80th Annual Oscar nominations announced!!

by Eric Melin on January 22, 2008

in Blogs

Jason Reitman scores a big upset over Joe Wright and Sean Penn in the Best Directing category for “Juno,” Tommy Lee Jones takes Denzel’s Best Actor spot for “In the Valley of Elah,” and Angelina Jolieand Kiera Knightley are denied Best Actress nominations by Laura Linney, who was fantastic in “The Savages,” and Cate Blanchett for “Elizabeth: The Golden Age,” a movie nobody liked. Ruby Dee gets the veteran award for a very small role in “American Gangster,” which despite big names like Denzel Washington, Russell Crowe, and Ridley Scott gets next to nothing.

Those are the big surprises in the major categories, although we all know “Ratatouille” will win the Animated Film Oscar, it was odd to see “Bee Movie” and “The Simpsons Movie” shut out and “Persepolis” and “Surf’s Up” in. Also, I knew the old guard would snub Jonny Greenwood’s crazy-good score from “There Will Be Blood,” and they did. It’s a good thing he got that Critic’s Choice award at least. Also snubbed was Golden Globe winner Eddie Vedder, who won the Golden Globe for Best Song for “Into the Wild,” losing to three– count ‘em three songs from “Enchanted”?!? I’m not sad, just confused. Nice to see Glen hansard and Marketa Irgolva nominated for “Once,” though. They have to be the favorites.

And, of course, no love for “Knocked Up” in the screenplay category. How “Juno” is a darling and “Knocked Up” a big zero, I’ll never know. Oh well. From Oscars.com:

Best Motion Picture of the Year
Atonement (Focus Features) A Working Title Production: Tim Bevan, Eric Fellner and Paul Webster, Producers
Juno (Fox Searchlight) A Dancing Elk Pictures, LLC Production: Lianne Halfon, Mason Novick and Russell Smith, Producers
Michael Clayton (Warner Bros.) A Clayton Productions, LLC Production: Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
No Country for Old Men (Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen, Producers
There Will Be Blood (Paramount Vantage and Miramax) A JoAnne Sellar/Ghoulardi Film Company Production: JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

Achievement in directing
The Diving Bell and the Butterfly (Miramax/Pathé Renn), Julian Schnabel
Juno (Fox Searchlight), Jason Reitman
Michael Clayton (Warner Bros.), Tony Gilroy
No Country for Old Men (Miramax and Paramount Vantage), Joel Coen and Ethan Coen
There Will Be Blood (Paramount Vantage and Miramax), Paul Thomas Anderson

Performance by an actor in a leading role
George Clooney in Michael Clayton (Warner Bros.)
Daniel Day-Lewis in There Will Be Blood (Paramount Vantage and Miramax)
Johnny Depp in Sweeney Todd The Demon Barber of Fleet Street (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)
Tommy Lee Jones in In the Valley of Elah (Warner Independent)
Viggo Mortensen in Eastern Promises (Focus Features)

Performance by an actor in a supporting role
Casey Affleck in The Assassination of Jesse James by the Coward Robert Ford (Warner Bros.)
Javier Bardem in No Country for Old Men (Miramax and Paramount Vantage)
Philip Seymour Hoffman in Charlie Wilson’s War (Universal)
Hal Holbrook in Into the Wild (Paramount Vantage and River Road Entertainment)
Tom Wilkinson in Michael Clayton (Warner Bros.)

Performance by an actress in a leading role
Cate Blanchett in Elizabeth: The Golden Age (Universal)
Julie Christie in Away from Her (Lionsgate)
Marion Cotillard in La Vie en Rose (Picturehouse)
Laura Linney in The Savages (Fox Searchlight)
Ellen Page in Juno (Fox Searchlight)

Performance by an actress in a supporting role
Cate Blanchett in I’m Not There (The Weinstein Company)
Ruby Dee in American Gangster (Universal)
Saoirse Ronan in Atonement (Focus Features)
Amy Ryan in Gone Baby Gone (Miramax)
Tilda Swinton in Michael Clayton (Warner Bros.)

