2013 Oscar Predictions

BEST PICTURE

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street


Will Win: Gravity 
Could Win: 12 Years A Slave, American Hustle
Should Win: Gravity

American Hustle, for many prognosticators, became the Best Picture favourite after it won Best Ensemble Cast at the SAG Awards. I genuinely feel like Hustle deserved this award, but the snub for 12 Years A Slave at that point was a telling one. At the Golden Globes 12 Years A Slave came from nowhere (literally winning nothing else) to nab Best Picture (Drama). It also won the BAFTA for Best Film (curiously winning just one other award – Best Actor). Gravity is going to win more Oscars than 12 Years A Slave, and I’m convinced that Gravity has a lot of support. The tie at the Producer’s Guild of America (between 12 Years and Gravity) is proof of this. I have been backing Gravity from the beginning – none of this Best Pic/Director split business – and have stuck with it ever since I first watched (and was disappointed by) 12 Years A Slave.

From the rest of the group Hustle (with ten nominations) has a genuine chance. AMPAS have loved Russell’s previous three films (but he should have won last year with the vastly superior Silver Linings Playbook). Nebraska (six, including Best Director/Actor/Original Screenplay), The Wolf of Wall Street (five, including Best Director/Actor/Adapted Screenplay) and Captain Phillips (a genuine chance for Best Supporting Actor, Adapted Screenplay and Editing) are not without a show. Personally, I rank all three ahead of both 12 Years A Slave and American Hustle.

But this has come down to 12 Years A Slave and Gravity. Whether the AMPAS honours a film that tackles the harrowing truths about America’s past, or a film that has expertly utilized the best of present technology, and laid a platform for future achievements, remains to be seen. 90% of Oscar prognosticators are going with 12 Years A Slave. No cinematic experience came close to Gravity in 2013. I hope voters saw the film in the theatre and not their televisions (or heaven forbid, their laptops).

BEST DIRECTOR
Alfonso Cuarón, Gravity
Steve McQueen, 12 Years a Slave
Alexander Payne, Nebraska
David O. Russell, American Hustle
Martin Scorsese, The Wolf of Wall Street

Will Win: Cuaron - Gravity
Could Win: McQueen - 12 Years A Slave
Should Win: Cuaron. Second choice: Payne.

Cuaron won at the Globes, the DGA and the BAFTA’s, and I feel he will prove to be the winner. Scorsese receives his second straight nomination for The Wolf of Wall Street. Made at age 71 it is one of his most explosive and energetic films. Payne likely bumped out a worthy Paul Greengrass (for Captain Phillips), but he is at his absolute best helming the flawless Nebraska. It is one of the top films in contention, but by far the most subdued direction nominated. David O. Russell had his best ever chance last year with Silver Linings Playbook. I’m still upset about him not winning. A win here would surprise, even if American Hustle eventually takes out Best Picture. McQueen is Cuaron’s primary threat. He is one of the boldest directors in the business, and after his second masterpiece Shame was overlooked by the Academy, I am glad to see him recognized here. Will he win for 12 Years A Slave? It is possible. I don’t hold it in such high esteem, and I think Cuaron (who has proven he is a genius and should have received a nomination for his previous film, Children of Men, back in 2006) is a worthy winner.

BEST ACTOR

Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetel Ejiofor, 12 Years a Slave
Matthew McConaughey, Dallas Buyers Club

Will Win: McConaughey - Dallas Buyers Club
Could Win: DiCaprio - Wolf of Wall Street, Ejiofor - 12 Years A Slave
Should Win: For recent body of work: McConaughy. For lone nominated performance: DiCaprio, from a very strong field.

Firstly, as great as Christian Bale is in American Hustle he should be at 100/1 odds here. I was surprised to hear his name called over Hanks, Redford and Phoenix. Dern was one of the favourites at some point (along with Ejiofor) but support for him seems to have waned. He is brilliant in Nebraska, and I’d love to hear his name called, but I feel like a younger man is going to take home this year’s Best Actor. Throw a dart at McConaughey, DiCaprio and Ejiofor, and you may hit the winner. When McConaughey and DiCaprio won at the Golden Globes they were surprises (at least for me). Having now seen their films, and their intense commitment to their roles, I wouldn’t have voted for anyone else. McConaughey beat out Ejiofor at the SAG, which gives him the edge, but DiCaprio wasn’t nominated. At the BAFTA’s Ejiofor won over DiCaprio, but McConaughey wasn’t eligible. McConaughey will likely gain favour for his incredible recent body of work (Killer Joe, Magic Mike, The Paperboy, Mud, True Detective currently on TV), which could steer voters to award him for Dallas Buyers Club, but if Leo has a shot to win, it is this year. Portraying hedonistic stockbroker Jordan Belfort is perhaps his career-best work. If McConaughey wins I will forever be disappointed that he wins for ‘this film’, but we are witnessing one of the greatest acting career resurgences perhaps of all time.

