OSCARS: 85th Academy Award Nominations – Only 9 Best Pictures; 'Lincoln' Leads With 12 Nods, 'Life Of Pi' 11, 'Les Misérables' And 'Silver Linings Playbook' 8, 'Argo' 7, 'Skyfall' And 'Amour' And 'Zero Dark Thirty' And 'Django Unchained' 5

Oscar Nominations 2013Nominations for the 85th Academy Awards were announced this morning by the show’s host, Seth MacFarlane, and actress Emma Stone on Thursday, January 10. This was the first time since 1972 that an Oscar show host has participated in the nominations announcement. DreamWorks’ Lincoln from Fox and Disney led with 12 nods, Fox’s Life Of Pi 11, Working Title/Universal’s Les Misérables and The Weinstein Company’s Silver Linings Playbook 8, Warner Bros’ Argo 7, MGM/Sony Pictures’ Skyfall and Sony Pictures Classics’ Amour and The Weinstein Company’s Django Unchained 5.

OSCARS: Nominations By Studio & Distributor
OSCARS: Nominations By Picture

The nominations were unveiled at a news conference at the Academy’s Samuel Goldwyn Theater in Beverly Hills, where hundreds of media representatives from around the world were gathered. Since the first nominations announcement in 1964, the Academy president has been joined by one or more co-announcers at the event. This year the Academy broke with tradition when MacFarlane, the Ted star and filmmaker who was named Oscar show host in October, joined Stone on Oscar nominations morning. (Charlton Heston in 1972 was the only other show host to participate in the nominations announcement.)

Related: OSCARS: Who Got Snubbed By Academy?

MacFarlane made a series of jokes that ripped Academy Awards personalities. “Congratulations to the Best Actress nominees,” he said. “Now they can stop pretending to like Harvey Weinstein.”

Academy Awards for outstanding film achievements of 2012 will be presented on Oscar Sunday, February 24th at the Dolby Theatre at Hollywood & Highland Center, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide. Academy members from each of the branches vote to determine the nominees in their respective categories –- actors nominate actors, film editors nominate film editors, etc.  In the Animated Feature Film and Foreign Language Film categories, nominees are selected by vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

Related: OSCARS: Reactions To Academy’s Nominations

Official screenings of all motion pictures with one or more nominations will begin for members on Saturday, January 19, at the Academy’s Samuel Goldwyn Theater. Screenings will also be held at the Academy’s Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area. Active members of the Academy are eligible to vote for the winners in all categories.

Nominations for the 85th Academy Awards

Best motion picture of the year

  • “Amour”
    Nominees to be determined
  • “Argo”
    Grant Heslov, Ben Affleck and George Clooney, Producers
  • “Beasts of the Southern Wild”
    Dan Janvey, Josh Penn and Michael Gottwald, Producers
  • “Django Unchained”
    Stacey Sher, Reginald Hudlin and Pilar Savone, Producers
  • “Les Misérables”
    Tim Bevan, Eric Fellner, Debra Hayward and Cameron Mackintosh, Producers
  • “Life of Pi”
    Gil Netter, Ang Lee and David Womark, Producers
  • “Lincoln”
    Steven Spielberg and Kathleen Kennedy, Producers
  • “Silver Linings Playbook”
    Donna Gigliotti, Bruce Cohen and Jonathan Gordon, Producers
  • “Zero Dark Thirty”
    Mark Boal, Kathryn Bigelow and Megan Ellison, Producers

Performance by an actor in a leading role

  • Bradley Cooper in Silver Linings Playbook
  • Daniel Day-Lewis in Lincoln
  • Hugh Jackman in Les Misérables
  • Joaquin Phoenix in The Master
  • Denzel Washington in Flight

Performance by an actor in a supporting role

  • Alan Arkin in Argo
  • Robert De Niro in Silver Linings Playbook
  • Philip Seymour Hoffman in The Master
  • Tommy Lee Jones in Lincoln
  • Christoph Waltz in Django Unchained

