Tag: Argo

Pete Hammond is Deadline’s awards columnist.

Can’t we just end all this suspense about winners or losers and call it one massive tie this year? The 2012 crop of Oscar nominees, and films in general, is so impressively dense with quality it seems a shame the Academy has to pick just one winner in each category. But that’s the name of the game we play this time of year, and with ballots going out just as I had to turn this piece in, it is still a fluid situation as to just what the final results will be. With so many movies spread across many categories that are genuine contenders, a split vote resulting in some surprising twists and turns is possible, even though the various guild awards give strong clues about industry sentiment. If the past is any indication, I am aware some readers might take these predictions as gospel and bet the farm on it in their Oscar pools, so I offer a disclaimer before we begin. I am not responsible for any monetary loss you might incur, nor do I expect 10% of any winnings. I am just trying to read the winds of Oscar after several months of analyzing every tea leaf. Here is where I have a hunch it stands, but please note I have made a few tweaks since the original version of these predictions were published in last week’s print edition of AwardsLine (I switched in production design and makeup/hairstyling). Results at BAFTA, WGA, and several other guild award shows have now been taken into account since then, but it is all still a crap shoot in one of the craziest Oscar years in memory.

BEST PICTURE

All season long, this has been about as wide open a race, and as competitive a field of contenders, as we have seen in many years. With nine nominees, the same number as last year, it has taken a while to figure out a surefire winner. But with key awards from the PGA, DGA, WGA, BAFTA and SAG, in addition to best picture honors at the Golden Globes and Critics Choice Movie Awards, Argo has clearly emerged as the frontrunner, a remarkable turn of events considering its director, Ben Affleck, was snubbed by the Academy’s directing branch Jan. 10. Oh, what a difference a few weeks makes. The big question is, can the Warner Bros. juggernaut maintain momentum and win Oscar’s top prize, even without that directing nomination? If so, it would be only the second film to win without a directing nom, following Driving Miss Daisy’s feat at the 1990 ceremony. With the best picture category holding the strongest possibility for success among Argo’s seven nominations, could it actually win here and nowhere else? Not likely, but it’s possible, especially in a year in which I think the Academy will be spreading the wealth. Lincoln, with a leading 12 nominations (a good, if not always correct, indicator), Silver Linings Playbook, and Life of Pi are probably still in the mix here as well but…

The Winner: Argo

The Competition: Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty

BEST DIRECTOR

With the quirky director’s branch going out of their way to snub DGA nominees Kathryn Bigelow, Tom Hooper, and DGA winner Ben Affleck, we know for sure we can’t count on the usual spot-on correlation between the DGA winner and the eventual victor in this category. Affleck actually would have been my prediction to win here, but, alas, he’s not even nominated, which means voters might very well be splitting their vote for director and picture this year — certainly not unheard of in recent years but increasingly rare. As directors of the two films with the most nominations, Steven Spielberg for Lincoln and Ang Lee for Life of Pi, are the likely frontrunners, with Silver Linings Playbook’s David O. Russell coming up on the outside. If initial frontrunner Lincoln has been eclipsed in the Best Picture race, this is the place voters could come to kneel at the Spielberg-ian altar. Or not. Lee’s triumph in even managing to bring the “unfilmable” Pi to the screen just screams “directing”, and that could play very well here.

The Winner: Ang Lee, Life of Pi

The Competition: Michael Haneke, Amour; Benh Zeitlin, Beasts of the Southern Wild; Steven Spielberg, Lincoln; David O. Russell, Silver Linings Playbook

BEST ACTOR

This is Daniel Day-Lewis’ to lose at this point. Playing such a well-known biographical figure is, of course, a big plus. But Day-Lewis brought a lot to the table and remains the guy to beat in an impossibly fine field of contenders. Day-Lewis’ biggest drawback is that he has already won this prize twice, and a third would be unprecedented for lead actors in Oscar history. Also no actor has ever won an Oscar for playing a U.S. president, another potential first. The Academy might want to reward equally deserving newcomers to the category like Hugh Jackman or Bradley Cooper instead, but judging from the pile of precursor awards Day-Lewis has already won, it looks like you can bet a very large pile of $5 bills that he will make Oscar history with honest Abe.

The Winner: Daniel Day-Lewis, Lincoln

The Competition: Bradley Cooper, Silver Linings Playbook; Hugh Jackman, Les Misérables; Joaquin Phoenix, The Master; Denzel Washington, Flight

BEST ACTRESS

I got this one wrong last year when Meryl Streep (The Iron Lady) beat Viola Davis (The Help), and this is another tough one. The race for lead actress is hotly competitive, with both Silver Linings Playbook’s Jennifer Lawrence and Zero Dark Thirty’s Jessica Chastain claiming other early awards and also impressing with strong performances (Naomi Watts is magnificent in The Impossible, but that film got no other nominations, putting it at a disadvantage here against four other actress nominees from Best Picture contenders). Plus, never underestimate the so-called “babe factor” (thanks to the Academy’s dominant male membership) that this category often, but not always, favors. A win here for either one could be a chance to give either of their movies an important award, while shutting them out elsewhere. The real wild card in this race is 85-year-old Emmanuelle Riva, whose performance in the foreign language film Amour has been widely praised and admired, particularly by her fellow actors, who comprise the Academy’s largest voting block. As the oldest Best Actress nominee ever (she actually turns 86 on Oscar Sunday), she could trigger a sentimental factor and a feeling that the others will have another shot someday. SAG champ Lawrence probably has the edge and is where the smart money’s going, but a split in this very fluid category could provide one of the evening’s most interesting stories. So going way out on a limb…

The Winner: Emmanuelle Riva, Amour

The Competition: Jessica Chastain, Zero Dark Thirty; Jennifer Lawrence, Silver Linings Playbook; Quvenzhané Wallis, Beasts of the Southern Wild; Naomi Watts, The Impossible

BEST SUPPORTING ACTOR

In a category of five former Oscar winners (a first indeed), I could actually see five different, and logical, results. Christoph Waltz took the Golden Globe and BAFTA, Philip Seymour Hoffman was the Critics Choice, and Tommy Lee Jones won at SAG. Alan Arkin is playing an industry insider in the enormously popular Argo, and the Weinstein Co. has been effectively reminding everyone Robert De Niro hasn’t won an Oscar in 32 years or even been nominated in 21 years. He’s coming up on the outside as Silver Linings Playbook has become a sizable hit just passing $100 million over the weekend. Truly, toss a coin here. There’s no true frontrunner, and a logical route to victory is possible for each one of these veterans.

