Oscar Season 2024-2025; Final Predictions; Film Editors Wrestle to Balance the Epic and the Intimate; and a Glaring Netflix Problem in Best Cinematography

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jules (00:15):
hey, welcome back to academy, anonymous, I'm jules
and I'm joseph and let's getback to our deep dive into our
final predictions for theacademy awards.
Let's get back to our deep diveinto our final predictions for
the Academy.

Joseph (00:25):
Awards.
Let's get into film editingRight.
Film editing Very interestingcategory because, as we know
already, there's a lot ofoverlap between this category
and the category of Best Picture.
Very difficult, notoriouslydifficult, to win Best Picture
without a nomination here.
So a lot of campaigns arereally pitching their films for
this category.
At the same time, we know fromour experience, and from what

(00:46):
we've observed as well, thatthere's a lot of overlap between
the category of film editingand the category of best
director.
The idea of editing sort ofbeing a craft that is again very
molded and sculpted by thedirector, the force that's sort
of pushing the movie through.
And you'll see that in theAcademy's nominees.
And so let's start talkingabout some of the contenders,

(01:08):
and I think one of the best waysto go is by starting to look at
who BAFTA had the BritishAcademy listed Onora, Conclave
Dune, Part II, Emilia Perez andKneecap Very interesting list.
I think there's one of thosefilms that isn't as much of a
viable contender, unfortunately,and that's Kneecap.

(01:29):
So we're looking at more or lessfour films from here, which is
interesting in the sense thatfor a while now we're on a
streak, a two-year streak, wherethe BAFTA 5 for film editing.
Four of those films will crossover and become part of the
academy five for film editingand if that's the case, you can
make the assumption, since thereare only four viable contenders

(01:50):
left, that those are the fourfilms to make it in or have
locked in a spot at the academyright I think that might be a
little bit of a mirage.
I think what we can know fromthe past two years is, yes,
bapta has gotten four titles in,but we also know that BAFTA has
never been 100%, and if youlook a little bit further beyond
the past two years, you'll seethat hardly ever is BAFTA

(02:13):
perfect.
The last time that BAFTA wasperfect was the year of the
pandemic, and that might be alittle bit of fool's gold to
sort of be overly confident thatthose four titles are locked in
.
but again, those four titleswould be Onora Conclave, dune
Part 2, and Emilia PerezInteresting also to note that
Dune Part 2 and Emilia Perezboth former nominees Dune Part 2

(02:35):
.
In particular, joe Walker'scoming off a win for Dune Part 1
.
And this would be his fourthnomination, which is quite a bit
for an editor.
You're talking about sort ofnow in the vicinity of those
William Goldenberg sort ofeditors who are such pillars of
their industry or their craft soyou have to wonder if that's
something that's going to beworking against him.
But I think it's alsointeresting, now that we're

(02:55):
talking about BAFTA, let's lookat the bottom five of BAFTA, the
other films that didn't get in.
Again, the BAFTA long list isextremely helpful in sort of
whittling down what are thefilms that are having the most
impact on the campaign trail.
And so the bottom five filmswere Challengers, civil War, a
Complete Unknown, gladiator 2,and the Substance.

(03:17):
A lot of people, includingmyself, had pegged the Substance
for a nomination here.
The fact that it did not getnominated over something like
Kneecap should certainly bestriking.

Jules (03:28):
Because the BAFTA really liked the.

Joseph (03:29):
Substance, because you would have thought that the
BAFTA, with 11 nods for or 11long list mentions for the
Substance, would have certainlyput it here.
I mean the Substance.
Not only is it a genre film,but it is a very edited film,
and so certainly the editing,the editing, calls a lot of
attention.
Um, at the same time, kneecapwas really well beloved, but I
would not have figured kneecapto be here over the substance.

(03:50):
Possibly both, but not over thesubstance.
The fact that the substance andnot get in raises some red
flags to me.
Um, let's talk about veterans.
The one of the editors forgladiator 2 has been nominated
for academy awards before theeditor from a complete unknown,
one of the editors there hasbeen nominated before, and won
for their work with for for forferrari, and that was pretty

(04:11):
recent as well 2019.
And then you have the editor forcivil war, who actually has
been nominated for an oscar forhis work in harrow, high water
another best picture nominee.
The civil civil war, however,is not really in that same
position of being a best picturenominee.
And then you have a movie likechallengers right, which again
the editing sort of a characterin that piece, and we know that

(04:32):
this category at the academyespecially has a sort of soft
spot for sports films, whetherit's cinderella man being able
to get a nomination here, or thefighter or king richard.
So there's a little bit of asoft spot for sports and again
the editing in that film is verymuch a character.
However, this would be his firstacademy award nomination and he

(04:53):
doesn't have too much of anexpansive filmography and luca
guadagnino hasn't really had afilm break into this category
yet.
This category, just like allthe others, it has filmmakers
that it's sort of favors.
So the way that makeup artistsand costume designers and
production designers are alwaysbuying a ticket and and
reflecting and sort ofconsidering the art that and

(05:16):
craft that goes into a timburton film, editors are really
going to consider all the workthat goes into, for example, a
nolan film uh, schumacheracherScorsese film and so.
Luca's films have not quitebroken in here just yet, and
that might be a hurdle that thecampaign faces, but the fact
that this is one of the few longlists that it got into for
BAFTA is a very good sign.

(05:38):
And so BAFTA, I think, is apretty good measuring stick with
their streak of four, and,although they're not perfect, I
will say that if we examine theBAFTA long list, you'll see
again a majority of nomineeswithin their long list.
So you have the last two yearswhere they got four BAFTA top
five editing nominees into Oscartop five editing nominees.

(06:00):
But if you look at a yearbefore that, like 2021, they
only got one of their eventualBAFTA editing nominees into the
academy top five.
The other four nominees did notmake the academy top five, but
if you look at the long list,you will find an additional
three titles that did make it toediting right.
So that long list is veryhelpful right.
And again in 2020, they wereperfect with their nominees not

(06:23):
just the longest, but with theirnominees they were five out of
five.
So if we look at that, it'sinteresting to start thinking
about the titles that did notmake that long list right the
past three years when they gotfour out of five between their
nominees and their long list andsome of those titles were the
holdovers, most recently forKevin Tent, who was a veteran of

(06:43):
this category.
It was his second nomination, aBest Picture nomination Tar,
which was her first nominationin 2022.
And King Richard by PamelaMartin, and that was her second
nomination after being nominatedfor the Fighter.
Interestingly enough, movieslike King Richard and the
Holdovers with Pamela Martin andKevin Tent, they're sort of

(07:04):
waiting this sort of 10 yearsbefore they're nominated.
Kevin Tent goes from beingnominated for the Descendants in
2011 to being nominated for theHoldovers in 2023.
And Pamela Martin goes frombeing nominated for the Fighter
in 2010 to being nominated forKing Richard in 2021.
Again, both times that theseeditors get in, they get in with

(07:24):
their movies being best picturemovies, because there is that
overlap between best picturemovies and best editing.
There are films that do make itinto best editing that do not
become best picture nominees,but they are very rare.
That's why it's such a covetedspot to get Now a lot of those
titles, whether it's KingRichard or the Holdovers or Tar.
They did show up at the Guildat the Ace Eddie Awards, the

(07:46):
editing Guild.

