to support the arts, even more.

@rgiii we just won an Oscar”no pressure no diamonds” #oscars #addidas #inocentedoc twitter.com/FineFilms/stat…

– The Fines (@FineFilms) February 25, 2013

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I”m writing this column, the last Tech Support entry for this 2012-2013 Oscar season, with a strange combination of ambivalence and a touch of the bittersweet. Despite the fun of awards season, and this one in particular, it is somewhat relieving to see it come to an end.

The actual show and array of winners certainly had its down moments, but it won”t go down in my memory as an appalling evening, notwithstanding all the knives that were out for Seth MacFarlane this morning. Then again, maybe I”m getting easier to satisfy in my old age, as I don”t think the Academy has had an appalling show or set of winners since 2001. This won”t stick out in my mind as a great show, but there were aspects of it that I loved.

I matched my best prediction rate ever – going 20/24 (arguably 21/25 depending on how one counts Best Sound Editing – I’ll get to that). But I did miss two of the first three awards (Best Supporting Actor – Christoph Waltz becoming a two-time Oscar winner remains one of the weirdest things in my opinion – and Best Animated Feature). My ability to turn around the ship was largely seen in the crafts categories where I managed to go 9/10, a personal best.

But like the races as a whole, while there were many crafts category wins I was thrilled with, and others I was content with, there were many that left me rather disappointed.

The one crafts pick I missed was Best Production Design. As much as I truly wanted “Anna Karenina” to win, it ultimately fell not to the epic fantasy of “Life of Pi” or the epic period of “Les Misérables,” which could have made David Gropman or Eve Stewart a first-time winner, but Rick Carter”s meticulous period work on “Lincoln.” That was surprising indeed.

Carter, who put together the “Lincoln” White House with set decorator Jim Erickson after painstakingly detailed research and work that took about a decade, now has two Oscars. He won in 2009 for “Avatar.” I”m happy for them. I wondered if this would yield victories for “Lincoln” in Best Adapted Screenplay or Best Director. Alas, it was not to be.

The great Sarah Greenwood will have to wait for her Oscar. While a fourth loss in eight years must be disappointing, the fact that she and set decorator Katie Spencer have earned four nominations in that period is a testament to their talent.

“Anna Karenina” was far enough ahead in Best Costume Design that Jacqueline Durran could not be caught. This incredibly talented and classy costume designer won the Oscar that many assume she earned for “Atonement” (a phenomenon, to borrow Guy”s terminology, of the “phantom Oscar”…does anybody remember “Elizabeth: The Golden Age”?) I was thrilled with this victory. Not only was she the only past nominee who hadn”t won before, but this was richly deserved.

The split between Best Production Design and Best Costume Design is telling. These categories used to go together far more often than not – nine out of 11 years between 1995 and 2005! But now they”ve gone in separate directions for six of the past seven years. And, more to the point, they”ve become separate branches. It looks like this trend could continue in years to come.

Other veteran nominees who earned their first statuettes last night were William Goldenberg (Best Film Editing for “Argo”) and Lisa Westcott (Best Makeup and Hairstyling for “Les Misérables”). These are also deserved, if fairly predictable wins, even if I preferred Goldenberg”s work on “Zero Dark Thirty.” He, Westcott and Julie Dartnell (co-winner with Westcott) were all clearly thrilled to triumph as well. That was lovely to see.

As has been observed elsewhere, “Life of Pi” led the winners tally with four victories, compared to just three for “Argo” (and “Les Mis” for that matter). I failed to predict its Best Director victory, but I did manage to guess its triumph in three crafts categories, as did most.

Let”s start with the unambiguously deserved win. The visual effects work on “Life of Pi” was miraculous. Bill Westenhofer probably should have known when to get off the stage, or at least he should have made his plea for laid-off artists at the Rhythm and Hues effects house earlier in said speech (I loved the use of the “Jaws” theme, though). This victory may also remind of the importance of being a Best Picture nominee, and not being a solo nominee, in this category.