The Winner: Robert De Niro, Silver Linings Playbook

The Competition: Alan Arkin, Argo; Philip Seymour Hoffman, The Master; Tommy Lee Jones, Lincoln; Christoph Waltz, Django Unchained

BEST SUPPORTING ACTRESS

Like the best actor race, this one has a clear frontrunner in Les Misérables’ Fantine, Anne Hathaway. Having won just about every precursor award including SAG and BAFTA, it looks like this year Hathaway will make it to Oscar’s stage without hosting the show. A video parody of her moving performance singing the signature “I Dreamed a Dream” went viral but shouldn’t stand in her way. If any of the other contenders have a shot, it’s definitely Lincoln’s Mary Todd, Sally Field. We know Oscar likes her — they really, really like her (she’s won twice) — but it appears to be Hathaway’s year in the winner’s circle.

The Winner: Anne Hathaway, Les Misérables

The Competition: Amy Adams, The Master; Sally Field, Lincoln; Helen Hunt, The Sessions; Jacki Weaver, Silver Linings Playbook

BEST ADAPTED SCREENPLAY

This is a very tough category with several worthy entries, all Best Picture nominees. Pulitzer Prize- and Tony-winning playwright Tony Kushner’s herculean efforts in finding the right tone and approach to Lincoln are well chronicled, and he has the solid endorsement of Doris Kearns Goodwin, author of the book Team of Rivals from which he drew a lot of source material. He is a major contender, even if Argo takes Best Picture over his film. A late-breaking controversy sparked by a Connecticut congressman over some of the facts in the film hit just as ballots reached voters hands and that could be a factor here. On the other hand, Chris Terrio’s meticulous and tricky work on Argo is impressive, and voters might want to reward the film’s script, especially if they are voting it Best Picture. That is usually how it works, but this is a weird year. Argo has also had its own fair share of criticism from some quarters for tweaking some of the facts for dramatic purposes. Of course voters may realize they aren’t voting for Best Documentary.  David O. Russell’s funny and moving adaptation of Silver Linings is another strong possibility and recently took this prize from BAFTA, so it’s a three-way battle. But with its Best Picture likelihood…

The Winner: Chris Terrio, Argo

The Competition: Benh Zeitlin and Lucy Alibar, Beasts of the Southern Wild; David Magee, Life of Pi; Tony Kushner, Lincoln; David O. Russell, Silver Linings Playbook

BEST ORIGINAL SCREENPLAY

This is another category that seems widely split with no obvious frontrunner. But the three likeliest contenders would appear to be Django Unchained which won this award at Critics Choice, Golden Globes and BAFTA, Zero Dark Thirty which took it at WGA, and Amour, considering all three are also Best Picture nominees. That would indicate more widespread support among the entire Academy, which gets to vote in the finals. Both Quentin Tarantino’s Django and Mark Boal’s Zero Dark Thirty have been hit by controversy over their respective elements of treatment of slaves and use of torture, giving both of those former winners in this category more of an uphill climb to overcome negative publicity. That leaves an opening for the widely admired Amour, which could become the first to win both Best Foreign Language film and Original Screenplay since Claude Lelouch’s 1966 film A Man and a Woman, a movie that, like Amour, also happened to star the great Jean-Louis Trintignant. Django could well bring Tarantino his second writing Oscar, but…

The Winner: Michael Haneke, Amour

The Competition: Quentin Tarantino, Django Unchained; John Gatins, Flight; Wes Anderson and  Roman Coppola, Moonrise Kingdom; Mark Boal, Zero Dark Thirty

THE OTHER CATEGORIES

BEST FOREIGN LANGUAGE FILM

A strong group of movies, but the other four nominees have the misfortune of being named in a year that also includes Amour, which despite being a French film is actually the Austrian entry because of the nationality of its director, Michael Haneke. Winner of the Palme d’Or and just about every precursor prize this year, as well as being only the fifth film in Oscar history in this category also to be up for Best Picture, it would appear to be unbeatable here. But if any category has offered surprises in recent years, it is this one since you can only vote only if you prove you have seen all five entries.

The Winner: Amour (Austria)

The Competition: Kon-Tiki (Norway), No (Chile), A Royal Affair (Denmark), War Witch (Canada)

BEST ANIMATED FEATURE

Tim Burton, whose Frankenweenie was a critical hit but a box office disappointment, is overdue for Oscar recognition, and this one might be his most personal film yet. However, there are two other stop-motion entries in the category, including the acclaimed ParaNorman, which has been campaigned heavily, and the highly underrated and hilarious Aardman ’toon The Pirates, which by comparison has been well hidden by Sony. Two other Disney entries — Pixar’s Brave, which won the Golden Globe and BAFTA, and Disney Animation’s Wreck-It-Ralph, which triumphed at the PGA and Annies — could help split the studio vote with Frankenweenie, but I doubt it.

The Winner: Wreck-It-Ralph

The Competition: Brave, Frankenweenie, ParaNorman, The Pirates! Band of Misfits

BEST DOCUMENTARY FEATURE

A deserving group of nominees dealing with heavyweight topics are likely to lose to a fascinating and very human musical documentary about the resurrection of a singer long given up for dead who finally finds fame in the most unlikely of ways.

