Oscar 2015

[[F*U*S*A*|KåMµ§]]

O filme argentino entrou.
Dei mole de não ter ido ver.
Mas li tanta coisa contrária que preferi ir ver Gone Girl.

 

[Quickbeam]

As apostas em geral são em Ida levar melhor filme estrangeiro.

** Posts duplicados combinados **

Eu não apreciei muito mas não desgostei também.
Vamos ver se lembro.

SPOILERS

Spoiler

Se recordo bem, me incomodou 2 pontos.
Primeiro foi a quebra de estilo do filme, principalmente na primeira metade. Eu até depois li no IMDb a explicação dessa mudança, mas continuei achando não justificado. Falo do filme inteiro ser feito muito cuidadosamente com escolha de cenário, trilha de fundo (muitas vezes sem), iluminação, etc. Tudo para dar um ar mais de simbologia do que "mundo real" a narrativa. Mas o filme era constantemente cortado pelas cenas da Scarlett indo catar os homens na rua num estilo de filmagem que eu não entendia no início se era pra simular um documentário ou se era para parecer meio amador por algum motivo específico. Com vazamento de sons no fundo, câmera estática.
Como disse, depois li no IMDb que as cenas foram assim porque de fato era uma câmera escondida com a Scarlett realmente chamando homens não-atores pro carro. Mas, como disse também, pareceu meio gimmick, não achei propósito pra isso já que ia de encontro com todo o estilo que o filme queria passar.
Segundo que achei que ele explicitava um pouco demais o ponto que queria passar ao colocar tantas cenas com espelhos (e uma simulação no final em que o ser alien olha para seu próprio rosto falso), com os olhos e a mensagem da superficialidade das relações.

Mas não achei ruim.
Adorei a ambientação do filme. Como ele se inicia num tom bem escuro da noite em que ela busca suas vítimas, com câmeras mais em close sobre ela e os demais personagens, pra depois clarear e abrir quando ela passa a vislumbrar o mundo em outra ótica.
A construção da personagem da Scarlett também é impecável. O rapaz com a deficiência física encanta na sua fragilidade.
E diferente da primeira metade do filme, considerei a segunda metade impecável com a personagem da Scarlett se descobrindo e se humanizando. Apesar de no final padecer na sua forma verdadeira.

Andei pensando no que você disse:

Spoiler

1º ponto: Acho que essa quebra de estilo foi feita para acentuar o clima de desconforto, principalmente nessa primeira metade do filme. Nas cenas de "caça", Scarlett não só parece humana, mas age como tal, dando um ar mundano àquelas cenas, o que é reforçado pelo tom documental que o diretor escolheu para filmá-las. A partir do momento em que não é mais observada por humanos, Scarlett se fecha completamente, e as cenas dentro daquela casa reforçam o clima alienígena que a envolve. Pelo menos para mim, isso funcionou perfeitamente, o embate entre esses dois pólos: o calor e a naturalidade das cenas entre Scarlett e os homens e o clima estéril e frio do modo como os alienígenas nos observam.

2º ponto: Precisaria reassistir o filme para prestar mais atenção aos espelhos, mas aquela cena com Scarlett nua se analisando em frente ao espelho é interessante porque, para os alienígenas, apenas nossa carne parece ser importante, a pele é descartada no processo, mas ela parece estar tentando entender o que há no exterior dela que atrai tanto os homens e isso também parece aumentar a angústia que ela crescentemente sente, ligada a esse divórcio entre quem ela é e como ela é vista.

Pesquisando na net, encontrei notas de produção revelando algumas das intenções do diretor e elas parecem confirmar o que eu suspeitava. Segundo o produtor James Wilson:

In essence, the film is a delirious meeting of two very different worlds: the mundane and the fantastical, both presented with a commitment to their respective realities. Says Wilson, “Genuinely, my feeling about the film – being as objective as I can be – is that it is a very distinctive film in the true sense of the word: distinctive in terms of the feeling of the film, the personality of it. The worlds that it moves through, from the intensely naturalistic and almost documentary-like observation of our world to the completely heightened, nightmarish hallucinogenic world of the alien – the butting of these two tectonic plates – that's something
I don’t feel I’ve ever seen before.”
​

Sobre a jornada da personagem de Scarlett:

From the moment we first meet the girl, there are a series of incidents that transform her from a remorseless predator to a creature with a more advanced self-awareness. (...)