Achievement in directing

  • “Amour” Michael Haneke
  • “Beasts of the Southern Wild” Benh Zeitlin
  • “Life of Pi” Ang Lee
  • “Lincoln” Steven Spielberg
  • “Silver Linings Playbook” David O. Russell

Performance by an actress in a leading role

  • Jessica Chastain in Zero Dark Thirty
  • Jennifer Lawrence in Silver Linings Playbook
  • Emmanuelle Riva in Amour
  • Quvenzhané Wallis in Beasts of the Southern Wild
  • Naomi Watts in The Impossible

Performance by an actress in a supporting role

  • Amy Adams in “The Master”
  • Sally Field in “Lincoln”
  • Anne Hathaway in “Les Misérables”
  • Helen Hunt in “The Sessions”
  • Jacki Weaver in “Silver Linings Playbook”

Best animated feature film of the year

  • “Brave” Mark Andrews and Brenda Chapman
  • “Frankenweenie” Tim Burton
  • “ParaNorman” Sam Fell and Chris Butler
  • “The Pirates! Band of Misfits” Peter Lord
  • “Wreck-It Ralph” Rich Moore

Adapted screenplay

  • “Argo” Screenplay by Chris Terrio
  • “Beasts of the Southern Wild” Screenplay by Lucy Alibar & Benh Zeitlin
  • “Life of Pi” Screenplay by David Magee
  • “Lincoln” Screenplay by Tony Kushner
  • “Silver Linings Playbook” Screenplay by David O. Russell

Original screenplay

  • “Amour” Written by Michael Haneke
  • “Django Unchained”Written by Quentin Tarantino
  • “Flight” Written by John Gatins
  • “Moonrise Kingdom” Written by Wes Anderson & Roman Coppola
  • “Zero Dark Thirty” Written by Mark Boal

Achievement in cinematography

  • “Anna Karenina” Seamus McGarvey
  • “Django Unchained” Robert Richardson
  • “Life of Pi” Claudio Miranda
  • “Lincoln” Janusz Kaminski
  • “Skyfall” Roger Deakins

Best foreign language film of the year

  • “Amour” Austria
  • “Kon-Tiki” Norway
  • “No” Chile
  • “A Royal Affair” Denmark
  • “War Witch” Canada

Best documentary feature

  • “5 Broken Cameras”
    Emad Burnat and Guy Davidi
  • “The Gatekeepers”
    Nominees to be determined
  • “How to Survive a Plague”
    Nominees to be determined
  • “The Invisible War”
    Nominees to be determined
  • “Searching for Sugar Man”
    Nominees to be determined

Best documentary short subject

  • “Inocente”
    Sean Fine and Andrea Nix Fine
  • “Kings Point”
    Sari Gilman and Jedd Wider
  • “Mondays at Racine”
    Cynthia Wade and Robin Honan
  • “Open Heart”
    Kief Davidson and Cori Shepherd Stern
  • “Redemption”
    Jon Alpert and Matthew O’Neill

Achievement in film editing

  • “Argo” William Goldenberg
  • “Life of Pi” Tim Squyres
  • “Lincoln” Michael Kahn
  • “Silver Linings Playbook” Jay Cassidy and Crispin Struthers
  • “Zero Dark Thirty” Dylan Tichenor and William Goldenberg

Achievement in costume design

  • “Anna Karenina” Jacqueline Durran
  • “Les Misérables” Paco Delgado
  • “Lincoln” Joanna Johnston
  • “Mirror Mirror” Eiko Ishioka
  • “Snow White and the Huntsman” Colleen Atwood

Achievement in makeup and hairstyling

  • “Hitchcock”
    Howard Berger, Peter Montagna and Martin Samuel
  • “The Hobbit: An Unexpected Journey”
    Peter Swords King, Rick Findlater and Tami Lane
  • “Les Misérables”
    Lisa Westcott and Julie Dartnell

Achievement in music written for motion pictures (Original score)

