By Ray Pride Pride@moviecitynews.com

85th OSCAR® NOMINATIONS ANNOUNCED

January 10, 2013
FOR IMMEDIATE RELEASE 

BEVERLY HILLS, CA – Nominations for the 85th Academy Awards® were announced today (Thursday, January 10) by this year’s Oscar host, Seth MacFarlane, and actress Emma Stone.

MacFarlane and Stone announced the nominees at a 5:38 a.m. PT live news conference attended by more than 400 international media representatives.

Academy members from each of the branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

Official screenings of all motion pictures with one or more nominations will begin for members on Saturday, January 19, at the Academy’s Samuel Goldwyn Theater. Screenings will also be held at the Academy’s Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area.

Active members of the Academy are eligible to vote for the winners in all categories.

Academy Awards for outstanding film achievements of 2012 will be presented on Sunday, February 24, 2013, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

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

# #

ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards–in which the members vote to select the nominees and winners-the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

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“A shot is a story. A shot on its own should be a piece of a story. Which is why I talk a lot about watching films, even the films we’re working on, with the sound off. Just to analyze how the film works, because a film should work for an audience without any sound. The biggest problem I see is that someone may have a superficial understanding of what a shot is propositionally, but they don’t have an understanding of how all of these shots are part of a family that needs to connect, and so you’ll get something that’s like a sentence arranged poorly with six nouns in a row. That surprises me, because I think that’s something that can be learned. Some things can’t be, but that can. It’s a grammar. In a classroom I could walk somebody through the difference between a sequence in which the filmmaker has a deep understanding of how images connect, and someone who doesn’t. It’s not really an intellectual process. Some people are just born with it and are just sort of savants at that deep mathematical understanding of shot construction.  I’m better than I used to be, but there are some people I’m just never going to catch. Spielberg. His staging ability. I’m never going to catch him. But when you’re trying to figure out how to get better—I’m not competitive in the sense of looking around at other filmmakers and comparing myself to them. What I do have to think about in trying to navigate myself through a career is: what can I get better at, and what do I have that I can enhance that somebody else doesn’t have?”
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