Jules (07:47):
Which is the other really important thing to look at for
this category.

Joseph (07:50):
Right, and so it's worth taking a look at who those
nominees were, and if you startlooking at it, they divide their
nominees between two categories.
It's really interesting becauseit's important to note that the
A's came out super late I thinkin 2022, super late, I think in
2022.
Super late, or in 2023,possibly and as a reaction to
that, they came out really earlythis year.
And so there are some titlesthat are missing.

(08:11):
That sort of piqued my interest.
But here were the nominees forcomedy.
On the comedy side you haveOnora Challengers, the Substance
, wicked and A Real Pain.
Of those five, three were longlisted by BAFTA and so the guild
sort of brought in the two newtitles, wicked and A Real Pain,

(08:33):
into the conversation.
Interesting to note that ofthat five there's only one
veteran on that list and that'sWicked.
The editor was nominated aspart of the editing team for.
Tick, tick, boom most recently,and it wasn't even really pegged
as a favorite there.
It was sort of a surprisenomination there.
And then, if you look at thedramatic side, you have Conclave

(08:55):
Dune, part 2, emilia Perez,furiosa and Civil War.
And so BAFTA again had three ofthose titles Conclave Dune,
part 2, and Emilia Perez, butthey added Furiosa and Civil War
.
And so BAFTA again had three ofthose titles Conclave Doom,
part II and Amelia Perez, butthey added Furiosa and Civil War
.
Furiosa did not make that BAFTAlong list.
We know Mad Max was really wellrewarded in this category in
2015.
It's very, very cool to see itshortlisted here, but I don't

(09:18):
know if it's a viable contender.
But here you have again theidea that Civil War is being
listed on the BAFTA long listand the Guild Award, and he is a
former nominee, so that's quiteinteresting.

Jules (09:27):
Right.
Well, I think that in making upyour list, you should have some
sort of combination betweenkeeping in mind how much this
category reflects Best Directorand also keeping in mind that it
should reflect a big chunk ofuh, the ace right right, um,
that being said, as you weresaying, there were a couple

(09:49):
titles that were missing.
A complete unknown is not thereyeah but possibly from the the
nominations coming out uh soonerthis year.
Maybe they didn't get a chanceto see it that's what I'm
thinking right, and that's whyit's missing.

Joseph (10:02):
And if you look back, there are uh, there are a number
of years where there's a filmthat gets into this category
that's missing from the GuildRight and, if I can speak to
that, in 2020, the Guild did notnominate the father and it was
nominated at the BAFTA Right.
And also, most notably or mostnotoriously, they did not
nominate Spotlight in 2015, afilm that would go on to win

(10:23):
Best Picture.
So I think it's interesting tonote that the lack of a complete
unknown here.
Again, a veteran is not a deathsentence, but I think it gets
complicated when we starttalking about maybe multiple
films having missed there.
And there's a certain title thatI want to bring up a little bit
later, as sort of an outlier.

Jules (10:42):
Well, we can bring it up now.
That film, which is a verycurious case in this category,
is September 5.
That is not on the guilds forthe editors but it's also not on
the BAFTA long list, and that'sa very curious film because you
would think, watching that film, it's very well edited.

(11:03):
It's the kind of film thatwould certainly get a spot here
if voters saw the film.
It actually has surprised inshowing up in certain places,
particularly for its editing.
It won the Los Angeles FilmCritics Association for film
editing.
It got an Iron FriendlyIndependent Spirit Award just
film editing.
As we've been seeing thisseason um september five has

(11:27):
been this really curious case ofa film that had a lot of
potential but has just managedto show up in little spurts here
and there, getting, for example, a golden globe nomination for
best picture and that's it, andso this would theoretically be a
perfect category to recognizethat film.
However, its lack of being ineither the Guild or the BAFTA

(11:48):
long list is certainly somethingthat you need to look at.

Joseph (11:52):
Right, but it's not a death sentence either in the
sense that, as I said, the Guilddid miss the father and
spotlight.
The father was nominated for aBAFTA and would end up being
nominated for an Oscar, andagain the editing is such a
character in that film.
September 5th is one of thosemovies that you know the editing
is very self-reflective.
You know they're individuals inbroadcast and media and so you

(12:15):
know that an editor might bevery interested in.
You know all these moving partssort of working harmoniously
not just to tell the story butto explore the theme.
It's very interesting.
But a film like Spotlight againgot shut out of its guild and
did not make the BAFTA top five.
We don't have a long list so wedon't know if it was on that
long list.
But again, spotlight was ableto continue to be the best

(12:38):
picture, front runner win bestpicture and it did get that
nomination for editing.
So just that idea that you're afilm that's being seen, that
you're sort of procedural andediting is a big part in sort of
keeping the momentum of thestory and getting all the facts
and telling all the story thatin and of itself might be enough
for editors to list it, andSeptember 5th has all those
things going for it.

Jules (12:59):
So it's certainly not a death sentence, except we don't
know how many, how many votersare watching it.
Exactly, and that's a pivotalpiece of the puzzle.

Joseph (13:06):
Yeah, that's a huge thing Right.

Jules (13:07):
Which, like I said, that that film would make perfect
sense here.
It's very well edited, it'svery well done, um, on a
technical front, Um, but that'sthe biggest problem it's had all
season Our people aren'twatching it.

