Best Costume Design
|
||||
 |
 |
 |
 |
 |
| Janet Patterson BRIGHT STAR |
Consolate Boyle CHERI |
Odile Dicks-Mireaux AN EDUCATION |
Anna B Sheppard INGLOURIOUS BASTERDS |
Modeile Bickel THE WHITE RIBBON |
| Fanny's own designs are distinctive. There's also noticeable differences between utilarian basics and dressier fare. Everything is gorgeous. And that triple pleated mushroom collar! |
The Belle Epoque lends itself to excessive design, the characters also demand it. Boyle understands the collective vanity both warranted and overworked. And that black hat! [gasp] |
Jenny is adorable as a schoolgirl but in her off hour ensembles she's aging it up and working for sophistication. Helen and David's fashionable looks and lavish lifestyle thrill Jenny (and us) |
Sheppard is aces with this time period as her filmography reveals but what's special here is the stylized modern flourishes: that red dress with veil and Brigitte's tailored movie starpower. |
It's hard to costume B&W films. Who knows what color these severe ensembles are other than that scarlet letter white ribbon. A full range of socio-economics status is also on display. |
| Gold: BRIGHT STAR Silver: CHERI Bronze: INGLOURIOUS BASTERDS Finalists: Monika Jacobs for THE LAST STATION | Uncredited for FANTASTIC MR FOX | Sandy Powell for THE YOUNG VICTORIA Semi-Finalists: April Napier for JULIA | Joseph Ausili TAKING WOODSTOCK | Monique Prudhomme for THE IMAGINARIUM OF DR PARNASSUS | Colleen Atwood for NINE |
||||
Cinematography |
||||
 |
|
|
 |
 |
| Anthony Dod Mantle ANTICHRIST |
Greg Fraser BRIGHT STAR |
Robert Richardson INGLOURIOUS BASTERDS |
Dion Beebe NINE |
Lance Acord WHERE THE WILD THINGS ARE |
| Whatever you make of the content, it's visually hypnotic whether out of focus, black and white, or saturated with unnerving color. |
He maximizes Janet Patterson's beautiful production / costume design with expressive light. You can frame almost any, well, frame. |
QT's films were always verbally dazzling. Lately, with Richardson's help, the visuals are nearly as compelling. |
Beebe outdoes his own Chicago here, with color and shadow. He accentuates all the gorgeousity of the stage (and the women). |
He paints so expressively with light and often with a dreamy haze. What does Oscar have against him anyway. |
| Gold: BRIGHT STAR Silver: ANTICHRIST Bronze: INGLOURIOUS BASTERDS Finalists: Christian Berger for THE WHITE RIBBON | Barry Ackroyd for THE HURT LOCKER | Mauro Fiore for AVATAR Semi-Finalists: Sean Bobbit for HUNGER | Rodrigo Prieto for BROKEN EMBRACES | Eduardo Grau for A SINGLE MAN | Adriano Goldman for SIN NOMBRE |
||||
Art Direction | Production Design
|
||||
 |
 |
 |
|
 |
| Rick Carter, Robert Stromberg, Kim Sinclair AVATAR |
Henry Selick, Philip Brotherton, Bo Henry and Tom Proost CORALINE |
Nelson Lowry and Francesca Maxwell FANTASTIC MR FOX |
David Wasco INGLOURIOUS BASTERDS |
Tony Noble and Hideki Arachi MOON |
| Pandora is brilliantly imagined. The color palette should be gaudy but it's somehow beautiful. |
So intricately designed and twice over too: Coraline's world and the other skewed world. |
So charming and quaint, a diorama storybook comes to life with great wit. |
The dairy farm, the theater, the basement bar; we sure enjoyed and remember our time there. |
The influences show but it's more than simple homage. It's lived in and quite miraculous given the budget. |
|
Gold: AVATAR Silver: FANTASTIC MR FOX Bronze: CORALINE Semi-Finalists: Jess Gonchor for A SERIOUS MAN | Ricky Nierva for UP |
||||
Film Editing
|
||||
 |
|
 |
|
 |
| Alan Edward Bell (500) DAYS OF SUMMER |
James Cameron, John Refua & Stephen Rivkin AVATAR |
Bob Murawski & Chris Innis THE HURT LOCKER |
Sally Menke INGLOURIOUS BASTERDS |
Dana E Glauberman UP IN THE AIR |
| Engages playfully with the lively structure and star turns, with comedic instincts of his own |
Cameron's peerless action storytelling relies heavily on sharp disciplined editing. Great pacing throughout. |
tick-tick-tick. The bomb squad scenario comes with tension ready; the editors wind it even tighter. |
Menke is QT's MVP: she amps up tension, increases laughs, and exploits the best in his famed performances. |
The cutting is so slickly polished and sharp it gleams like an aluminum wing, slicing through the clouds. |
|
Gold: THE HURT LOCKER Silver: AVATAR Bronze: INGLOURIOUS BASTERDS Semi-Finalists: Alexandre de Francheschi for BRIGHT STAR | Bob Murawski for DRAG ME TO HELL | Nicholas Gaster for MOON |
||||
Visual Effects
|
||||
|
 |
|
|
|
| AVATAR | DISTRICT 9 |
WHERE THE WILD THINGS ARE |
n/a | n/a |
| We've had 3D and CGI forever now but the execution is so splendid it feels miraculously new. The dragon taming sequence alone... |
Filmmakers have been mixing the real and the animated (by hand or computer) for decades. It's done marvelously here belying its budget. |
A beautifully expressive full toolbox of tricks. Nothing feels mechanical or impersonal (as overuse of CGI often does). |
n/a |
n/a |
|
Gold: AVATAR Silver: DISTRICT 9 Bronze: WHERE THE WILD THINGS ARE Semi-Finalists: CORALINE | WATCHMEN |
||||
Makeup, Makeup Effects & Hairstyling
|
||||
|
|
 |
|
|
| DISTRICT 9 |
INGLOURIOUS BASTERDS |
THE ROAD |
n/a | n/a |
| Such excellent body horrors. Cronenberg himself would be proud. |
Two glamorous undercover girls, period coiffures, and Nazi scarring. |
All those grim ashen faces and obvious nutritional deficiencies. |
n/a |
n/a |
|
Gold: DISTRICT 9 Silver: THE ROAD Bronze: INGLOURIOUS BASTERDS Semi-Finalists: Bobby Sands wastes away in HUNGER | Beautiful period work that's not too beautiful for characters of limited means in BRIGHT STAR | THE IMAGINARIUM OF DOCTOR PARNASSUS may be operating on a low budget (the show not the movie) but that's what DIY inspiration is for. |
||||
Animated Film
|
||||
|
|
 |
|
|
| CORALINE |
FANTASTIC MR FOX |
UP |
n/a | n/a |
| Inventive, magical, spooky and beautifully crafted. |
A perfect match of filmmaker and form. Hilarious, too. |
Start with a brilliant concept and you're already sky high. |
n/a |
n/a |
|
Gold: CORALINE Silver: UP Bronze: FANTASTIC MR FOX |
||||