Posts Tagged ‘El Secreto de Sus Ojos’

Interview with Juan Jose Campanella: The Eyes Have It

Friday, April 23rd, 2010

This year’s Oscar for Best Foreign Language Film went to an Argentine romantic crime thriller that few people beyond Academy voters and film festival goers were lucky enough to have seen: The Secret in Their Eyes (El Secreto de sus ojos), directed by Juan Jose Campanella, a filmmaker who calls both New York and Argentina home.

In America, he works a lot directing hit TV shows like House, 30 Rock, and the Law & Order franchise. In Argentina he directs movies: his previous film, 2001’s Son of the Bride (El hijo de la novia) earned him his first Academy Award nomination.

In his new movie, the director reunites with acclaimed actor Ricardo Darin, who plays Benjamin Esposito, a court investigator in Buenos Aires who in 1974 lands a case—the rape-murder of a beautiful young woman—that will haunt him for some 30 years. The film co-stars Soledad Villamil as Irene, his gorgeous upper-class boss with whom he is secretly in love, and Guillermo Francella, Argentina’s #1 box office star, as Sandoval, his hapless co-worker and best friend. I caught up with the director when he stopped briefly in Chicago en route back to Argentina, where he’s beginning work on his first animated film.

AG:  Congratulations on your Oscar. To win on only your second nomination, and so soon after your first—that had to be gratifying.

JJC:  Thank you very much. Sometimes I don’t register it, how rare it is that I only made four movies in Argentina, and two of those had been nominated for an Oscar. It’s very gratifying, yes, yes! I love the Academy!

AG: Did you expect to win?

JJC:  When we got nominated, I read the list of nominated movies, and I said, “Okay, I can sleep easily. There’s no way that we’ll win this. The White Ribbon has an enormous pedigree, The Prophet, too. The Milk of Sorrow won Berlin.” That was very relaxing, actually. I could concentrate on work—I was doing an episode of House at the moment. Then all the online people started saying to watch out for The Secret in Their Eyes, that [members] were liking it a lot in the Academy screenings, and there’s a big chance that there might be an upset–and they kept talking. And I became a nervous wreck, and I couldn’t sleep; I went, “No, oh my God, I wish I hadn’t heard that.” When you have no expectations, you overcome losing much faster. With Son of the Bride, it was only five minutes of sadness, and then we all looked at each other and said, “Guys, we’re all here, let’s have fun, it was great just getting here.” You never think that moment will finally happen after dreaming about it for many years, but we knew that we had chances.

AG:  You co-wrote the screenplay with Eduardo Sacheri, based on his novel, La Pregunta de sus ojos (The Question in Their Eyes). Why did you change the title?

JJC: One of the visual keys of the movie that I worked with was that the characters would never say what they were meaning, but their eyes would. It’s like two different movies going on:  what they say, and what their eyes say. It’s a love story, but it’s also about murder and memory, and it has some humorous moments. We thought that the original title didn’t convey all that the movie was about.

AG:  You certainly paid a lot of attention to details of the eyes:  glances, pauses, quicksilver changes.

JJC:  There are many shots where I had to find a way to frame the eyes so that you wouldn’t see anything else of the face. I really think that something very powerful happens when you don’t see the rest of the face.

AG:  That can be tricky for a director, because a lot of bad screen actors rely on acting mostly with their eyes.

JJC:  There is no trick. Actors just have to be thinking what their characters are thinking. They can’t be thinking what’s my next line, where do I have to stand, where’s my mark, or did he say “cut” yet, or not. They really have to be in the scene, like the characters are, and it just comes out through the eyes.

AG:  Let’s talk about the bravura set pieces in your film. Do you storyboard? Because that soccer sequence where the investigators chase their suspect through the stadium–

JJC:  We planned the hell out of that scene, because we had to make it for $50,000. It wasn’t really storyboarded by me; I went to the actual soccer stadium and took photos of what we would be seeing [on screen] every step along the shot. From there they made the animatics at the effects house in Argentina. I’m a geek myself and I’m surrounded by geeks—it’s geek world there. I think that we over-prepared; we knew we would have the helicopter for only one hour, so we had to make sure that we were coming from the right side. So we were almost like imagining with a compass, and creating in 3D the real stadium to show the helicopter pilot where he had to go. Then it was shot in three days, and we had only 200 extras there.

AG:  Wow! That’s very difficult to tell.

JJC:  You won’t be able to tell, even if you go frame by frame when you have the DVD. There were nine months of post-production:  fifteen guys in our in-house facility, which is not huge. It’s not Industrial Light and Magic, that’s for sure.

AG:  The breaking and entering scene early in the movie–where Esposito and Sandoval travel to a small town where the suspect’s mother lives and start snooping around her house to find clues–is very strategically placed. It combines dread, and tension, and also comic relief, setting up what’s to come. But it’s not in the novel.

JJC:  In the novel, the investigators don’t catch the guy; he is caught by chance. He goes to jail because he has an argument with a guard in a train, and [that news] gets to their office, so that’s how they get to him. In the movie I wanted them to catch the guy, so we created the breaking in, the [paper trail of] letters leading to the soccer stadium, the whole thing. The scene also shows something that these characters never did before. They are office workers, not characters who are motivated by a higher code [like those] we are used to in film noir, or the literary version of noir—Chandler and Hammett, and all—where it’s not as much about the case as it is about finding justice in the world, or whatever. These guys just care about this case. They are becoming personally involved in this case, which is not just one of the thousand cases a day that they get through their office. And this is the moment where they first start breaking the law, really, for the case, and that was basically the objective in the movie’s dramatic curve.

AG:  And it was the beginning of them putting themselves at risk in so many other ways.

JJC:  Exactly.

AG:  It’s part of how you use foreshadowing, and relates to an earlier scene that questions how much of the movie is Esposito’s memory, and how much is his imagination—I’m talking about the scene where he’s struggling with his novel and there’s a segue to three thugs breaking into his home. The scary elevator scene where the villain plays a cat-and-mouse game with Esposito and Irene also uses foreshadowing. In little more than an instant it made me flash on the desaparecidos [the tens of thousands of “the disappeared” victims of Argentina’s dictatorship in the late 1970s through early ‘80s].

JJC:  Yeah, it’s short; it’s only 45 seconds.

AG:  But it feels like it’s so much longer.

JJC:  Yes. It’s pregnant—it’s a pregnant pause!