Joseph (13:19):
The other thing that really hurts is the idea that
both a complete unknown andseptember 5th are off the guild
list, and it's not very oftenthat they miss two.
Usually between the 10 nomineesfor comedy and drama they will
have all five nominees.
That's usually the case rightnow.
If you do look at this list, II will.
I do say that they added twoother veterans with furiosa and

(13:41):
wicked, and wicked is a littlebit more prominent.
But it's also interesting tonote that among the editors that
are being considered there area couple of actual writers.
Directors right, because youhave the editor of Onora is
writer director Sean Baker andpart of the editing team for the
Substance is writer directorCarly Fargeau.
Again, I do think that theeditors like to have a very

(14:02):
well-rounded list, so they liketo include things like
independent films and thingslike comedies, whether it's I,
tonya or the Holdovers, andOnora sounds like it's really
ripe for that spot.
The same way that the Substanceis such an assertively edited
movie that you may think thateditors fall in love with it as

(14:25):
filmmakers in other categoriesor in other crafts involved in
directly involved in other partsof making the film.
The editors don't have a greatreputation with sort of
embracing that, and I think thelast two names that I can think
of are chloe zhao for nomadland,who would go on to win best
picture, and also coron forgravity.
Even though coron was snubbedhere for roma, he got in for
gravity and even for children ofmen.
And what calls my attention isthat both of those films the

(14:48):
sort of momentum and energy forGravity to be the most winning
film and probably the runner-upfor Best Picture and Nomadland
to win Best Picture.
I'm not sure that the Substanceor Onora has that energy, on top
of the fact that both of thosefilms they're getting in with
other nominations below the line, and contemporary films
especially.
It's so difficult for them toget nominations below the line.

(15:10):
If you think of something likeSideways, if you think of
something like the earlyAlexander Payne films, it's
really difficult to go below theline.
You have to have a lot goingfor you, and so I do wonder if,
by virtue of them beingfilmmakers that are, you know,
competing in screenplay anddirector, whether or not editors
were sort of leave them off thelist because they don't have,

(15:33):
for example, the soundnominations that come with
Gravity.
They do not have thecinematography nomination that
came with Nomadland.
So I do think that's a red flagfor both of those titles.

Jules (15:43):
Right.
I think that's a really goodpoint and we mentioned it in one
of our earlier episodes how theSean Baker problem of having a
seat at the best director lineupas well as a producer for Anora
and also being nominated as awriter and then also being
nominated as an editor.
that's four nominations and onego for Anora, for a director

(16:06):
that's never really broken intothat academy.
One of his films has withwillem dafoe for the florida
project, but he himself hasnever.
We don't technically often seea filmmaker break in with a film
so forcefully right with fournominations.
Um, that being said, you knowwe'll talk about it later, but

(16:26):
it is a really prime contenderin the sense that this category
should include some someone incomedy yeah, some sort of
comedic presence.
Yeah, um, if you look back, it'sit's not often you'll find a
list of best editing at theacademy where there's no comedy
film.

Joseph (16:44):
Yeah, I think it's actually almost impossible.

Jules (16:45):
Right and considering that, for example, you already
have a musical that stands agood chance, you don't need two
musicals.
Challengers the newness of thateditor never breaking out into
the Academy yet and not having asuper prolific career as a film
editor, I think goes tohandicap a movie like

(17:07):
Challengers, which was qualifiedas comedy for the for the ace.
So yeah, it's a.
It's a question mark.
If there were maybe morecontenders I might be more
willing to say oh, yeah, well,maybe Onora sits this one out.
But seeing as it's one of themost well, one of the biggest,
the prime contenders to get thatcomedy spot is why I feel a

(17:29):
little bit more confident aboutit I certainly love that it got
nominated for the bafta becauseif you look at a film that was
co-edited by its director,reuben oslo and triangle of
sadness, got in for its guild incomedy, and it did not get into
the bafta

Joseph (17:43):
I believe it made the long list but it did not get
into the bafta, so the fact thathonora was able to show up in
both might bode really well forSean Baker, even without sound
nominations or other below theline nominations.
Now you bring up this idea ofdirector.
I think that's important.
We've talked about thatcrossover and people already are
aware of that crossover, and soit's interesting because we
have sort of a streak going onbetween editing and the

(18:04):
Director's Guild Award too.
The past two years they'vegotten four of the nominees from
the Director's Guild Award havebecome Academy Award nominees
for editing right, and so theDirector's Guild Award this year
is Onora, A Complete Unknown,Emilia Perez, Conclave and the
Brutalist.
And again here we have anothertitle that sort of people have

(18:25):
not, unlike kneecaps, sort ofdismissed, and maybe set is a
less viable contender in thebrutalist right, and it's one of
the biggest contenders for bestpicture.
It's poised by some people topossibly win this award, but it
is not a favorite in thiscategory at all.
Right, and we've talked aboutit.

Jules (18:40):
Well, yes, I would say that right now, if you look at
consensus, there are quite a bitof people who do think that the
brutalist has a legitimate shotin this category.
I would say the reverse thatpeople have been pretty
surprised at the snubbing thathas occurred with the brutalist
at the ace, for example, and, uh, at the bafta most recently.
But you and I, in a veryearlier episode on this season,

(19:03):
were talking about how thebrutalist stands really had
always stood a chance to sort ofbe snubbed in those places.
Because when you talk about athree and a half hour film, you
know a film editor is going tolook at that and be extra
scrutinizing about how much didthis have to be a three and a

(19:24):
half hour film?
Now, I understand that that'spart of the ambition and the
scope of the film, which iswhich is which is great but
they're gonna ask, where was theeditor exactly there's.
There's an element to this where, uh, a certain uh group of
editors are going to be a littlebit more, um, uh, critical
about that right, and so you andI were not surprised at all,
absolutely not.

Joseph (19:44):
When I got to know from the ace, yeah, we thought maybe
it was not seen with enough time.
Right, you know maybe, again,it came out so early that they
just did not have theopportunity to see the Brutalist
Again.
That editor has been workingfor a while, especially most
recently in a film like VanessaKirby's title Pieces of a Woman.
So we thought, oh, maybe he'stoo new, or?

Jules (20:03):
maybe I think World to Come no.

Joseph (20:04):
World to Come.
Know, uh, world to come?
I believe so as well.
I actually think he worked onmonkey man this year as well
with dev patel.
So we thought maybe it was toothe, the guild came out too
early, or maybe the editor istoo unknown.
But then when we saw it missingat the bafta top 10, at the
bafta long list, I think thatraised a lot of red flags for us
well for people you and I wereon the money in terms of really,

(20:25):
uh, seeing that happen, um, andso I feel like that's a
contender that is not going tohappen in this category.
The question is I have for you,then, is the DGA, who's been
averaging four the past twoyears.
Do you think it's poised to getall four of those other films
in, or is it going to beaffected by the fact that, again
, of the five movies they'velisted, one is a less viable

(20:47):
contender?
So can we really expect 100% ofthose other four choices to
show up?

Jules (20:53):
That's the tough part.
I want to say that right now,my inclination is that, yes, we
will see Conclave, onora EmiliaPerez and A Complete Unknown
nominated for film editing.
I like that there's four fromthe DGA.
I like that there's four fromthe perceivedga.
I like that there's four fromthe perceived, or what should be
perceived, as the top five yeahat the academy.

(21:14):
The only one that's missing isthe brutalist which got that dga
nomination right.
Um, I like the idea ofincluding those four, leaving
out the brutalist, and havingthat open spot for someone um,
not in the top five rest picturewell, if those are your four,
you you have three from theGuild, which is a good sign.

Joseph (21:31):
Another film from the Guild might be a good add there,
because A Complete Unknown wasnot at the Guild Right.
But you and I also talked aboutthis idea that one of the most
important things for a film tobe nominated here, as we start
analyzing the most recentnominations, is this category
hinges on a relationship withbest sound right so you should
have at least one film thatcrosses over between film

(21:53):
editing and sound design, andyou can have more than one you
could have more than one,certainly, but you need at least
one, and you see, for example,that that is sort of the.
The element that edged sound ofmetal firmly into film editing
is that in a year like 2020, thepandemic, pandemic year Sound
of Metal was one of the bestsound films to put on that list.

(22:13):
And the other element that youshould be looking at, I think,
is writing.
Writing and screenplay is avery important foretelling
nomination for an editing spot.
If you look at all the recentnominees, it's very seldom that
you don't find a film that wasnot nominated for writing.
And the other element isperformance.

(22:36):
Performance is such a massivepart of what an editor does, of
how an editor scopes and helpsmold a performance, and so,
again, finding a title that doesnot have some sort of
performance nominated is alsoproblematic.
Now, a fantastic contender isgoing to have all three.
They're going to have a soundelement, a performance element
and a writing element.

(22:56):
But not all films are perfectcontenders, but you should at
least be pulling in one of those.
Whether it's Top Gun Maverickpulling in sound and writing, or
Nomadland pulling inperformance and writing, you
should have a film that sort ofgets a couple of those and if
you look at that list of yours,those four, I think you have a
good cross of that right.

Jules (23:17):
All of them show up in acting, four of them show up in
director and right now, from ourpredictions, two of them show
up in sound Right Emilia Perezand A Complete Unknown which
we're show up in sound RightEmilia Perez and A Complete
Unknown which we're predictingfor best sound.
It's really a question of thatlast spot and really for me I

(23:42):
felt really tempted to putSeptember 5 in that last spot as
a film that maybe was a latebreaker that if editors see, I
totally see them placing ittowards the top of their ballot.
It's again a film that's verywell edited.
Editing is a piece of thatmovie is at the forefront.
The whole mechanism of how tocreate something is at the
forefront in that film.
So you can't help but thinkthat editors are going to

(24:04):
respond to that, appreciate that.
The bigger question mark isagain did enough editors see it
in time?
And did enough editors see itin time to elicit this sort of
passion vote, while other moviesseemed that were already ahead
in that regard, garnering thissort of passion, sort of you
know, exactly, and so, forexample, the Substance.

(24:27):
The Substance is a film that I'mnot necessarily predicting is
going to make it here, but Iknow it has its fans and I know
that there's a passionate blockthat feels that the Substance
would make sense here in bestediting.
I'm wondering if a film likeSeptember 5 even has that going
for it right.

Joseph (24:45):
Well, here's what a september 5 does have going for
it right, which is when you lookat the most recent nominees for
editing.
One of the best precursors tosort of foreshadow who will get
here is the producers guildaward, and of the few
nominations that september 5 hasmanaged to get the producers
guild award is one of them, bigone right, and so the number of

(25:06):
titles to be nominated for filmediting and not garner a
Producers Guild nomination arevery few.
And I'm talking all the way backto the expansion of Best
Picture and subsequently, theexpansion of the Producers Guild
Award.
The only films were the Father,Baby Driver and Star Wars the
Force Awakens and Star Wars theForce Awakens.

(25:27):
Now, of the three, you know theFather is a Best Picture movie
and it had that BAFTA nominationas well to help it get that
editing spot and the BestPicture nomination.
The other two titles you knowthe Star Wars team was pegged
for a while to get in in 2009for Star Trek, but there's
another movie that brings in thesound element, and the same
thing with Baby Driver, anotherfilm that sort of uses its

(25:49):
nominations in sound mixing andediting to crash that list of
film editing nominees, despitenot having a writing nomination.

Jules (25:56):
Right.

Joseph (25:57):
So that's really interesting.
Unfortunately for September 5th.
While it does have that PGAnomination, we already know it
did not qualify for sound andagain.
I thought the sound work waspronounced enough in that film
and the team has some artisanswho were involved with All Quiet
on the Western Front.
It is a part German production.
I thought that would have beenenough for it to crack the long

(26:19):
list at the Academy Awards.
But it did not crack the longlist at the Academy Awards or
even at BAFTA.
And so that's the thing goingagainst.
It is that, depending on howyou're pitching it.
And so that's the thing goingagainst it is that, depending on
how you're pitching it,september 5th as a film editing
best screenplay nominee.
It's very difficult to find anominee that a film that does
that.
You know there are films thatscore just two nominations,

(26:42):
including film editing, but theones that come to my mind are
Tick, tick, boom and Into theWild, and both of those are
editing nominations, along withperformance nominations.
So if you're not peggingSeptember 5th for a performance
nomination, I think you shouldprobably start pegging it for
maybe a couple of morenominations than just screenplay
, and certainly not a solonomination in just editing.

(27:04):
That's not going to happen,right, right, what about you?

Jules (27:05):
I'm seeing those four and right now I'm going editing
that's, that's not going tohappen, right, right, what about
you?
Those are the, those are the.
I'm seeing those four and rightnow I'm going to say that,
because of the things you justsaid and we've been saying in
this segment, I'm going toswitch out september 5 and I'm
going to put dune part 2 yeah asmy final nominee predicted
nominee in this category, I dohave three sound people Right

(27:29):
have complete or non-immediatepairs Dune Part 2.
I still have four directors andI do have, as of now, four
screenplays Right and four filmsthat are going to be recognized
for acting.
So I think maybe it's a goodbalance of everything.

