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By DP30 david@thehotbuttonl.com

DP/30s with Oscar Nominees

Someone requested a list today… so I figured some of you might like to have it as well. (after the jump)

Yes, watching all of these would take you at least 5x as long as watching the ™ show itself tonight.

Also, let’s see if anyone can find the DP/30 scheduled to be in the actual show tonight.

Argo
Ben Affleck Producer
Chris Terrio Screenplay
Alexander Desplat Composer

Lincoln
Sally Field Supporting Actress
Tony Kushner Adapted Screenplay
Janusz Kaminski Cinematography
Joanna Johnston Costumes
Rick Carter Production Design

Silver Linings Playbook
David O Russell Director/Screenplay
Jennifer Lawrence Actress
Bradley Cooper Actor
Jacki Weaver Supporting Actress
Jay Cassidy Editor

Zero Dark Thirty
Mark Boal producer/screenwriter
Mark Boal (Pt 2)
Jessica Chastain actor
William Goldenberg editor
Dylan Tichenor editor
Paul N.J. Ottoson sound designer

Beasts of the Southern Wild
Behn Zeitlin Director/Writer
Quvenzhané Wallis Actress
Lucy Alibar Writer
Ben Richardson Cinematographer

Amour
Michael Haneke (Cannes) writer/director

Life of Pi
Mychael Danna Composer

Moonrise Kingdom
Wes Anderson Producer/Screenplay

The Impossible
Naomi Watts Actress

The Sessions
Helen Hunt Supporting Actress

The Master
Amy Adams Supporting Actress

DOCUMENTARIES
The Gatekeepers Dror Moreh 
How to Survive A Plague David France 
The Invisible War Kirby Dick
Searching for Sugar Man John Battsek

FOREIGN LANGUAGE
A Royal Affair Nikolaj Arcel
War Witch Kim Nguyen
Amour Michael Haneke (LA)

ANIMATED FEATURE
Brave Mark Andrews
ParaNorman Sam Fell/Chris Butler 

Anna Karenina
Sarah Greenwood production design

Hitchcock
Howard Berger make-up

The Avengers
Jeff White fx supervisor

Skyfall
Greg Russell sound re-recording mixer

Django Unchained
Wylie Stateman Sound Mixing

The Hobbit
Joe Letteri Visual Effects

Flight
John Gatins Original Screenplay

Paperman
Animated Short John Behrs

One Response to “DP/30s with Oscar Nominees”

  1. The Pope says:

    Thank you David. Very grateful. Just one of the many reason I like visiting at your house.

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~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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