AG:  Please tell a little about your background.

JJC:  I was born in Buenos Aires in ‘59, studied film there between ’79 and ’83, then came to NYU’s Tisch School of the Arts in grad film, and I studied there from ’83 to ’88. And I started my career here [in the U.S.], as an editor first, for a couple of years, and in 1990 I directed my first movie. And it wasn’t until ’99 that I went back to Argentina.

AG:  Were your parents supportive of you wanting to be a filmmaker, and what film school did you go to in Argentina?

JJC:  The film school I went to in ’79 was during the dictatorship, and I had amazing professors that would not be professors if it weren’t for their being blacklisted. So they had to teach. I mean, my writing teacher was Aida Bortnik, who was later herself nominated for an Oscar for the screenplay of The Official Story [which won the Academy Award for Best Foreign Language Film in 1986]. My parents were hugely supportive of me. Not at the beginning—it took them I think a few months to accept that I was not going to be an engineer, [after going] to engineering school for four years. The night that I dropped out of that, my father supported tried to mediate between me and my mother, who was really very pissed. Very pissed. But after a short while, they became my biggest supporters, and I wouldn’t have done anything without them.

AG:  You know, a lot of movie critics and fans are snobs about television, but I think it’s great that you move back and forth between making movies and directing for TV. I’m a long-time follower of Law & Order, so I’ve seen a number of the episodes you’ve directed of Law & Order: Special Victims Unit. I actually thought that Irene in The Secret of Their Eyes was having kind of an Olivia Benson good cop-bad cop moment when she was interrogating the perp.

JJC:  I’m telling you, and I don’t have any qualms saying it, I think that American TV right now is so much better than American movies. American movies have tended toward the glorification of visuals, and have disregarded scripts—[they] have no surprises, no twists, and almost no connection with real life. And in TV you can still see—you know, many episodes of SVU end unhappily, and there’s moral ambiguity among the characters. You can’t have a character even like Hugh Laurie’s Dr. Gregory House in movies nowadays. I really think that American TV is great. And every director does something between movies. Most choose to do commercials; I choose to do this. I choose to work with these great actors and great scripts.

Sony Pictures Classics opens The Secret in Their Eyes in New York and Los Angeles on April 16, after which it will begin a roll-out to other cities.

Andrea Gronvall
April 23, 2010

Andrea Gronvall is a regular contributor to the Chicago Reader, a frequent speaker for Harlan Jacobson’s Talk Cinema, and teaches film at the University of Chicago’s Graham School of General Studies.

March 5

Friday, March 5th, 2010
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1
The Hurt Locker
1
1
2
1
1
1
1
1
2
1
2
1
1
1
1
147
2
Avatar
2
2
1
2
2
2
2
2
1
2
1
2
3
2
2
138
3
Inglourious Basterds
4
5
3
3
3
3
3
3
6
3
3
3
4
3
3
113
4
Up in the Air
3
3
4
4
5
4
5
4
4
4
5
5
2
4
4
106
5
Precious: Based on the Novel “Push” by Sapphire
5
4
5
5
6
6
4
5
5
8
4
4
7
5
5
87
6
Up
6
7
7
6
9
5
7
6
7
5
7
6
5
7
7
68
7
An Education
7
6
6
8
8
8
6
7
8
7
6
7
6
6
8
61
8
The Blind Side
9
10
10
7
4
7
9
10
3
6
10
10
8
10
6
46
9
District 9
8
9
8
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9
8
8
10
9
8
9
9
8
9
34
10
A Serious Man
10
8
9
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7
10
10
9
9
10
9
8
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9
10
27

* Greg Ellwood moved Avatar to #1.
* Anne Thompson moved The Blind Side from #7 to #10, A Serious Man from #8 to #9, District 9 from #9 to #8, and Up from #10 to #7.
* Anthony Breznican moved The Hurt Locker from #3 to #1, Avatar from #1 to #2, and Up in the Air from #2 to #3

