How Oscar Nominations Work, Courtesy Of PWC ... Or, How Bruce Springsteen's "The Wrestler" Didn't Get Nominated For Best Original Song

Friday, January 23, 2009 at 10:28 am
I don't think Malaysians generally wonder how Oscar nominations work - most people around the world, even Hollywood industry people, even myself, just assumed they count the highest number of votes per film for that category. Sort of.

Those within Hollywood who do need to pay attention to how the voting process works (potential nominees, their producers/agents/managers, studio execs, etc), know it is more complicated than that. But, according to Variety et al, very few of them truly understand how it works. Everyone seems to say only those guys at PriceWaterhouseCoopers (yes, PWC does the counting for the Oscars ... surprise!) understand it ... or they say, ask your accountant to explain.

This is what I understand.

The easy part. Now, there are nearly 6,000 Academy members.

Academy refers to AMPAS, or Academy of Motion Picture Arts and Sciences. It is in Beverly Hills.



Who are Academy members? Basically, they get invited if it is agreed they have offered significant contributions to the industry - or more regularly these days, they are automatically invited if they were nominated for/won an Oscar.

Now, everybody gets a nominations ballot, for five places per category. (Eventually, a few categories only have three nominees; the Documentary Short Subject is the odd one out, always only four.) However, directors only nominate directors, and sound editors only sound editors, etc. Everyone nominates for the Best Picture category.

The type of voting system is called 'preferential balloting', and apparently it is one of the more complicated types of voting systems but it is to ensure the fairest accounting for a contest that has multiple winners (in this case, five 'winners' for nomination spots).

The main feature is that, when you're voting, you rank your choices. Let's say, if I were to vote, this is how I'd vote:

1 - Slumdog Millionaire
2 - The Dark Knight
3 - Frost/Nixon
4 - The Curious Case Of Benjamin Button
5 - WALL•E

What happens if you misspelled the names, or have terrible handwriting? If it's clearly legible, PWC will count it. However, if you vote, say, Meryl Streep for Sound Editing, then they won't count it.

Here's the thing, NOT ALL YOUR VOTES WILL BE COUNTED. What does that mean?

To ensure that everybody's voices are heard, this complicated formula is used.

Explanations tend to use the example for Best Directing nominees. There are 375 members in the directing branch of the Academy. PWC divides that number by 6 (5 eventual nominees + 1 ... no one seems to have explained the +1 bit so far). 375/6 ≈ 62. Then you take 62 + 1 (again, not explained why), and you end up with the figure 63. [* Okay, I do have a theory on the "+1" bit.]

(This year, the magic figure derived from the 197 cinematographers is 33; for the 1,222 actors, 204.)

Now you start counting the ballots, one by one - but YOU ONLY COUNT THE FIRST CHOICE. PWC will place the ballots in piles - all those voting for Danny Boyle for their 1st choice in one pile, those for David Fincher for 1st choice in another pile, etc. If any nominee gets more than 63, then they're in.

Now, two scenarios. This process yields five nominees - then the matter's settled. You have five nominees. (The magic number ensures that you can never have more than five nominees, even if there are tied votes. I think.) The second scenario is that less than five (possibly even zero in a very divided year) nominees have more than 63 votes. What now?

Here's where it gets a little bit fuzzy. What's clear is that PWC ignores all ballots whose 1st choice has secured a spot. (Let's say you voted for Boyle or Fincher, and they have more than 63 each. Then your ballot is retired from the rest of the process.)

Variety says that PWC then go to the smallest piles of the remaining ballots, and redistribute them onto larger piles based on 2nd place choices (and perhaps later on, selections three to five). This process of redistribution eventually results in five piles with the requisite number of ballots in them.

BoxOfficeMojo says that the movie with the least number of ballots is eliminated, and its ballots redistributed among the remaining movies, according to each ballot's next available choice. If the No. 2 choice is not for a remaining movie, then the No. 3 choice is used, and so on.

Okay, it took me a while to get this, though I may still be slightly wrong. One thing is clear: winners in the following rounds (2nd, 3rd, 4th, a maximum of 5th) need to have at least one 1st choice vote (as in, at least one voter marked this film as their first choice) to qualify for the nomination.

Let's say, the first round has yielded Boyle, Fincher, Van Sant and Howard. Now, all those votes are removed. You're left with small piles of Daldry, Mendes, Nolan, and a really small pile for Eastwood. So you take the Eastwood pile, and distribute it to the other three piles according to the 2nd choice votes. Daldry comes out top, and obviously it has garnered its share of 1st choice votes, so that makes directing nominee No. 5.

What does this all mean?

It means, even if Bruce Springsteen's song "The Wrestler" was really popular (it is), but many voters liked "O Saya" from Slumdog Millionaire most coz that's what they remember most from the film, thanks to its thumping rhythms, they put The Wrestler at 2nd or 3rd choice ... and somehow, there are enough votes in the first round for "O Saya", "Jai Ho" and "Down To Earth" (WALL•E) so the process doesn't go into the second round, so the Boss lost out. (The real mystery though, is why only three nominations for Best Original Song this year?)

UPDATE: Apparently a different system is used for the Original Song nominations. Read explanation here.

It means, there is an exponential (nonlinear) decrease in power from your 1st choice vote to your 2nd choice vote, and your 2nd choice vote to your 3rd choice vote, and so on. For example, many people would have thought that an obvious voting system would be the weighted sort (10 points for 1st choice, 8 points for 2nd choice ... 2 points for 5th choice; then calculate the aggregate), which is a linear system. I guess the Academy likes the preferential voting system because it really emphasises the BEST of that category.