  • “Anna Karenina” Dario Marianelli
  • “Argo” Alexandre Desplat
  • “Life of Pi” Mychael Danna
  • “Lincoln” John Williams
  • “Skyfall” Thomas Newman

Achievement in music written for motion pictures (Original song)

  • “Before My Time” from “Chasing Ice”
    Music and Lyric by J. Ralph
  • “Everybody Needs A Best Friend” from “Ted”
    Music by Walter Murphy; Lyric by Seth MacFarlane
  • “Pi’s Lullaby” from “Life of Pi”
    Music by Mychael Danna; Lyric by Bombay Jayashri
  • “Skyfall” from “Skyfall”
    Music and Lyric by Adele Adkins and Paul Epworth
  • “Suddenly” from “Les Misérables”
    Music by Claude-Michel Schönberg; Lyric by Herbert Kretzmer and Alain Boublil

Achievement in production design

  • “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
  • “Life of Pi”
    Production Design: David Gropman; Set Decoration: Anna Pinnock
  • “Lincoln”
    Production Design: Rick Carter; Set Decoration: Jim Erickson

Best animated short film

  • “Adam and Dog” Minkyu Lee
  • “Fresh Guacamole” PES
  • “Head over Heels” Timothy Reckart and Fodhla Cronin O’Reilly
  • “Maggie Simpson in “The Longest Daycare” David Silverman
  • “Paperman” John Kahrs

Best live action short film

  • “Asad” Bryan Buckley and Mino Jarjoura
  • “Buzkashi Boys” Sam French and Ariel Nasr
  • “Curfew” Shawn Christensen
  • “Death of a Shadow (Dood van een Schaduw)” Tom Van Avermaet and Ellen De Waele
  • “Henry” Yan England

Achievement in sound editing

  • “Argo” Erik Aadahl and Ethan Van der Ryn
  • “Django Unchained” Wylie Stateman
  • “Life of Pi” Eugene Gearty and Philip Stockton
  • “Skyfall” Per Hallberg and Karen Baker Landers
  • “Zero Dark Thirty” Paul N.J. Ottosson

Achievement in sound mixing

  • “Argo”
    John Reitz, Gregg Rudloff and Jose Antonio Garcia
  • “Les Misérables”
    Andy Nelson, Mark Paterson and Simon Hayes
  • “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

Achievement in visual effects

  • “The Hobbit: An Unexpected Journey”
    Joe Letteri, Eric Saindon, David Clayton and R. Christopher White
  • “Life of Pi”
    Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
  • “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
  1. Unbelievable how the academy continually snubs Dicaprio. Really was Arkins performance braver or more exciting then his?

  2. Seth McFarlane and Emma Stone were great. Funny lines: “Congratulations to the Best Actress nominees. Now they can stop pretending to like Harvey Weinstein.”

  3. I do disappointed with John Hawkes being left out – plus ‘Zero Dark Thirty’ should have gotten more love.

  4. So let’s see…

    No Affleck, No Bigelow, No Tarantino, No Hooper…..

    Congratulations to Lincoln for winning Best Picture, apparently, since all the other top contenders just got kneecapped.

  5. I’m in a state of shock that Affleck wasn’t nominated for director! Still, congratulations to Benh Zeitlin, who deserves it for Beasts of the Southern Wild.

  6. Wes Anderson films officially in the snubbed hall of fame. O’Russells direction really more impressive then Bigelow or a number of other films.

    1. I love Wes Anderson, but his films lack real human emotion, save Bottlerocket. I love Rushmore, love Royal, but even those movies, their smart and witty and fun…and completely lacking real human characters. I sold a couple of scripts, because they were a lot more like Silver Linings than much of what you see. Haven’t seen SLP, but people want to see real movies. They want Rain Main, not hipster movies that are more about style than real people doing real things.

  7. What happened to all the love “Moonrise Kingdom” has been getting for the past few weeks….Best Original Screenplay and thats it?