Joseph (27:47):
I think that's pretty fair.
I think what's happened withDune 2, dune Part 2, excuse me
over these last few weeks hasbeen very it could possibly be
very foreshadowing as to a bunchof nominations that are going
to be left on the table comeAcademy Award morning, oscar
nomination morning.
I do worry, for example, thatamong these list of contenders

(28:07):
we have too much of a revisitedtone and I know that editors
they like to have a little bitof a diverse sort of reach with
who their nominees are, and so Idon't like that.
This would be the fourthnomination for joe walker and
that he just won for this forthe first part of the same
project.
I think that that's going to bea turnoff for editors.
He is competing this yearagainst someone who he competed

(28:29):
against in that year that he wonfor doom part two, that's the
editor of wicked, and I thinkwicked would stand a very good
chance, except that that editorwas just nominated for tick tick
boom, and he didn't really havea project in between tick tick
boom and wicked.
And so does it make sense to benominating both these sort of
spectacle films, films that Idon't expect to show up in the
screenplay category, certainlynot wicked, and possibly not

(28:52):
dune 2?
Dune 2 might not even make itinto director, and I don't
expect to see wicked there, soand and dune 2 doesn't have very
many performances.
So I do wonder if this there'sone factor that will come into
play is just the branch's desireto want to nominate new people.
I don't want to nominate theeditor of dune again for doing
dune.
I don't want to nominate theeditor of wicked again for doing

(29:14):
another musical.
I don't want to nominate theeditors of a complete unknown,
because they had just one for umfor you ferrari, for for you
ferrari.
But at least there you'll beable to say well, it's such a
different sort of speed and flowthan ford v ferrari that maybe
it's different enough for you tosay I want to reward that again
, because I haven't reallyrewarded james mangled for a

(29:36):
musical since 2005 right and soI think all those factors are
going to come into play rightnow.
If I had to pick five, I wouldprobably say I would certainly
put in emilia perez, a veteraneditor who hasn't been there
since Diving Bell and theButterfly.
I would put in Conclave firsttime nominee, did excellent work

(29:59):
on Lady Macbeth.
I think he's known enough bynow.
I think I would actually gowith Onora and say that they're
going to nominate someone likeSean Baker in editing as well,
and then I'm going to go aheadand between all the decisions
that are left, I would arguethat the ones that make the most
sense to me on a gut level area complete unknown, because it

(30:21):
does have sort of that walk theline energy that got nominated
here.
James Mangold's, reallyrespected here have the DGA
crossover writing, acting soundand I need a sound film.
And lastly, september 5th,which didn't get into anything
but it did get into that PGA,and that PGA has had all five of
the nominees except for a fewyears.
I think maybe it's probablyforetelling that September 5th

(30:44):
will have a good day.
In other categories I'm going toput Wicked as my spoiler would
have a good day in othercategories, I'm going to put
Wicked as my spoiler.
You know, even in a year like1968, where it was, you know,
musical was king and you hadOliver and Funny Lady in Best
Picture and you had Star andUnsickable Molly Brown and a
bunch of other titles, I willsay that in 1968, I believe,

(31:06):
they only found room to nominateone musical, and so if I'm
putting in Emilia Perez, I don'tthink that I have.
Well, excuse me, I'm sorry.
They did nominate two musicals.
They nominated Funny Girl andOliver.
So maybe Wicked is my spoilerfor now and it may very well
take that spot over somethinglike Nora.
For me.
I don't like the fact that hewas just nominated for Tick,

(31:28):
tick, boom, but I think he wouldbe the one to steal a spot from
somebody.

Jules (31:32):
Right For me the spoilers .
Certainly September 5, and Iwas going back and forth between
Dune Part 2 and September 5,and I'm going to leave September
5 right now as my alternate,all right, well, that's our dive
into best film editing, editingour final predictions.
And if you want to see ourfinal final predictions, they'll
be on our twitter at academyanon all right.

Joseph (31:54):
Well, let's dig into cinematography.
That's a favorite category fora lot of people and it's also a
category that, in the recentdays, has had a little bit of a
seismic shift.
I should say, yeah, I thinkit's pretty important.
Some recent developments there.
Well, let's start with theBAFTA nominations.

(32:17):
Right, let's start with who gotthe BAFTA 5.
Again, a lot of crossoverbetween the British Academy and
the Academy Awards.
And so the nominees at BAFTAwere the Brutalist Conclave,
dune Part II, emilia Perez andNosferatu, which on paper sounds
like a very solid list.
I think I would dare say it'sconsensus.

(32:38):
Do you agree with that, more orless?

Jules (32:40):
Actually, there's one film that's missing from that
the list you just mentioned.
That I think would qualify moreas consensus and that's the
list you just mentioned.
That I think would qualify moreas consensus, and that's.

Joseph (32:50):
Nickel Boys, nickel Boys .
Well, nickel Boys is veryinteresting because and we'll go
through this- but, as we starttalking about the films that
have actually landed somethingsubstantial to sort of
substantiate their position as afront runner.
Nickel Boys is certainlylagging behind there in almost
every category and evensomething like cinematography
Again beautifully shot film.

(33:12):
Joe Mofray did a fantastic jobthere, but like the other techs
whether it's cinematography orediting it's possibly just a
little too challenging for moreconventional Academy members.
But so, looking at this list, Ithink it's pretty well rounded
and, barring the Nickel Boys, Ithink people have accepted this
as more or less the favoritefive.
However, there are some thingsto to be aware of.

(33:34):
Of the list you only have twoveterans.
You have greg frazier, sort ofdefending his previous win for
dune part one, and you havejaron back for working with
robert eggers and nas.
For ratu, jaron was able to getin for the lighthouse.
It was the first nomination fora ro Eggers film and it was
also Jaron's first nomination.
But maybe there's that ideaagain.

(33:56):
As we've said, all artisans andall crafts, individuals,
technicians, artists who work inthese categories.
They tend to develop a sort ofshorthand favor for certain
filmmakers.
They gravitate towards them,they gravitate towards them.
So, the same way that theygravitate towards a Cuaron film
for cinematography or an Inari 2film for cinematography, it's

(34:18):
very evident that Robert Eggers'style of filmmaking is going to
appeal to cinematographers fromnow on to the future, and so
the Nosferatu mentioned herelooks like something that sort
of foreshadows what that?
relationship will be like overthe next 10 years, and so it's
really good for him to get inhere.
And so, although people areaccepting it more or less as a
consensus, let's look at who didnot get in from BAFTA, because,

(34:39):
again, that long list is reallyimportant, and I'll tell you
why.
The nominees that did not getin the long listed mentions were
for Onora, which was quitesurprising to me.
The long-listed mentions werefor Onora, which was quite
surprising to me.
Civil War, a Complete Unknown.
Gladiator 2, and the SubstanceOf the five A Complete Unknown

(35:00):
is a previous nominee.
Faye Dawn Papamichael's beenthere a bunch of times, most
recently, I believe, for Chicago7, I believe.
And then you have the DP ofGladiator 2, who was the DP of
Gladiator 1, got nominated forthat.
He's coming back for this filmmade this long list at BAFTA.
Why I bring this up is becausethe BAFTA 5 for cinematography
have been very good at findingcrossover with the Academy 5.

(35:21):
Last year, four of the BAFTAnominees for cinematography were
eventually Academy Awardnominees.
The year before that, there wasthree, and in 2022, for example
excuse me, in 2021, for example, I believe there was four.
In 2021, I think there was four, I'm sorry.
In 2020, there was four.