Adapted screenplay
Atonement (Focus Features), Screenplay by Christopher Hampton
Away from Her (Lionsgate), Written by Sarah Polley
The Diving Bell and the Butterfly (Miramax/Pathé Renn), Screenplay by Ronald Harwood
No Country for Old Men (Miramax and Paramount Vantage), Written for the screen by Joel Coen & Ethan Coen
There Will Be Blood (Paramount Vantage and Miramax), Written for the screen by Paul Thomas Anderson

Original screenplay
Juno (Fox Searchlight), Written by Diablo Cody
Lars and the Real Girl (MGM), Written by Nancy Oliver
Michael Clayton (Warner Bros.), Written by Tony Gilroy
Ratatouille (Walt Disney), Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird
The Savages (Fox Searchlight), Written by Tamara Jenkins

Best animated feature
Persepolis (Sony Pictures Classics): Marjane Satrapi and Vincent Paronnaud
Ratatouille (Walt Disney): Brad Bird
Surf’s Up (Sony Pictures Releasing): Ash Brannon and Chris Buck

Best documentary feature
No End in Sight (Magnolia Pictures) A Representational Pictures Production: Charles Ferguson and Audrey Marrs
Operation Homecoming: Writing the Wartime Experience (The Documentary Group) A Documentary Group Production: Richard E. Robbins
Sicko (Lionsgate and The Weinstein Company) A Dog Eat Dog Films Production: Michael Moore and Meghan O’Hara
Taxi to the Dark Side (THINKFilm) An X-Ray Production: Alex Gibney and Eva Orner
War/Dance (THINKFilm) A Shine Global and Fine Films Production: Andrea Nix Fine and Sean Fine

Best foreign language film
Beaufort, Israel
The Counterfeiters, Austria
Katyn, Poland
Mongol, Kazakhstan
12, Russia

Original score
Atonement (Focus Features) Dario Marianelli
The Kite Runner (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics): Alberto Iglesias
Michael Clayton (Warner Bros.) James Newton Howard
Ratatouille (Walt Disney) Michael Giacchino
3:10 to Yuma (Lionsgate) Marco Beltrami

Original song
“Falling Slowly” from Once (Fox Searchlight) Music and Lyric by Glen Hansard and: Marketa Irglova
“Happy Working Song” from Enchanted (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
“Raise It Up” from August Rush (Warner Bros.): Nominees to be determined
“So Close” from Enchanted (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
“That’s How You Know” from Enchanted (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz

Achievement in cinematography
The Assassination of Jesse James by the Coward Robert Ford (Warner Bros.): Roger Deakins
Atonement (Focus Features): Seamus McGarvey
The Diving Bell and the Butterfly (Miramax/Pathé Renn): Janusz Kaminski
No Country for Old Men (Miramax and Paramount Vantage): Roger Deakins
There Will Be Blood (Paramount Vantage and Miramax): Robert Elswit

Achievement in art direction
American Gangster (Universal): Art Direction: Arthur Max; Set Decoration: Beth A. Rubino
Atonement (Focus Features): Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
The Golden Compass (New Line in association with Ingenious Film Partners): Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock
Sweeney Todd The Demon Barber of Fleet Street (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount): Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
There Will Be Blood (Paramount Vantage and Miramax): Art Direction: Jack Fisk; Set Decoration: Jim Erickson

Achievement in costume design
Across the Universe (Sony Pictures Releasing) Albert Wolsky
Atonement (Focus Features) Jacqueline Durran
Elizabeth: The Golden Age (Universal) Alexandra Byrne
La Vie en Rose (Picturehouse) Marit Allen
Sweeney Todd The Demon Barber of Fleet Street (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood

Achievement in film editing
The Bourne Ultimatum (Universal): Christopher Rouse
The Diving Bell and the Butterfly (Miramax/Pathé Renn): Juliette Welfling
Into the Wild (Paramount Vantage and River Road Entertainment): Jay Cassidy
No Country for Old Men (Miramax and Paramount Vantage) Roderick Jaynes (Ethan and Joel Coen)
There Will Be Blood (Paramount Vantage and Miramax): Dylan Tichenor

Achievement in makeup
La Vie en Rose (Picturehouse) Didier Lavergne and Jan Archibald
Norbit (DreamWorks, Distributed by Paramount): Rick Baker and Kazuhiro Tsuji
Pirates of the Caribbean: At World’s End (Walt Disney): Ve Neill and Martin Samuel

Achievement in sound editing
The Bourne Ultimatum (Universal): Karen Baker Landers and Per Hallberg
No Country for Old Men (Miramax and Paramount Vantage): Skip Lievsay
Ratatouille (Walt Disney): Randy Thom and Michael Silvers
There Will Be Blood (Paramount Vantage and Miramax): Matthew Wood
Transformers (DreamWorks and Paramount in association with Hasbro): Ethan Van der Ryn and Mike Hopkins