A scene that underlines the character's default inhumanity finds the girl walking on a beach and witnessing a dramatic scene of self-sacrifice. “We were looking for a way to demonstrate her non-humanness,” says Glazer, “a way to show the distance between us and them. (...)

Soon, however, the girl's journey forces her to question her mission and even her own identity. (...)

Glazer was emphatic about this. “The change in Scarlett’s character was never something I felt should happen in a single moment,” he says. “It didn’t feel like it should be an epiphany. It felt very much like it had to be a drift, and it had to be something that happened to her by osmosis. (...)

An important part in this process is a scene in which the girl is walking along Trongate, a busy Glasgow street, and trips up. (...)

Says Glazer, “It made sense to me that it would be really good if she was to fall over, to have her be strident and certain, confident – everything we’ve seen her be up until that point in the film – and then see her miscalculate. (...)

The end of the hidden camera section is signalled by an encounter the girl has with one of her victims, played by a non-professional with a facial disfigurement. Says Glazer, “The point was to reinforce the idea that she doesn't see what we see. She's not interested in what we're interested in. She doesn't define him by his appearance, and he warms to her for that reason. (...)

At this point, something approximating empathy emerges in the girl, and she begins to diverge from her mission. At the same time, the film also changes pace. “That was intentional,” says Glazer. “If we were going to be travelling alongside her throughout, I felt it was important to get to a point where you could forget the first half of the story. You could forget where she's come from. You could forget what she's done.” (...)
​

Há um comentário interessante sobre o design de som, que também foi concebido para sinalizar essa mudança gradual na personagem de Scarlett:

Glazer credits sound designer Johnnie Burn with adding an auditory level to the girl's sensory experiences. “Johnnie used all the bits of sound that a sound editor would throw in the bin,” he says. “They'd usually look for the cleanest take. But it wasn't like that at all for us. It was about finding the textures and noises, the variety of sounds that were bombarding her. We needed you to feel that her change, this drift, was happening by osmosis. She was becoming porous, almost, and these sounds were getting into her. We are changed by our experiences, and those experiences define us, so her story needed to be an accelerated version of ours, in that sense.”
​

 

[[F*U*S*A*|KåMµ§]]

As apostas em geral são em Ida levar melhor filme estrangeiro.

** Posts duplicados combinados **

Andei pensando no que você disse:

Spoiler

1º ponto: Acho que essa quebra de estilo foi feita para acentuar o clima de desconforto, principalmente nessa primeira metade do filme. Nas cenas de "caça", Scarlett não só parece humana, mas age como tal, dando um ar mundano àquelas cenas, o que é reforçado pelo tom documental que o diretor escolheu para filmá-las. A partir do momento em que não é mais observada por humanos, Scarlett se fecha completamente, e as cenas dentro daquela casa reforçam o clima alienígena que a envolve. Pelo menos para mim, isso funcionou perfeitamente, o embate entre esses dois pólos: o calor e a naturalidade das cenas entre Scarlett e os homens e o clima estéril e frio do modo como os alienígenas nos observam.

2º ponto: Precisaria reassistir o filme para prestar mais atenção aos espelhos, mas aquela cena com Scarlett nua se analisando em frente ao espelho é interessante porque, para os alienígenas, apenas nossa carne parece ser importante, a pele é descartada no processo, mas ela parece estar tentando entender o que há no exterior dela que atrai tanto os homens e isso também parece aumentar a angústia que ela crescentemente sente, ligada a esse divórcio entre quem ela é e como ela é vista.