It means, that dark horses get a shot as well as consensus ones. This is how Little Miss Sunshine or Seabiscuit got in for previous years' Oscars. Maybe Juno wasn't your favourite film that year, but you really think it belongs in the nominations list, so you mark it as 1st choice to ensure it's in, because you expect other people not to nominate it at all. Enough of such voters, and a dark horse gets in. It's similar to how there is a disproportional percentage of 1-point and 10-point ratings for any film in IMDb.com.

And this means, annoyingly for The Dark Knight fans, that most Academy voters did not think of The Dark Knight as their No. 1 film of the year.

How are the eventual winners decided, after the nominations? Simple. Academy members now get the full list of nominations, and now all will vote for all categories (as in, even if you're just a sound editor, you get to vote for all categories too). [Although, there is a slightly different process for certain categories (foreign language film, documentaries, short films), because not all Academy members have time (read: bothered) to watch these less glamorous films.] Of course, this time you only get one choice per category, and the winner is determined through the 'first past the post' system. (I first heard of this term during the last UK general election.)

And guess what, I have seen the Oscar voting ballots before, hehe.

One final thing. People ask sometimes, what happens if the presenter uttered the wrong name? This usually comes from people who were extremely annoyed to see Jack Nicholson announce Crash as the winner instead of Brokeback Mountain, or when Marisa Tomei won Best Supporting Actress two decades ago, or ... well, many examples. According to PWC, this can never happen, because two of their employees will be at the ceremony to hand out the envelopes to the presenters, and they have memorised the winning list, and should the presenter make a mistake, they will actually go up to the mic and correct it. This has never happened before, of course.


* The first +1 is to decrease slightly the amount of votes needed for a film to qualify - as in, if a director needed 375/5 votes to join the nomination, then you almost certainly will not have five nominees at the end of the first round (375/5 > 375/6), because it is almost certain that there are more than 5 directors from which voters would've picked for their first choice. The second +1 is to increase the qualifying number by a little smidge, to make sure there is no such thing as a sixth nominee (for example, 6 films getting 62 votes each).

2009 Oscar Nominations (Full List)

Thursday, January 22, 2009 at 10:11 pm
Okay, full list out. In terms of meeting expectations, the Oscar nominations this year are pretty typical - disappointing in some, great choices in a couple of them. Basically it'll be another typical year at the Academy Awards.

Except, I won't be less than a mile from the Kodak Theatre this time.



BEST MOTION PICTURE OF THE YEAR
"The Curious Case Of Benjamin Button"
"Frost/Nixon"
"Milk"
"The Reader"
"Slumdog Millionaire"

Other than The Reader, the rest were expected to be there. Though I was hoping Milk would get squeezed off the list ... it's like the Capote or Good Night, And Good Luck. of the year. It's by no means guaranteed, but with The Dark Knight out of the way, and with the Best Picture becoming somewhat predictable since two years ago, I think I have a good shot of seeing SLUMDOG MILLIONAIRE win.


ACHIEVEMENT IN DIRECTING
David Fincher, "The Curious Case Of Benjamin Button"
Ron Howard, "Frost/Nixon"
Gus Van Sant, "Milk"
Stephen Daldry, "The Reader"
Danny Boyle, "Slumdog Millionaire"

Stephen Daldry here is a surprise - that makes three nominations out of three films, as Director. Maybe they pitied him coz he was running back and forth between this and his stageplay (same reason why Sam Mendes got his Oscar for American Beauty ... or something like that), and got bullied by execs Weinstein. Didn't like Gus Van Sant being here. I would like to see DANNY BOYLE win.


PERFORMANCE BY AN ACTOR IN A LEADING ROLE
Richard Jenkins, "The Visitor"
Frank Langella, "Frost/Nixon"
Sean Penn, "Milk"
Brad Pitt, "The Curious Case Of Benjamin Button"
Mickey Rourke, "The Wrestler"

So-so, not very exciting, especially with Leonardo DiCaprio not nominated. I want to see FRANK LANGELLA win.


PERFORMANCE BY AN ACTRESS IN A LEADING ROLE
Anne Hathaway, "Rachel Getting Married"
Angelina Jolie, "Changeling"
Melissa Leo, "Frozen River"
Meryl Streep, "Doubt"
Kate Winslet, "The Reader"

Damnit, Sally Hawkins not nominated. Melissa Leo nominated doesn't exactly make me want to watch the film. I want to see KATE WINSLET win.


PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
Josh Brolin, "Milk"
Robert Downey, Jr., "Tropic Thunder"
Philip Seymour Hoffman, "Doubt"
Heath Ledger, "The Dark Knight"
Michael Shannon, "Revolutionary Road"

Damnit, why does Josh Brolin have to be in this? He was okay but I didn't think it was great. Heath Ledger has NO competition here.


PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
Amy Adams, "Doubt"
Penélope Cruz, "Vicky Cristina Barcelona"
Viola Davis, "Doubt"
Taraji P. Henson, "The Curious Case Of Benjamin Button"
Marisa Tomei, "The Wrestler"

Damnit, why do they have to nominated Penélope Cruz? I guess ultimately it doesn't matter that much - there aren't much more amazing supporting actress performances out there last year (unlike previous couple of years ... mostly Cate Blanchett). Amy Adams gets her second Supporting Actress nomination. I would like to see TARAJI P. HENSON win.


ADAPTED SCREENPLAY
"The Curious Case Of Benjamin Button", Eric Roth & Robin Swicord
"Doubt", John Patrick Shanley
"Frost/Nixon", Peter Morgan
"The Reader", David Hare
"Slumdog Millionaire", Simon Beaufoy

Fairly predictable nominations. I would be happy for Frost/Nixon to win, but of course I would like to see SLUMDOG MILLIONAIRE win.