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1
Kathryn Bigelow
The Hurt Locker
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
James Cameron
Avatar
3
2
2
2
2
2
2
2
2
2
2
2
2
2
2
59
3
Quentin Tarantino
Inglourious Basterds
2
4
3
3
3
3
3
3
4
3
3
3
3
3
3
44
4
Jason Reitman
Up in the Air
4
3
5
5
5
4
4
4
3
4
5
5
4
4
4
27
5
Lee Daniels
Precious: Based on the Novel “Push” by Sapphire
5
5
4
4
4
5
5
5
5
5
4
4
5
5
5
20
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x
1
Jeff Bridges
Crazy Heart
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
Jeremy Renner
The Hurt Locker
2
2
5
4
2
5
2
2
2
2
2
2
2
2
3
51
3
George Clooney
Up in the Air
4
3
2
3
3
2
4
3
3
4
4
3
3
3
2
44
4
Colin Firth
A Single Man
3
4
3
2
4
4
3
4
4
3
3
4
4
4
4
37
5
Morgan Freeman
Invictus
5
5
4
5
5
3
5
5
5
5
5
5
5
5
5
18
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x
1
Sandra Bullock
The Blind Side
1
1
1
1
1
1
1
1
1
2
2
1
1
1
1
73
2
Meryl Streep
Julie and Julia
3
2
2
2
2
2
2
2
2
1
1
3
2
2
2
60
3
Carey Mulligan
An Education
4
4
3
3
4
4
3
3
4
3
3
4
3
3
3
39
4
Gabourey Sidibe
Precious: Based on the Novel ‘Push’ by Sapphire
2
3
4
4
3
3
4
4
5
4
4
2
4
4
4
36
5
Helen Mirren
The Last Station
5
5
5
5
5
5
5
5
3
5
5
5
5
5
5
17
* Pete Hammond moved Meryl Streep to #2.
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1
Mo’Nique
Precious: Based on the Novel “Push” by Sapphire
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
Maggie Gyllenhaal
Crazy Heart
3
4
4
4
2
5
2
3
3
4
2
2
2
2
3
45
3
Anna Kendrick
Up in the Air
4
2
2
2
5
3
3
2
4
2
3
4
3
2
43
4
Vera Farmiga
Up in the Air
2
3
3
3
4
4
4
4
2
3
4
3
4
4
37
5
Penelope Cruz
Nine
5
5
5
5
3
2
5
5
5
5
5
5
5
5
19
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1
Christoph Waltz
Inglourious Basterds
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
Woody Harrelson
The Messenger
3
2
2
3
3
4
2
2
4
2
2
2
3
2
3
51
3
Christopher Plummer
The Last Station
4
5
4
2
2
2
4
4
2
3
3
2
3
4
40
4
Stanely Tucci
The Lovely Bones
2
4
5
5
4
3
3
3
3
4
5
4
4
2
33
5
Matt Damon
Invictus
5
3
3
4
5
5
5
5
5
5
4
5
5
5
20
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x
1
The Hurt Locker
1
2
1
2
2
1
1
2
1
1
1
1
1
2
2
69
2
Inglourious Basterds
2
1
2
1
1
2
2
1
2
2
2
2
2
1
1
66
3
Up
3
5
3
3
4
5
3
3
5
3
3
3
3
3
4
37
4
A Serious Man
5
4
4
4
3
4
4
5
3
4
5
5
4
3
27
5
The Messenger
4
3
5
5
5
3
5
4
4
5
4
4
5
5
23
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x
1
Up in the Air
1
1
1
1
1
1
1
1
1
1
3
1
1
1
1
73
2
Precious: Based on the Novel “Push” by Sapphire
2
2
4
2
2
2
2
3
4
2
2
3
2
3
4
51
3
An Education
3
3
5
3
4
4
3
2
2
3
1
5
3
2
2
45
4
In the Loop
4
4
2
4
3
5
4
4
3
4
5
2
5
5
5
31
5
District 9
5
5
3
5
5
3
5
5
5
5
4
4
4
4
3
25
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x
The White Ribbon
Germany
1
1
1
3
3
1
2
1
2
2
1
2
2
2
1
61
Un Prophete
France
2
2
3
2
4
2
3
2
1
3
2
1
3
3
2
55
El Secreto de Sus Ojos
Argentina
4
4
2
1
1
3
1
3
3
1
4
1
1
4
51
Ajami
Israel
3
5
4
4
2
4
5
4
4
4
3
4
4
3
31
The Milk of Sorrow
Peru
5
3
5
5
5
5
4
5
5
5
5
5
5
5
17
……….……………………………
x
The Cove
Nominees TBD
1
1
1
1
3
1
1
1
1
1
1
1
1
1
1
73
Food, Inc
Robert Kenner, Elise Pearlstein
2
2
3
2
2
2
2
2
2
2
2
2
2
3
2
58
Most Dangerous Man in America: Daniel Ellsberg & the Pentagon Papers
Judith Ehrlich, Rick Goldsmith
3
4
2
4
1
3
3
5
3
5
3
5
4
3
36
Which Way Home
Rebecca Cammisa
5
5
5
5
5
5
4
3
4
4
4
3
3
2
5
28
Burma VJ
Anders Østergaard , Lise Lense-Møller
4
3
4
3
4
4
5
4
5
3
5
4
5
4
27
………………………………………..
x
Up
Pete Docter
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
Fantastic Mr. Fox
Wes Anderson
2
3
3
2
2
2
2
2
3
2
3
2
2
3
3
51
Coraline
Henry Selick
4
2
2
3
3
3
3
3
2
3
2
4
2
2
46
The Princess and the Frog
John Musker and Ron Clements
3
4
4
4
5
4
4
4
4
4
5
3
4
4
28
The Secret of Kells
Tomm Moore
5
5
5
5
4
5
5
5
5
5
4
5
5
5
16
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x
Avatar
Art Direction: Rick Carter and Robert Stromberg Set Decoration: Kim Sinclair
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
74
Sherlock Holmes
Art Direction: Sarah Greenwood Set Decoration: Katie Spencer
3
4
4
3
2
2
2
3
5
4
2
2
2
2
44
Nine
Art Direction: John Myhre Set Decoration: Gordon Sim