The Winner: Searching for Sugar Man

The Competition: 5 Broken Cameras, The Gatekeepers, How to Survive a Plague, The Invisible War

BEST PRODUCTION DESIGN

If there were a production more beautifully designed this year than Anna Karenina, I am not sure what it is, but reaction overall to the movie was mixed, meaning large-scale Best Picture nominees Les Misérables, Life of Pi, or Lincoln might sneak past it, but which one? For the sheer technical challenge of it all, I would say take another slice of Pi.

The Winner: Life Of Pi (Production Design:  David Gropman; Set Decoration: Anna Pinnock)

The Competition: Anna Karenina (production design: Sarah Greenwood, set decoration: Katie Spencer); The Hobbit: An Unexpected Journey (production design: Dan Hennah, set decoration: Ra Vincent and Simon Bright); Les Misérables (production design: Eve Stewart, set decoration: Anna Lynch-Robinson);  Lincoln (production design: Rick Carter, set decoration: Jim Erickson)

BEST CINEMATOGRAPHY

Life of Pi is considered a masterful technical achievement, and one of its chief attributes is Claudio Miranda’s stunning cinematography, which blends the CGI world with the real and makes it all a cohesive whole.

The Winner: Life of Pi, Claudio Miranda

The Competition: Seamus McGarvey, Anna Karenina; Robert Richardson, Django Unchained; Janusz Kaminski, Lincoln; Roger Deakins, Skyfall

RELATED: OSCARS: Cinematographers On Creating The Right Imagery

BEST COSTUME DESIGN

Two of the nominees here really scream costume design and deliver on all fronts: Mirror Mirror from the late Eiko Ishioka and Snow White and the Huntsman from frequent winner Colleen Atwood. There are also two more high-profile Best Picture nominees in the mix — Lincoln and Les Misérables — but this category often marches to the beat of its own drum, and this year the stunning work from Jacqueline Durran for Anna Karenina will likely stand above the rest when voters sit down to assess these contenders.

The Winner: Anna Karenina, Jacqueline Durran

The Competition: Les Misérables, Paco Delgado; Lincoln, Joanna Johnston; Mirror Mirror, Eiko Ishioka; Snow White and the Huntsman, Colleen Atwood

RELATED: OSCARS: Nommed Costume Designers Talk About Challenges

BEST FILM EDITING

This is sometimes a category where voters go their own way, such as last year when non-Best Picture nominee The Girl With the Dragon Tattoo shocked the frontrunners here and won its one and only Oscar in a bit of a surprise. This year, all five nominees are also up for Picture, so it should follow more closely to tradition. Because of its technical challenges, Life of Pi’s chances cannot be discounted, but this seems a place also to honor Argo for its tricky dance with tone and pace, although its editor William Goldenberg is competing with himself for Zero Dark Thirty. Still….

The Winner: Argo, William Goldenberg

The Competition: Life of Pi, Tim Squyres; Lincoln, Michael Kahn; Silver Linings Playbook, Jay Cassidy and Crispin Struthers; Zero Dark Thirty, Dylan Tichenor and William Goldenberg

RELATED: OSCARS: Nominated Film Editors Break Down Key Scenes

BEST MAKEUP AND HAIRSTYLING

This one’s almost a toss-up. Peter Jackson’s return to Middle Earth might normally have an advantage just because of the very nature of the film — unless voters want to reward the changing looks of Jean Valjean and Fantine in Les Mis which won at BAFTA.

The Winner:  Les Miserables,  Lisa Westcott and Julie Dartnell

The Competition: Hitchcock, Howard Berger, Peter Montagna, and Martin Samuel; The Hobbit: An Unexpected Journey, Peter Swords King, Rick Findlater, and Tami Lane

BEST ORIGINAL MUSIC SCORE

Of course Lincoln’s John Williams is a perennial nominee and winner already of five Oscars, while Skyfall’s 11-time nominee and recent BAFTA winner Thomas Newman is still looking for his first. But I have a feeling it’s between the masterful mix of Middle Eastern strains and orchestral score that Alexandre Desplat pulled off in Argo versus first-time nominee Mychael Danna, who earned a nomination for his elegant and stirring score in Life of Pi, as well as an original song nom.

The Winner: Life of Pi, Mychael Danna

The Competition: Anna Karenina, Dario Marianelli; Argo, Alexandre Desplat; Lincoln, John Williams; Skyfall, Thomas Newman

BEST SONG

Oscar host Seth MacFarlane cowrote one of the nominated songs, the sprightly tune from Ted, and it has a shot because it is the type of upbeat melody that has won here in recent years. If a Muppet can win last year, why not a stuffed bear? The one and only original song in Les Mis, “Suddenly”, isn’t all that memorable compared to the rest of the score. We’re going with the frontrunner and Golden Globe winner, Skyfall, which should make Adele the latest pop star to successfully infiltrate this category. It also would be the first-ever James Bond song to actually win, appropriate in 007’s 50^th year, don’t you think?

The Winner: “Skyfall” from Skyfall, Adele Adkins and Paul Epworth

The Competition: “Before My Time” from Chasing Ice, music and lyrics by J. Ralph; “Everybody Needs a Best Friend” from Ted, music by Walter Murphy, lyrics by Seth MacFarlane; “Pi’s Lullaby” from Life of Pi, music by Mychael Danna, lyrics by Bombay Jayashri; “Suddenly” from Les Misérables, music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and Alain Boublil

RELATED: OSCARS: Best Original Song Race Handicap

BEST SOUND EDITING

The sound categories are rarely completely understood by the membership at large that gets to vote in all categories, but again, the technical achievement and challenges of Life of Pi probably prevail over a worthy field that could include another bow to James Bond, or a tip of the hat to Argo as part of its Best Picture booty, but probably won’t.

The Winner: Life of Pi, Eugene Gearty and Philip Stockton

The Competition: Argo, Erik Aadahl and Ethan Van der Ryn; Django Unchained, Wylie Stateman; Skyfall, Per Hallberg and Karen Baker Landers; Zero Dark Thirty, Paul N. J. Ottosson

RELATED: OSCARS: Sound Editing and Sound Mixing Nominees Often Overlap

BEST SOUND MIXING

Life of Pi might very well take the sound category, but here musicals often triumph, and what greater sound mixing achievement was there this year than blending nearly unprecedented live singing with other sound elements in Les Mis? Among other things, they had to bring an entire orchestra in during post to match the songs.

The Winner: Les Misérables, Andy Nelson, Mark Paterson, and Simon Hayes

The Competition: Argo, John Reitz, Gregg Rudloff, and Jose Antonio Garcia; Life of Pi, Ron Bartlett, D.M. Hemphill, and Drew Kunin; Lincoln, Andy Nelson, Gary Rydstrom, and Ronald Judkins; Skyfall, Scott Millan, Greg P. Russell, and Stuart Wilson

BEST VISUAL EFFECTS

This one’s a runaway. The biggest sure thing on the ballot. Even at the Oscar Nominees Luncheon when the name first came up, there was a big whoop and applause from the voter-heavy audience. And it ran over the competition at the VES awards and BAFTA, too.

The Winner: Life of Pi, Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, and Donald R. Elliott

The Competition: The Hobbit: An Unexpected Journey, Joe Letteri, Eric Saindon, David Clayton, and R. Christopher White; Marvel’s The Avengers, Janek Sirrs, Jeff White, Guy Williams, and Dan Sudick; Prometheus, Richard Stammers, Trevor Wood, Charley Henley, and Martin Hill; Snow White and the Huntsman, Cedric Nicolas-Troyan, Philip Brennan, Neil Corbould, and Michael Dawson

BEST DOCUMENTARY SHORT SUBJECT

As usual, this category has a strong list of heavyweight topics, but it’s likely between Mondays at Racine, a touching film about a beauty shop that opens its doors once a week to cancer patients, and Open Heart, about a group of Rwandan children being flown to the only free medical center in Africa for treatment of heart disease. In a year that features more than one contender dealing with the pain and problems of aging, Kings Point might also have a shot. This is a category where you can only vote in person at special screenings of all five (four of the five films are from HBO which dominates here).

The Winner: Open Heart

The Competition: Inocente, Kings Point, Mondays at Racine, Redemption

BEST ANIMATED SHORT FILM

This is a very rich category, and for the first time, DVD screeners of the contenders here and in live-action short (as well as feature docs) were sent to the entire membership, rather than allowing voting only at special screenings where all five noms are shown. With a Simpsons ’toon from Fox, as well as a Disney Animation Studios title in the mix, those studios with large numbers of Academy voters could have the advantage, especially if those studios’ Academy members stay loyal to their home team. That could put others here — such as the charming and remarkably accomplished British student stop-motion animated entry Head Over Heels, about a longtime married couple who have grown apart literally and figuratively — at a disadvantage. And Disney’s Paperman is equally wonderful giving it frontrunner status, as it also played theatrically earlier in the year. This is a really tough choice.  However, Goliath doesn’t always beat David, so on a hunch….

The Winner: Head Over Heels

The Competition: Adam and Dog, Fresh Guacamole, Maggie Simpson in The Longest Daycare, Paperman

BEST LIVE ACTION SHORT FILM

A generally intriguing group of films, most with a strong international flavor, provide great showcases for some potentially major new directors. Particularly cinematic are Death of a Shadow, Asad, and Afghanistan’s remarkably fine and memorable entry, Buzkashi Boys.

The Winner: Buzkashi Boys

The Competition: Asad, Curfew, Death of a Shadow, Henry

Pete Hammond is Deadline’s awards columnist. This article appeared in the Feb. 6 issue of AwardsLine.

As the industry kicks into full awards mode, with one guild after another handing out trophies to whomever they consider the year’s best in any given field, it’s become increasingly clear this is a year like we have not seen in a while. Certainly every season we go through this ritual of watching the crème de la crème of the industry line up to get awards, but rarely have we seen as dense a field of top contenders, and especially deserving ones, as we have this year. The common denominator among most, if not all, of the contenders in Oscar’s 24 categories is how difficult it was in the first place to get any of these films made in a sequel-happy, franchise-loving, play-it-safe motion picture industry.

For example, Steven Spielberg began talking about Lincoln with Doris Kearns Goodwin before she started writing the book and struggled for well over a decade to bring it to the screen, getting turned down by three studios in the process. And first-time feature filmmaker Benh Zeitlin went against all industry norms to make the unique and hard-to-define Beasts of the Southern Wild come to life. But no matter who the filmmaker is, the most often-heard mantra is stick to your core beliefs and vision and somehow an Oscar-worthy film can be willed into being. Even James Bond ran into trouble when MGM went bankrupt and a normal 2½-year process turned into twice that for Skyfall, which went on to win five Oscar nominations. It also got recognition as one of the year’s best pictures from the Producers Guild, as well it should, considering what its veteran producers went through to just to make it.

Of course, it doesn’t matter who you are or how many Oscars you have won, it is never easy. Life of Pi’s Ang Lee worked a grueling five years before finally seeing his unusual and once-thought unfilmable film version of Yann Martel’s book get to the screen and earn $500 million-plus worldwide and counting. And 20^th Century Fox had it in development for 10 years. “Everyone was nervous. The studio dropped me twice. It was a kid, water, a tiger, digital, 3D, Taiwan location, a philosophical movie, a film about someone adrift in water who wasn’t Tom Hanks,” Lee explains. It took him a solid year just to prep the digital water scenes before shooting any footage.

For a film on the opposite end of the scale, Silver Linings Playbook, which relies almost solely on its actors for its special effect, the journey was just as long and just as hard. It started with two late producer-directors Sydney Pollack and Anthony Minghella before eventually finding its way to David O. Russell, who wanted to make it five years ago, even before The Fighter, but found that the stars weren’t aligned yet. They eventually would be, but not before blood, sweat, and tears went into a shoot that in the end had to be accomplished in a remarkable 33 days for a 150-page script.