Pesquisando na net, encontrei notas de produção revelando algumas das intenções do diretor e elas parecem confirmar o que eu suspeitava. Segundo o produtor James Wilson:

In essence, the film is a delirious meeting of two very different worlds: the mundane and the fantastical, both presented with a commitment to their respective realities. Says Wilson, “Genuinely, my feeling about the film – being as objective as I can be – is that it is a very distinctive film in the true sense of the word: distinctive in terms of the feeling of the film, the personality of it. The worlds that it moves through, from the intensely naturalistic and almost documentary-like observation of our world to the completely heightened, nightmarish hallucinogenic world of the alien – the butting of these two tectonic plates – that's something
I don’t feel I’ve ever seen before.”
​

Sobre a jornada da personagem de Scarlett:

From the moment we first meet the girl, there are a series of incidents that transform her from a remorseless predator to a creature with a more advanced self-awareness. (...)

A scene that underlines the character's default inhumanity finds the girl walking on a beach and witnessing a dramatic scene of self-sacrifice. “We were looking for a way to demonstrate her non-humanness,” says Glazer, “a way to show the distance between us and them. (...)

Soon, however, the girl's journey forces her to question her mission and even her own identity. (...)

Glazer was emphatic about this. “The change in Scarlett’s character was never something I felt should happen in a single moment,” he says. “It didn’t feel like it should be an epiphany. It felt very much like it had to be a drift, and it had to be something that happened to her by osmosis. (...)

An important part in this process is a scene in which the girl is walking along Trongate, a busy Glasgow street, and trips up. (...)

Says Glazer, “It made sense to me that it would be really good if she was to fall over, to have her be strident and certain, confident – everything we’ve seen her be up until that point in the film – and then see her miscalculate. (...)

The end of the hidden camera section is signalled by an encounter the girl has with one of her victims, played by a non-professional with a facial disfigurement. Says Glazer, “The point was to reinforce the idea that she doesn't see what we see. She's not interested in what we're interested in. She doesn't define him by his appearance, and he warms to her for that reason. (...)

At this point, something approximating empathy emerges in the girl, and she begins to diverge from her mission. At the same time, the film also changes pace. “That was intentional,” says Glazer. “If we were going to be travelling alongside her throughout, I felt it was important to get to a point where you could forget the first half of the story. You could forget where she's come from. You could forget what she's done.” (...)
​

Há um comentário interessante sobre o design de som, que também foi concebido para sinalizar essa mudança gradual na personagem de Scarlett:

Glazer credits sound designer Johnnie Burn with adding an auditory level to the girl's sensory experiences. “Johnnie used all the bits of sound that a sound editor would throw in the bin,” he says. “They'd usually look for the cleanest take. But it wasn't like that at all for us. It was about finding the textures and noises, the variety of sounds that were bombarding her. We needed you to feel that her change, this drift, was happening by osmosis. She was becoming porous, almost, and these sounds were getting into her. We are changed by our experiences, and those experiences define us, so her story needed to be an accelerated version of ours, in that sense.”
​

Spoiler

Interessante.
Foi um lado que não me atingiu, então. Talvez numa segunda assistida eu entre no clima que ele quis passar, pois na primeira assistida isso só serviu pra me arrancar do filme a cada 10 minutos.

Cada mudança dessas ele pontua com uma cena de espelho. Há uma no início, uma logo após quase matar o homem com desfiguramento, a aclamada cena nua e a cena perto do final. Ele disse que queria fazer algo mais gradativo, mas eu acho que essas inserções marcavam demais o ponto.


Enfim.
Vou ver se assisto de novo.

 

[Ana Lovejoy]

Para ir ficando de olho:

“American Sniper,” “Birdman,” “Boyhood,” “Foxcatcher,” “Gone Girl,” “Grand Budapest Hotel,” “The Imitation Game,” “Nightcrawler,” “The Theory of Everything” and “Whiplash” have been nominated for the Producers Guild of America’s Darryl F. Zanuck Award for top feature film.

The winner will be announced Jan. 24 in the PGA’s 26th annual awards ceremony at the Hyatt Regency Century Plaza. The PGA has about 6,000 members.

“Nightcrawler” was probably the biggest surprise among the 10 nominees, while “A Most Violent Year,” “Into the Woods,” “Selma,” “Unbroken” and “Wild” were among the notable exclusions.