2
3
3
4
3
5
3
2
3
5
3
3
3
5
37
The Young Victoria
Art Direction: Patrice Vermette Set Decoration: Maggie Gray
4
5
5
2
4
3
4
4
4
3
5
2
4
4
3
34
The Imaginarium of Dr Parnassus
Art Direction: Dave Warren and Anastasia Masaro Set Decoration: Caroline Smith
5
1
2
5
5
4
5
5
2
2
4
5
5
4
30
………………………………………
x
Avatar
Mauro Fiore
1
1
1
1
2
1
2
1
1
2
1
1
1
1
1
72
The Hurt Locker
Barry Ackroyd
2
3
2
3
1
2
1
2
2
1
2
2
4
3
2
58
Inglourious Basterds
Robert Richardson
3
4
3
2
4
4
3
3
3
3
3
3
2
2
3
46
The White Ribbon
Christian Berger
5
2
5
4
3
3
4
4
4
4
4
4
3
4
5
32
Harry Potter & the Half-Blood Prince
Bruno Delbonnel
4
5
4
5
5
5
5
5
5
5
5
5
5
4
17
Greg Ellwood and Pete Hammond moved Avatar to #1.
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The Young Victoria
Sandy Powell
1
4
1
1
3
1
1
1
4
1
1
1
1
1
1
67
Bright Star
Janet Patterson
4
2
3
4
2
2
2
2
5
2
5
3
3
3
3
45
Nine
Colleen Atwood
2
5
2
3
1
5
3
4
1
5
2
2
2
2
45
Coco Before Chanel
Catherine Leterrier
3
1
4
2
4
3
5
3
3
4
3
2
4
5
4
40
The Imaginarium of Dr Parnassus
Monique Prudhomme
5
3
5
5
5
4
4
5
2
3
4
5
4
5
25
……..……………………………..
x
The Hurt Locker
Bob Murawski and Chris Innis
2
3
1
1
1
1
1
1
1
1
2
1
1
2
1
70
Avatar
Stephen Rivkin, John Refoua and James Cameron
1
2
2
2
2
2
2
2
2
2
1
2
2
1
2
63
Inglourious Basterds
Sally Menke
3
4
4
3
3
4
3
3
3
3
3
3
3
3
3
42
District 9
Julian Clarke
4
1
3
4
4
3
4
5
4
5
5
4
4
4
30
Precious
Joe Klotz
5
5
5
5
5
5
5
4
5
4
4
5
5
5
17
Susan Wloszczyna moved Hurt Locker to #1.
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x
Up
Michael Giacchino
1
1
1
1
1
3
1
1
1
1
3
1
1
1
1
68
Avatar
James Horner
3
2
2
2
2
1
3
2
2
2
1
2
2
3
2
60
The Hurt Locker
Marco Beltrami and Buck Sanders
2
4
5
5
3
2
2
5
3
3
2
3
3
5
3
41
Fantastic Mr. Fox
Alexandre Desplat
3
3
4
4
4
4
4
5
5
4
4
4
4
5
27
Sherlock Holmes
Hans Zimmer
5
4
3
5
5
5
3
4
4
5
5
2
4
25
Susan Wloszczyna moved Up to #1.
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“The Weary Kind (Theme from Crazy Heart)
Crazy Heart
Music and Lyric by Ryan Bingham and T Bone Burnett
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
“Down in New Orleans”
The Princess and the Frog
Music and Lyric by Randy Newman
2
4
3
2
5
2
4
4
3
2
2
2
3
2
3
47
Take it All”
Nine
Music and Lyric by Maury Yeston
3
2
4
4
2
4
2
2
2
4
5
2
3
4
41
“Almost There”
The Princess and the Frog
Music and Lyric by Randy Newman
4
3
2
3
4
3
3
3
4
3
3
4
4
2
39
“Loin de Paname”
Paris 36
Music by Reinhardt Wagner Lyric by Frank Thomas
5
5
5
5
2
5
5
5
5
5
4
5
5
5
18
………………………………………
x
Avatar
Christopher Boyes and Gwendolyn Yates Whittle
1
1
1
1
2
1
1
1
2
1
1
1
1
1
2
72
The Hurt Locker
Paul N.J. Ottoson
2
4
2
2
1
2
2
2
1
2
2
3
2
2
1
60
Inglourious Basterds
Wylie Stateman
3
5
5
3
3
3
4
4
3
3
3
2
4
3
3
39
Star Trek
Mark Stoeckinger and Alan Rankin
4
2
3
4
5
4
3
3
4
5
4
3
4
4
32
Up
Michael Silvers and Tom Myers
5
3
4
5
4
5
5
5
5
4
5
5
5
5
19
Pete Hammond and Greg Ellwood moved Avatar to number one.
.
………………………………………
x
Star Trek
Barney Burman, Mindy Hall and Joel Harlow
2
1
1
1
2
1
1
1
1
1
1
3
1
1
2
70
The Young Victoria
Jon Henry Gordon and Jenny Shircore
1
3
2
2
1
2
2
2
3
2
2
1
2
2
1
62
Il Divo
Aldo Signoretti and Vittorio Sodano
3
2
3
3
3
3
3
3
2
3
3
2
3
3
3
48
* Anne Thompson moved Star Trek to #1.
………………………………………
x
Avatar
Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
1
1
1
1
2
1
1
1
2
2
1
2
2
1
2
69
The Hurt Locker
Paul N.J. Ottosson and Ray Beckett
2
2
2
2
1
2
2
2
1
1
2
1
1
2
1
66
Inglourious Basterds
Michael Minkler, Tony Lamberti and Mark Ulano
4
4
4
3
3
3
4
4
3
3
3
3
3
4
3
39
Star Trek
Anna Behlmer, Andy Nelson, Peter J. Devlin
3
3
3
4
5
4
3
3
4
5
4
4
5
4
30
Transformers: Revenge of the Fallen
Greg P. Russell, Gary Summers and Geoffrey Patterson
5
5
5
5
4
5
5
5
5
4
5
5
3
5
18
* Anne Thompson moved The Hurt Locker from #5 to #2, Transformers from #2 to #3, and Star Trek from #3 to #5
………………………………………
x
Avatar
Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
District 9
Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
3
2
2
3
2
2
3
3
3
2
2
2
3
2
50
Star Trek
Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton
2
3
3
2
3
3
2
2
2
3
3
3
2
3
48