Or what about Kathryn Bigelow and Mark Boal’s Zero Dark Thirty, the movie that was developed about the hunt for Osama bin Laden? The filmmakers had to turn on a dime when bin Laden was killed, rewriting the concept and reporting the story at the same time it was being crafted. And Argo, a true declassified story about the amazing CIA mission to use Hollywood know-how to help rescue six American hostages stuck in the Canadian Embassy during the 1979 Iranian crisis, spent years in development as a George Clooney project but only finally found its way through Ben Affleck.

Then there’s Les Misérables, a true worldwide stage musical phenomenon that still took 27 years to get to the screen and went through hell to do it. Or Quentin Tarantino’s Django Unchained, which during a 130-day shoot saw its leading actors sidelined by emergency surgery when Christoph Waltz’s horse was bitten by a bee early on, and Waltz, thrown to the ground, had to have a pelvic operation. Then Jamie Foxx’s shoulder gave out, and he had to go into emergency surgery in the middle of production.

These select few, which made the immense effort required to see their films through, earned Oscar nominations for a job well done. These enormously talented film artists can still stand very proud that they got through it, made something great, and are headed to the Dolby Theater on Feb. 24. Some will get to the stage and some won’t, but this year in particular they all deserve to be called winners.

Amour (Sony Pictures Classics)

Producers: Margaret Ménégoz, Stefan Arndt, Veit Heiduschka, Michael Katz

Awards: 5 Oscar noms, Cannes Film Festival Palme d’Or winner, 4 European Film Awards (best actor, actress, director, film), 1 Golden Globe win (foreign language film), 4 BAFTA noms, 1 CCMA win (foreign language film), and an Indie Spirit nom (international film).

No simplicity in small sets: “It wasn’t a very fast shoot. It took nine weeks. Even though the film takes place over two hours in roughly the same room, it’s complicated to dress the set, not only to make it interesting but that it syncs in every scene. Our actors weren’t young people, and they need more time to learn the script,” Ménégoz says.

No business in geriatric scripts: “Michael’s critical and boxoffice success with The White Ribbon ($19.3 million) didn’t open doors to financers. A lot of them were afraid of Amour’s subject matter surrounding elderly, ill people. It’s a taboo subject. I was able to make the film at €8 million ($10.8 million), but the French were so afraid that they didn’t give me enough money; I had to go back to our German coproducer,” Ménégoz recalls.

Seriously, we really need you for this: “Jean-Louis Trintignant stopped making movies years ago, but he’s worked nearly every day in all the live theaters in France. He completed a tour of poetry readings, and he likes his work in the theater. He is an actor that likes to be in front of the audience—on the set of a film, they’re very far away. He loved Caché by Michael Haneke. I gave Jean-Louis the script for Amour, and he told me that he didn’t want to make any more films: ‘I’m too tired and old. I like the theater,’ he said. He read the script and liked it, especially that it was comprised of three main characters and took place from room to room. He thought the dialogue was very precise, but found it to be a sad script. ‘I won’t do the film,’ he said. So I talked to Jean-Louis three or four more times until he finally accepted. Emmanuelle Riva always wanted the part. She auditioned with other actresses, but she knew deeply in her heart and head that this was the part for her. It was obvious she was the best as she made the perfect couple with Jean-Louis,” Ménégoz says.—Anthony D’Alessandro

Argo (Warner Bros.)

Producers: Grant Heslov, Ben Affleck, George Clooney

Awards: 7 Oscar noms, 7 BAFTA noms, 2 Golden Globe wins (director and drama), 2 CCMA wins (picture and director), 1 SAG Award (ensemble), PGA Zanuck Award, plus DGA and WGA noms.

Having a writer on the set: “On my other two movies, stuff had to be rewritten, and I would go off into a corner and kind of puzzle over it. It would take me forever, and I would stay up all weekend. (On Argo), it was so nice to be able to say to (screenwriter) Chris (Terrio), ‘I don’t think it’s clear exactly what the agenda is of the State Department in this scene. Could you rewrite that scene?’ and have him come back later with the answer. I felt like I was looking at the back of a test,” Affleck explains.

Scale and scope mean challenges: “(For) those big protest scenes in the beginning, we had 2,000 actors, and those days were really impossible days. We had bad weather, but just logistically speaking, to get 2,000 people to a set, ready to shoot, by 6 o’clock in the morning, all having to go through wardrobe that day because you don’t fit them the day before, takes military precision. Everything takes forever—just to reset for the shot and to get everybody turned around and get everybody looking in the right direction is a major effort,” Heslov says.

But it was still kinda fun: “It was cold, it was raining, it was very hard to keep people around and, of course, it turned out somehow we didn’t have enough food—there were all sorts of problems like that. Meanwhile, I’m worrying about, ‘OK, let’s do the big shots with the cranes,’ and as we lose people, I keep making the big shots tighter and tighter and tighter because I’m worried people are going to start just walking off the job. The other issue was that the people who were available to be around all day to come be extras in movies are the elderly. The younger people are working. This is supposed to be a student revolution; the students are in school. So basically we had a lot of folks who were over 65 in a student revolution. So they just made up for it with passion—chanting, going nuts. It was ultimately exhilarating, fun, and thrilling—it felt like it had a real partnership,” Affleck explains.

Connecting with extras in L.A.: “It was intense. People had these stories of, ‘I was there,’ ‘This is how we escaped,’ so it just got overwhelming. It was like simultaneously shooting extras and day players and (doing) research. Not only were we hearing it, but they were telling everyone in the crew, and people in the crew were really moved. Up until that time, they had looked at it just as a movie, and not something based on historical events that were incredibly traumatic. So the whole movie absorbed an extra level of seriousness just being around the Persian population of Los Angeles; the majority of them left right around the revolution,” Affleck recalls.—Christy Grosz

Beasts of the Southern Wild (Fox Searchlight)

Producers: Dan Janvey, Josh Penn, Michael Gottwald

Awards: 4 Oscar noms, 4 Cannes Film Festival awards (FIPRESCI, Golden Camera, Prix Regards Jeune, Ecumenical Jury), 2 Sundance Film Festival wins (Cinematography, Grand Jury Prize), 4 Indie Spirit noms, 1 CCMA (best young actor/actress for Quvenzhané Wallis), 1 BAFTA nom.