I was also pleased to see Mychael Danna win Best Original Score as he reaches the pinnacle of his profession after a quarter-century being passed over. Yet again the advantage that a first-time nominee has – when nominated – shines through. I admit I preferred Dario Marianelli”s amazing work on “Anna Karenina.” It was also sad to see Alexandre Desplat (“Argo”) and Thomas Newman (“Skyfall”) lose yet again. Newman was one of three “Skyfall” artists who keep a tragic 0/37 cumulative Oscar history going.

To be fair, however, I did prefer Danna”s work to Newman”s. The same cannot be said in Cinematography, where I honestly felt Roger Deakins deserved the statuette over Claudio Miranda. Miranda”s genuine happiness was touching, however, and I also think many criticisms of his work as essentially being a computer game are totally unwarranted and unfair. Deakins is philosophical about this. I remain convinced he”ll triumph one of these years. He has to, no?

Deakins is not the only “Skyfall” nominee my heart bled for, as Greg P. Russell lost for the 16th time in Best Sound Mixing. I cannot fault Andy Nelson and company”s work on “Les Misérables,” nor was the category exceptionally difficult to predict. But this was likely Russell”s best chance to win in quite some time. (He wasn”t winning for “Salt” or any of the “Transformers” movies, that’s for sure.) He doesn”t seem to be slowing down, however. I”m quite sure we”ll see him on stage in the not-too-distant future. Consistency is everything.

That leads me to perhaps the biggest surprise of the night. For the sixth time in Oscar history there was a tie! This easily could have seemed part of Mark Wahlberg”s act so his reaction said it all. “NoB.S., it’s a tie.” That this occurred in Best Sound Editing is all the more appropriate given how close that category clearly was this year.

On the one hand, “Skyfall” seemed like the winner, sticking out as a respected action nominee, giving second and third statuettes to Karen Baker Landers and Per Hallberg. But then again, “Zero Dark Thirty” seemed so deserving and an obvious spot to give an award to Kathryn Bigelow”s film. (Only “Beasts of the Southern Wild” failed to win an Oscar of the nine Best Picture nominees.) I was struggling between these two all last week. Lo and behold, they both came through! They fended off “Life of Pi,” which also seemed to be at a risk of taking it. I”m pleased with the Academy”s tastes here, as two very different but very deserving soundscapes managed to share the glory.

With victories not only in Best Sound Editing but Best Original Song, the James Bond franchise doubled its total number of Oscar wins in one night. “Goldfinger” had won Best Sound Effects and “Thunderball” had won Best Special Effects. The win for Adele and Paul Epworth wasn”t surprising, but it was also very well-deserved.

And in the words of Adele, “This is the End.” With that, I sign off. It”s been a pleasure highlighting the invaluable contributions of our below-the-line crafts artists this year. I”ll see you in a few months. Feel free to share your final thoughts below!

Well, we knew going in that this would probably not be our proudest year for predictions. While a number of categories had cast-iron frontrunners, many were considerably trickier, with two or even three plausible outcomes making for little consensus among pundits.

Some years you simply have stronger instincts than others, and even with no jaw-dropping upsets last night, uncertainty got the better of us in a number of categories. Between our three HitFix pundits, it was Kris who came out on top, calling 18 out of 24 categories correctly. Greg Ellwood was just behind with 17 predictions right, while yours truly brought up the rear with a lowly 16.

We were all beaten, however, by our regular In Contention guest columnist Gerard Kennedy, who nailed 20 out of 24, including all three shorts categories — hats off, Gerard!

That puts us squarely mid-field compared to Oscar prognosticators from other sites. Over at Gold Derby, our Oscar Talk cohort Anne Thompson distinguished herself with 20 out of 24 (including one very smart pick for “Lincoln” in Best Production Design, a win few saw coming), while Anthony Breznican and Scott Feinberg both went one better. 