NOTE: Changes from last week are marked in bold.

The Gurus

Scott Bowles
…… USA Today
Anthony Breznican
…… USA Today
Greg Ellwood
——–HitFix
Pete Hammond
…… LAT Envelope
Eugene Hernandez
…… indieWIRE
Peter Howell
…… The Toronto Star
Dave Karger
…… Entertainment Weekly
Mark Olsen
…….LA Times


David Poland
…… MCN
Steve Pond
…… The Wrap
Sasha Stone
…… AwardsDaily.com
Sean Smith
…… Entertainment Weekly
Kris Tapley
…… In Contention
Anne Thompson
…… Thompson On Hollywood
Susan Wloszczyna
…… USA Today

February 25

Thursday, February 25th, 2010
……….……………………………
x
1
The Hurt Locker
1
3
1
1
1
1
1
1
2
1
2
1
1
1
1
146
2
Avatar
2
1
2
2
2
2
2
2
1
2
1
2
3
2
2
137
3
Inglourious Basterds
4
5
3
3
3
3
3
3
6
3
3
3
4
3
3
113
4
Up in the Air
3
2
4
4
5
4
5
4
4
4
5
5
2
4
4
106
5
Precious: Based on the Novel “Push” by Sapphire
5
4
5
5
6
6
4
5
5
8
4
4
7
5
5
87
6
Up
6
7
7
6
9
5
7
6
7
5
7
6
5
10
7
65
7
An Education
7
6
6
8
8
8
6
7
8
7
6
7
6
6
8
61
8
The Blind Side
9
10
10
7
4
7
9
10
3
6
10
10
8
7
6
49
9
District 9
8
9
8
9
10
9
8
8
10
9
8
9
9
9
9
33
10
A Serious Man
10
8
9
10
7
10
10
9
9
10
9
8
10
8
10
28

