By Laura Rooney laura@moviecitynews.com

85th Academy Awards: Nominations

Nominations for the 85th Academy Awards

Performance by an actor in a leading role

  • Bradley Cooper in “Silver Linings Playbook”
  • Daniel Day-Lewis in “Lincoln”
  • Hugh Jackman in “Les Misérables”
  • Joaquin Phoenix in “The Master”
  • Denzel Washington in “Flight”

Performance by an actor in a supporting role

  • Alan Arkin in “Argo”
  • Robert De Niro in “Silver Linings Playbook”
  • Philip Seymour Hoffman in “The Master”
  • Tommy Lee Jones in “Lincoln”
  • Christoph Waltz in “Django Unchained”

Performance by an actress in a leading role

  • Jessica Chastain in “Zero Dark Thirty”
  • Jennifer Lawrence in “Silver Linings Playbook”
  • Emmanuelle Riva in “Amour”
  • Quvenzhané Wallis in “Beasts of the Southern Wild”
  • Naomi Watts in “The Impossible”

Performance by an actress in a supporting role

  • Amy Adams in “The Master”
  • Sally Field in “Lincoln”
  • Anne Hathaway in “Les Misérables”
  • Helen Hunt in “The Sessions”
  • Jacki Weaver in “Silver Linings Playbook”

Best animated feature film of the year

  • “Brave” Mark Andrews and Brenda Chapman
  • “Frankenweenie” Tim Burton
  • “ParaNorman” Sam Fell and Chris Butler
  • “The Pirates! Band of Misfits” Peter Lord
  • “Wreck-It Ralph” Rich Moore

Achievement in cinematography

  • “Anna Karenina” Seamus McGarvey
  • “Django Unchained” Robert Richardson
  • “Life of Pi” Claudio Miranda
  • “Lincoln” Janusz Kaminski
  • “Skyfall” Roger Deakins

Achievement in costume design

  • “Anna Karenina” Jacqueline Durran
  • “Les Misérables” Paco Delgado
  • “Lincoln” Joanna Johnston
  • “Mirror Mirror” Eiko Ishioka
  • “Snow White and the Huntsman” Colleen Atwood

Achievement in directing

  • “Amour” Michael Haneke
  • “Beasts of the Southern Wild” Benh Zeitlin
  • “Life of Pi” Ang Lee
  • “Lincoln” Steven Spielberg
  • “Silver Linings Playbook” David O. Russell

Best documentary feature

  • “5 Broken Cameras”
    Emad Burnat and Guy Davidi
  • “The Gatekeepers”
    Nominees to be determined
  • “How to Survive a Plague”
    Nominees to be determined
  • “The Invisible War”
    Nominees to be determined
  • “Searching for Sugar Man”
    Nominees to be determined

Best documentary short subject

  • “Inocente”
    Sean Fine and Andrea Nix Fine
  • “Kings Point”
    Sari Gilman and Jedd Wider
  • “Mondays at Racine”
    Cynthia Wade and Robin Honan
  • “Open Heart”
    Kief Davidson and Cori Shepherd Stern
  • “Redemption”
    Jon Alpert and Matthew O’Neill

Achievement in film editing

  • “Argo” William Goldenberg
  • “Life of Pi” Tim Squyres
  • “Lincoln” Michael Kahn
  • “Silver Linings Playbook” Jay Cassidy and Crispin Struthers
  • “Zero Dark Thirty” Dylan Tichenor and William Goldenberg

Best foreign language film of the year

  • “Amour” Austria
  • “Kon-Tiki” Norway
  • “No” Chile
  • “A Royal Affair” Denmark
  • “War Witch” Canada

Achievement in makeup and hairstyling

  • “Hitchcock”
    Howard Berger, Peter Montagna and Martin Samuel
  • “The Hobbit: An Unexpected Journey”
    Peter Swords King, Rick Findlater and Tami Lane
  • “Les Misérables”
    Lisa Westcott and Julie Dartnell

Achievement in music written for motion pictures (Original score)

  • “Anna Karenina” Dario Marianelli
  • “Argo” Alexandre Desplat
  • “Life of Pi” Mychael Danna
  • “Lincoln” John Williams
  • “Skyfall” Thomas Newman

Achievement in music written for motion pictures (Original song)