Still, we all had our individual individual bright spots. Though I’m not sure why so many people insist on calling his win an “upset” — he had won the Globe and the BAFTA, after all, while his non-nomination at SAG was essentially a calendar issue — I was one of comparatively few pundits to plump for “Django Unchained” star Christoph Waltz in Best Supporting Actor. (Kris and Greg were both counting on a sentimental surge for Robert De Niro.)

Kris, meanwhile, went against the majority by picking “Brave” for Best Animated Feature, when most (including Greg) thought it would go to Disney’s whizzier Annie Award champ “Wreck-It Ralph.” Again, the signs were there — like Waltz, “Brave” was rewarded by BAFTA and the HFPA — and Kris was right to assume the Academy would respond to the gentler, more traditional storytelling of Pixar’s summer hit. (I, meanwhile, knew I was going on a dangerous limb with Tim Burton’s critically supported flop “Frankenweenie,” but I thought — or overthought, rather — that auteur affection might come through the middle in a tight race. It was not to be.)

Greg, meanwhile, gained points by not sharing my faith, or Kris’, in Michael Haneke’s “Amour.” Kris and I both thought the late-surging BAFTA winner Emmanuelle Riva could sneak ahead in Best Actress to become the oldest winner in Academy history, and that Haneke would benefit from being the more refined choice for Best Original Screenplay. Greg stuck by Hollywood, predicting on-paper favorites Jennifer Lawrence and Quentin Tarantino, and was right both times.

Greg was also the only one of us to half-call that wacky tie for Best Sound Editing, having predicted “Skyfall” for the win. Kris and I were evidently some way off in our joint “Life of Pi” prediction, as subtler sound showcase “Zero Dark Thirty” shared the trophy with Mr. Bond. This was widely agreed to be the night’s toughest category to call, and the tied result — the first at the Oscars in 18 years — was gratifying proof of that.

The other technical category giving most pundits trouble was Best Production Design — which, as mentioned above, resulted in that slightly surprising win for “Lincoln.” Tellingly, it was one of the few categories where Kris, Greg and I all went separate ways — for “Les Mis,” “Life of Pi” and “Anna Karenina,” respectively — yet we still all managed to get it wrong. Go figure.

On the other hand, on the 14 categories where we were united in our predictions, we were correct each time. That includes the not-at-all-certain Best Director victory for Ang Lee — a favorite among pundits whose win, to judge from the Twitter response I gauged, nonetheless seemed to surprise a lot of armchair observers. I guess the none-too-helpful message is: stick with us, but only when it’s all three of us.

How did you fare in your predictions? Which calls were you proudest of? And DID anyone call that Best Sound Editing tie? (Don’t lie to us, please.) Tell us in the comments!

Crowning off an industry awards running of the table, from the Critics’ Choice Movie Awards the night director Ben Affleck was passed over for a Best Director Oscar nomination through a guild circuit that brought high profile recognition from the likes of producers, directors, actors and writers, Warner Bros. Pictures’ “Argo” has been named Best Picture of 2012 by the Academy of Motion Picture Arts and Sciences.

“I know what you’re thinking. The three sexiest producers alive,” said producer Grant Heslov said between co-producers George Clooney and Ben Affleck on the stage of the Dolby Theatre, able to accept a prize as producer despite being left off the directors’ line-up. “I want to acknowledge my partner in crime and my great friend George Clooney. Everybody should be so lucky to have a partner as talented, as humorous and with so much integrity. On behalf of George and myself, I want to thank you, Ben. You directed a hell of a film.”

The Oscar caps off a journey that seemed to peak a number of times since the film’s world premiere at the Telluride Film Festival in September. Other contenders such as “Life of Pi,” “Lincoln,” “Les Misérables,” “Silver Linings Playbook” and “Zero Dark Thirty” came and flirted with the frontrunner position throughout the season, but Affleck’s well-liked thriller held on every step of the way.

Affleck’s interest in the material stemmed from his early college years toiling away at Occidental College in the Eagle Rock neighborhood of northeast Los Angeles as a Middle Eastern Studies major, he told HitFix in December.