Achievement in sound mixing
The Bourne Ultimatum (Universal) Scott Millan, David Parker and Kirk Francis
No Country for Old Men (Miramax and Paramount Vantage): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
Ratatouille (Walt Disney): Randy Thom, Michael Semanick and Doc Kane
3:10 to Yuma (Lionsgate): Paul Massey, David Giammarco and Jim Stuebe
Transformers (DreamWorks and Paramount in association with Hasbro): Kevin O’Connell, Greg P. Russell and Peter J. Devlin

Achievement in visual effects
The Golden Compass (New Line in association with Ingenious Film Partners): Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood
Pirates of the Caribbean: At World’s End (Walt Disney): John Knoll, Hal Hickel, Charles Gibson and John Frazier
Transformers (DreamWorks and Paramount in association with Hasbro): Scott Farrar, Scott Benza, Russell Earl and John Frazier

Best animated short film
I Met the Walrus A Kids & Explosions Production: Josh Raskin
Madame Tutli-Putli (National Film Board of Canada) A National Film Board of Canada Production Chris Lavis and Maciek Szczerbowski
Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven) (Premium Films) A BUF Compagnie Production Samuel Tourneux and Simon Vanesse
My Love (Moya Lyubov) (Channel One Russia) A Dago-Film Studio, Channel One Russia and Dentsu Tec Production Alexander Petrov
Peter & the Wolf (BreakThru Films) A BreakThru Films/Se-ma-for Studios Production Suzie Templeton and Hugh Welchman

Best live action short film
At Night A Zentropa Entertainments 10 Production: Christian E. Christiansen and Louise Vesth
Il Supplente (The Substitute) (Sky Cinema Italia) A Frame by Frame Italia Production: Andrea Jublin
Le Mozart des Pickpockets (The Mozart of Pickpockets) (Premium Films) A Karé Production: Philippe Pollet-Villard
Tanghi Argentini (Premium Films) An Another Dimension of an Idea Production: Guido Thys and Anja Daelemans
The Tonto Woman A Knucklehead, Little Mo and Rose Hackney Barber Production: Daniel Barber and Matthew Brown

Best documentary short subject
Freeheld A Lieutenant Films Production: Cynthia Wade and Vanessa Roth
La Corona (The Crown) A Runaway Films and Vega Films Production: Amanda Micheli and Isabel Vega
Salim Baba A Ropa Vieja Films and Paradox Smoke Production: Tim Sternberg and Francisco Bello
Sari’s Mother (Cinema Guild) A Daylight Factory Production: James Longley

Eric is the Editor-in-Chief of Scene-Stealers.com and writes the Screen Stealers column for The Pitch. He’s President of the KCFCC, and drummer for The Dead Girls and Ultimate Fakebook. He is also Air Guitar World Champion Mean Melin. Eric goes to 11. Follow him at:

Facebook Twitter LinkedIn Google+ YouTube 

{ 16 comments… read them below or add one }

1 Dustin January 22, 2008 at 2:25 pm

I am putting my money on Ratatouille.

Reply

2 Dustin January 22, 2008 at 2:25 pm

I am putting my money on Ratatouille.

Reply

3 ChrisKnudsen January 22, 2008 at 3:11 pm

I am so glad that Norbit has an Oscar nomination. So glad. That movie ruled. Ratatouille has 6 nominations. I am glad that it got recognized for its score. Hmmm, I will talk more about this later.

Reply

4 ChrisKnudsen January 22, 2008 at 3:11 pm

I am so glad that Norbit has an Oscar nomination. So glad. That movie ruled. Ratatouille has 6 nominations. I am glad that it got recognized for its score. Hmmm, I will talk more about this later.

Reply

5 Eric Melin January 22, 2008 at 4:58 pm

Norbit 1, Zodiac 0.

Reply

6 Eric Melin January 22, 2008 at 4:58 pm

Norbit 1, Zodiac 0.

Reply

7 Joe January 22, 2008 at 11:36 pm

you have got to be kidding me, norbit was nominated?

regardless of how big of an “achievement” the makeup was, the movie still sucked a big donkey dong.

Reply

8 Joe January 22, 2008 at 11:36 pm

you have got to be kidding me, norbit was nominated?

regardless of how big of an “achievement” the makeup was, the movie still sucked a big donkey dong.

Reply

9 Eric Melin January 23, 2008 at 12:42 am

From Daily Variety (1/21/08):

Jonny Greenwood’s original score for “There Will Be Blood” has been ruled ineligible by the music branch of the Academy of Motion Picture Arts and Sciences. [...]

