Last edited by GEORGEIII; 01-08-2013 at 05:24 PM.
A pessimist is a well-informed optimist-Napoleon
The directors branch of the Academy is just about the group I would expect to be least receptive to Les Miserables, aside from maybe the writers. If it is nominated, that bodes very well for its overall support and will make me question everything about what's in store for us (like what if it won SAG Ensemble? Or PGA?)... but I'm doubtful.
I think it's true that Les Miserables probably elicits greater emotion from viewers than Dreamgirls and I think it's more of a Moulin Rouge!-esque (divisive but it has its fans) situation because I would likely be predicting it to make a Best Picture top five if we still had such a thing.
Seriously though, Hooper getting that DGA nod isn't all that surprising. I still don't see him nominated come Thursday morning.
The Beautiful and Talented Godgend Señor El Diablo Blanchitto
Returning to Hollywood with a Vengeance in 2013
I really don't know how the Oscars are going to go. It looks like it might just go with the DGA 5/5, because this year's contenders in the Director field are really jam-packed; way too many contenders. Honestly, any of them would make sense. However, there are a lot of potentially great choices this year, and hopefully the lesser two (i.e. Hooper and Lee) will be replaced, preferably by Haneke, Anderson, Tarantino or Zeitlin.
The situation with Amour is just frustrating. A Palme d'Or winner from one of the most distinctive and respected auteurs in the world, and not to mention winning both Los Angeles Film Critics and National Society of Film Critics for Best Picture (something that a foreign-language film hasn't done in years), should factor much more in the Best Picture and Director race. Had this been the 1960s or 70s, I think Michael Haneke would be a no-brainer choice. Think Bergman's Cries and Whispers and Costa-Gavras's Z, and there are many more examples. I don't know if its the case of foreign language films having much less influences nowadays or simply that studios don't campaign for them anymore, but I feel like Amour (and A Separation from last year) could've and should've done so much more (with their levels of acclaim) than just mere "predicated" foreign-language film and screenplay nominations.
The Master is an ideal lone director nominee; a controversial and divisive film with passionate critical support and not to mention Paul Thomas Anderson's reputation (think David Lynch's Blue Velvet). However since the expansion of the Best Picture field, this lone director thing really hasn't happened. However, I think even with an expanded Best Picture field back then, Blue Velvet wouldn't make it in; so Anderson's chances, like Lynch's, really depends on the level of support. Hopefully Anderson can pull through.
And if Tarantino is snubbed, it would be puzzling. Django Unchained is arguably his greatest success yet in terms of both critically and commercially. It got 81 on MC, and for a film of this level of violence and controversy, its pretty amazing; it stands much better review-wise than Inglourious Basterds, in which the Academy showered with a ton of love. Its domestic box-office is crazy good; it will be the the highest grossing Best Picture contender domestically (its only competition is Lincoln).
I think in another year, both Zeitlin and Wes Anderson would stand a better chance. And honestly, Wes Anderson would be a very deserving first-time Best Director nominee, since he's been in the business for so long and Moonrise Kingdom was a major breakthrough for him.
And David O. Russell, not that I think he is totally deserving of the nominations, but he is a previous nominee (nominated for The Fighter, a much lesser film than SLP) and is well-regarded in the film community. If Jason Reitman can do it for Juno and Alexander Payne can do it for The Descendants, no reason why Russell can't do the same with Silver Linings Playbook.
Outstanding Directorial Achievement in Documentary nominations:
Malik Bendjelloul (Searching for Sugar Man)
Kirby Dick (The Invisible War)
David France (How to Survive a Plague)
Lauren Greenfield (The Queen of Versailles)
Alison Klayman (Ai Wei Wei: Never Sorry)
Spielberg vs. the Industry. Who Will Win In The End?
Has anyone heard if Milos Forman is sick or anything? A friend of mine invited me to attend this year's ceremony (in the back, but still..) and the only reason I was really excited for it was to see Milos Forman receive the Lifetime Achievment Award. Now I'm hearing that he has canceled his flights and hotel in LA. I'm wondering if he's sick and not attending, or if he just switched everything up?