“I’m also interested in the complexity of the idea that everybody has their reason, their side of the story,” he said at the time. “Palestine and Israel, that’s a place where you have two people with really diametrically opposed points of view. And yet both firmly believe they”re not just right but righteous. And that dynamic, I think, is at the root of drama.”

The film weathered its share of controversy throughout the year, as many of the season’s contenders felt embattled from without along the way. When it screened at the Toronto International Film Festival in September, there was an outcry over the film’s perceived flippant attitude toward the Canadian government’s part in the CIA operation it details. It also came under fire for dramatic license taken with the real life events.

But in the end, the Academy, indeed, the film industry, had settled on its favorite: a heroic tale where Hollywood gets to share in the glory.

“I want to acknowledge Steven Spielberg, who I think is a genius,” Affleck said this evening. “I want to thank Canada, I want to thank our friends in Iran living under terrible circumstances right now…And I just want to say I was here 15 year ago or something, and I had no idea what I was doing. I stood out here in front of you all, I was just a kid. I never thought I’d be back here. So many people extended themselves to me when they had nothing to benefit from it. I want to thank them for teaching me you have to work harder than you ever thought you would. You’re gonna get knocked down, but you’ve got to get back up.”

“Argo” walked away with two other Oscars, for Best Adapted Screenplay and Best Film Editing.

Daniel Day-Lewis has broken an Oscar record this evening. The “Lincoln” star picked up the Best Actor trophy for his performance in the Steven Spielberg film, making him the first actor to win three lead actor prizes.

“Since we were married 16 years ago my wife has lived with some very strange men,” Day-Lewis said from the stage of the Dolby Theatre, Oscar in hand. “But luckily she’s the versatile one in the family… There are three men to whom I owe this and a great deal more: Tony Kushner, our skipper Steven Spielberg and the mind, body and spirit of Abraham Lincoln. For my mother. Thank you so much.”

The Actor was an overwhelming favorite coming into tonight’s race. He previously won for 1989’s “My Left Foot” and 2007’s “There Will Be Blood.” In addition he was nominated in 1993 for Jim Sheridan’s “In the Name of the Father” and 2002 for Martin Scorsese’s “Gangs of New York.” All of Day-Lewis’s Oscar recognition to date has come in the leading category.

This was the second prize Spielberg’s film, nominated for 12 Oscars, won this evening. It also picked up the Best Production Design trophy.

Jennifer Lawrence, the 22-year-old star of “Silver Linings Playbook,” has won the Oscar for Best Actress at the 85th annual Academy Awards.

“Thank you to the women this year,” she said in her acceptance speech. ” You were so magnificent and so inspired. It’s been so amazing getting to know you…you’ve made this experience unforgettable.”

The film’s writer and director, David O. Russell, told HitFix in December that he auditioned Lawrence for the role in a very unique fashion: via Skype.

“That was my first time I ever did that,” Russell said at the time. “She dressed up in character for the role and stole it right at the last second from three other very big actresses, who were vying very seriously for the role.”

Lawrence ended up surviving a pretty intense competition in the category, despite being considered a frontrunner since “Silver Linings Playbook” premiered at the Toronto Film Festival in September. Fellow nominees Jessica Chastain (“Zero Dark Thirty”) and Emmanuelle Riva (“Amour”) put up quite the fight.

But the Academy went with the performance in a film they clearly admired. “Silver Linings Playbook” received eight nominations from the Academy last month, including for Best Director and Best Picture.

In a race lacking the frontrunner for Best Picture (“Argo” director Ben Affleck was left off the list by his fellow filmmakers in the Academy), Best Director boiled down to the visionary, watercolor vision of “Life of Pi” helmer Ang Lee.

“Thank you, movie God,” Lee said upon receiving the award. “I really need to share this with all 3,000 [people’ who worked with me on ‘Life of Pi’ and sharing this incredible journey with me…Suraj [Sharma], you’re a miracle, carrying the movie. Everyone who worked on this, you are the golden statue in my heart. [And] I couldn’t have made this film without Taiwan.”

