Netflix has received two nominations for animated features, “Klaus” and “I Lost My Body”. Disney’s “Frozen 2” was muffled.
Sam Mendes ‘bold, uninterrupted World War I thriller “1917” and Todd Phillips’ $ 1 billion blockbuster “Joker” dominated Oscar nominations on Monday, winning seven each.
Meanwhile, Quentin Tarantino’s “Once Upon a Time in Hollywood” and Martin Scorsese’s “The Irishman” each received five nominations, while Taika Waititi’s “Jojo Rabbit” along with James Mangold’s “Ford v Ferrari” received three nominations. Bong Joon Ho’s “Parasite” and Greta Gerwig’s “Little Women” each received two nominations, and Noah Baumbach’s “Marriage Story” was selected for Randy Newman’s romantic score.
However, “1917” was the biggest craft event of the season with nominations for Roger Deakins’ uniquely orchestrated cinematography, Dennis Gassner’s sophisticated production design, Thomas Newman’s haunting score, the unusual sound editing and mixing, and surprisingly the make-up and hairstyling (Naomi Donne, Tristan Versluis and Rebecca Cole) and VFX (Guillaume Rocheron, Greg Butler and Dominic Tuohy).
Niko Tavernise / Warner Bros.
However, the exclusion of “1917” editor Lee Smith (who won the Oscar for “Dunkirk”) was a serious nudge that neglected his invaluable contribution to putting all the sequences together to look like continuous action (even more so in the frontend) than in the post because of the meticulous planning). A similar snubbing occurred with the best picture winner “Birdman”, because eye-catching series pictures were used.
However, “Joker” did better than expected, with its robust New York atmosphere from the late 70s. Nominations were for Lawrence Sher’s large-format embrace of the Oscar-nominated Joaquin Phoenix’s idiosyncratic performance, for Oscar-winner Mark Bridge’s inside-out costume design, for Hildur Guðnadóttir’s brilliant score that inspired Phoenix’s choreographed dance, and for the essential work of make -ups and hairstyling team in the transformation of Phoenix worries Arthur Fleck into the mad joker. Surprisingly, sound editing (Alan Robert Murray) and sound mixing (Tom Ozanich, Dean Zupancic and Tod Maitland) were also nominated for their contribution to New York-inspired Gotham City, while Mark Friedberg’s brilliant production design was left out.
Tarantino’s 1969 love letter to Tinseltown, “Once Upon a Time in Hollywood,” was made for Robert Richardson’s colorful yet timeless cinematography (made to fit Kodak 35mm film), Barbara Ling’s Hollywood facelift, Arianne Phillips’ eclectic costume design, and the film Awarded Creative integration of the legendary radio station KHJ from LA from the teams for sound editing and mixing. However, the genre hopping rhythm was missed by editor Fred Raskin.
Scorsese’s elaborately woven, melancholy mob epic “The Irishman” was nominated for Rodrigo Prieto’s multifaceted hybrid camera, Thelma Schoonmaker’s three-time Oscar winner, Bob Shaw’s skilful production design and three-time Oscar winner Sandy Powell (in collaboration with the co- Designer Christopher Peterson) and Industrial Light & Magic’s innovative de-aging VFX for screen legends Robert De Niro, Al Pacino and Joe Pesci.
Waititi’s anti-hate satire “Jojo Rabbit” was selected for this fairytale story for Ra Vincent’s elegant staging of the main house, Mayes C. Rubeo’s striking costume design and surprisingly for the alternating tones of the editor Tom Eagles.
Mangold’s visceral and haunting racing biopic “Ford vs. Ferrari” was nominated for the crucial areas of editing (Michael McCusker and Andrew Buckland), sound editing (Donald Sylvester) and sound mixing (Paul Massey, David Giammarco and Steven A. Morrow).
Ho’s celebrated class war, thriller “Parasite”, has been recognized for its two main crafting areas: Lee Ha Jun’s sophisticated production design that transforms the villa into a central character, and Yang Jinmo’s escalating tension and unpredictable rhythm.
Gerwig’s non-linear reinterpretation of “Little Women” was nominated for the gender-specific costume design of Oscar winner Jacqueline Durran and for the frenetic score of two-time Oscar winner Alexandre Desplat.
One of the most surprising craft races was makeup and hairstyling. While the front running team from “Bombshell” received a nomination for special make-up effects, Kazu Hiro and the artists Anne Morgan and Vivian Baker turned John Lithgow into the deceased, embarrassed Fox News boss Roger Ailes, Charlize Theron as moderator Megyn Kelly and Nicole Kidman As news personality Gretchen Carlson, Jeremy Woodhead was also nominated to transform Renée Zellwegers from an Oscar-nominated appearance as Judy Garland into “Judy”.
But the surprise nominations for “Maleficent: Mistress of Evil” (Paul Gooch, Arjen Tuiten and David White) and “1917” led to Black Panther Oscar winner Ruth Carter for her outrageous work with Eddie Murphy vom Race was excluded on “Dolemite Is My Name”. “Rocketman” was also insulted for make-up as well as for hairstyling and costume design in the transformation of Taron Egerton as extravagant Elton John. “Rocketman’s” lonely nomination came for the best song: “(I Gonna) Love Me Again” by John and lyric partner Bernie Taupin.
The biggest surprise, however, was that cameraman Jarin Blaschke was nominated for his Gothic black and white work on Robert Egger’s psychological horror film “The Lighthouse”. This was based on the ASC nomination of Phedon Papamichael for “Ford v Ferrari”.
With the exception of the surprise use of “1917” (for the supporting role of MPC Film in the assembly of the series images and the dependence on practical effects), the VFX race went as expected. Disney dominated with “The Lion King” (MPC’s photo-realistic innovation), Marvel’s “Avengers: Endgame” and “Star Wars: The Rise of Skywalker” (ILM does its best with CG and practical character work). Even the inclusion of “The Irishman” and its aging had a Disney bond over the property of ILM.
Nevertheless, Disney did not do quite as well as predicted in the animated film race. While Pixar’s pioneer “Toy Story 4” did the filming of “Frozen 2”, it didn’t. The other nominees were DreamWorks’ “How to Train Your Dragon: The Hidden World”, Laika’s Stop-Motion “Missing Link” and Netflix’s first two entries: “Klaus” (the Santa Claus story with innovative 2D by director Sergio Pablos). and the celebrated French secret of existence “I Lost My Body” (by director Jérémy Clapin).
And the best animated short nominees went to the inclusive “Hair Love” (directed by Matthew A. Cherry and Karen Rupert Toliver) and “Kitbull” (from Pixar’s experimental SparkShorts program directed by Rosana Sullivan and Kathryn Hendrickson); and three renowned stop-motion works from the Czech Republic, France and China: “Dcera (daughter)” (directed by Daria Kashcheeva), “Memorable” (directed by Bruno Collet and Jean-François Le Corre) and “Sister” (directed by Siqi Song).