The disqualification has been attributed to a designation within Rule 16 of the Academy’s Special Rules for Music Awards (5d under “Eligibility”), which excludes “scores diluted by the use of tracked themes or other pre-existing music.”

[Radiohead lead guitarist] Greenwood’s score contains roughly 35 minutes of original recordings and roughly 46 minutes of pre-existing work (including selections from the works of Arvo Pärt, as well as pieces in the public domain, such as Johannes Brahms’ “[Violin] Concerto in D Major”). Peripheral augmentation to the score included sporadic but minimal useage (15 minutes) of the artist’s 2006 composition “Popcorn Superhet Receiver.”

From Jim Emerson’s Scanners blog:

Given that “Popcorn,” commissioned by the BBC in 2005 and previously performed in concert, broadcast, published, and made available on the Internet, is less than 20 minutes long, almost all of it (15 minutes) was evidently used in “There Will Be Blood.” I wonder if this contributed to my impression (not as strong the second time I saw the movie), that pre-existing swatches of music had simply been laid on top of cut footage, regardless of what was onscreen. (The intrusive, dissonant score — period-appropriate in its retro-modernism — bleeds over adjoining and unrelated scenes without changing from one to the next.)

What’s peculiar is that the Oscar nominations are due to be announced Tuesday the 22nd, and the Academy didn’t announce it’s disqualification ruling until Monday the 21st. So not only was it too late for the filmmakers to appeal, but members of the music branch who voted for Greenwood’s score were unable to vote for something else instead.

The ruling is perfectly valid and consistent. The timing is inexcusable. AMPAS continues to screw up royally, even according to its own rules.

Reply

10 Eric Melin January 23, 2008 at 12:42 am

From Daily Variety (1/21/08):

Jonny Greenwood’s original score for “There Will Be Blood” has been ruled ineligible by the music branch of the Academy of Motion Picture Arts and Sciences. [...]

The disqualification has been attributed to a designation within Rule 16 of the Academy’s Special Rules for Music Awards (5d under “Eligibility”), which excludes “scores diluted by the use of tracked themes or other pre-existing music.”

[Radiohead lead guitarist] Greenwood’s score contains roughly 35 minutes of original recordings and roughly 46 minutes of pre-existing work (including selections from the works of Arvo Pärt, as well as pieces in the public domain, such as Johannes Brahms’ “[Violin] Concerto in D Major”). Peripheral augmentation to the score included sporadic but minimal useage (15 minutes) of the artist’s 2006 composition “Popcorn Superhet Receiver.”

From Jim Emerson’s Scanners blog:

Given that “Popcorn,” commissioned by the BBC in 2005 and previously performed in concert, broadcast, published, and made available on the Internet, is less than 20 minutes long, almost all of it (15 minutes) was evidently used in “There Will Be Blood.” I wonder if this contributed to my impression (not as strong the second time I saw the movie), that pre-existing swatches of music had simply been laid on top of cut footage, regardless of what was onscreen. (The intrusive, dissonant score — period-appropriate in its retro-modernism — bleeds over adjoining and unrelated scenes without changing from one to the next.)

What’s peculiar is that the Oscar nominations are due to be announced Tuesday the 22nd, and the Academy didn’t announce it’s disqualification ruling until Monday the 21st. So not only was it too late for the filmmakers to appeal, but members of the music branch who voted for Greenwood’s score were unable to vote for something else instead.

The ruling is perfectly valid and consistent. The timing is inexcusable. AMPAS continues to screw up royally, even according to its own rules.

Reply

11 Kevin O'Boyle January 23, 2008 at 4:16 am

WHY WASN”T THE SCORE FOR THERE WILL BE BLOOD NOMINATED

Reply

12 Kevin O'Boyle January 23, 2008 at 4:16 am

WHY WASN”T THE SCORE FOR THERE WILL BE BLOOD NOMINATED

Reply

13 Eric Melin January 23, 2008 at 8:24 am

i posted a comment above on why it was disqualified at the last minute

Reply

14 Eric Melin January 23, 2008 at 8:24 am

i posted a comment above on why it was disqualified at the last minute

Reply

15 joel lapuz February 23, 2008 at 3:37 pm

what are the giveaways to the winners,presenters,and nominees

Reply

16 joel lapuz February 23, 2008 at 3:37 pm

what are the giveaways to the winners,presenters,and nominees

Reply

Leave a Comment

 

Previous post:

Next post: