For me, it’s actually a close call between this and fellow Hopkins alum Caleb Deschanel’s work on The Passion. (And how they missed his work on National Treasure is just a disgrace, I tells ya.) I think Daggers has outstanding photography as well. Can we just give it to everything but The Aviator and Phantom?
Also, it’s nice to see two of the films woefully denied Foreign Film nominations get some sort of props.
Finally, where is Collateral? Is the Academy not ready to embrace digital?
I’m just starting to sound like a bitter old man now, aren’t I?
FILM EDITING
The Aviator
Collateral
Finding Neverland
Million Dollar Baby
Ray
Will Win: The Aviator
Should Win: Finding Neverland
Again, the winner of this award usually bears a strong resemblance to the Best Picture winner. Beginning to see a pattern here? Also, note the strong resemblance already between these nominees and the nominees for Best Picture. So, why The Aviator? Two reasons. First, it’s one of the two most likely films of this bunch to win Best Picture (along with M$B). Secondly, the ACE (American Cinema Editors) gave it their top award this year. Wanna guess what their awards are called? That’s right, the Eddies.
Frankly, none of these films rely on superb editing the way a JFK or a City of God does. Neverland at least makes good use of deft editing, shifting between fantasy and reality seamlessly. But the real balls out editing effort this year came from Valdis Oskarsdottir, who cut Eternal Sunshine. Now there’s a film that needs excellent editing to work.
Oh, and I guess the Academy is ready to embrace digital since they’re willing to nominate a movie for Best Film Editing in which hardly a foot of celluloid was shot.
Writing (Adapted Screenplay)
Before Sunset
Finding Neverland
Million Dollar Baby
The Motorcycle Diaries
Sideways
Will Win: Sideways
Should Win: Sideways
Back before the awards season even started, I made two predictions. One, Jamie Foxx would win Best Actor. The other, that Sideways would win Best Adapted Screenplay. No one actually heard me, mind you, but trust me, I said it in my head several times.
I’ve had some doubts about that second prediction as of late. Church and Madsen’s losses at the Golden Globes signaled the end of the critical honeymoon with the indie. But the one award that seems to sway inexorably toward the film is this one. Golden Globes, BAFTAs, BFCAs, 18 critic’s circles, and the Writer’s Guild all said the same thing. Baby could be an issue, but I think that’ll come up in other awards.
Article comments
1 - DrPat
I haven't made the study of it that you obviously have, David, but I think the Academy might award The Passion of the Christ in this category to make up for its non-nomination to any of the top 6 major award categories.
2 - El Bicho
If the Academy does give The Passion best cinematography, it will be have nothing to do with any sort of make-up for non-nominations because the film wasn't in the top five in any of those categories. It's a good film, but not a great one.