“Gravity” and “12 Years a Slave” wound up in a dead heat last year as both won the Zanuck award — the first tie in the PGA’s 25-year history for the trophy. The PGA uses the preferential balloting system employed for the Academy of Motion Picture Arts and Sciences for the Oscars.

The PGA’s Zanuck award has become a strong indicator of Oscar sentiment in recent years, matching the Oscar for best picture in 18 of its 25 years — including the last seven, with “12 Years a Slave,” “Argo,” “The Artist,” “The King’s Speech,” “The Hurt Locker,” “Slumdog Millionaire” and “No Country for Old Men.” The PGA winner last diverged from the Oscar best picture for the 2006 award when “Little Miss Sunshine” won the Zanuck while the Academy opted for “The Departed.”

The producers branch of AMPAS constitutes about 8 percent of the AMPAS membership.

The PGA also announced “Big Hero 6,” “The Book of Life,” “The Boxtrolls,” “How To Train Your Dragon 2″ and “The Lego Movie” as nominees for the animated award. “Frozen” won the trophy last year.

Monday’s announcement included the long-form television category, which encompasses both movies of the week and mini-series, with noms going to two FX series — “American Horror Story: Freak Show” and “Fargo” — along with PBS’s pair “The Roosevelts: An Intimate History and “Sherlock.” HBO’s “The Normal Heart” scored the other nomination.

The individual producers are yet to be determined on “The Roosevelts.”

The PGA had previously announced nominations in the feature documentary, and digital and other TV categories.

http://variety.com/2015/film/news/b...among-producers-guild-nominations-1201392649/

 

[Bartleby]

Esse American Sniper tem toda cara se não de filme ganhador do Oscar de melhor filme, ao menos indicado...

 

[Ana Lovejoy]

Esse American Sniper tem toda cara se não de filme ganhador do Oscar de melhor filme, ao menos indicado...

criei tanta antipatia pela forçada de barra que estão dando com o bradley cooper (seria o quê? terceira indicação em três anos?) que nem vi o filme e já antipatizei.

 

[Ana Lovejoy]

sindicato dos roteiristas


ORIGINAL SCREENPLAY

Boyhood, Written by Richard Linklater; IFC Films

Foxcatcher, Written by E. Max Frye and Dan Futterman; Sony Pictures Classics

The Grand Budapest Hotel, Screenplay by Wes Anderson; Story by Wes Anderson & Hugo Guinness; Fox Searchlight

Nightcrawler, Written by Dan Gilroy; Open Road Films

Whiplash, Written by Damien Chazelle; Sony Pictures Classics

ADAPTED SCREENPLAY

American Sniper, Written by Jason Hall; Based on the book by Chris Kyle with Scott McEwen and Jim DeFelice; Warner Bros.

Gone Girl, Screenplay by Gillian Flynn; Based on her novel; 20th Century Fox

Guardians of the Galaxy, Written by James Gunn and Nicole Perlman; Based on the Marvel comic by Dan Abnett and Andy Lanning; Walt Disney Studios Motion Pictures

The Imitation Game, Written by Graham Moore; Based on the book Alan Turing: The Enigma by Andrew Hodges; The Weinstein Company

Wild, Screenplay by Nick Hornby; Based on the book by Cheryl Strayed; Fox Searchlight

DOCUMENTARY SCREENPLAY

Finding Vivian Maier, Written by John Maloof & Charlie Siskel; Sundance Selects

The Internet's Own Boy: The Story of Aaron Swartz, Written by Brian Knappenberger; FilmBuff

Last Days in Vietnam, Written by Mark Bailey & Kevin McAlester; American Experience Films

Red Army, Written by Gabe Polsky; Sony Pictures Classics

 

[Ana Lovejoy]

Directors Guild Nominations Announced

The Directors Guild of America has nominated Wes Anderson for “The Grand Budapest Hotel,” Clint Eastwood for “America Sniper,” Alejandro Gonzalez Inarritu for “Birdman,” Richard Linklater for “Boyhood” and Morten Tyldum for “The Imitation Game” for its feature film directing award.