ORIGINAL SCREENPLAY
"Frozen River"
"Happy-Go-Lucky"
"In Bruges"
"Milk"
"WALL•E"

This is a rather unexciting set of nominations - no balls. Frozen River? Happy-Go-Lucky? Where's The Dark Knight? I like Martin McDonagh but I'm not gonna cheer for In Bruges. And I'm not cheering for Milk either. So that leaves one. Yes, it may be a first if it does win, but I really would like to see WALL•E win.


ACHIEVEMENT IN FILM EDITING
"The Curious Case Of Benjamin Button"
"The Dark Knight"
"Frost/Nixon"
"Milk"
"Slumdog Millionaire"

The Dark Knight really shouldn't be here, the editing was still a little weird at places, and they never quite solved the problem of making the 5-act structure comfortable. Frost/Nixon has a good shot - how else did a film about a series of interviews become SO exciting? I would like to see SLUMDOG MILLIONAIRE win.


ACHIEVEMENT IN CINEMATOGRAPHY
"Changeling"
"The Curious Case Of Benjamin Button"
"The Dark Knight"
"The Reader"
"Slumdog Millionaire"

Ooh, I know millions of people will be cheering for either The Curious Case Of Benjamin Button (for Fincher fans) or The Dark Knight (for Batman fans). But I would like to see SLUMDOG MILLIONAIRE win.


ACHIEVEMENT IN ART DIRECTION
"Changeling"
"The Curious Case Of Benjamin Button"
"The Dark Knight"
"The Duchess"
"Revolutionary Road"

No Frost/Nixon? This may well go to The Curious Case Of Benjamin Button. I would like to see REVOLUTIONARY ROAD win.


ACHIEVEMENT IN COSTUME DESIGN
"Australia"
"The Curious Case Of Benjamin Button"
"The Duchess"
"Milk"
"Revolutionary Road"

Damnit, Milk managed to squeeze its way in. Australia gets its only nomination here. I would like to see REVOLUTIONARY ROAD win.


ACHIEVEMENT IN MAKEUP
"The Curious Case Of Benjamin Button"
"The Dark Knight"
"Hellboy II: The Golden Army"

Aw hell, why is The Dark Knight here? This one's easy though. Most people will expect THE CURIOUS CASE OF BENJAMIN BUTTON to win.


ACHIEVEMENT IN SOUND EDITING
"The Dark Knight"
"Iron Man"
"Slumdog Millionaire"
"WALL•E"
"Wanted"

The Dark Knight and Iron Man are obvious nominees - but Wanted was a bit of an 'eh ... but okay'. I didn't think they have the guts to nominate Slumdog Millionaire (average folks out there are gonna say: where's the so-called "sound editing" here?). I think the most deserving one is WALL•E.


ACHIEVEMENT IN SOUND MIXING
"The Curious Case Of Benjamin Button"
"The Dark Knight"
"Slumdog Millionaire"
"WALL•E"
"Wanted"

The Academy does weird stuff like this - you would imagine the Sound Editing and Sound Mixing list to pretty much coincide, but every year without fail, they switch around one (and only ever just one) of the nominees. In this case, Iron Man is dropped, and The Curious Case Of Benjamin Button goes in. I guess, I would like to see THE DARK KNIGHT win.


ACHIEVEMENT IN VISUAL EFFECTS
"The Curious Case Of Benjamin Button"
"The Dark Knight"
"Iron Man"

I'm really disappointed with the shortlist to begin with - where's Cloverfield? where's The Chronicles Of Narnia: Prince Caspian? I guess I will have to root for THE CURIOUS CASE OF BENJAMIN BUTTON.


ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL SCORE)
"The Curious Case Of Benjamin Button", Alexandre Desplat
"Defiance", James Newton Howard
"Milk", Danny Elfman
"Slumdog Millionaire", A.R. Rahman
"WALL•E", Thomas Newman

Uh-oh, The Dark Knight fans are gonna be pissed about this one. Instead, Oscar declares its man-love for James Newton Howard again for yet another score that isn't all that deserving - Defiance was rather boring in terms of its music. And Milk? C'mon!! Just because Elfman threw in some jazzy stuff? (Still, great for Elfman finally getting in there.) Thomas Newman gets YET ANOTHER nomination - he should have won so many years ago for American Beauty, if the Academy didn't screw it up then. They are quite likely to screw it up again this year, as they have virtually for all past years, but if they didn't, then I would like to see SLUMDOG MILLIONAIRE win.


ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL SONG)
"Down To Earth", "WALL•E"
"Jai Ho", "Slumdog Millionaire"
"O Saya", Slumdog Millionaire

THIS IS A SURPRISE!! Usually this category accepts five nominations. And guess what, I actually like ALL the songs here. Fans of Bruce Springsteen and/or The Wrestler are gonna go mental with rage - but I rejoice! Fuck that boring country stuff! Who do I want to see win? Any one of them! But if I had to pick, I would like to see JAI HO win.


BEST ANIMATED FEATURE FILM OF THE YEAR
"Bolt"
"Kung Fu Panda"
"WALL•E"

No surprises there. Everyone and their parents and their grandparents want to see WALL•E win, so of all the categories here (along with Supporting Actor) the expected result is as good as guaranteed.


BEST FOREIGN LANGUAGE FILM OF THE YEAR
"The Baader Meinhof Complex"
"The Class"
"Departures"
"Revanche"
"Waltz With Bashir"


What the hell? Why isn't Everlasting Moments nominated? As usual, the foreign language films committee half-screwed-up again. Waltz With Bashir has momentum - mostly, thanks to the Gaza war. But I would like to see THE CLASS win this, hopefully to persuade GSC to show this in Malaysia as well, as a reward to Malaysian teachers.


BEST DOCUMENTARY FEATURE
"The Betrayal (Nerakhoon)"
"Encounters At The End Of The World"
"The Garden"
"Man On Wire"
"Trouble The Water"

I've only seen two of these. Which is probably two more than 90% of the people watching the Oscars. Man On Wire is probably going to get it.


