Cinematography, Production Design, Editing ~ April Foolish Oscar Predix

We're almost to our favorite craft category (costume design) and the marquee categories (acting/picture) are yet to come but here's another does of "what could be" in a few visual categories as our April Foolish Oscar Predictions continue...

Mudbound was shot by Rachel Morrison, who was previously DP on Fruitvale Station and Dope. Next up: Marvel's Black Panther

CINEMATOGRAPHY [click for the chart]
The big question TFE must always ask is "when is a female DP ever going to get nominated?" This year we count three female DPs with major projects: Mandy Walker (Australia, Hidden Figures) shot the romantic drama The Mountain Between Us, Rachel Morrison (Fruitvale Station) delivered another Sundance hit with Mudbound, and Urszula Pontikos (Lilting) was behind the camera on the story of Gloria Grahame's last days called Film Stars Don't Die in Liverpool. 

Meanwhile on the male side of the equation, given that Greig Fraser and Bradford Young were FINALLY nominated last season after years of impressive rangey work, can the same thing happen for Hoyt Van Hoytema who has been waiting just as long. He shot Dunkirk this year.

PRODUCTION DESIGN 
Two mini-dramas within this race might be Production Designers at war with themselves. Four time nominee Sarah Greenwood has two high profile films, one fantasy (Beauty and the Beast) and one World War II drama (Darkest Hour). Three time nominee Nathan Crowley's films are less diametrically opposed but there's still plenty of room to showcase his range from the period circus musical The Greatest Showman and yet another collaboration with Chris Nolan on the World War II drama Dunkirk. Neither have ever won. Could this be the year for one of them? 

FILM EDITING
Arguably the category that's most dependent on the Best Picture race (give or take an action movie or thriller now and then) so this is like throwing darts at a wall about which films will have Best Picture heat and which could be the type of films that are honored for editing without that boost. 

Previous first stabs at new Oscar predictions
BEST SCORE, BEST SOUND
BEST VISUAL EFFECTS, BEST MAKEUP & HAIR
BEST ANIMATED FEATURE 

Score, Sound, and Songs ~ April Foolish Oscar Predix

by Nathaniel R

It's April which means April Foolish Oscar Predictions as we throw up the new Oscar charts. Today we're talking Sound Categories.

ORIGINAL SCORE
Dare we hope that last year's anomalous Original Score list, comprised of nearly all newcomers, happens again? We can hope it but it would be foolish to predict given that the music branch is notoriously insular and a lot of the big name composers have high profile films this year...

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Visual Effects & Makeup, the April Foolish Oscar Predix

In looking over the options for this year's visual effects and makeup and hair contenders, one thing is certain: we'll be drowning in sequels come Oscar time. Or at least come 'bake-offs' time when the these two branches whittle down the competition with screenings of clip reels of the work in question.

Some umbrella questions to consider...

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Animated Feature, the April Foolish Oscar Predictions

If only Laika had waited until 2017 to release Kubo and the Two Strings -they might finally have won that elusive Oscar that almost always goes to Disney or Disney/Pixar.

Owen Wilson poses with a life size McQueen for "Cars 3"

As previously discussed this year's animated slate doesn't look too promising in terms of American studio features, and there's also a complete absence of stop motion features *sniffle* from abroad as far as we can tell. What's worse, the Academy's just-announced a rule change for voting on the animated features that might well make the category less penetrable for brilliant work from across the ocean. But we'll have to wait and see if our worst fears materialize.

First Oscar Predictions for 2017's Best Animated Feature

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Two Oscar Rule Changes: One great, the other tragic

by Nathaniel R

The Academy announced some a few rule changes today. You no longer have to have only one composer to be eligible for Original Score, and producing partnerships will be considered a single entity now -- meaning more people could be nominated for producing Best Picture nominees. But the two big changes are about the Documentary and Animated Feature races and one of those changes we applaud and the other makes us want to riot to protect a beloved artform...

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