……….……………………………
x
1
Kathryn Bigelow
The Hurt Locker
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
James Cameron
Avatar
3
2
2
2
2
2
2
2
2
2
2
2
2
2
2
59
3
Quentin Tarantino
Inglourious Basterds
2
4
3
3
3
3
3
3
4
3
3
3
3
3
3
44
4
Jason Reitman
Up in the Air
4
3
5
5
5
4
4
4
3
4
5
5
4
4
4
27
5
Lee Daniels
Precious: Based on the Novel “Push” by Sapphire
5
5
4
4
4
5
5
5
5
5
4
4
5
5
5
20
………………………………………..
x
1
Jeff Bridges
Crazy Heart
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
Jeremy Renner
The Hurt Locker
2
2
5
4
2
5
2
2
2
2
2
2
2
2
3
51
3
George Clooney
Up in the Air
4
3
2
3
3
2
4
3
3
4
4
3
3
3
2
44
4
Colin Firth
A Single Man
3
4
3
2
4
4
3
4
4
3
3
4
4
4
4
37
5
Morgan Freeman
Invictus
5
5
4
5
5
3
5
5
5
5
5
5
5
5
5
18
……………………………………….
x
1
Sandra Bullock
The Blind Side
1
1
1
1
1
1
1
1
1
2
2
1
1
1
1
73
2
Meryl Streep
Julie and Julia
3
2
2
3
2
2
2
2
2
1
1
3
2
2
2
59
3
Carey Mulligan
An Education
4
4
3
2
4
4
3
3
4
3
3
4
3
3
3
40
4
Gabourey Sidibe
Precious: Based on the Novel ‘Push’ by Sapphire
2
3
4
4
3
3
4
4
5
4
4
2
4
4
4
36
5
Helen Mirren
The Last Station
5
5
5
5
5
5
5
5
3
5
5
5
5
5
5
17
………………………………………
x
1
Mo’Nique
Precious: Based on the Novel “Push” by Sapphire
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
Maggie Gyllenhaal
Crazy Heart
3
4
4
4
2
5
2
3
3
4
2
2
2
2
3
45
3
Anna Kendrick
Up in the Air
4
2
2
2
5
3
3
2
4
2
3
4
3
2
43
4
Vera Farmiga
Up in the Air
2
3
3
3
4
4
4
4
2
3
4
3
4
4
37
5
Penelope Cruz
Nine
5
5
5
5
3
2
5
5
5
5
5
5
5
5
19
…………………………………….
x
1
Christoph Waltz
Inglourious Basterds
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
2
Woody Harrelson
The Messenger
3
2
2
3
3
4
2
2
4
2
2
2
3
2
3
51
3
Christopher Plummer
The Last Station
4
5
4
2
2
2
4
4
2
3
3
2
3
4
40
4
Stanely Tucci
The Lovely Bones
2
4
5
5
4
3
3
3
3
4
5
4
4
2
33
5
Matt Damon
Invictus
5
3
3
4
5
5
5
5
5
5
4
5
5
5
20
……..……………………………..
x
1
The Hurt Locker
1
2
1
2
2
1
1
2
1
1
1
1
1
2
2
69
2
Inglourious Basterds
2
1
2
1
1
2
2
1
2
2
2
2
2
1
1
66
3
Up
3
5
3
3
4
5
3
3
5
3
3
3
3
3
4
37
4
A Serious Man
5
4
4
4
3
4
4
5
3
4
5
5
4
3
27
5
The Messenger
4
3
5
5
5
3
5
4
4
5
4
4
5
5
23
………………………………………
x
1
Up in the Air
1
1
1
1
1
1
1
1
1
1
3
1
1
1
1
73
2
Precious: Based on the Novel “Push” by Sapphire
2
2
4
2
2
2
2
3
4
2
2
3
2
3
4
51
3
An Education
3
3
5
3
4
4
3
2
2
3
1
5
3
2
2
45
4
In the Loop
4
4
2
4
3
5
4
4
3
4
5
2
5
5
5
31
5
District 9
5
5
3
5
5
3
5
5
5
5
4
4
4
4
3
25
……….……………………………
x
The White Ribbon
Germany
1
1
1
3
3
1
2
1
2
2
1
2
2
2
1
61
Un Prophete
France
2
2
3
2
4
2
3
2
1
3
2
1
3
3
2
55
El Secreto de Sus Ojos
Argentina
4
4
2
1
1
3
1
3
3
1
4
1
1
4
51
Ajami
Israel
3
5
4
4
2
4
5
4
4
4
3
4
4
3
31
The Milk of Sorrow
Peru
5
3
5
5
5
5
4
5
5
5
5
5
5
5
17
……….……………………………
x
The Cove
Nominees TBD
1
1
1
1
3
1
1
1
1
1
1
1
1
1
1
73
Food, Inc
Robert Kenner, Elise Pearlstein
2
2
3
2
2
2
2
2
2
2
2
2
2
3
2
58
Most Dangerous Man in America: Daniel Ellsberg & the Pentagon Papers
Judith Ehrlich, Rick Goldsmith
3
4
2
4
1
3
3
5
3
5
3
5
4
3
36
Which Way Home
Rebecca Cammisa
5
5
5
5
5
5
4
3
4
4
4
3
3
2
5
28
Burma VJ
Anders Østergaard , Lise Lense-Møller
4
3
4
3
4
4
5
4
5
3
5
4
5
4
27
………………………………………..
x
Up
Pete Docter
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
Fantastic Mr. Fox
Wes Anderson
2
3
3
2
2
2
2
2
3
2
3
2
2
3
3
51
Coraline
Henry Selick
4
2
2
3
3
3
3
3
2
3
2
4
2
2
46
The Princess and the Frog
John Musker and Ron Clements
3
4
4
4
5
4
4
4
4
4
5
3
4
4
28
The Secret of Kells
Tomm Moore
5
5
5
5
4
5
5
5
5
5
4
5
5
5
16
……………………………………….
x
Avatar
Art Direction: Rick Carter and Robert Stromberg Set Decoration: Kim Sinclair
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
74
Sherlock Holmes
Art Direction: Sarah Greenwood Set Decoration: Katie Spencer
3
4
4
3
2
2
2
3
5
4
2
2
2
2
44
Nine
Art Direction: John Myhre Set Decoration: Gordon Sim
2
3
3
4
3
5
3
2
3
5
3
3
3
5
37
The Young Victoria
Art Direction: Patrice Vermette Set Decoration: Maggie Gray
4
5
5
2
4
3
4
4
4
3
5
2
4
4
3
34
The Imaginarium of Dr Parnassus
Art Direction: Dave Warren and Anastasia Masaro Set Decoration: Caroline Smith
5
1
2
5
5
4
5
5
2
2
4
5
5
4
30
………………………………………
x
Avatar
Mauro Fiore
1
1
2
3
2
1
2
1
1
2
1
1
1
1
1
69
The Hurt Locker
Barry Ackroyd
2
3
1
1
1
2
1
2
2
1
2
2
4
3
2
61
Inglourious Basterds
Robert Richardson
3
4
3
2
4
4
3
3
3
3
3
3
2
2
3
45
The White Ribbon
Christian Berger
5
2
5
4
3
3
4
4
4
4
4
4
3
4
5
32
Harry Potter & the Half-Blood Prince
Bruno Delbonnel
4
5
4
5
5
5
5
5
5
5
5
5
5
4
17
…………………………………….
x
The Young Victoria
Sandy Powell
1
4
1
1
3
1
1
1
4
1
1
1
1
1
1
67
Bright Star
Janet Patterson
4
2
3
4
2
2
2
2
5
2
5
3
3
3
3
45
Nine
Colleen Atwood
2
5
2
3
1
5
3
4
1
5
2
2
2
2
45
Coco Before Chanel
Catherine Leterrier
3
1
4
2
4
3
5
3
3
4
3
2
4
5
4
40
The Imaginarium of Dr Parnassus
Monique Prudhomme
5
3
5
5
5
4
4
5
2
3
4
5
4
5
25
……..……………………………..
x
The Hurt Locker
Bob Murawski and Chris Innis
2
3
1
1
1
1
1
1
1
1
2
1
1
2
2
69
Avatar
Stephen Rivkin, John Refoua and James Cameron
1
2
2
2
2
2
2
2
2
2
1
2
2
1
1
64
Inglourious Basterds
Sally Menke
3
4
4
3
3
4
3
3
3
3
3
3
3
3
3
42
District 9
Julian Clarke
4
1
3
4
4
3
4
5
4
5
5
4
4
4
30
Precious
Joe Klotz
5
5
5
5
5
5
5
4
5
4
4
5
5
5
17
………………………………………
x
Up
Michael Giacchino
1
1
1
1
1
3
1
1
1
1
3
1
1
1
4
68
Avatar
James Horner
3
2
2
2
2
1
3
2
2
2
1
2
2
3
1
60
The Hurt Locker
Marco Beltrami and Buck Sanders
2
4
5
5
3
2
2
5
3
3
2
3
3
5
2
41
Fantastic Mr. Fox
Alexandre Desplat
3
3
4
4
4
4
4
5
5
4
4
4
4
5
27
Sherlock Holmes
Hans Zimmer
5
4
3
5
5
5
3
4
4
5
5
2
3
25
………………………………………
x
“The Weary Kind (Theme from Crazy Heart)
Crazy Heart
Music and Lyric by Ryan Bingham and T Bone Burnett
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
“Down in New Orleans”
The Princess and the Frog
Music and Lyric by Randy Newman
2
4
3
2
5
2
4
4
3
2
2
2
3
2
3
47
Take it All”
Nine
Music and Lyric by Maury Yeston
3
2
4
4
2
4
2
2
2
4
5
2
3
4
41
“Almost There”
The Princess and the Frog
Music and Lyric by Randy Newman
4
3
2
3
4
3
3
3
4
3
3
4
4
2
39
“Loin de Paname”
Paris 36
Music by Reinhardt Wagner Lyric by Frank Thomas
5
5
5
5
2
5
5
5
5
5
4
5
5
5
18
………………………………………
x
Avatar
Christopher Boyes and Gwendolyn Yates Whittle
1
1
2
2
2
1
1
1
2
1
1
1
1
1
2
70
The Hurt Locker
Paul N.J. Ottoson
2
4
1
1
1
2
2
2
1
2
2
3
2
2
1
62
Inglourious Basterds
Wylie Stateman
3
5
5
3
3
3
4
4
3
3
3
2
4
3
3
39
Star Trek
Mark Stoeckinger and Alan Rankin
4
2
3
4
5
4
3
3
4
5
4
3
4
4
32
Up
Michael Silvers and Tom Myers
5
3
4
5
4
5
5
5
5
4
5
5
5
5
19
………………………………………
x
Star Trek
Barney Burman, Mindy Hall and Joel Harlow
2
1
1
1
2
1
1
1
1
1
1
3
1
2
2
69
The Young Victoria
Jon Henry Gordon and Jenny Shircore
1
3
2
2
1
2
2
2
3
2
2
1
2
1
1
63
Il Divo
Aldo Signoretti and Vittorio Sodano
3
2
3
3
3
3
3
3
2
3
3
2
3
3
3
48
………………………………………
x
Avatar
Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
1
1
1
1
2
1
1
1
2
2
1
2
2
1
2
69
The Hurt Locker
Paul N.J. Ottosson and Ray Beckett
2
2
2
2
1
2
2
2
1
1
2
1
1
5
1
63
Inglourious Basterds
Michael Minkler, Tony Lamberti and Mark Ulano
4
4
4
3
3
3
4
4
3
3
3
3
3
4
3
39
Star Trek
Anna Behlmer, Andy Nelson, Peter J. Devlin
3
3
3
4
5
4
3
3
4
5
4
4
3
4
32
Transformers: Revenge of the Fallen
Greg P. Russell, Gary Summers and Geoffrey Patterson
5
5
5
5
4
5
5
5
5
4
5
5
2
5
19
………………………………………
x
Avatar
Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
75
District 9
Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
3
2
2
3
2
2
3
3
3
2
2
2
3
2
50
Star Trek
Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton
2
3
3
2
3
3
2
2
2
3
3
3
2
3
48