BEST DOCUMENTARY SHORT SUBJECT
"The Conscience Of Nhem En"
"The Final Inch"
"Smile Pinki"
"The Witness - From The Balcony Of Room 306"

Not surprisingly, I've not seen a single one of these nominees. Also, the category I'm least interested in.


BEST ANIMATED SHORT FILM
"La Maison En Petits Cubes"
"Lavatory - Lovestory"
"Okatpodi"
"Presto"
"This Way Up"

Unlike previous years, I would not have easy access to these animated short films, but I will certainly try to get my hands on them. We ALL have seen one of them, however, and depending on the other nominees it has a good shot of winning - I'm talking about the obligatory Pixar nominee, PRESTO, which played right before WALL•E. Yes, the one with the magician and the rabbit.


BEST LIVE ACTION SHORT FILM
"Auf Der Strecke (On The Line)"
"Manon On The Asphalt"
"New Boy"
"The Pig"
"Spielzeugland (Toyland)"

Unlike previous years, I would not have easy access to these live action short films (live action just means 'real', as in not animated), but I will certainly try to get my hands on them. They always serve as good reminders as to what the Oscar thinks are good short films.

BAFTA Nominations Just Announced - British Academy of Film and Television Arts

Thursday, January 15, 2009 at 8:28 pm

This year, the nominations list match up pretty well across the board for the critics and press awards as well as academy awards. BAFTA traditionally di
ffers from the Oscars and Golden Globes quite a lot, and on the whole I tend to be happier with the choices they make. It's coz they're British, I guess.

Since I don't have much argument with the list below, I'm just going to comment on what I think on each for my reference.


BEST FILM

------------------------------------
THE CURIOUS CASE OF BENJAMIN BUTTON – Kathleen Kennedy, Frank Marshall, Ceán Chaffin
FROST/NIXON – Tim Bevan, Eric Fellner, Brian Grazer, Ron Howard
MILK – Dan Jinks, Bruce Cohen
THE READER – Anthony Minghella, Sydney Pollack, Donna Gigliotti, Redmond Morris
SLUMDOG MILLIONAIRE – Christian Colson

The list seems to match the most likely Oscar Best Picture list - except for The Reader which will likely be thrown off to make way for The Dark Knight. I really don't think Milk is that great - good film, but so unmemorable (well, except for the bit where Harvey gets assassinated in slow motion) that it feels like it's the subject matter that's doing all the work in its favour. I would like to see SLUMDOG MILLIONAIRE win.



OUTSTANDING BRITISH FILM
------------------------------------
HUNGER – Laura Hastings-Smith, Robin Gutch, Steve McQueen, Enda Walsh
IN BRUGES – Graham Broadbent, Pete Czernin, Martin McDonagh
MAMMA MIA! – Judy Craymer, Gary Goetzman, Phyllida Lloyd, Catherine Johnson
MAN ON WIRE – Simon Chinn, James Marsh
SLUMDOG MILLIONAIRE – Christian Colson, Danny Boyle, Simon Beaufoy

I really don't like Mamma Mia! being on this list, as technically it is rather terrible, despite Meryl's defence and its new status as the highest grossing film in British cinema history (not inflation-adjusted?). In Bruges is an obvious choice here. But I would like to see HUNGER win.



THE CARL FOREMAN AWARD
for Special Achievement by a British Director, Writer or Producer for their First Feature Film
------------------------------------
SIMON CHINN (Producer) – Man On Wire
JUDY CRAYMER (Producer) – Mamma Mia!
GARTH JENNINGS (Writer) – Son of Rambow
STEVE McQUEEN (Director/Writer) – Hunger
SOLON PAPADOPOULOS, ROY BOULTER (Producers) – Of Time And The City



DIRECTOR
------------------------------------
CHANGELING – Clint Eastwood
THE CURIOUS CASE OF BENJAMIN BUTTON – David Fincher
FROST/NIXON – Ron Howard
THE READER – Stephen Daldry
SLUMDOG MILLIONAIRE – Danny Boyle

The Brits had better not do anything stupid by handing this to Clint Eastwood. Brits love for Se7en and Fight Club might send this to David Fincher's cold, calculative arms. I would like to see DANNY BOYLE win.



ORIGINAL SCREENPLAY
------------------------------------
BURN AFTER READING – Joel Coen, Ethan Coen
CHANGELING – J. Michael Straczynski
I’VE LOVED YOU SO LONG – Philippe Claudel
IN BRUGES – Martin McDonagh
MILK – Dustin Lance Black

I have nothing to root for here. In Bruges disappointed me so much. I wished I had seen Changeling already.



ADAPTED SCREENPLAY
------------------------------------
THE CURIOUS CASE OF BENJAMIN BUTTON – Eric Roth
FROST/NIXON – Peter Morgan
THE READER – David Hare
REVOLUTIONARY ROAD – Justin Haythe
SLUMDOG MILLIONAIRE – Simon Beaufoy

Again, this list would probably match the Oscar nominations. I would like to see SLUMDOG MILLIONAIRE win.



FILM NOT IN THE ENGLISH LANGUAGE

------------------------------------
THE BAADER MEINHOF COMPLEX – Bernard Eichinger, Uli Edel
GOMORRAH – Domenico Procacci, Matteo Garrone
I'VE LOVED YOU SO LONG – Yves Marmion, Philippe Claudel
PERSEPOLIS – Marc-Antoine Robert, Xavier Rigault, Marjane Satrapi, Vincent Parannaud
WALTZ WITH BASHIR – Serge Lalou, Gerhard Meixner, Yael Nahl Ieli, Ari Folman

Just to shake things up, I would like to see THE BAADER MEINHOF COMPLEX win.