Epic demands: “We had to find a 6-year-old, and we wanted to make this film on an epic scale on a low budget,” producer Josh Penn revealed at the PGA Awards Breakfast Jan. 26. “Then we had to make these giant prehistoric beasts that we didn’t want to do via computer, but rather live beings, so we got these baby pigs. Then once you have baby pigs, how do you make them 15 feet tall? Plus, none of us had made a feature film before.”

Cherchez la femme: “We had a similar challenge to Ang Lee (on Life of Pi) in searching for a movie star who we could rest the entire movie upon her shoulders. It was like the Hugh Jackman kind of thing with Les Misérables where there was only one person who could play the part, and they were somewhere in the first through fourth grade of Louisiana. Literally, a friend of Quvenzhané Wallis’ mother saw fire in (Quvenzhané) and said to her mother, ‘Quvenzhané likes to play make-believe. Why don’t you bring her to this audition?’  She never thought of acting before. We saw 4,000 kids across Louisiana and thought someday, this girl would walk into our lives. If we didn’t find this girl, there was no reason to make this movie.”

Django Unchained (The Weinstein Co.)

Producers: Stacey Sher, Pilar Savone, Reginald Hudlin

Awards: 5 Oscar noms, 5 BAFTA noms, 2 Golden Globe wins (supporting actor Christoph Waltz, screenplay Quentin Tarantino).

Location, location: “Nothing was easy about this movie. It was challenging from day one: Getting going, scouting New Orleans and Mammoth Mountain, then building our location there and realizing that we had no snow. Then uprooting to Wyoming, and Quentin driving by an elk field and saying to our line producer and location manager, ‘I want to shoot there.’ Well, that’s a challenge—it’s a wildlife preserve! Quentin will look at you at any given moment and say, ‘I need this actor that I shot with three weeks ago, and I need him tomorrow,’ ” says Savone.

“He always knew when he saw two or three of us approaching, that it was something large like global warming that we had to deal with —like the time when we had to inform him that it’s not going to snow in Mammoth for the first time in 100 years,” adds Sher. “There were a lot of ‘Bring me the broomstick of the Wicked Witch of the West moments.’ But we had a joke among the three of us: ‘No’ is not an option.”

Addition and subtraction of actors: “We had huge movie stars wanting to do day-player parts, people we had to work a schedule around given the film’s logistics. However, every one of those actors are used to being No. 1 on the call sheet, rightly so, so everyone typically schedules around them. Because of everyone else’s schedule, snow, weather, and location, we couldn’t do that for everyone. Joseph Gordon-Levitt and Anthony LaPaglia went off to make other movies. The happy accident was that our schedule and Jonah Hill’s changed, making him available. Who ends up having Jonah Hill in one scene? We were so blessed, but we always knew the tail couldn’t wag the dog. Quentin needed to make the movie the way he needed to make it,” explains Sher.

Bee-stinging serendipity: “Christoph Waltz’s horse was stung by a bee during pre-pre-production, and Christoph was thrown and it was going to be a while before he could ride again. This is where the idea of the tooth wagon came from. Christoph suggested, ‘What if I rode a wagon?’ and Quentin and the late J. Michael Riva came up with the wagon, that magical tooth. It was heartbreaking when we lost Michael, and it was devastating for the film, the crew, and his family,” says Sher.—Anthony D’Alessandro

Les Misérables (Universal)

Producers: Cameron Mackintosh, Eric Fellner, Tim Bevan, Debra Hayward

Awards: 8 Oscar noms, 1 CCMA win (Anne Hathaway best supporting actress), 3 Golden Globes (best musical/comedy, supporting actress Hathaway, Hugh Jackman for lead actor in a comedy/musical), 1 SAG win (supporting actress Hathaway), and 1 DGA nom.

The Long Road: “I was originally going to do it 25 years ago after Les Misérables opened on Broadway and came close with Alan Parker. Over the years, we had inquiries, then in 2010, Eric Fellner (approached me); we’re Chelsea football fans, and we got to know each other socially. I like Working Title and they’re a very good company. Bill Nicholson started work on a screenplay. And then Tom (Hooper) rang up and asked to meet me. Being a complete film virgin I hardly knew anyone, and The King’s Speech was only just doing rounds at Sundance. Tom spoke passionately about how he would do it and that he felt it should be recorded live, and I felt passionately about that. That was the clincher, because Tom wanted to take what was a big leap in the dark. Les Misérables isn’t a normal musical; you need people who are comfortable telling a story through music. Tom Hooper was the man to do it. I’d been looking for directors over the years, and the fact that Tom came to me with a POV was the clincher,” Mackintosh explains.

No way, José: “There was a suggestion that it should be done in 3D, and I was very against it. Even though it’s my first film, I have joint final cut with Tom and Eric, and I represented all the music on behalf of Alain and Claude-Michel. It was a collaboration and couldn’t be any other way because I’d been so involved in the material for 30 years. This was the best way,” says Mackintosh.

Blowing up the stage: “The key challenge was finding the balance of reality, that it looked and felt authentic but at the same time it needed to be heightened. The style had to be similar to the style of the show. Gliding in and out of spoken word and singing so seamlessly that you didn’t realize they’re singing most of the time. Cinema is a medium of realism, and we had to find our brand of realism,” adds Mackintosh.

Making the impossible, possible: “This was one of the hardest films we’ve done. It’s a genre that’s challenging by its very nature—people aren’t used to going to see a musical in a movie theater. We also had to make sure that in adapting Les Misérables, we didn’t alienate fans, and having the original team of Claude-Michel Schönberg, Herbie Kretzmer, and Cameron Mackintosh, we were able to keep all the original DNA intact. Then, shooting a film with an appetite of $100 million for $60 million was interesting,” says Fellner.—Cari Lynn

Life of Pi (20th Century Fox)

Producers: Gil Netter, Ang Lee, David Womark

Awards: 11 Oscar noms, 1 Golden Globe win (best score for Mychael Danna), 2 CCMA wins (cinematography, visual effects), 9 BAFTA noms, DGA nom, WGA adapted screenplay nom.

