Our second guild of the day, the Costume Designers. Frills, frills and more frills. If there’s one thing I know about them, Downton Abbey got on, Quentin got on and Tim Burton got on. The rest we’re just gonna wait and see. They’re nothing if not predictable. Honestly, just look up Sandy Powell and Colleen Atwood and assume that they’re on no matter what they worked on, and possibly even more than once. It’s the guild, man. They vote for their favorites. Don’t pretend like Roger Deakins doesn’t have like, 17 ASC nominations (okay, 15. And he has 14 Oscar nominations, so it wasn’t the best comparison. Leave me alone, I’m rambling. Just go with it. Sometimes you gotta fill an intro and you’ve got nothing because it’s costumes).
CDG has three categories, same as ADG: Period, Fantasy and Contemporary. You’re only looking at the first two for the category, but this year, it should be pretty obvious what the major contenders are. The same films should get nominated up and down the line, and we’re just whittling it out based on most versus least nominations.
As a reminder, BFCA nominated Dolemite, Downton, Irishman, Little Women, Once Upon a Time and Rocketman for their costumes award. So let’s see what CDG did.
Here are your Costume Designers Guild nominees for 2019: (more…)
Two more guilds announced today. The first of which is CAS, the Cinema Audio Society. That’s for Sound Mixing. Mixing is the sound design as a whole, versus Editing, which is the compilation and creation of those sounds. Though we might not need that distinction in the future, since the Academy is considering going back to just one ‘Sound’ category like how BAFTA does it, given the substantial overlap between the categories and the general lack of distinction between the two by voters. But that’s not the case this year, so this one’s for Sound Mixing.
Basically we’re gonna take this, MPSE (Sound Editors guild) and BAFTA and then guess what’s gonna get nominated from that. Though at this point, you have a pretty damn good guess at for sure 2 of the 5 nominees, if not 3. So I don’t think it’s gonna be all that difficult in the end.
Here are this year’s CAS nominees: (more…)
The Art Directors Guild announced their nominees today. So we’re gonna be most of the way there on Production Design. This is early. We’re still gonna wait for BAFTA, but hey, we’ve at least got this for now.
They’re gonna give us three categories: Period, Fantasy and Contemporary. Contemporary never gets nominated, unless there’s a crossover with fantasy (like a space movie or something) or it’s La La Land. Typically you’re looking at Period and Fantasy, and you have a pretty good idea of what they’ll go for in the end. BAFTA will help tell the tale (which means I’m already expecting Downton to make it on), but generally between this and BFCA, you have a pretty good idea.
Yesterday, BFCA nominated 1917, Downton Abbey, Irishman, Joker, Little Women, Once Upon a Time in Hollywood and Parasite. That’s six period (though they could swap Joker onto Fantasy if they really wanted to) and one contemporary. I’m real curious to see if Parasite can buck history and make it on as a Contemporary nominee, since that movie is all about production design. But I guess we’ll see.
Here are your ADG nominees: (more…)
Alright, folks. The Globes nominations have been announced, hot off the heels of yesterday’s BFCA nominations. Typically when I’m breaking down what’s gonna get nominated, I’m looking at the guilds, BAFTA, BFCA and the Globes. So that’s half the puzzle, even if the guilds is the biggest piece and involves a lot of smaller pieces for each category and this is, essentially, the latter half. But hey, we’ve got something to chew on for the next month until the real shit goes down.
I assume this is all gonna be in line with what happened yesterday, with one or two films HFPA liked more than BFCA did and some they liked less. It’s the same thing every year. Really the key with these two is to start spotting where the extraneous nominees are gonna be. Because there’s always someone who only hits BFCA and nothing else, and there are always people that hit BFCA and here, and then there’s those people that hit all this and SAG and still have no real chance at getting nominated. People fall for those traps every single year. Today’s not about making proclamations. It’s about seeing what trends are showing up and seeing which ones you actually have to pay attention to versus the ones that can be left alone.
But anyway, let’s just get into these nominations: (more…)
This is becoming a thing I do. Usually they announce the eligibles list for this category and I go over it immediately and then come back once I’ve seen most or all of them and have a better idea of how I think the category’s gonna go.
It’s been a weak year, so I was hoping to get most of the foreign stuff in before I did this. But I knew if I was gonna do it, it was gonna have to be now rather than later, so we’re just gonna go for it and hope the last couple of pieces fall into place. Not that it’ll really matter in the end, but I’d like to find some cool foreign stuff to be rooting for in those last couple of spots rather than the boring American stuff.
Anyway, as a reminder, here are your 32 eligible films:
The Addams Family
The Angry Birds Movie 2
Another Day of Life
Buñuel in the Labyrinth of the Turtles
Children of the Sea
Dilili in Paris
How to Train Your Dragon: The Hidden World
I Lost My Body
The Last Fiction
The Lego Movie 2: The Second Part
Marona’s Fantastic Tale
Primal – Tales of Savagery
The Secret Life of Pets 2
Spies in Disguise
The Swallows of Kabul
This Magnificent Cake!
Toy Story 4
Upin & Ipin: The Lone Gibbon Kris
Weathering with You
White Snake (more…)
They announced the Visual Effects longlist today. I originally left this article blank to write up in the morning so I could continue working on what I was doing today, but of course the idea of rambling for 3,000 words about the Oscars is just too good to pass up, so you’re getting this article tonight.
The shortlist, as per usual, is 20 films, which will eventually become 10 in a few weeks and then we’ll eventually get a category of 5. I always love this particular longlist because you always get some of the weirdest choices on it. It’s always interesting to see what does and doesn’t make the cut (since I imagine more than 20 films are submitted for the category and the phrase ‘longlist’ implies some initial vetting). I don’t know how they figure it out, but I guess it doesn’t really matter. The list is the list. We’ve got 20 and today I’m gonna go through all 20 and then figure out what 10 will likely be shortlisted and probably have a good idea what the final category’s going to be.
So here are the 20 films up for Best Visual Effects this year: (more…)
This is where my Oscar season kicks off. I don’t care about anything that’s happened before this, and as I’ve told a bunch of my friends who keep trying to bring stuff up about what might or might not be nominated… I’ve paid literally zero attention to anything until this point. For me, everything before December is about trying to see as much stuff as possible and then I start to slowly come around to what might happen. But even then, I’m not gonna start taking this stuff seriously until around Christmas when all the pieces are on the board and I’ve seen most or all of them. Though maybe I’ll have to bump that up to slightly earlier this year due to the truncated schedule.
Anyway, NBR announced today! And I love NBR. So, so much. They are my group of choice. Not even as Oscar indicators, but rather just as a group that picks good movies and has good taste. Over the years, my tastes seem to most closely align with NBR more than any other group, and I find that even when I don’t agree with one of their choices I understand it, kind of like when you know someone really well and can see that something they like is a byproduct of their tastes.
NBR is the only group out there that goes as far back as the Oscars do. No one else has as much history in relation to the Academy Awards as they do. They began in 1909 when a bunch of theater owners got together to try to prove that film wasn’t just some disposable medium and could actually be artistic. And then, in 1930, after the Oscars became a thing, they started handing out their own personal awards lists of their favorite films of the year. And unlike the Oscars or critics groups, their voting body is comprised of all sorts of people, the only common thread being that they love cinema. And isn’t that why we’re all here? (more…)