ANIMATED FILM
------------------------------------
PERSEPOLIS – Marjane Satrapi, Vincent Parannaud
WALL•E – Andrew Stanton
WALTZ WITH BASHIR – Ari Folman

What else? Like virtually everyone else, I would like to see WALL•E win.



LEADING ACTOR
------------------------------------
FRANK LANGELLA – Frost/Nixon
DEV PATEL – Slumdog Millionaire
SEAN PENN – Milk
BRAD PITT – The Curious Case of Benjamin Button
MICKEY ROURKE – The Wrestler

It's been done before, with Jamie Bell ... so, as unqualified as he is against Langella and Penn, I would like to see DEV PATEL win.



LEADING ACTRESS

------------------------------------
ANGELINA JOLIE – Changeling
KRISTIN SCOTT THOMAS – I’ve Loved You So Long
MERYL STREEP – Doubt
KATE WINSLET – The Reader
KATE WINSLET – Revolutionary Road

This will likely be the only awards that lists Kate Winslet as Best Actress twice. And yes, I would like to see KATE WINSLET win for Revolutionary Road.



SUPPORTING ACTOR
------------------------------------
ROBERT DOWNEY JR. – Tropic Thunder
BRENDAN GLEESON – In Bruges
PHILIP SEYMOUR HOFFMAN – Doubt
HEATH LEDGER – The Dark Knight
BRAD PITT – Burn After Reading

It might seem like a slap to everyone else's face, but I would like to see BRAD PITT win. He's just so lovable there, which is totally uncharacteristic of him.



SUPPORTING ACTRESS
------------------------------------
AMY ADAMS – Doubt
PENÉLOPE CRUZ – Vicky Cristina Barcelona
FREIDA PINTO – Slumdog Millionaire
TILDA SWINTON – Burn After Reading
MARISA TOMEI – The Wrestler

Why is Tilda Swinton here? They must have run out of women to nominate. Certainly is the case with Penélope Cruz in Vicky Cristina Barcelona. Oh, I know, she's nominated everywhere else too, but I really thought that performance was overhyped - not bad, but not stratospherically seductive or passionate or whatever adjectives the puppy critics threw at her. I thought Rebecca Hall did the best job in that film. Anyway, without anyone to root for, really, I would like to see AMY ADAMS win.



MUSIC
------------------------------------
THE CURIOUS CASE OF BENJAMIN BUTTON – Alexandre Desplat
THE DARK KNIGHT – Hans Zimmer, James Newton Howard
MAMMA MIA! – Benny Andersson, Björn Ulvaeus
SLUMDOG MILLIONAIRE – A. R. Rahman
WALL•E – Thomas Newman

On the whole, quite fair, except that John Powell isn't nominated for anything even though his scores (Stop-Loss, Hancock) tower above most everyone else's. Mamma Mia! should not be there ... but then I'm just talking to myself. I would like to see SLUMDOG MILLIONAIRE win.



CINEMATOGRAPHY
------------------------------------
CHANGELING – Tom Stern
THE CURIOUS CASE OF BENJAMIN BUTTON – Claudio Miranda
THE DARK KNIGHT – Wally Pfister
THE READER – Chris Menges, Roger Deakins
SLUMDOG MILLIONAIRE – Anthony Dod Mantle

I would not like to see The Dark Knight win this. I would like to see SLUMDOG MILLIONAIRE win.



EDITING (6 nominations due to voting tie)
------------------------------------
CHANGELING – Joel Cox, Gary D. Roach
THE CURIOUS CASE OF BENJAMIN BUTTON – Kirk Baxter, Angus Wall
THE DARK KNIGHT – Lee Smith
FROST/NIXON – Mike Hill, Dan Hanley
IN BRUGES – Jon Gregory
SLUMDOG MILLIONAIRE – Chris Dickens

In Bruges does not belong here, I don't think. It was slow as hell, slower than it needed to be, I remember ... but that's tied up to the idiosyncracies of the script. The Dark Knight shouldn't win because it never solved the problem of making a 5-act film work for the audience (ask any Malaysian audience member). I would like to see FROST/NIXON win.



PRODUCTION DESIGN
------------------------------------
CHANGELING – James J. Murakami, Gary Fettis
THE CURIOUS CASE OF BENJAMIN BUTTON – Donald Graham Burt, Victor J. Zolfo
THE DARK KNIGHT – Nathan Crowley, Peter Lando
REVOLUTIONARY ROAD – Kristi Zea, Debra Schutt
SLUMDOG MILLIONAIRE – Mark Digby, Michelle Day

I would like to see THE CURIOUS CASE OF BENJAMIN BUTTON win.



COSTUME DESIGN
------------------------------------
CHANGELING – Deborah Hopper
THE CURIOUS CASE OF BENJAMIN BUTTON – Jacqueline West
THE DARK KNIGHT – Lindy Hemming
THE DUCHESS – Michael O'Connor
REVOLUTIONARY ROAD – Albert Wolsky

What is The Dark Knight doing here? I know serious thought went into the look and feel of The Joker's costume but otherwise ... The Duchess probably should win just for effort, but ultimately, for effective use of costume to convey and mood and period and match up with the emotions of the scenes, I would like to see REVOLUTIONARY ROAD win.



SOUND
------------------------------------
CHANGELING – Walt Martin, Alan Robert Murray, John Reitz, Gregg Rudloff
THE DARK KNIGHT – Lora Hirschberg, Richard King, Ed Novick, Gary Rizzo
QUANTUM OF SOLACE – Jimmy Boyle, Eddy Joseph, Chris Munro, Mike Prestwood Smith, Mark Taylor
SLUMDOG MILLIONARE – Glenn Freemantle, Resul Pookutty, Richard Pryke, Tom Sayers, Ian Tapp
WALL•E – Ben Burtt, Tom Myers, Michael Semanick, Matthew Wood

Quantum Of Solace often felt like a cacophony - or maybe not, but that's what I remembered. The Dark Knight had great bullet sounds with the deep bass. Ultimately, because it is the most accomplished, I would like to see WALL•E win.