It was a contentious race with everyone from Steven Spielberg (“Lincoln”) to David O. Russell (“Silver Linings Playbook”) in the hunt. In the end, however, it was the film with the most Oscars on the evening that reigned in the field.

But when 20th Century Fox gambled on the property, from a Yann Martel book that had openly been deemed “unfilmable,” Lee and company have said they carried plenty anxiety with them. The film was budgeted at over $125 million, but it has pulled in box office receipts approaching $600 million worldwide.

“I thought 3D might pull it off,” Lee told HitFix of his approach to the material upon the film’s release in November. “That was four years ago, way before…Once I started thinking that way, there was no stop to it. I just got hooked. ‘It has to be done.’ So four years later, here we are.”

Here we are indeed. With Lee’s second Oscar to show for his work. (He previously won in 2006 for “Brokeback Mountain.”)

“Life of Pi” received three other awards in total on the night, for Best Cinematography, Best Original Score, and Best Visual Effects. It was nominated for 11 on the morning of January 10.

Quentin Tarantino and Chris Terrio will be the lucky writers walking out of the Dolby Theatre tonight with Oscars in hand. The two men won their prizes for “Django Unchained” (Best Original Screenplay) and “Argo” (Best Adapted Screenplay) respectively.

“Ben, 15 years ago you were up here for the first screenplay you ever made and now you’ve brought me here,” he said to director Ben Affleck from the stage of the Dolby Theatre. “I want to dedicate this to everyone who uses creativity to solve problems non-violently.”

Terrio held off competition from the likes of Pulitzer Prize-winning playwright Tony Kushner (“Lincoln”) and “Silver Linings Playbook” writer/director David O. Russell.

“The national conversation about Iran is always about nukes, about a crazy speech that Ahmadinejad makes at the U.N.,” Terrio told HitFix about his broader ideas for the story in December. “There isn”t a more considered discussion of the fact that we’re still in the same place that we were, diplomatically speaking, in 1980.”

Meanwhile, it was Quentin Tarantino who took the Best Original Screenplay prize, his film’s second award of the evening.

“That’s cool, Charlize is my neighbor,” Tarantino said upon receiving the prize from actors Charlize Theron and Dustin Hoffman. “I would like to say that it’s such an honor to get it this year, because I have to say in both the adapted and the original categories, the writing was great. This was a writer’s year.”

This is his second Oscar to date. He previously won in 1994 for “Pulp Fiction.”

Both and “Argo” and “Django Unchained” are nominated in the Best Picture category at the Academy Awards.

Pop music sensation can add an Oscar to the countless American Music Awards, Billboard Awards and Grammys she’s amassed to date. The “Rolling in the Deep” vocalist won Best Original Song at the Academy Awards this evening for her title track to the James Bond film “Skyfall.”

“I’d like to thank [co-nominee] Paul Epworth for believing in me all the time,” Adele said from the stage of the Dolby Theatre with tears in her eyes.

This marks the first time in the Academy’s history that a Bond theme song has won the Oscar. In previous years, the title tracks from 1974’s “Live and Let Die” and 1981’s “For Your Eyes Only” and “Nobody Does It Better” from 1977’s “The Spy Who Loved Me” were nominated in the category.

“For a piece of music to be judged in context with a movie, it”s judged in an obviously different context,” the Epworth, told HitFix in December. “I felt like the piece of music should be a moment of the moment. It”s a mark of quality of that work.”

The 85th Academy Awards also put on a James Bond tribute planned on the occasion of the franchise’s 50th anniversary. The event featured a surprise appearance by “Goldfinger” vocalist Shirley Bassey. This in addition to a musicals tribute featuring the casts of “Chicago,” “Dreamgirls” and “Les Misérables.” Mychael Danna, meanwhile, won the Oscar for Best Original Score for “Life of Pi.”

It has been rumored that tonight’s Oscars ceremony may be the only time that Adele performs “Skyfall” live.