(35:43):
In 2019, there was four, and sothe BAFTA sort of averages about
four or less four of thosenominees, and certainly, if you
look further back, they don'tget anything less than three
right.
So we should expect four ofthose titles to cross over, and
at least three and really andreally, I think to that point.

Jules (36:04):
You know, I think most people feel good about four
movies on that BAFTA list.
We'll go further into it, but Ido feel most people including,
I think, you and I see theBrutalist Dune, part 2,
nosferatu and Conclave as beingreally solid contenders in that
in the cinematography category.

(36:25):
It's really a question aboutthat last spot, which is
puzzling question mark.

Joseph (36:29):
Uh, curious to see who gets that last spot right and
we've always talked about, eversince watching it, how we've had
our reservations about thecinematography getting
recognized for emilia perez.
Again, the last few days haveonly made this even more of an
issue again.
We sort of anticipated that,but again.
So the bafta 5 are really goodat getting at least three
usually four in, but with theBAFTA long list, if you examine

(37:02):
the BAFTA long list, it's goingto give you a couple more hints
as to who's ahead and who's sortof being pushed to make that
final five crash, that finalfive.
And so if you look at that,bafta gets even better.
Because in something like 2022,I believe, where they only got
three of their nomineesnominated among their long list,
they were one of the feworganizations to have listed
Florian for his work in TARright, and no one really
expected TAR to show up at theAcademy Awards.
And so when you see the AcademyAward nominations and you don't

(37:24):
see Top Gun Maverick which is awhole different animal as to how
you can sort of read thatthat's going to be snubbed.
But when you don't see that andyou see TAR and you're
surprised, well, maybe youshouldn't be so surprised in the
sense that A TAR was longlisted at BAFTA and so if you go
further into years like 2021and 2020, if you examine the
BAFTA long list, the BAFTA hadall five eventual nominees.

(37:47):
So it's really good to look atnot just who the BAFTA five were
, but who the BAFTA backup fivewere, and so the idea that Enora
is there to me raises a lot ofinteresting questions, because
you know who's not.
There is a more supposedly techheavy film like Wicked it's
gotten a lot of flack for itscinematography.
At the same time, we'll talkabout it.

(38:08):
The issue gets even more sortof pronounced when the
Cinematographers Guild finallyannounces their nominees, right?

Jules (38:15):
Right.

Joseph (38:15):
And so the other really good place to look at is the
Cinematographers Guild, and whythat is is, for example, what
are the few titles that did notmake the BAFTA long list or the
BAFTA nominees to get nominatedfor Oscars?
The BAFTA long list or theBAFTA nominees to get nominated
for Oscars?
Well, among the few of them,you'll have Ed Lockman's work
last year in El Conde and you'llhave the work from Rodrigo, I

(38:36):
believe, with Iñárritu, in Bardo, right, right In 2022.
And so those are two films thatdid not get into the BAFTA the
BAFTA 5, the BAFTA 10.

Jules (38:48):
And so- and still manage to get nominations and they
still manage to get nominations.

Joseph (38:52):
Lo and behold, they do manage guild nominations, so the
guild is probably the bestplace to find those titles that
fail to get BAFTA.
That maybe BAFTA is missing Atthe same time.
Interestingly enough, both ofthem happen to be foreign
language films yeah both of themhappen to be made by veterans

(39:12):
rodrigo at lockman and both ofthem happen to be netflix films,
right, right.
And a netflix film wasnominated at bafta in the bafta
five, and that's emilia perez.
Right, and people have sort ofhad it in their top five all
year long.
We had our doubts and then thecinematographers sort of
confirmed that right, becausethe cinematographers nominated

(39:34):
Maria by Ed Lachman, along withthe Brutalist, a Complete
Unknown Conclave, dune Part 2,nosferatu and Wicked, so they
found room for both anothermusical that is not Emilia Perez
and another Netflix title thatis not Emilia Perez, right.

(39:56):
So Emilia Perez is a top fiveBAFTA nominee that you and I
have had our doubts on in thiscategory and did not make
essentially a top seven categoryat the Guild, which is to me a
huge barn burner of a red flag.

Jules (40:11):
Yeah, that seems like a very uh foreshadowing snub.

Joseph (40:16):
And I remember, at the camera image where Cate
Blanchett and Rodrigo Prietowere part of the jury and Amelia
Perez walked away with one ofthe top three awards, I remember
Rodrigo having some words abouthow, how, whether he felt the
film was in this sort ofcomplicated space of you know,

(40:36):
trying to depict these issuesand these cultures and these
fascinating topic, at the sametime very removed from the
Mexican infrastructure of makingfilms.
Rodrigo, of course, one of themost celebrated cinematographers
in the world.
Mexican cinematographer workswith Scorsese, the most
celebrated cinematographers inthe world.
Mexican cinematographer Workswith Scorsese, works with

(40:58):
Iñárritu, so it's veryinteresting to hear his words
there.
And the cinematography branchat the Academy is one of the
most international and theCinematographers Guild is one of
the most international.
And to not see Emilio Perezhere is striking At the same
time not surprising, not justbecause of that sort of tricky
issue.
But you and I have talked aboutwhen we saw it.
You know the film sort of lacksa little bit of a character in

(41:22):
terms of its lighting design andcomposition, and that's
something that theCinematographers Guild tends to
prefer.
On top of that, you and Italked about how the
cinematographer doesn't have toomany credits.
I know that you and I were bothbig fans of his black and white
work, sort of grayscale work onParis 13th District, which he
did with Jacques Audillardbefore with this, but other than

(41:43):
that he hasn't really beenintroduced to the Guild or to
the Academy through a lot ofother work.
It's very fascinating becausejacques ariard's typical partner
for cinematography, stefan, isnominated yeah but for a
different film.
This year he's nominated forconclave right and stefan, I

(42:05):
think, works with jacques andrust and bone right works with
him in a prophet more films thatthey A Prophet, more films that
they may have seen.
More films that they may haveseen.
And Stefan this is his firstnomination at the Guild and
again he got a lot of attentionfor Jackie, which is a film that
certainly Academy members haveseen by now.
He happens to be in a BestPicture movie, the Right Package

(42:26):
, so it looks like Stefan isreally destined to sort of break
through this year.
But how ironic that he's goingto get in exactly in the year
that you know his partnerfilmmaker is going to get in,
possibly for directing a pictureand it might lose out.
Cinematography to Stefan forConclave, very fascinating.
On top of that, you have thiswhole other layer, because

(42:47):
Stefan is also known, as yousaid, for his work with Jackie,
and that happened to be directedby Pablo.
Larraín yeah and here he isagain this year with his sort of
new DP that he's collaboratinga lot with Ed Lachman and
they're both shortlisted here atthe Guild for Maria right,
right after pulling off asurprise nomination which you
and I have predicted correctlylast year for El Conde right

(43:08):
because you know so few timesyou get to see Ed Lachman
working black and white for theentire film that it's just.

Jules (43:14):
We knew that was going to be catnip, it was going to
excite cinematographers.

Joseph (43:17):
Yeah, it was going to be catnip to cinematographers not
just black and white, becauseblack and white is very
attention calling but also EdLachman's fourth nomination with
them Right and his previousthree nominations all resulted

(43:38):
in an Oscar nomination.
Yeah.

Jules (43:39):
And interestingly enough, two of those are with director
Todd Haynes, and if he were toget in with Maria, the other two
would be with director PaoloAdain.

Joseph (43:49):
Isn't that interesting.
And then also, we talked aboutthe camera image where cape
blanchett and rodrigo praytoward judges.

Jules (43:54):
But ed lockman just had a , you know a retrospective a
career achievement award atcamera, image right and so
certainly he's on this list.

Joseph (44:02):
One of the most veteran dps has not won his guild yet,
so certainly going to be verytempting for him to steal the
win here among this list.
Right, and has not won an Oscaryet.
Had that wonderful award atCamera Image, very interesting.
Here, you know, we talk aboutthat idea of a piece having
character.
But here's a DP who gives theoverarching film sort of a

(44:26):
character in terms ofcomposition, lighting, format
that he's using, but he's alsousing 16 millimeter, he's using
color.
He's also using 16 millimeter,he's using color, he's using
black and white, and those areall going to be things that are
very striking tocinematographers, so well
regarded by cinematographers.
Not surprised to see him onthis guild list.
Maybe a little bit surprisednot to see him on the BAFTA 10.
At the same time, we alreadyknow he does not need the BAFTA

(44:48):
to get in he did it with ElConde, exactly, right, exactly.

Jules (44:52):
And I think one thing you wanted to mention was the other
award in the CinematographersGuild, the Spotlight Award.
Right Did spotlight a foreignfilm, the Girl with the Needle.
Famously, the lighthousestarted showing signs of
surprising in this category forthe Academy by being in that
Spotlight Award the Girl withthe Needle a black and white
film.
We don't have that many blackand white contenders on this

(45:13):
list this year.

Joseph (45:14):
And they love that they seek that out.
That sort of resonates withthem.

Jules (45:17):
They do like that.
That film is very stark in itsthematic material as well as its
visual language Right, and so Ican see filmmakers checking it
out.
Yeah, I do think it's possiblya little bit too outside of what
they like to nominate Right Forthis category.

(45:37):
Possibly, if it were a directorthat maybe they're more
familiar with, they might have abetter chance of getting into
this category.
The cinematographer in thatfilm is a very talented
cinematographer.
I believe he did thecinematography for EO Exactly In
2022.
Exactly.

Joseph (45:51):
Exactly, I was going to say that going for that DP is
not just that he got thatspotlight award, but he was just
coming off, you know, hisfantastic work in EO, which was
not black and white, and alsothat he managed to win the
biggest prize at camera image.
And we know thatcinematographers are paying
attention to all the films thatcompeted at the camera image and
the films that placed and a lotof these contenders competed,

(46:14):
including the buddha list,including conclave.

Jules (46:17):
But the winner and again this is voted on by, I believe,
cinematographers, I believe itis the winner was, uh, the girl
with the needle right and Ithink that was pretty
significant, right, and theother film uh, that's in that
spotlight that we wanted tomention was nickel boys, and
again, that's a film that'sincredible.
It's that we wanted to mentionwas nickel boys, and again,
that's a film that's incredible.
It's very beautifully shot but,however, its approach to
cinematography is a little moreum, at the forefront of the film

(46:40):
, showy, because it personifiesa perspective often for much of
the film, and that's the kind ofapproach that I think is more
of a turnoff for some of thecinematographers in this guild
of having cinematography be soblatant and, you know, in your
face, even though for the filmit's a very compelling device.

(47:01):
But for them I think thatthey're going to be more turned
off by that than turned on, Iagree, I agree.

Joseph (47:07):
I think if you want to hold out hope for Jomo to break
into that five and, you know,solidify that idea of being in
the five consensus, it was greatto see him included here in the
spotlight section.
Again, it's a very experimentalwork.
It just so happens that if youlook at the history of this
category, they tend to like moreconventional movies, even when

(47:28):
they go for movies that are, youknow, shot on 70 millimeter.
And the Boudalist, you know, isreally trying to push the idea
of the Vista vision and I thinkit's certainly a lock for a
nomination, or very likely.
You can't forget that in 2012,when the Master was shot on 70,
they still left it off the listbecause it's a very opaque sort
of film and they really like,you know, a storytelling that's

(47:51):
maybe a little bit moreconventional, so I'm not sure
the nickel boys will be able tomake it in here but maybe one
film that kind of bucks.

Jules (47:57):
That trend is, interestingly enough, the
lighthouse oh yeah which is nota film that you would think they
would put on and think well,you know this is very, uh,
conservative, right, um, but theblack and white aspect of that
film is so, you know, pronouncedRight that I think had a big
hand in having it included inthe list.

Joseph (48:16):
And maybe that sort of goes to show that, like if they
buy a ticket for your filmthinking this is going to be
something weird, so I just wantit to look beautiful as it is
being weird, they're okay.
But if they see you're a colorfilm and they say, okay, well,
why doesn't this make sense?
Or?

Jules (48:29):
why isn't it?

Joseph (48:30):
more conventional, or why can't I understand a little
bit better?
Well, anyway, I think those areall factors.
Certainly also experience andhistory are factors.
So you know, congratulations tothe DP of the Brutalist, Lowell
Crowley, who's been working fora long time and has actually
been included, I believe, inthis spotlight section.
Finally got his firstnomination in the guild among

(48:53):
the best films of the year bestcinematography of the year, and
the same goes for jaron right,because jaron didn't make the
list for the lighthouse in 2019.
He made the spotlight award, soit's really promising to see joe
mouffre.
Yeah, and I believe um michelle, or michael for a girl with a
needle, because it just showsthat a sign of things to come.
It's a sign that they willlikely going to have very strong
work that is going to beincluded, uh, in the category of

(49:14):
best cinematography of the year.
But so let's talk about themusical that the guild did
include, that that ran behindbafta, ran behind onora and it
ran behind the substance, andthat's wicked and wicked has
been hotly debated ever sinceit's come out about whether it
was shot well or whether it wasshot poorly.
Right, whatever you want to sayabout it, here it is, and it is

(49:38):
not just nominated, it isnominated before Amelia Perez is
nominated.

Jules (49:42):
Right.

Joseph (49:42):
So what are your thoughts on that?

Jules (49:44):
I think it's a striking inclusion.
You know I'm not one who thinksthat.
I'm someone who agrees withsome of the feelings out there
about how well that film wasshot visually, in a visual sense
.
However, I think something thatbenefited the inclusion of

(50:07):
Wicked is that it's a femalecinematographer, and I think
that this guild, this branch,has an interest in trying to be
more inclusive, which I think isgreat, and I think that might
have been something that theywere considering when they
nominated Wicked for for theguild, I agree, and I think it's

(50:29):
also their way of sort ofsupporting the cinematographer
who has done good work.

Joseph (50:34):
She shot in the hide.
She shot TikTok excuse me, Tick.

Jules (50:37):
Tick.

Joseph (50:37):
Boom, she's shooting Wicked both parts, and so it's
sort of this idea.
I thought that was sort of likeshe did a very good job.
If you have any criticism forwhat the concept?
Was of the movie, that's acriticism you have to take up
with the director and theproducers and not the
cinematographer exactlycinematographer executed as
asked right.
Um.
Now the other factor we need totalk about, because it gets so

(51:00):
complicated.
Why?
Because emilia perez wassupposedly a consensus pick.
That is not even a top sevenpick among the guild, and the
net Netflix movie that the Guildchose is Maria.
The BAFTAs didn't even includeit in their top 10.
And if we're talking about amusical usurping Amelia Perez,
well here's a musical thatdidn't even make the top 10 at

(51:21):
BAFTA, and so why I bring thatup is because it's very
interesting.
You know the moving parts thatare going around here between
these different movies, but onething that has been consistent
is Netflix being a factor inthis race since 2017.
That's even before they brokeinto Best Picture when they got
Rachel Morrison in for Mudbound,first female cinematographer, I

(51:43):
believe, to be nominated.
So just that idea that Netflixhas developed a reputation for
being a house, a studio thatsort of puts up really good
cinematography work.
The Guild did not include itfor their perceived favorite for
Best Picture.

Jules (51:57):
But they did include it.
They did include it for anotherNetflix option.

Joseph (52:01):
Exactly, and Netflix has been known to get two movies in
here, and at one point peoplewere predicting Maria and Amelia
Perez to sort of show up.
I don't think that they haveever been absent of a movie.
Perez to sort of show up, Idon't think that they have ever
been absent of a movie.
Is this a year, possibly, wherethey're absent Because there is
not enough support beyond theguild for Maria and Ed Lockman

(52:21):
would have to be doing thesenominations back to back.
He just got nominated for ElConde with Pablo.
So is there enough differencein the work?
Is the work?

Jules (52:30):
good enough?

Joseph (52:31):
Is the movie good enough to nominate Ed Lockman with
Pablo again, and vice versa?
Is there enough support withinthis guild for a movie like
Camila Perez of cinematographerwho's just starting out?
Jacques Audillard is notnecessarily the filmmaker who's
been nominated at the guild abunch of times, so it's not like
the guild is in love with hiswork or has spotlighted his work

(52:51):
a bunch of times, so that couldbe a factor here too.
Is that he's not, you know, aspielberg who's?
always gonna show up in thiscategory, right?
So it's very interesting tothink about.
You know, is netflix going tokeep that streak alive?
I certainly don't think thattwo is within the realm of
possibility, but I think thatit's within the realm of
possibility that there is none.

Jules (53:10):
Right, I completely agree .
I think that's something thatyou have to be paying attention
to.

Joseph (53:14):
So, with that said, who are you thinking right now for
your final five predictions?

Jules (53:19):
Well, I have the four that I feel very comfortable
with that I think most people dothe Boudalas, nosferatu
Conclave Dune, part 2.
And that last spot I'm going togo with the stat that ed
lockman has never missed whenhe's been nominated by his guild
.
Add to that that would be a uhnetflix spot that wouldn't be

(53:40):
going to uh emilia paris, whichgot snubbed at the asc by the
asc, and I think that'ssignificant, um, and I think
that it'll be ed lockman spot inthat fifth spot, I believe.

Joseph (53:54):
I think that I agree with you of all the options,
between Amelia Perez, betweenthe idea of a Netflix film not
surviving here and Netflix notcoming out with any nomination,
between the idea of Wicked sortof being able to overcome it,
being at best 11th at BAFTA,between all these ideas also
Fade On Papa Michael, nominatedrelatively recently for his work

(54:15):
on Trap Chicago 7.
Between all those elements, Ithink that what's in the cards
is the Brutalist Conclave DoomPart II, Nosferatu.
That's two newbies, that's twoveterans.
And then the last spot goes toEd Lockman.
back-to-back nominations forpaula rain films, having had
that great moment at cameraimage where they gave him that
career achievement award, so Ithink that that's probably the

(54:38):
best case scenario that we'regoing to see happen if there is
a spoiler right if the spoiler,the spoiler for me would be a
million powers making itinteresting because the spoiler
for me is going to be the othermusical.

Jules (54:48):
It would be wicked making it in right that would be very
surprising I would.

Joseph (54:52):
I would be wicked making it in Right.
That would be very surprising.
I would be very surprised.
But the same way you said, edLockman has never had a Guild
nomination that did not resultin an Oscar nomination.
That's very well put, and he'sbeen working for so many years.
But has the Guild evernominated a female DP without
that female DP being able tothen be nominated for the Oscar?

(55:12):
Granted, they haven't beendoing it, certainly not long
enough, not as long as theyshould have been doing it, but I
think it's a very promisingsign for the DP of Wicked.

Jules (55:20):
Right, that's a really good point.
Well, that's our dive into ourfinal predictions for Best
Cinematography.

Joseph (55:26):
Okay, well, that about covers it.
Thanks for joining us today onAcademy Anonymous.
I'm Joseph.

Jules (55:32):
I'm Jules and it's been a pleasure.
The music on this episode,entitled Cool Cats, was
graciously provided by KevinMacLeod and incompetechcom,
licensed under Creative Commonsby Attribution 3.0.
Under Creative Commons, byAttribution 3.0.

(55:54):
Http//creativecommonsorg.
Licenses by 3.0.

Joseph (56:07):
Disclaimer the Academy Anonymous podcast is in no way
affiliated or endorsed by theAcademy of Motion Picture Arts
and Sciences.

All Episodes

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

The Breakfast Club

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

Dateline NBC

The Breakfast Club

All Episodes

Stuff You Should Know