SPECIAL VISUAL EFFECTS
------------------------------------
THE CURIOUS CASE OF BENJAMIN BUTTON – Eric Barba, Craig Barron, – Nathan McGuinness, Edson Williams
THE DARK KNIGHT – Chris Corbould, Nick Davis, Paul Franklin, Tim Webber
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL – Pablo Helman
IRON MAN – Shane Patrick Mahan, John Nelson, Ben Snow
QUANTUM OF SOLACE – Chris Corbould, Kevin Tod Haug

I would like to see THE CURIOUS CASE OF BENJAMIN BUTTON win.



MAKE UP & HAIR

------------------------------------
THE CURIOUS CASE OF BENJAMIN BUTTON – Jean Black, Colleen Callaghan
THE DARK KNIGHT – Peter Robb-King
THE DUCHESS – Daniel Phillips, Jan Archibald
FROST/NIXON – Edouard Henriques, Kim Santantonio
MILK – Steven E. Anderson, Michael White

I would like to see THE CURIOUS CASE OF BENJAMIN BUTTON win.



SHORT ANIMATION
------------------------------------
CODSWALLOP – Greg McLeod, Myles McLeod
VARMINTS – Sue Goffe, Marc Craste
WALLACE AND GROMIT: A MATTER OF LOAF AND DEATH – Steve Pegram, Nick Park, Bob Baker



SHORT FILM

------------------------------------
KINGSLAND #1 THE DREAMER – Kate Ogborn, Tony Grisoni
LOVE YOU MORE – Adrian Sturges, Sam Taylor-Wood, Patrick Marber
RALPH – Olivier Kaempfer, Alex Winckler
SEPTEMBER – Stewart le Maréchal, Esther May Campbell
VOYAGE D’AFFAIRES (THE BUSINESS TRIP) – Celine Quideau, Sean Ellis



THE ORANGE RISING STAR AWARD
------------------------------------
MICHAEL CERA
NOEL CLARKE
MICHAEL FASSBENDER
REBECCA HALL
TOBY KEBBELL

I have always said that the Orange Rising Star Award is the fairest-nominated category I have ever seen and that perception still stands - even though I am not familiar with British actors Toby Kebbell and Noel Clarke. Although my gut feeling is that Michael Cera will get it, I would like to see REBECCA HALL win.

Diary Of New Information - Jan 14

Wednesday, January 14, 2009 at 10:30 pm
Getting out of denial in terms of storywriting.

Art De Vany and Evolutionary Fitness.

Nassim Nicholas Taleb and the potential power of the Black Swan.

Rhythm & Hues arrives in Cyberjaya.

Best Job In The World - Hamilton Island.

Some Excellent Short Films From BBC Film Network

Wednesday, January 07, 2009 at 10:22 pm
I was searching for some short films - and was alarmed and disappointed to find out that the two premier short film websites, AtomFilms and iFilm, have been converted into channels for viral comedy videos or hip hop videos and the like. The original independent short films? Many were simply deleted. What the fuck?

So that means, there is only ONE website left that supplies quality short films - and thankfully, this one will never be deleted, or bought over, or remodified. It's BBC's Film Network, containing some of the better short films that have come out of the UK, and personally I think the Brits are the most accomplished when it comes to making short films that are entertaining, thought-provoking, offering new insights, and more importantly, don't set out to be purely 'creative' or 'experimental' or pretentious, unlike so many other countries' short films that the world seems to admire.

So here are a few suggestions.

THE SOFA
Dramedy
A short film done from the perspective of a 7-year old kid, on a topic all of us can relate to - how do you decide what to do after realising you did something stupid, something you couldn't explain? Tell your parents? Or hide it - for how long? Using first person narration, it's very charming and done so well that you're with the kid all along the way.

SHELF LIFE
Comedy
A DIY man takes every precaution possible to ensure safety in setting up a wall shelf. Does he succeed? As far as punchlines go, it's not too surprising but morbidly fun nevertheless.

RABBIT
Animation
This one will disturb some and delight others. Inspired by 1950s educational graphics (complete with Helvetica tags for every object), this animation tells a most macabre and malevolent tale involving two kids and their surprising discovery of what lies in a rabbit's guts. What happens next, you will never be able to anticipate, so just sit back and watch this story unfold to its sorry end.

HARD LABOUR
Drama
In a household, a man inadvertently gets both his wife and the housekeeper pregnant. The story really reveals itself halfway through when the housekeeper pulls out a blackmail. In any story, I'm always interested in how the filmmaker crafts the ending, and I always enjoy it if the ending is completely not what I expected. (In this case, the immediate ending is predictable ... and then comes the punchline.)

SMALL DARK PLACES
Drama
A mentally-imbalanced man wakes up with a knife and a woman by his feet - not moving. Then the story goes back to tell itself and reveals secrets and lies. It's slow going to begin with, and I didn't really care about the protagonist, but at some point, without even knowing it, I did, and the story does become more engaging and peaks at the end.

BRAND SPANKING
Animation
A kid attends the first day of school - only to find that everything about the school has been given a makeover, courtesy of a multinational company. The combination of animation, schoolchildren and the ever-growing tentacles of corporations gives it a unique flavour, with an ending that is at once satisfying and sinister.

TELLING LIES
Experimental
Animated captions contrast with a series of phone conversations. It's a very simple concept but I think some will love it.

WHAT ABOUT THE BODIES
Comedy
Three people, all with murderous intent, in the middle of nowhere, with 2 shovels and 2 vehicles. It doesn't really go anywhere, just one absurd violent gag after another, but is kinda fun just the same.