The winner, based on voting by the 15,000 DGA members, will be announced Feb. 7 at the 67th DGA Awards ceremony at the Hyatt Regency Century Plaza.

Key contenders excluded included Ava DuVernay for “Selma,” David Fincher for “Gone Girl” and Christopher Nolan for “Interstellar.” The nominations for Eastwood, his fourth, and Tyldem were the biggest surprises.

It was the first nomination for Anderson, Linklater and Tyldum.

“Couldn’t be more excited to be recognized by my peers,” Tyldum said. “I am thrilled that my fellow directors gave me this honor, and to be in this group of talented artists is overwhelming. I am truly over the moon.”

Eastwood won the DGA trophy in 1992 for “Unforgiven” and in 2004 for “Million Dollar Baby,” and he was nominated in 2003 for “Mystic River.” Inarritu was nominated in 2006 for “Babel.”

Alfonso Cuaron won the DGA award and the directing Oscar last year for his high-tech space thriller “Gravity.” Ben Affleck won the won the DGA award in 2013 for “Argo”even though he did not receive an Oscar nom — becoming only the seventh DGA winner not to also receive a directing Oscar in the history of the DGA Awards.

Directors make up about 6% of the Academy of Motion Picture Arts & Sciences, which announces its nominations Thursday.

“In a year full of excellent films, DGA members have nominated a stellar group of passionate filmmakers,” said DGA president Barclay. “Inspiring and artistic, these five directors made films that left an indelible impact not only on their fellow directors and members of the director’s team, but on audiences around the world. Congratulations to all of the nominees for their terrific work.”

The DGA will announce its television and documentary nominations on Wednesday.

The full list of nominees and their teams:

WES ANDERSON

The Grand Budapest Hotel

(Fox Searchlight Pictures)



Mr. Anderson’s Directorial Team:

Unit Production Manager: Miki Emmrich
First Assistant Director: Josh Robertson
Second Assistant Director: Ben Howard
This is Mr. Anderson’s first DGA Award nomination.





CLINT EASTWOOD

American Sniper

(Warner Bros. Pictures)



Mr. Eastwood’s Directorial Team:

Unit Production Manager: Tim Moore
First Assistant Director: David M. Bernstein
Second Assistant Director: Paula Case
Second Second Assistant Director: Clark Credle
First Assistant Director (Morocco Unit): Ahmed Hatimi
Second Assistant Director (Morocco Unit): Yann Mari Faget
Second Second Assistant Directors (Morocco Unit): Andrew Madden, Khalil Zghayou
This is Mr. Eastwood’s fourth DGA Award nomination, all in this category. He won the DGA Award for Outstanding Directorial Achievement in Feature Film for Million Dollar Baby in 2004 and for Unforgiven in 1992. He was also nominated in this same category for Mystic River in 2003. Mr. Eastwood was honored with the DGA Lifetime Achievement Award for Outstanding Directorial Achievement in Feature Film in 2006.





ALEJANDRO G. IÑÁRRITU

Birdman or (The Unexpected Virtue of Ignorance)

(Fox Searchlight Pictures)



Mr. Iñárritu’s Directorial Team:

Unit Production Managers: James W. Skotchdopole, Robert Graf
First Assistant Director: Peter Kohn
Second Assistant Director: Amy Lauritsen
Second Second Assistant Director: Catherine Feeny
Location Manager: Joaquin Prange
This is Mr. Iñárritu’s third DGA Award nomination. He was previously nominated in this category for Babel in 2006. He won the DGA Award for Outstanding Directorial Achievement in Commercials for “Best Job” (Proctor and Gamble) in 2012.





RICHARD LINKLATER

Boyhood

(IFC Films)



Mr. Linklater’s Directorial Team:

Unit Production Manager: Cathleen Sutherland
First Assistant Director: Vince Palmo Jr.
Second Assistant Directors: Susana Jasso, Kathleen Tull
Second Second Assistant Directors: Mary Beth Chambers, Brian Franklin
This is Mr. Linklater’s first DGA Award nomination.