Practical preplanning: “I didn’t know if could do this film. It was still waiting for me after Taking Woodstock. I began to think about it. It was unsolvable both on the economic and artistic sides: The two sides that will never meet, like Pi. Well, what if I had another dimension? And I thought 3D,” Lee said at the PGA Breakfast Jan. 26. “The only reasonable place to do this was Taiwan—I needed every resource from Hollywood. I brought my kids to school over there. It’s a long process. I did all the casting and previsualized the water section, all 70 minutes of it.”

Finding Pi: “Three thousand people auditioned for the part. It was crucial to find a 16-year-old Pi. There’s no Indian 16-year-old movie star. So I had to search for new faces. We have an army under casting director Avy Kaufman. We just asked every high school in India. Most of those who auditioned hadn’t done more than a school play, if that. After three rounds, we came down to 12. Suraj Sharma was one of them. Later, I found out, he didn’t go through the audition. He escorted his younger brother to the audition, and the casting director said, ‘What about you?’ When I met him, he looked like Pi. He’s the everyman. I felt his vibe in his soulful, deep eyes from my professional instinct. When I read him, it was heartbreaking. He started to cry when he told me one of the second stories (I gave him). It was heartwrenching. Halfway through (the audition process), he was the kid. So he anchors everything: The older and younger Pi, the whole picture around him. I was very lucky. He never acted before, and I had three months to drill him. We shot the movie in order so that he could lose weight,” adds Lee.

Lincoln (Disney-DreamWorks)

Producers: Kathleen Kennedy, Steven Spielberg

Awards: 12 Oscar noms, one Golden Globe win (best actor drama, Daniel Day-Lewis), two SAG wins (best actor Day-Lewis, supporting actor Tommy Lee Jones), three CCMA wins (actor, adapted screenplay, score), 10 BAFTA noms, DGA nom, WGA adapted screenplay nom.

No stone unturned: “On the surface, it looks like one goes out, buys Doris Kearns Goodwin’s book, hires the finest American playwright, gets Steven Spielberg, and just add a little water,” said Kennedy at the PGA Awards Breakfast Jan. 26. “When Tony Kushner’s 500-page script arrived, Steven called and said, ‘What are we going to do? I can’t make this!’ Tony asked, ‘Do you think we can do it as a miniseries?’ Whittling down the script was a laborious process and took years. It wasn’t until Steven recognized a suspense drama inside the legislation, and that isn’t something you walk into a studio and say, ‘Hey! Here’s a great idea!’ It was essentially 15 pages of Doris’ book, but the philosophical idea behind Lincoln having the foresight to bring people into his cabinet who didn’t agree with him was the foundation of the story.”

Getting everyone on the same page: “We had an extraordinary reading in Cooperstown, NY. Doris pulled together an illustrious group of people to read the script for the first time. We knew there were many historians that wrote different accounts of Lincoln and had several different interpretations,” adds Kennedy. “Those fascinated with the voice of Lincoln; details like that we had to extrapolate. I think Tony read 300 books before he wrote this script. He read many details that came from The New York Times. When those debates went on with the 13^th amendment, much of what Thaddeus is saying goes right down to ‘nincompoop.’ ”

Determined casting: “Daniel said no a lot to the role. But it was an exercise in tenacity on Steven’s part. Daniel inhabits that role. His process for determining what he’s going to do next is a long one. Playing Lincoln was something he wasn’t going to come to easily. When he said yes, it was around War Horse. We had 150 speaking parts that we wanted to cast. Thank God for the Internet. It allows directors and producers to get into a room and look at a wide variety of talent. We had the benefit of Tony Kushner who had amazing relationships with amazing actors in New York. We had these big boards in front of us with faces of real people. We knew it was going to be hard to keep track of the Democrats and the Republicans and knowing that the Democrats are what the Republicans use to be, and whether they were from the north or the south, when the vote took place, keeping track of who you saw before, all of that was a quite a jigsaw puzzle,” explains Kennedy.

Silver Linings Playbook (The Weinstein Co.)

Producers: Bruce Cohen, Donna Gigliotti, Jonathan Gordon

Awards: 8 Oscar noms, 4 CCMA wins (acting ensemble, actor in a comedy for Bradley Cooper, actress in a comedy for Jennifer Lawrence, best comedy), 1 Golden Globe win (best actress in a comedy/musical), 1 SAG win (best film actress), 5 Indie Spirit noms, WGA adapted screenplay nom.

Synthesizing: “Getting the tone right was a challenge,” says Cohen. “The script that David O. Russell had written and the movie we fell in love with was an intense family drama and romantic comedy. Those types of films are very hard to do. It’s hard to market them and assemble them.”

Timing: “Making this movie in 33 days was a Herculean undertaking, and the script was 152 pages long. That’s a challenging schedule for any movie, let alone a script that is that long—40-45 days would have been ideal,” says Gordon.

Falling stars: “When we received the greenlight from the Weinstein Co., as a producer you typically take the money and say, ‘OK, here’s the start date.’ But Mark Wahlberg (who was to play Pat Jr.) had Contraband. We would have been backed into Thanksgiving 2011, and we couldn’t go beyond that date in terms of shooting given our budget constraints. It would have meant we pushed into the New Year in terms of shooting. Then Anne Hathaway (who was to play Tiffany) had this crazy Dark Knight schedule. They would get her for this huge period of time, and then she would drop in and out of that schedule,” explains Gigliotti.