REVIEW: Revolutionary Road

Sunday, January 04, 2009 at 11:39 pm

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As I watched the beginning of this, I got a bit worried - why was I paying attention more to how this was shot, becoming aware of the performances, the odd choice to edit from a happy moment straight into an unhappy lifetime years later, and other such technical stuff? Also, my brain was trying to fit the Kate and Leo we knew so well from Titanic into the scenes here, just to feel how incongruent it is, the thrill of that incongruence - and it is VERY incongruent.

The film will apparently be released in Malaysia, and just as well as there won't be too many censorship cuts needed other than mild profanities and a few quick sex scenes (unlike director Sam Mendes' breakthrough film American Beauty, which was just outright banned in cinemas here). Well, I hope distributors will know how to push the Kate and Leo factor, because for Malaysian audiences that's about the only way to get them into the cinema.

Not the synopsis. "A young married couple find themselves sinking deeper and deeper into suburbia angst as they gradually realise that their aspirations and ambitions and desires have been stripped away, without them realising how it happened or why." And it gets ugly.


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Of course, this is a very much more matured piece of work, and parallels well the progress of the actors themselves. Titanic having offered both Winslet and DiCaprio a doorway into super-stardom, they grabbed their chances by the balls and went all out - but not Lindsay Lohan style. Instead, Winslet pursued serious, respectable roles, some period and some contemporary, some American and some British, mostly drama but with the occasional Eternal Sunshine Of The Spotless Mind or The Holiday - the girl's got range and nuance. She's garnered 5 Oscar nominations and is set to get two more this year. And she's only 33.

DiCaprio, on the other hand, ran as far away from the screaming fangirls as he could, into the arms of the unfortunate film The Beach ... but no matter, he recovered and continued pursuing obviously challenging (read: Oscar-bait) roles exclusively in the dramatic genre (even his action films are drama). It's almost as if his being slighted at the 1998 Oscars drove his choices for his projects. The result is an entirely respectable body of work, working almost exclusively for top directors like Martin Scorsese, Edward Zwick, Ridley Scott and, lest we forget, Steven Spielberg. He's 34.


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And here they are, portraying the most argumentative, and hence the most dramatic domestic couple they're likely to play in their lifetime - though thank heavens it wasn't melodramatic. And let's just say, their performance is superb. That's all that needs to be said.

The film itself seems to be about a whole range of themes revolving around the ennui and angst one experiences in finding oneself living an unhappy life, one that conforms with society's expectations. In the case of 1950's America, it's the housewife with the perfect aprons, the green lawn with the water sprinklers, the man with the stable breadwinning job, the happy kids, the polished interiors of the house, with windows that brings the sunlight in. So perfect, why aren't these people happy? If you had to ask, you've not seen enough films and are not old enough to understand. I'm sorry.

Particularly interesting is the problem with talk - communication between couples. At least that's what I think the last shot meant to address. So often Frank Wheeler wants to talk to his wife about this problem or that, and never quite seems to understand that his wife April really needs a respite from all of that. What a reversal of gender stereotypes.

I have to say, the film's got it made, when halfway through the movie April tells Frank that she doesn't love him anymore because she doesn't care, and she just realised it at that very moment - and I totally understood and actually felt that.


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The structure of the plot is also quite interesting. The couple find a solution to their problem half an hour into the story, and we share in their giddy gleefulness as they revel in that happy thought - and then, in a most insidiously gradual manner, the house of cards topples, so softly that we don't notice it until it's too late. The ups and downs of the relationship are dramatically enhanced by the layered dialogue written by Justin Haythe and carefully but explosively performed by Winslet and DiCaprio. The dialogue lines manage to carry with it all at once the literal meaning of the lines, the hidden undercurrents of truth which the characters are in denial to acknowledge, and a sense of either foreboding ominousness ahead of the scene in play or hopefulness for the future.

An interesting thing is that the supporting roles all held up really well, so much so that, when the scenes are not with Frank and April I actually felt like this was an ensemble piece. In particular, Michael Shannon's performance has been talked about. But there was one scene in particular where Kathy Bates' character realises her mistake and the pain she's caused and what she almost lost and that totally struck me in the heart and I sympathised with her at that moment - and then in the end she says something that made me feel like my sympathies have been betrayed. It's a small role - one that, incidentally, is similar to her maternal sounding role in Titanic ... gosh, Sam Mendes must have felt left out on the set - but I think I'll remember her more than most. Another commendable performance is from previously undistinguished actor David Harbour whose intentions and desires are appropriately telegraphed to the audience.


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In technical terms, while Revolutionary Road is not a flashy film by any stretch of imagination, I think it excels in almost every department - the cinematography is gorgeous and very slightly self-conscious; the costumes appropriately functions as masks for the characters, presenting a certain conformist image yet occasionally reflecting the mood of the characters at certain scenes; Thomas Newman's music restrained, so much so that there are more unscored scenes than usual and his music cues are boiled down to one single melody theme; the editing unnoticeable except for the beginning bit and the very last bit.

In short, this is a film in which what is unsaid is as important, if not more, than what is said.

It also occurred to me that Sam Mendes probably qualifies as the British equivalent of Ang Lee ... and vice versa.


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It isn't the best film of the year, and certainly compared to other indie or foreign films it's far from the most gutwrenchingly tragic film you'd see this year. But if you enjoy your movies subtle and nuanced, this is one of the best experiences of the year. Sam Mendes won't be remembered for his work here, and the film will be forgotten the way it happened to Jarhead, but I think Winslet's and DiCaprio's performances in the future might well be measured against this one.