MORTEN TYLDUM

The Imitation Game

(The Weinstein Company)



Mr. Tyldum’s Directorial Team:

Production Manager: Suzie Shearer
First Assistant Director: Phil Booth
Second Assistant Director: James Manning
This is Mr. Tyldum’s first DGA Award nomination.

 

[Heberus Stormblade]

Ainda não vi nenhum destes filmes. Os que me chamam mais atenção no que diz respeito a enredo e produção é Imitation Game e Grand Hotel.

O que avaliam pra escolher melhor diretor?

 

[Fausto]

Meus palpites de quais serão indicados nas categorias principais.

FILME: Boyhood, Birdman, O Grande Hotel Budapeste, O Jogo da Imitação, A Teoria de Tudo, Whiplash, Selma, Sniper Americano, Gone Girl.
DIRETOR: Linklater, Iñárritu, Wes Anderson, Chazelle, Tyrdum.
ATRIZ: Moore, Whiterspoon, Pike, Jones, Aniston.
ATOR: Keaton, Redmayne, Cumberbatch, Gyllenhaal, Oyelowo.
ATRIZ COADJUVANTE: Arquette, Knightley, Stone, Streep, Chastain.
ATOR COADJUVANTE: Simmons, Norton, Hawke, Ruffalo, Carell.
ROTEIRO ORIGINAL: Boyhood, Birdman, O Grande Hotel Budapeste, Nightcrawler, Foxcatcher.
ROTEIRO ADAPTADO: O Jogo da Imitação, Gone Girl, Whiplash, A Teoria de Tudo, Sniper Americano.

Não assisti aos que não estrearam no Brasil ainda.

 

[Tisf]

ATOR COADJUVANTE: Simmons, Norton, Hawke, Ruffalo, Carell.

Bons palpites! E espero que Whiplash leve indicações importantes. No mais notei que você colocou o Carell como coadjuvante, CORAJOSO NO PALPITE. Ainda acho que ele entra como principal mas vamo ver

 

[Fausto]

Eu pus o Duvall, aí mudei pro Carell, agora pensando bem acho que dá Duvall mesmo, lol. Deixa "_ _ _ _ ll" ali, pronto.

 

[Quickbeam]

Meus palpites:

FILME: Boyhood, Birdman, O Grande Hotel Budapeste, Whiplash, O Abutre, Selma, O Jogo da Imitação, A Teoria de Tudo, Sniper Americano.
DIRETOR: Richard Linklater, Alejandro González Iñárritu, Wes Anderson, Ava DuVernay, David Fincher.
ATRIZ: Julianne Moore, Rosamund Pike, Reese Witherspoon, Felicity Jones, Marion Cotillard.
ATOR: Michael Keaton, Eddie Redmayne, Benedict Cumberbatch, David Oyelowo, Jake Gyllenhaal.
ATRIZ COADJUVANTE: Patricia Arquette, Emma Stone, Keira Knightley, Jessica Chastain, Meryl Streep.
ATOR COADJUVANTE: J. K. Simmons, Edward Norton, Ethan Hawke, Mark Ruffalo, Robert Duvall.
ROTEIRO ORIGINAL: Boyhood, Birdman, O Grande Hotel Budapeste, Nightcrawler, Selma.
ROTEIRO ADAPTADO: Whiplash, O Jogo da Imitação, Garota Exemplar, A Teoria de Tudo, Livre.

 

[Bartleby]

vai começar agora o anúncio dos nomeados ao vivo

** Posts duplicados combinados **

cabou de começar

na verdade só liberaram o vídeo... vai ser daqui a tres minutos...

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É agora! É agora!

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Sério que The Lego Movie nem entrou? sacanagem... e aquele fraquinho do httyd2 que ganhou o golden globe entrou... eu hein
(pelo menos deu everything is awesome )

 

[Bruce Torres]

Sério que The Lego Movie nem entrou? sacanagem... e aquele fraquinho do httyd2 que ganhou o golden globe entrou... eu hein
(pelo menos deu everything is awesome )

Nossa, esse segundo filme é o equivalente a Valente (rs) da Pixar - bom, mas não é tão bom assim.