  • “Before My Time” from “Chasing Ice”
    Music and Lyric by J. Ralph
  • “Everybody Needs A Best Friend” from “Ted”
    Music by Walter Murphy; Lyric by Seth MacFarlane
  • “Pi’s Lullaby” from “Life of Pi”
    Music by Mychael Danna; Lyric by Bombay Jayashri
  • “Skyfall” from “Skyfall”
    Music and Lyric by Adele Adkins and Paul Epworth
  • “Suddenly” from “Les Misérables”
    Music by Claude-Michel Schönberg; Lyric by Herbert Kretzmer and Alain Boublil

Best motion picture of the year

  • “Amour” Nominees to be determined
  • “Argo” Grant Heslov, Ben Affleck and George Clooney, Producers
  • “Beasts of the Southern Wild” Dan Janvey, Josh Penn and Michael Gottwald, Producers
  • “Django Unchained” Stacey Sher, Reginald Hudlin and Pilar Savone, Producers
  • “Les Misérables” Tim Bevan, Eric Fellner, Debra Hayward and Cameron Mackintosh, Producers
  • “Life of Pi” Gil Netter, Ang Lee and David Womark, Producers
  • “Lincoln” Steven Spielberg and Kathleen Kennedy, Producers
  • “Silver Linings Playbook” Donna Gigliotti, Bruce Cohen and Jonathan Gordon, Producers
  • “Zero Dark Thirty” Mark Boal, Kathryn Bigelow and Megan Ellison, Producers

Achievement in production design

  • “Anna Karenina”
    Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
  • “The Hobbit: An Unexpected Journey”
    Production Design: Dan Hennah; Set Decoration: Ra Vincent and Simon Bright
  • “Les Misérables”
    Production Design: Eve Stewart; Set Decoration: Anna Lynch-Robinson
  • “Life of Pi”
    Production Design: David Gropman; Set Decoration: Anna Pinnock
  • “Lincoln”
    Production Design: Rick Carter; Set Decoration: Jim Erickson

Best animated short film

  • “Adam and Dog” Minkyu Lee
  • “Fresh Guacamole” PES
  • “Head over Heels” Timothy Reckart and Fodhla Cronin O’Reilly
  • “Maggie Simpson in “The Longest Daycare”” David Silverman
  • “Paperman” John Kahrs

Best live action short film

  • “Asad” Bryan Buckley and Mino Jarjoura
  • “Buzkashi Boys” Sam French and Ariel Nasr
  • “Curfew” Shawn Christensen
  • “Death of a Shadow (Dood van een Schaduw)” Tom Van Avermaet and Ellen De Waele
  • “Henry” Yan England

Achievement in sound editing

  • “Argo” Erik Aadahl and Ethan Van der Ryn
  • “Django Unchained” Wylie Stateman
  • “Life of Pi” Eugene Gearty and Philip Stockton
  • “Skyfall” Per Hallberg and Karen Baker Landers
  • “Zero Dark Thirty” Paul N.J. Ottosson

Achievement in sound mixing

  • “Argo”
    John Reitz, Gregg Rudloff and Jose Antonio Garcia
  • “Les Misérables”
    Andy Nelson, Mark Paterson and Simon Hayes
  • “Life of Pi”
    Ron Bartlett, D.M. Hemphill and Drew Kunin
  • “Lincoln”
    Andy Nelson, Gary Rydstrom and Ronald Judkins
  • “Skyfall”
    Scott Millan, Greg P. Russell and Stuart Wilson

Achievement in visual effects

  • “The Hobbit: An Unexpected Journey”
    Joe Letteri, Eric Saindon, David Clayton and R. Christopher White
  • “Life of Pi”
    Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
  • “Marvel’s The Avengers”
    Janek Sirrs, Jeff White, Guy Williams and Dan Sudick
  • “Prometheus”
    Richard Stammers, Trevor Wood, Charley Henley and Martin Hill
  • “Snow White and the Huntsman”
    Cedric Nicolas-Troyan, Philip Brennan, Neil Corbould and Michael Dawson

Adapted screenplay

  • “Argo” Screenplay by Chris Terrio
  • “Beasts of the Southern Wild” Screenplay by Lucy Alibar & Benh Zeitlin
  • “Life of Pi” Screenplay by David Magee
  • “Lincoln” Screenplay by Tony Kushner
  • “Silver Linings Playbook” Screenplay by David O. Russell

Original screenplay

  • “Amour” Written by Michael Haneke
  • “Django Unchained” Written by Quentin Tarantino
  • “Flight” Written by John Gatins
  • “Moonrise Kingdom” Written by Wes Anderson & Roman Coppola
  • “Zero Dark Thirty” Written by Mark Boal

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé