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Norbit triumphs over Zodiac in the 80th Academy Award nominations


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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.)

 

 

Best animated feature film of the year

 

“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

 

 

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 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/Path? 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 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 directing

 

“The Diving Bell and the Butterfly” (Miramax/Path? 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

 

 

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 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

 

 

Achievement in film editing

 

“The Bourne Ultimatum” (Universal) Christopher Rouse

“The Diving Bell and the Butterfly” (Miramax/Path? 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

“There Will Be Blood” (Paramount Vantage and Miramax) Dylan Tichenor

 

 

Best foreign language film of the year

 

“Beaufort” A Metro Communications, Movie Plus Production

Israel

“The Counterfeiters” An Aichholzer Filmproduktion, Magnolia Filmproduktion Production

Austria

“Katyń” An Akson Studio Production

Poland

“Mongol” A Eurasia Film Production

Kazakhstan

“12” A Three T Production

Russia

 

 

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 music written for motion pictures (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

 

 

Achievement in music written for motion pictures (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

 

 

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

 

 

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

 

“M?me 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 Kar? 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

 

 

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

 

 

Adapted screenplay

 

“Atonement” (Focus Features)

Screenplay by Christopher Hampton

 

“Away from Her” (Lionsgate)

Written by Sarah Polley

 

“The Diving Bell and the Butterfly” (Miramax/Path? 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

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It's a technical nomination, Dan ;)

 

It’s still one more nomination than Zodiac received. :) I would have expected some technical nods on that front for editing and so on. I’m also a bit sad to see David Shire’s score for Zodiac go ignored… though not as frustrated as I am over Jonny Greenwood’s score for ‘There Will be Blood’ being left out because of absurd issues questioning its eligibility. It’s one of the best scores of 2007.

 

Still, it’s probably the most satisfying list I’ve seen for the Oscars in a while in terms of there being some really good names both on and off screen getting recognition. I’m pleased there wasn’t too much gushing from the Academy for Atonement. It's great that Ratatouille got a screenplay nomination.

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Goes to show you how sheltered I've become in my old age as far as movies are concerned. There was a day, those shiny days of my youth, when I saw virtually every movie nominated for the annual Academy Awards. This year? I saw 2 movies nominated, and they're not even in the Best Picture category. It's all "I'll-wait-for-the-DVD" excuses, but I know of the Best Picture noms, I'll only really seek out the Cohens' picture. Meanwhile, what do I go out to see these days? Cloverfield and The Mist.

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Is Juno really that good or is it a hype train?

 

It's a bit of both, a solid movie, but in places seems just a little too clever. I enjoyed it quite a bit though.

 

This will be the second year ever that I will have seen all the BP nominees before the Oscars. I just saw "No Country..." yesterday and was a little underwhelmed by it, but only a little. I think the attention it got had my expectations set a bit too high.

 

Last weekend I saw "Atonement" which I thought was great, but also flawed with a few scenes that could have been lost or shortened and a bit of a stall in the middle. Still, it recovered well.

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Goes to show you how sheltered I've become in my old age as far as movies are concerned. There was a day, those shiny days of my youth, when I saw virtually every movie nominated for the annual Academy Awards. This year? I saw 2 movies nominated, and they're not even in the Best Picture category. It's all "I'll-wait-for-the-DVD" excuses, but I know of the Best Picture noms, I'll only really seek out the Cohens' picture. Meanwhile, what do I go out to see these days? Cloverfield and The Mist.

 

I find myself looking at the names of those nominated more than the films they've been nominated for - partly due to the fact so many are not even out here yet, or came out - lasted a week - then vanished or came out when i just had no time free to get to the cinema. I'm seeing Sweeney Todd at the weekend, whilst Jesse James, Michael Clayton and No Country for Old Men have been on my list of discs to buy since they were announced. Meanwhile Juno and There Will Be Blood do not open here until February. So I'm left just nodding in an agreeable manner as I see names who those whose work I find interesting like Paul Thomas Anderson, Roger Deakins, Colleen Attwood, Bob Elswitt and so on... They're good people.

 

If No Country for Old Men wins best editing will Joel Coen force himself to come on stage sporting a false beard and a hat I wonder?

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I saw 2 movies nominated, and they're not even in the Best Picture category.

 

Same here, well 3 actually. Bourne, Transformers, and Eastern Promises. I'm so out of touch.

 

I actually watched the nominations live on TV this morning before work. Was that Kathy Bates looking all glammed up? Maybe she was out clubbing.

 

I thought the title was sarcasm, but I'm shocked and saddened to see Norbit got a nomination. I'm sure the people worked hard on the movie, it's just that Eddie Murphy wearing a fat suit is getting a little old. I'm sure even Martin Lawrence thinks it's lame by now.

 

I'm cheering for Juno mostly out of spite and blind love for anything in any way related to Arrested Development. I haven't seen the movie but it's nice to see the Academy recognizing a comedy instead of the usual pretentious subtitled artsy stuff.

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I'm glad to see the technical noms for Bourne; I think those guys did amazing work with it. Like many, there are few films on the list I've been able to see, and the DC of Zodiac is burning a hole in my shelf faster than anything up there that I mean to. I wish Deakins luck just on general principle, though.

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