 

[Quickbeam]

Sério que The Lego Movie nem entrou? sacanagem... e aquele fraquinho do httyd2 que ganhou o golden globe entrou... eu hein
(pelo menos deu everything is awesome )

Ambos são medianos, Lego e Dragão 2, mas o que importa é que Kaguya e Song of the Sea entraram.

 

[Bartleby]

Sabia!!!!! PTA tinha que pelo menos ser nomeado por roteiro pela tarefa de levar Pynchon ao cinema!

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nada de trilha de sob a pele ou birdman =/

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Bradley Cooper entrou, pelo desgosto da @Ana Lovejoy , heheehe

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pelo menos duas indicações pra Inherent Vice! Costume Design...

E nossa! as de fotografia estão imperdíveis! não sei em quem apostar... tem o lindo do lubezki, tem ida, tem grande hotel budapeste, estou doido pra ver Mr. Turner...

** Posts duplicados combinados **

Ambos são medianos, Lego e Dragão 2, mas o que importa é que Kaguya e Song of the Sea entraram.

mas é bem capaz que caia nas mãos da disney, que nem com vidas ao vento ano passado =/ (tá, frozen é lindo, é legal, mas era o miyazaki...)

 

[Bruce Torres]

Tudo aqui: http://oscar.go.com/nominees

 

[Quickbeam]

Lista completa:

Best Picture
“Birdman”
“Boyhood”
“Selma”
“The Theory of Everything”
“The Imitation Game”
“The Grand Budapest Hotel”
“American Sniper”
“Whiplash”

Actress in a Leading Role
Julianne Moore, “Still Alice”
Felicity Jones, “The Theory of Everything”
Rosamund Pike, “Gone Girl”
Reese Witherspoon, “Wild”
Marion Cotillard, “Two Days One Night”

Actor in a Leading Role
Michael Keaton, “Birdman”
Eddie Redmayne, “The Theory of Everything”
Benedict Cumberbatch, “The Imitation Game”
Steve Carell, “Foxcatcher”
Bradley Cooper, “American Sniper”

Directing
Alejandro Gonzalez Inarritu, “Birdman”
Richard Linklater, “Boyhood”
Wes Anderson, “The Grand Budapest Hotel”
Morten Tyldum, “The Imitation Game”
Bennett Miller, “Foxcatcher”

Actress in a Supporting Role
Patricia Arquette, “Boyhood”
Emma Stone, “Birdman”
Keira Knightley, “The Imitation Game”
Meryl Streep, “Into the Woods”
Laura Dern, “Wild”

Actor in a Supporting Role
J.K. Simmons, “Whiplash”
Edward Norton, “Birdman”
Ethan Hawke, “Boyhood”
Mark Ruffalo, “Foxcatcher”
Robert Duvall, “The Judge”

Foreign Language Film
“Ida”
“Leviathan”
“Tangerines”
“Wild Tales”
“Timbuktu”

Writing – Adapted Screenplay
Graham Moore, “The Imitation Game”
Damien Chazelle, “Whiplash”
Anthony McCarten, “The Theory of Everything”
Jason Hall, “American Sniper”
Paul Thomas Anderson, “Inherent Vice”

Writing – Original Screenplay
Richard Linklater, “Boyhood”
Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris and Armando Bo, “Birdman”
Wes Anderson and Hugo Guinness, “The Grand Budapest Hotel”
Dan Gilroy, “Nightcrawler”
E. Max Frye and Dan Futterman, “Foxcatcher”

Cinematography
Emmanuel Lubezki, “Birdman”
Roger Deakins, “Unbroken”
Robert D. Yeoman, “The Grand Budapest Hotel”
Dick Pope, “Mr. Turner”
Lukasz Zal and Ryszard Lynzewski, “Ida”

Music – Original Score
Hans Zimmer, “Interstellar”
Alexandre Desplat, “The Imitation Game”
Johann Johannsson, “The Theory of Everything”
Alexandre Desplat, “The Grand Budapest Hotel”
Gary Yershon, “Mr Turner”

Makeup and Hairstyling
“Foxcatcher”
“The Grand Budapest Hotel”
“Guardians of the Galaxy”

Costume Design
Colleen Atwood, “Into the Woods”
Anna B. Sheppard, “Maleficent”
Milena Canonero, “The Grand Budapest Hotel”
Jacqueline Durran, “Mr. Turner”
Mark Bridges, “Inherent Vice”

Music – Original Song
“Glory” by Common and John Legend, “Selma”
“Lost Stars” by Gregg Alexander, Danielle Brisebois, Nick Lashley and Nick Southwood, “Begin Again”
“Everything Is Awesome” by Shawn Patterson, “The LEGO Movie”
“I’m Not Gonna Miss You,” by Glen Campbell, “Glenn Campbell: I’ll Be Me”
“Grateful,” “Beyond the lights”

Visual Effects
“Interstellar”
“Dawn of the Planet of the Apes”
“Guardians of the Galaxy”
“Captain America: Winter Soldier”
“X-Men: Days of Future Past”

Documentary Short Subject
“Crisis Hotline: Veterans Press 1”
“Joanna”
“Our Curse”
“White Earth”
“The Reaper”

Documentary Feature
“Citizenfour”
“Last Days in Vietnam”
“Virunga”
“The Salt of the Earth”
“Finding Vivian Maier”

Film Editing
Sandra Adair, “Boyhood”
Tom Cross, “Whiplash”
William Goldenberg, “The Imitation Game”
Joel Cox and Gary Roach, “American Sniper”
Barney Pilling, “The Grand Budapest Hotel”

Sound Editing
“Interstellar”
“Unbroken”
“The Hobbit: The Battle of the Five Armies”
“American Sniper”
“Birdman”

Sound Mixing
Mark Weingarten, “Interstellar”
Thomas Curley, ”Whiplash”
“Unbroken”
“American Sniper”
“Birdman”

Production Design
“Into the Woods”
“The Grand Budapest Hotel”
“Interstellar”
“The Imitation Game”
“Mr. Turner”

Short Film – Live Action
“Boogaloo and Graham”
“Aya”
“Butterlamp”
“Parvenah”
“The Phone Call”

Short Film – Animated
“Feast”
“The Bigger Picture”
“A Single Life”
“The Dam Keeper”
“Me and My Moulton”

Animated Feature Film
“Big Hero 6”
“How to Train Your Dragon 2”
“The Boxtrolls”
“The Tale of the Princess Kaguya”
“Song of the Sea”

** Posts duplicados combinados **

Marion Cotillard
Ida em fotografia
Life Itself de fora de melhor documentário.
Inherent Vice conseguiu roteiro.
Hobbit 3 nem para efeitos visuais conseguiu indicação, só para edição de som.

Enfim, eis o saldo:

9 indicações: Birdman; The Grand Budapest Hotel
8 indicações: The Imitation Game
6 indicações: American Sniper; Boyhood
5 indicações: Foxcatcher; Interstellar; The Theory of Everything; Whiplash
4 indicações: Mr. Turner
3 indicações: Into the Woods; Unbroken
2 indicações: Guardians of the Galaxy; Ida; Inherent Vice; Selma; Wild
1 indicação: Begin Again; Beyond the Lights; Big Hero 6; The Boxtrolls; Captain America: The Winter Soldier; Dawn of the Planet of the Apes; Glenn Campbell: I’ll Be Me; Gone Girl; The Hobbit: The Battle of the Five Armies; How to Train Your Dragon 2; The Judge; The LEGO Movie; Leviathan; Maleficent; Nightcrawler; Song of the Sea; Still Alice; The Tale of the Princess Kaguya; Tangerines; Timbuktu; Two Days, One Night; Wild Tales; X-Men: Days of Future Past

 

[Bartleby]

Vou ficar p. (preparem-se para o meu possível - mas esperançosamente inexistente - mimimi no dia 22) se o roteiro adaptado cair nas mãos de qualquer outra pessoa que não o Paul Thomas Anderson
Quero vê-lo discursando