“Skyfall” grossed over $1 billion worldwide, becoming Sony’s biggest film success to date. It was nominated for four other Oscars and split the win for Best Sound Editing with “Zero Dark Thirty.”

“Life of Pi” have have taken the Best Original Score Oscar for long-serving Canadian composer Mychael Danna — his first ever win — but that was far from the only celebration of music in the movies at tonight’s ceremony.

The odds may be against “Les Miserables” taking Best Picture at the Academy Awards tonight, but don’t tell that to telecast producers Craig Zadan and Neil Meron, who gave the film the most generous showcase of any of the nominees in a glittery number dedicated to three of the Academy’s favorite musicals of the last decade.

The number incorporated key numbers from 2002’s “Chicago” and 2006’s “Dreamgirls,” but while those films got a single number each, performed by an individual cast member, “Les Mis” was granted a closing medley, with the film’s entire principal ensemble — including Best Actor nominee and newly minted Best Supporting Actress winner Anne Hathaway — gathering on stage to celebrate the film, which has taken three awards so far.

Some might say it was an overly selective choice of films, but in terms of Academy recognition, they were the three obvious choices. “Chicago” won the Best Picture Oscar over 10 years ago, and while “Dreamgirls” surprisingly missed a top nod six years ago, it nonetheless received eight nominations and won two.

Indeed, both “Chicago” and “Dreamgirls” won Best Supporting Actress for Catherine Zeta-Jones and Jennifer Hudson, respectively. In a neat bit of symmetry, both were there to represent the film with their signature numbers: Zeta-Jones with a slinky rendition of “All That Jazz” and Hudson with a lung-busting flashback to her revelatory performance of “And I Am Telling You I’m Not Going.”

Both performances, I’d venture, were more powerful than a somewhat messy “Les Mis” tribute, which began with Hugh Jackman crooning the Oscar-nominated “Suddenly,” a new addition to the film’s song score, before segueing into a slightly chaotic collage of the musical’s more iconic numbers — and yes, the much-derided Russell Crowe put on a brave face to join his more melodically advantaged co-stars onstage. Good for him. The nifty linking factor of the entire segment, of course, was that Hathaway would make it a hat-trick of featured Best Supporting Actress winners.

In an evening where the running theme has been classic movie music, James Bond received two spotlight numbers. Adele, of course, was on hand to smoothly deliver “Skyfall,” the racing favorite for the Best Original Song Oscar, but before then, veteran Welsh diva Dame Shirley Bassey took the stage — turning the clock back to 1964 with an imperious rendition is “Goldfinger.” It was a tremendous moment, but I can’t have been the only one hoping it would lead into a longer medley of classic 007 themes.

After all, if “Les Mis” got one…

It’s no surprise the three big period pieces up for awards at tonight’s 85th annual Academy Awards ceremony dominated on the design front. Joe Wright’s adaptation “Anna Karenina,” Tom Hooper’s musical “Les Misérables” and Steven Spielberg’s biopic “Lincoln” ended up splitting the awards for Best Costume Design, Best Makeup and Hairstyling and Best Production Design.

“Whoa, thank you so much. It’s quite overwhelming,” makeup artist Lisa Westcott said upon receiving the prize for her work in the big musical adaptation. “I must pay a huge tribute to the team who worked so incredibly hard. I feel that I own very little of this and the rest goes to them.”

“Anna Karenina,” meanwhile, brought home the trophy for costumes, marking outfitter Jacqueline Durran’s first Oscar to date (after previously being nominated for Wright’s films “Pride & Prejudice” and “Atonement.”

“With Joe [Wright], I kind of don’t have too many ideas in advance of our first meeting, because he always has an angle that he wants to investigate in the piece,” Durran said on the occasion of the film’s release in November. “And he thought we should look at 1950s couture as a way into reinterpreting the 1870s. He was interested in reducing everything to the barest essentials. “

Nevertheless, the ensembles were certainly ornate, capturing the eye of the Academy this evening.