The Gurus

Scott Bowles
…… USA Today
Anthony Breznican
…… USA Today
Greg Ellwood
——–HitFix
Pete Hammond
…… LAT Envelope
Eugene Hernandez
…… indieWIRE
Peter Howell
…… The Toronto Star
Dave Karger
…… Entertainment Weekly
Mark Olsen
…….LA Times

David Poland
…… MCN
Steve Pond
…… The Wrap
Sasha Stone
…… AwardsDaily.com
Sean Smith
…… Entertainment Weekly
Kris Tapley
…… In Contention
Anne Thompson
…… Thompson On Hollywood
Susan Wloszczyna
…… USA Today

February 11

Thursday, February 11th, 2010

Has anything changed in your
opinion since nominations?
If so, what?
Scott Bowles Nope
Anthony Breznican I don’t think much has changed. Jeff Bridges wins. Sandra Bullock wins. Christoph Waltz. Mo’Nique. Best picture — Avatar? Probably. But looking at the formula for calculating the 10 votes to include second and third choices makes me wonder how solid that is. Does that potentially benefit The Hurt Locker? Dark-horse Up in the Air? Invictus? (Wait, nevermind …) Probably Bigelow for director. Avatar for picture. Up in the Air gets adapted screenplay for Reitman, while Inglourious Basterds wins original screenplay for Tarantino. And overall, the Academy spreads the wealth during a very strong year.
Gregory Ellwood I think the only thing that has changed – ever so slightly – is that people would actually be surprised of Streep won Best Actress. It’s pretty much expected that Bullock will win.
Pete Hammond I think the Best Picture race is appearing more fluid because of the uncertainty of how the preferential balloting will affect certain films. Still no matter how many times I come up with an alternative premise that tries to make the race interesting and suspenseful I then talk to a handful of Oscar voters who tell me they are voting for The Hurt Locker. Go figure. No other changes in the acting races. They appear locked as far as I can see although the actress race has gotten more aggressive but will it help? We’ll see. It’s Bullock’s to lose at this point.
Eugene Hernandez In the wake of her DGA win and continued momentum for The Hurt Locker, Kathryn Bigelow seems to be solidly on track for the directing Oscar. Meanwhile Jeff Bridges, Christoph Waltz and Mo’Nique appear headed for wins, as well. I think Sandra Bullock is well positioned, but keep an eye on Meryl Streep. At this stage, is anyone willing to consider a surprise in this category: Gabourey Sidibe or Carey Mulligan. Not out of the question. Also, I’m keeping an eye on the doc category. Food Inc. seems solid, but The Cove got a boost this week with news of a release in Japan. Don’t count out Daniel Ellsberg, which is a strong film. Finally, best picture: In any other year I’d predict The Hurt Locker at this moment, but given the new ballot with ten nominees… We’ll all be holding our breath down to the final award of the night. Just what the Academy ordered.
Peter Howell I don’t think anything has changed, apart from firming up of the top prospects. I’ve talked to lot of people who are FINALLY going to see The Hurt Locker as result of the noms — which is good.
Dave Karger No, we’re definitely in a lull right now…
Mark Olsen
Nothing has changed, things have just solidified/been confirmed. It’s kind of the scourge of the extended awards season and our microscopic coverage, that we take much of the surprise out of it both for ourselves and anyone else who actually follows along. Of course, if things weren’t quite so predictable/understandable we’d all be out of business, so…
David Poland Well, there’s a lot of talk. Seems to me that the thing that has changed is that viewers of The Hurt Locker in The Academy has probably jumped from 40% to 90%. That’s a huge win.
Steve Pond What’s changed is that we’re looking for things to write about, and there aren’t as many of those things as there were a week ago.

Movement in the races, momentum shifts, that kind of thing? Not so much.

Sean Smith
Sasha Stone What has changed is that we are entering the second phase of the Oscar race. Not many people seem to notice that there was a date extension, which means that there are a few weeks with ballots outstanding. This is very different from the past several years when there wasn’t any time to mull over the frontrunners. That means there will be more careful consideration of the contenders.

Avatar has been seriously hurt by not winning the DGA or the PGA, or having any SAG nominations — heading into the Oscar race with no acting nor writing nominations means that it is weakest at the heart of the voting academy, where actors kind of rule. This change took place, it feels like, because of the momentum put forth by Cameron’s winning the Golden Globe. Voters after that in the various races seemed to go, “hold on a minute, THAT is the best film of 2009?” At the same time, though Avatar has become the highest earner, the week that ballots went out its position dipped to one behind Dear John. Had it remained in a dominant spot throughout these next few weeks it still might have been enough.What has changed, though, ultimately, is not a question we can answer because none of us have ever been through a ten-picture race. What is exciting is that anything is possible and no one should be surprised if a film not expected to win turns up in the number one spot, like Up or Precious, or even Inglourious Basterds. For me the miracle of this race, the truly surprising thing about it so far, is how well a small film written off by almost everyone (one that continues to be written off) keeps winning despite its box office returns. On the one hand, this could be seen as an anti-Cameron vote, on the other hand, wow.

The Oscar race is usually about the team who played it best. But this year it feels like it’s actually about the movie. That means that, perhaps, Hollywood might not be ready just yet to give up their nuts and bolts filmmaking and embrace the brave new world of computer-generated worlds and emotion-capture actors. On the other hand, maybe they are.

Kris Tapley Immediately after the Oscar nominations were announced, journalists in the broader media began to dig into the red meat of ” Avatar vs. The Hurt Locker” and all the nifty headlines it conjured.  But at least in fringe corners of the web — where this nonsense is a focus (raises hand) — an awareness of the Best Picture category’s use of the preferential ballot has begun to pick up steam.  This is, after all, one more change in protocol that could have as big an impact as “the 10.”  Suddenly Avatar is understood as a more polarizing film than its competition, and therefore weak to surprise attacks from consensus favorites like Up, Up in the Air or even Inglourious Basterds.  That The Hurt Locker rarely inspires active disapproval probably makes the slow realization moot, but the simple fact that the race can’t be boiled to two contenders is at least making the rounds.
Anne Thompson It’s hard to imagine anything dive-bombing Christoph Waltz and Mo’Nique’s Oscar chances. Sandra Bullock is not a lock to beat Meryl Streep. Many older Academy members are rooting for Hollywood’s most-nominated actress, who hasn’t won an Oscar since 1983’s Sophie’s Choice. And The Hurt Locker‘s Jeremy Renner, who actually played the piano and sang on The View, is challenging veteran Jeff Bridges, whose singing in Crazy Heart not only makes the movie, but should win him his first Oscar. Does Renner have a shot? Most folks didn’t call Adrien Brody’s win for The Pianist. But it’s Bridges’ turn.As for best picture and director, it’s Avatar vs. The Hurt Locker all the way. The trick is to convince people that Avatar isn’t just a great technological achievement but a movie to be taken seriously. That’s why I wonder: if Academy members vote for The Hurt Locker for best picture, wouldn’t they consider giving Cameron best director? Who else could have accomplished what he did on Avatar? It’s a director’s achievement. If it’s a popularity contest, self-effacing Bigelow wins against her egoistic ex-mate. But the Academy didn’t “like” Cameron last time, when Titanic won 11 Oscars. The major difference: Oscar voters took historic romantic period epic Titanic more seriously than tree-hugging sci-fi Avatar.
Susan Wloszczyna The excitement over Avatar and its record box office has subsided, Cameron gave a couple just-OK acceptance speeches and now it looks as if The Hurt Locker and — given the weighted voting — Inglourious Basterds might have a better chance at winning best picture. That surprises me since I would think Hollywood would celebrate the green the blue people brought in and how Cameron proved that 3D is not just a gimmick. Up in the Air seems to be deflating by the minute whereas Precious is taking its op-ed blows pretty well. As much as I am behind Team Bigelow, part of me would love to see a sci-fi film actually win the top prize.