The right faces at the right time: “Casting was the biggest challenge and getting the right actors in these roles. By comparison to the other films that are nominated, we had a pretty small budget, and it’s not as though we had a lot of money to spend in terms of cast. We had to have actors that were recognizable in order to make the numbers work—that’s for the business side. The challenge for the creative side is to find actors who could inhabit those characters and be authentic. Bradley Cooper is a big movie star in terms of The Hangover. That’s a plus on the business side, but then one needed to evaluate whether he was right for the role. That’s a total tribute to David O. Russell since he understood Bradley’s depth and how he could get that performance. Jennifer Lawrence was a different kettle of fish. She was in the middle of Hunger Games. We didn’t know it was going to be so behemoth. She did the Skype interview; we showed it to Harvey Weinstein, who is fearless when it comes to these things. He took one look and said, ‘Cast this girl! She’s unbelievable!’ I don’t know if we would have made this movie if Bob De Niro said no. We didn’t have a lot of money. How do we get Bob De Niro and not pay him a fortune? It came down to David. It’s really a potent thing when David and his actors connect. Jacki Weaver was the casting director’s idea. Jacki was in a production of Uncle Vanya in Washington, D.C. One look at her eyes and Cooper’s eyes and you think they were connected. You believed she could have been Bradley’s mother,” says Gigliotti.—Anthony D’Alessandro

Zero Dark Thirty (Sony Pictures)

Producers: Kathryn Bigelow, Mark Boal, Megan Ellison

Awards: 5 Oscar noms, 1 Golden Globe win (best dramatic actress for Jessica Chastain), 2 CCMA wins (actress, editing), 5 BAFTA noms, DGA nom, WGA original screenplay nom.

Everywhere at once: “This is not a $45 million movie; this is an $85 million movie. There’s over 100 different sets in this movie, we filmed on three continents with helicopters and special effects and (covering) a 10-year time period and 100 speaking parts and a giant action sequence, and at times we were shooting like a TV schedule—five pages a day. Part of the challenge was getting this much scope—we filmed in Pakistan, we filmed in India, we filmed in Jordan, we filmed in Washington, we filmed in the U.K. Part of the challenge was getting this much scope on the screen, and we could really do that because Kathryn had a vision for how to do it, and because she shoots it and it’s done and we can move on. There’s not a lot of second-guessing going on,” says Boal.

No fear of Babel: “I like going to these places where there isn’t a lot of film infrastructure. Jordan has absolutely none. India has some. Of course there’s a big film industry there, but it wasn’t really geared to making a movie about an American CIA team hunting a terrorist, for any number of reasons. It’s hard to shoot action in India—very, very, very hard. You can’t do aerial photograph; there’s a million permits if you want to take a gun out,” adds Boal.

Red tape: “These are hard movies to get made. Negotiating with those governments, moving equipment in and out, dealing with security issues, dealing with the secrecy issues, dealing with the press, dealing with government pressure and investigations from our government. We were under investigation by Republicans since the day we started this movie for just trying to get information. That’s not easy to have hanging over your head when you’re simultaneously trying to arrange for the use of three military Black Hawks from a foreign government. It gets complicated pretty quickly,” adds the screenwriter-producer.

Worst-case scenario—production or post-release: “The politics is pretty tough, I will say. I would take the logistical challenge of trying to find a 40-ton crane in Jordan over dealing with Washington any day of the week,” Boal says.—Paul Brownfield

Pete Hammond is Deadline’s awards columnist. This article appeared in the Jan. 30 issue of AwardsLine.

With less than a month to go, the stage is set for one of the strangest Oscar showdowns in memory. Certainly the season started with some clear favorites emerging, like Argo at Telluride, Silver Linings Playbook at Toronto, then Lincoln just after the election, followed by Life Of Pi. I thought Paramount’s Flight also might emerge as a major best picture contender around this time, but when critics awards and early nominations for Globes and CCMAs started coming in, it was clear this was mainly just a play for Denzel Washington and John Gatins’ original screenplay. At Christmas time, we got Zero Dark Thirty, Django Unchained, and the hotly anticipated Les Misérables to complete our seven-pack of best picture contenders. What many weren’t anticipating was that two small indie films that made a splash earlier in the year were also going to come in. Beasts Of The Southern Wild managed to hold on to all that momentum from its Sundance debut a year ago, and then Amour took Cannes by storm, winning the Palme d’Or and later travelling on the fall film circuit to Telluride and Toronto. That both were able to cash in that early 2012 awards goodwill and still make Oscar’s list was impressive, especially in the face of one of the most competitive and rich races for the ultimate prize in many years.

So what do we have? It’s as free-wheelin’ a race for Oscar as it can possibly be. Usually at this point, there are one or two strong contenders left in the hunt. Not this year. An argument can be made that, depending where the momentum shifts in the next month, it is almost anyone’s race, at least for best picture. But that also extends to some of the acting races (well, maybe not for you, Daniel Day-Lewis and Anne Hathaway) and even director, which has been turned on its head by the directors branch, who went their own way in snubbing DGA nominees Ben Affleck, Kathryn Bigelow, and Tom Hooper in favor of smaller films from Michael Haneke, Benh Zeitlin, and David O. Russell. At the very least, the directors have upended the race and made it a lot more interesting and less conventional. It is entirely conceivable that the guilds, which most closely reflect the Academy’s sensibilities, will further upend the race. In a year when so many movies are top quality and have their own unique constituencies supporting them, a split vote could produce some very nervous moments on Oscar night and some very unexpected results. Could a popular movie like Argo actually emerge as the best picture champ without winning any other Oscars?

It’s possible—not likely, but possible. Will the directing and picture categories split? Possible. Could Argo win DGA, Life Of Pi win best director at the Oscars, and Lincoln take home best picture? Who knows? It is a year where anything, and I mean anything, can happen.

And then there is the question of the earlier nominating period and online voting. The Academy assured me, perhaps because of all the publicity about snafus in the new voting system, that more members voted this time around than ever before. Will that continue through to the finals, especially now that there is a longer period, six weeks instead of four, between nominations and the Oscar show? Will the method of voting continue to be the story and could it affect the outcome in a razor-thin margin race like this one promises to be?

It has indeed been a rollercoaster ride for Oscar in his 85^th year, and I have a feeling he’s got a few more surprises in store for us before this is all over.