“Lincoln”‘s win is the first prize for the film, nominated for 12 Oscars, tonight. Spielberg’s long-time production designer accepted the trophy alongside set decorator Jim Erickson.

“Because of our relationship, I have a lot of freedom,” Carter told HitFix of his collaborations with Spielberg over the years. “He always directs me in the sense that I show him things and he comes up with ideas…Every choice we made [on ‘Lincoln’] was based on historical accuracy. It was a place where Daniel [Day-Lewis] could go and feel he was in a real place…that meant that the details had to be purposeful.”

There hasn’t been a tie at the Academy Awards since 1994, when two films shared the award for Best Live Action Short. That dry spell was broken tonight in the biggest surprise of tonight’s Academy Awards so far, as “Skyfall” and “Zero Dark Thirty” split the difference for Best Sound Editing. 

This category was widely seen as one of the night”s toughest awards to call. “Skyfall” won the top prize at the Motion Picture Sound Editors” Golden Reel Awards last week, but “Life of Pi” won two lesser awards from the same group.

As it turned out, the Academy rewarded the former, but were equally impressed by the explosive work in Best Picture nominee “Zero Dark Thirty.” Winner Paul N.J. Ottosson claimed both the Best Sound Mixing and Editing awards three years ago for Kathryn Bigelow’s “The Hurt Locker,” and added a third trophy to his mantel tonight.

Meanwhile, smash musical “Les Misérables” claimed its second Oscar of the night, with a Best Sound Mixing win for Andy Nelson, Mark Paterson and Simon Hayes.

It”s the second Oscar for Nelson, who previously won the same award in the 1998 race for Steven Spielberg”s “Saving Private Ryan.” He was also nominated for his work in Spielberg”s “Lincoln” tonight. It was the first nomination for both Paterson and Hayes.

The win was a widely expected one, and not only because the trio had already been awarded by BAFTA and the Cinema Audio Society. The live audio capture of the musical numbers in “Les Mis,” a challenging and relatively unusual technique in modern-day movie musicals, has been the source of much publicity throughout the season.

While “Les Mis” beat five-time nominee “Skyfall” to the Best Sound Mixing award, the record-breaking James Bond blockbuster claimed Best Sound Editing gold for Per Hallberg and Karen A. Baker. It”s the pair”s second Oscar, and the third for Hallberg: they previously won this category for “The Bourne Ultimatum” in the 2007 race, while Hallberg also won for 1995 Best Picture winner “Braveheart.”

Their win was more expected than the one for Ottosson, who brought his past military experience to the intense study of the hunt for Osama Bin Laden. As he told me in my December interview with him:”I was never in Iraq, but I remember how you think and feel in an environment like that. Every corner you turn, there could be something that could take you out. Or something behind you. So every time we cut, even if we’re going somewhere in very close proximity to the previous shot, I thought it was important to establish an audible difference – to play with that perspective, make the spaces tighter. It takes a lot of work.”

Learn more about previous ties at the Academy Awards here.

For her performance in Universal’s musical hit “Les Misérables,” actress Anne Hathaway has won the Oscar for Best Supporting Actress at the 85th annual Academy Awards.

“It came true,” she nearly whispered upon accepting the prize. She then thanked each of her fellow nominees in the category. “I look up to you all so much and it’s been such an honor…here’s hoping that someday in the not too distant future, the misfortunes of Fantine will only be found in stories, and never more in real life.”

Around the time of the film’s release, she told HitFix her personal expectations for herself were high because of the impact seeing her mother take on the role of Fantine had on her as a child.

“When I found out I was going to be in the film, even though it’s being sung, I wanted it to feel like a real story,” she said at the time, “that if you turned the volume down you would feel like you were looking at a page out of someone’s life. I wanted to grasp the reality and make the emotions visceral.”

Hathaway was nominated once before for Best Actress in 2008’s “Rachel Getting Married.” She hosted the Oscars with actor James Franco in 2011.

“Les Misérables” was nominated for eight Oscars, including Best Picture.