Scott Bowles
…… USA Today
Anthony Breznican
…… USA Today
Greg Ellwood
——–HitFix
Pete Hammond
…… LAT Envelope
Eugene Hernandez
…… indieWIRE
Peter Howell
…… The Toronto Star
Dave Karger
…… Entertainment Weekly
Mark Olsen
…….LA Times


David Poland
…… MCN
Steve Pond
…… The Wrap
Sasha Stone
…… AwardsDaily.com
Sean Smith
…… Entertainment Weekly
Kris Tapley
…… In Contention
Anne Thompson
…… Thompson On Hollywood
Susan Wloszczyna
…… USA Today

February 2

Tuesday, February 2nd, 2010
……….……………………………
x
1
The Hurt Locker
3
1
1
1
2
1
2
2
1
3
1
1
1
2
142
2
Avatar
1
2
2
2
1
2
1
1
2
2
2
4
2
1
129
3
Inglourious Basterds
4
3
4
4
3
5
3
4
3
1
3
3
4
4
106
4
Up in the Air
2
4
3
6
5
3
5
5
4
5
4
2
3
3
100
5
Precious: Based on the Novel “Push” by Sapphire
6
5
5
5
4
4
4
9
8
4
5
6
5
5
79
6
Up
7
7
6
10
6
8
7
6
5
9
7
8
6
8
54
7
An Education
9
6
9
9
8
7
6
7
7
8
8
5
8
7
50
8
The Blind Side
8
8
7
3
7
9
8
3
6
10
10
7
9
6
52
9
District 9
5
9
8
8
9
6
9
8
9
6
6
9
7
9
46
10
A Serious Man
10
10
10
7
10
10
10
10
10
7
9
10
10
10
21

……….……………………………
x
1
Kathryn Bigelow
The Hurt Locker
1
1
1
1
1
1
1
1
1
1
1
1
2
1
69
2
James Cameron
Avatar
3
2
2
2
2
2
2
2
2
2
2
2
1
2
56
3
Quentin Tarantino
Inglourious Basterds
4
3
3
3
3
3
3
3
3
3
3
4
3
4
38
4
Jason Reitman
Up in the Air

2
5
4
5
4
4
4
4
4
5
4
3
4
3
29
5
Lee Daniels
Precious: Based on the Novel “Push” by Sapphire
5
4
5
4
5
5
5
5
5
4
5
5
5
5
17

………………………………………..
x
1
Jeff Bridges
Crazy Heart
1
1
1
1
1
1
1
1
1
1
1
1
1
1
70
2
George Clooney
Up in the Air
2
2
2
2
2
3
2
3
2
3
4
3
2
2
47
3
Jeremy Renner
The Hurt Locker
3
5
4
3
5
2
4
2
3
2
2
2
4
3
40
4
Colin Firth
A Single Man
4
3
3
4
4
4
3
4
4
4
3
5
3
4
32
5
Morgan Freeman
Invictus
5
4
5
5
3
5
5
5
5
5
5
4
5
5
18
……………………………………….
x
1
Sandra Bullock
The Blind Side
1
1
1
1
1
1
1
1
2
2
1
1
1
1
68
2
Meryl Streep
Julie and Julia
2
2
2
2
2
2
2
2
1
1
2
2
2
2
58
3
Carey Mulligan
An Education
4
4
4
5
4
3
3
4
3
4
4
3
3
4
32
4
Gabourey Sidibe
Precious: Based on the Novel ‘Push’ by Sapphire
3
5
3
4
3
4
4
5
4
3
3
4
4
3
32
5
Helen Mirren
The Last Station
5
3
5
3
5
5
5
3
5
5
5
5
5
5
20
………………………………………
x
1
Mo’Nique
Precious: Based on the Novel “Push” by Sapphire
1
1
1
1
1
1
1
1
1
1
1
1
1
1
70
2
Anna Kendrick
Up in the Air
2
2
2
3
3
2
2
4
2
3
2
2
4
2
49
3
Vera Farmiga
Up in the Air
3
3
3
4
4
4
4
2
3
4
3
5
3
3
35
4
Maggie Gyllenhaal
Crazy Heart
4
4
4
2
5
3
3
5
4
2
4
3
2
4
35
5
Penelope Cruz
Nine

5
5
5
5
2
5
5
3
5
5
5
4
5
5
21
…………………………………….
x
1
Christoph Waltz
Inglourious Basterds
1
1
1
1
1
1
1
1
1
1
1
1
1
70
2
Woody Harrelson
The Messenger
3
2
2
3
4
2
2
4
3
2
3
3
3
3
45
3
Stanely Tucci
The Lovely Bones
2
5
4
4
3
3
4
3
4
4
2
4
2
2
38
4
Christopher Plummer
The Last Station
4
4
3
2
2
4
5
2
2
5
5
2
4
4
36
5
Matt Damon
Invictus
5
3
5

5

1
5
5
3
5
5
3
4
5
5
5
21
……..……………………………..
x
1
The Hurt Locker
2
1
2
2
1
1
2
1
1
2
2
1
2
2
62
2
Inglourious Basterds
1
3
1
1
2
2
1
2
2
1
1
4
1
1
61
3
Up
3
2
3
4
5
3
3
5
3
4
5
2
3
4
35
4
The Messenger
4
4
5
5
3
4
4
4
5
5
3
3
5
5
25
5
A Serious Man
5
5
4
3
4
5
5
3
4
3
4
5
4
3
27
………………………………………
x
1
Up in the Air
1
1
1
1
2
1
1
1
1
2
1
1
1
2
67
2
Precious: Based on the Novel “Push” by Sapphire
3
5
2
2
1
2
3
4
3
1
2
3
4
2
47
3
An Education
4
3
4
3
4
4
2
2
2
3
5
2
3
4
39
4
District 9
2
4
3
5
3
3
5
5
4
4
4
4
2
5
31
5
In the Loop
5
2
5
4
5
5
4
3
5
5
3
5
5
3
25
……….……………………………
x
The White Ribbon
Germany
1
1
2
1
1
1
1
2
1
1
1
2
1
1
43
Un Prophete
France
2
2
3
2
2