    I honestly wasn’t expecting to see Tarantino name on this list because the Academy members are a little too old to appreciate his Directing Style

    1. I love Wes Anderson, but they don’t have real emotion. Bottlerocket did, where even Rushmore and Royal T’s didn’t. They’re awesome in that they’re clever and original and smart, but they’re not movies that are real in any way. They’re not about real people, dealing with real struggles. It’s always about, look at these colors and these outfits and this awkward situation. It’s never about actual people doing genuine things.

  8. Imagine all the meltdowns & sadness Joaquin Phoenix has this morning & will be having in the next month =) Maybe the Oscar is trolling him REAL HARD this year =)

  9. It is truly embarrassing to have the film nominations …best picture be opened
    up to 10 nominations and yet the director category be limited to 5 , how can you have a best picture without its’ DIRECTOR……who is in charge….the actors, art directors and and and did it ?????

    1. Never worked on a project? Everyone knows that it doesn’t take a great project managed/directed to have a highly successful project.

  10. Glad to see the splashy ‘Searching for Sugar Man’ nominated for Best Documentary Feature. But’The Imposter’is missing in that category. Incredibly well made gem.

  11. Wow. The Directors field is quite interesting. I’d love to know what happened there and why the obvious ones where shut out.

  12. I can’t believe that PT wasn’t nominated for best director, The Master wasn’t nominated for best picture, and it didn’t get a nom for best cinematography. But Beasts got all of the above. Preposterous.

    I can’t believe Tarintino and Bigelow weren’t nominated either. Both of those films were bolder, braver, and better directorial achievements.

    And lastly, DiCaprio. I’m not particularly a fan of his, but his performance was spell-binding. I think he even stole the scenes with Waltz. He deserved a nom and a victory.

  13. I think this year, I’ve a lot more impressed with how “right” they got it, rather than shocked with who got snubbed. Much applause for acknowledging BEASTS and Watts in THE IMPOSSIBLE.

  14. Glad to finally see “Life of Pi” get some love, but stunned that Bigelow is not on this list. Just stunned. Looks like the older members of the Academy are going for Lincoln. Sad.

  15. the Flight screenplay was laughable. shocked he was nominated.

    1. When you look at all the eligible scripts this year it really was a bad lot.

      Good for the writer for sneaking in!

    2. My hatred for this film is well-known :) The guy has serious affirmation problems about his addiction and the screenplay was nothing more but a plea for people to tell him, “Yes you made the right choice! Drugs and booze bad!”

      Horrid, horrid crap.

    1. Not that its ratings are necessarily correct in any way, but there’s something to be said for IMDB’s rating system and its attempt to amass worldwide ratings of films and then normalize those ratings so no single demographic overly skews them.

      It’s therefore amusing when a film like THE INTOUCHABLES is ranked #65 all-time (and it’s not even a Tarantino or Nolan movie)… and yet it’s completely snubbed by the Academy. See also: WALLFLOWER, THE PERKS OF BEING A.

    2. Nine films competing for five slots and one of the best reviewed films of the year still can’t make the cut? It really is astonishing. Was there some kind of backlash that wasn’t on the radar? Because I just don’t get it either.

  16. Wrong. Flight’s screenplay was amazing. Apparently “depth” is not within your realm. A film that stirs thought about ones own life in relation to a films central character is a work deserving of an nomination..period. Clearly you missed the ironies and analogies within the story of Flight. Many others like you did, not surprised. Those enlightened thought it was a gem. I did. Same with Silver Linings – brilliant….betting you missed the authors point of that film as well??!!

  17. I saw “Django” the other night. I had to go see it, because some of my fellow black folks told me they enjoyed it.

    I read the screenplay last year, and instantly and thoroughly despised it. The film doesn’t differ much from the screenplay. It’s not a realistic account of slavery, as Jamie Foxx has proposed. What really bothers me about the film is that it supports and promotes the notion that African slaves were generally treated like human beings, and that except for a few considerations, slavery wasn’t so bad.