How Good I Think The Film Is: 8/10
How Much I Liked The Film: 8.5/10
Oscar Noms That It Deserves: Best Director, Best Actor - Leonardo DiCaprio, Best Actress - Kate Winslet, Best Supporting Actor - Michael Shannon, Best Supporting Actress - Kathy Bates, Best Cinematography, Best Costume Design, Best Sound Mixing

2009 Academy Awards Nominations [Updated: Feb 7]

at 11:23 pm
* Suggested list.


BEST PICTURE
---------------------------------
Changeling
The Curious Case Of Benjamin Button
The Dark Knight
Slumdog Millionaire
Wall•E


BEST DIRECTING
---------------------------------
The Curious Case Of Benjamin Button - David Fincher
The Dark Knight - Christopher Nolan
Frost/Nixon - Ron Howard
Revolutionary Road - Sam Mendes
Slumdog Millionaire - Danny Boyle


BEST ACTOR IN A LEADING ROLE
---------------------------------
Che - Benicio Del Toro
Frost/Nixon - Frank Langella
Hunger - Michael Fassbender
Milk - Sean Penn
The Wrestler - Mickey Rourke


BEST ACTRESS IN A LEADING ROLE
---------------------------------
Changeling - Angelina Jolie
Doubt - Meryl Streep
Happy-Go-Lucky - Sally Hawkins
Rachel Getting Married - Anne Hathaway
Revolutionary Road - Kate Winslet


BEST ACTOR IN A SUPPORTING ROLE
---------------------------------
Burn After Reading - Brad Pitt
The Dark Knight - Heath Ledger
Defiance - Liev Schreiber
Revolutionary Road - Michael Shannon
Tropic Thunder - Robert Downey, Jr.


BEST ACTRESS IN A SUPPORTING ROLE
---------------------------------
The Curious Case Of Benjamin Button - Taraji P. Henson
Doubt - Amy Adams
Doubt - Viola Davis
The Reader - Kate Winslet
Revolutionary Road - Kathy Bates


BEST WRITING (ORIGINAL SCREENPLAY)
---------------------------------
Burn After Reading - Ethan Coen, Joel Coen
Changeling - J. Michael Straczynski
The Dark Knight - Christopher Nolan, Jonathan Nolan
Gran Torino - Nick Schenk
Milk - Dustin Lance Black


BEST WRITING (ADAPTED SCREENPLAY)
---------------------------------
The Curious Case Of Benjamin Button - Eric Roth
The Reader - David Hare
Revolutionary Road - Justin Haythe
Slumdog Millionaire - Simon Beaufoy
Frost/Nixon - Peter Morgan


BEST FILM EDITING
---------------------------------
Frost/Nixon
Milk
Slumdog Millionaire
Valkyrie
Wall•E


BEST SOUND EDITING
---------------------------------
The Chronicles Of Narnia: Prince Caspian
The Dark Knight
Iron Man
Quantum Of Solace
Wall•E


BEST SOUND MIXING
---------------------------------
The Dark Knight
The Day The Earth Stood Still
Iron Man
Slumdog Millionaire
Wall•E


BEST CINEMATOGRAPHY
---------------------------------
Changeling
The Curious Case Of Benjamin Button
The Dark Knight
Revolutionary Road
Slumdog Millionaire


BEST ART DIRECTION
---------------------------------
Australia
Body Of Lies
Changeling
The Curious Case Of Benjamin Button
Frost/Nixon


BEST COSTUME DESIGN
---------------------------------
Australia
Changeling
The Curious Case Of Benjamin Button
The Duchess
Revolutionary Road


BEST MAKEUP
---------------------------------
The Curious Case Of Benjamin Button
Hellboy II: The Golden Army
Synecdoche, New York


BEST VISUAL EFFECTS
---------------------------------
The Chronicles Of Narnia: Prince Caspian
Cloverfield
The Curious Case Of Benjamin Button


BEST MUSIC (SONG)
---------------------------------
High School Musical 3: Senior Year - "Can I Have This Dance"
High School Musical 3: Senior Year - "Scream"
Slumdog Millionaire - "Jai Ho"
Wall•E - "Down To Earth"
The Wrestler - "The Wrestler"


BEST MUSIC (SCORE)
---------------------------------
The Curious Case Of Benjamin Button - Alexandre Desplat
The Dark Knight - Hans Zimmer, James Newton Howard
Slumdog Millionaire - A.R. Rahman
Stop-Loss - John Powell
Wall•E - Thomas Newman


BEST FOREIGN LANGUAGE FILM
---------------------------------
Der Baader Meinhof Komplex | The Baader-Meinhof Complex (Germany)
Entre Les Murs | The Class (France)
Maria Larssons Eviga Ögonblick | Everlasting Moments (Sweden)
Revanche (Austria)
ואלס עם באשיר | Waltz With Bashir (Israel)


BEST ANIMATED FEATURE FILM
---------------------------------
Bolt
Kung Fu Panda
Wall•E


BEST DOCUMENTARY, FEATURE
---------------------------------
Encounters At The End Of The World
I.O.U.S.A.
Man On Wire
Standard Operating Procedure
Trouble The Water


Okay, just to be fair I'll list the ones I've seen:

The Dark Knight, Frost/Nixon, Slumdog Millionaire, Wall•E, Hunger, Happy-Go-Lucky, Tropic Thunder, Iron Man, The Day The Earth Stood Still, Indiana Jones And The Kingdom Of The Crystal Skull, Australia, Body Of Lies, Sex And The City: The Movie, Cloverfield, The Chronicles Of Narnia: Prince Caspian, Entre Les Murs, Maria Larssons Eviga Ögonblick, Bolt, Encounters At The End Of The World, Vicky Cristina Barcelona, Revolutionary Road, Burn After Reading, The Curious Case Of Benjamin Button, Milk, Waltz With Bashir, Changeling.

No worries, I'll try and catch up with most of the rest soon.

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