    The above statement may confuse those who were disturbed by the film’s demonstration of graphic violence suffered by slaves at the hands of their owners. But the dramatic impact of that violence and its potential authenticity is drastically offset by the film’s fallacious depiction of commonplace human empathy between slaves and their owners: in actuality, slaves were not legally considered human beings, and were rarely addressed as or treated as such.

    “Django” includes, for example, scenes where black slaves were eating at the table alongside their white master and his guests, listening in on the dinner conversation as if they themselves were his valued friends or even members of his family. As if the majority of slave owners would commonly tolerate the sight of a black slave eating at their dinner tables. My own mother (who is alive today, and who was born far after 1858 in which “Django” was largely set, mind you) wasn’t allowed to eat in the same restaurant with white people when she was a child, much less the same table.

    “Django” includes ridiculous scenes wherein African slaves argue heatedly with their masters on the point of whether their master’s bidding should be done. Juxtaposed against this is the fact that in 1955, almost 100 years following the year 1858, a quiet young black woman named Rosa Parks was arrested by the police in Alabama when she refused to follow an order to give up her seat on a racially segregated public bus. To put this in perspective, the first human space flight occurred only 6 years later, in 1961.

    Throughout the film, slave owners and slave drivers generally recognized their black slaves as human beings; they were spoken to as if they were human beings, and they were listened to as if they were human beings. Most ridiculous was the film’s proposal that Samuel Jackson’s “house negro” character served his master as a respected counselor and advisor; a “consigiliere,” if you will. In the film there was a scene wherein behind closed doors, the character of slave owner “Calvin Candie” acknowledged that the strategic faculties of his slave to an extent exceeded his own, and appreciated his slave for the fact. Yet a 1925 post-slave era USA military study ventured to conclude that “blacks are mentally inferior and by nature subservient, and thus are unfit for combat.” Moreover, the governor of Arkansas in 1957 personally deployed the National Guard in his state to support segregationists who physically intervened to prevent 9 young black high school students from entering a public high school in comportment with the then new federal ban against racial segregation in public schools.

    Understand this: I am not proposing that the above-mentioned scenes in “Django” never before happened in the history of slavery. More to the point is the fact that the overall depiction of these scenes creates a contextual inference that they were commonplace; and in this regard, Tarantino’s film supports and even promotes the notion that slavery wasn’t so bad.

    The reason this notion bothers me is because if we are to accept that slavery wasn’t so bad, then by logical extension we must reject the notion that slavery, prejudice and other forms of racial injustice have little to do with the fact that—comparatively speaking—many black people in America today have failed to achieve even a nominal threshold with respect to education, financial sustainability, and social equality among their fellow men and women. And that’s just not true.

    There are many people out there—white people and black people alike—who would passionately disagree with me on this. I’ll not argue the point, other than to say that while those of you with such limited analytic resources are to be pitied for your ignorance, I’ve not the time or interest or even the ability to enlighten you.

    I can come up with only two conclusions about Tarantino’s intent with respect to this film.

    A) Tarantino and the people who appeared in his film and are helping him promote it have not the slightest idea of the injustice that black people really went through during the slave era, and which they to a degree continue to go through even to this day, or

    B) Tarantino and his colleagues do have a conception, but regardless felt compelled to satisfy—through the fictional endeavors of the Django character—the sense of vengeance that they believe many black people possess for having suffered the indignity of slavery.

    As to the former, while ignorance is forgivable, it’s certainly not respectable, much less admirable or inspiring.

    As to the latter, I don’t have a sense of vengeance to stoke… and if I did, it’s not likely that this film could satisfy it any more than “Inglorious Basterds” sufficed to act as a balm against the racial injustice that Jewish people went through at the hands of Hitler and which—to a degree—they continue to go through today.

    And in either case, take it from me that Quentin Tarantino doesn’t understand black people as well as he purports to.

    1. You make some good points–but I think generally the film is pretty fucking anti slavery. I don’t think anyone is going to go away from this film feeling like slavery wasn’t so bad.

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