BEST ACTRESS
Amy Adams, American Hustle
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Meryl Streep, August: Osage County

Will Win: Blanchett - Blue Jasmine
Could Win: Bullock - Gravity, Adams - American Hustle
Should Win: Blanchett

If there are any certainties amongst this year’s nominees, Blanchett is one of them. If you pay attention to the precursors, Blanchett has won everything, and that should result in her second Oscar for her phenomenally versatile performance as a once-wealthy socialite dealing with psychological trauma in Woody Allen’s Blue Jasmine. Sandra Bullock, whose emotional and physically testing work in Gravity outdoes anything I have seen her do previously. While we are in awe of Cuaron’s technical achievements, it is Bullock who makes our heart ache. She’s the next best chance. Meryl is riveting as a cantankerous old gorgon in August: Osage County, and Dench creates a unique version of her dottery old lady in Philomena, working alongside an equally excellent Steve Coogan. Both women are great, but then they always are. As too is Adams, who became a shoo-in for a nomination after winning at the Golden Globes. Her performance in American Hustle, which involves her getting so deep into a con she loses sight of who she really is, is unlike anything Adams has done. She constantly re-invents herself, and is damn convincing every time. I’m not sure I would have personally nominated her, but she is one of the best in the business and she has been gaining momentum. Only Blanchett and Bullock deliver work rivalling their best, despite this category being loaded with talent, and that’s why I think it will come down to them. Bet against Blanchett, I dare you.

BEST SUPPORTING ACTOR
Barkhad Abdi, Captain Phillips
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jonah Hill, The Wolf of Wall Street
Jared Leto, Dallas Buyers Club

Will Win: Leto, Dallas Buyers Club
Could Win: Abdi, Captain Phillips and Cooper, American Hustle
Should Win: Fassbender

This is a category that has become quite easy to predict (if you pay attention to the pre-cursors), but a tough one to personally rank. I thought Leto was solid (not spectacular) in Dallas Buyers Club, but I am not a supporter of the film. For months I have been claiming that this award had to go to Fassbender. From how I saw it, he was the strongest feature of 12 Years A Slave. On a re-watch, I’m not so sure. I thought I saw beneath his ‘pure evil’ the first time around. The second time, it was all I saw. I still think he deserves to win this, but having expected to be blown away by Leto, I can’t say there is one truly outstanding performance amongst this field. I loved that Abdi got nominated for his first ever role in Captain Phillips. While Hanks was unfortunately overlooked, the success of Greengrass’ film rested just as much on Abdi’s shoulders as Hanks’. I also loved Cooper in American Hustle, playing a wildly ambitious FBI Agent so hungry to make arrests that he is blind to the repercussions. The biggest laughs come from Cooper who plays this loose cannon to perfection. Some interesting statistics have come to light – on just two occasions, from the fourteen times when one film has competed for all four acting categories, has that film been shut out. If American Hustle does get shut out, it will be the first time in 63 years. Lawrence and Adams have the best chances (according to the odds), but I personally hope Cooper gets some recognition. He was terrific in The Place Beyond the Pines too. Two-time Academy Award nominee Jonah Hill. That is fun to say. He won’t win for this, but he has a lot of fun playing Belfort’s slimy, oft-Quaaluded best friend Donnie Azoff. With Abdi beating out Fassbender and Cooper at the BAFTA’s (Leto, like McCaonaughey, was ineligible) he can’t be written off.

BEST SUPPORTING ACTRESS
Sally Hawkins, Blue Jasmine
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska

Will Win: Nyong’o, 12 Years A Slave
Could Win: Lawrence, American Hustle
Should Win: Nyong’o would be a worthy winner, but both Squibb and Hawkins feature in better films and they play an essential (supporting) role in their success.

Everyone loves Jennifer Lawrence. I do too. I predicted she would win Best Actress for Silver Linings Playbook and I can’t argue with the Academy’s selection. But, the fact that there is talk about her winning again is ridiculous. She has some terrific moments in American Hustle (the kiss in the bathroom) but I left feeling like she was miscast (too young!) and underutilized. Of the central ensemble, she has (by far) the least amount of screen time. She has had a fantastic year (The Hunger Games sequel in addition to the January release of Silver Linings) but she does not ‘steal the show’ in American Hustle as many have claimed. Personally, I enjoyed the performances of Sally Hawkins (as imperative to the success of Blue Jasmine as Blanchett’s monumental work) and June Squibb (a firecracker and a perfect a complement to Dern’s quiet contemplation as Nebraska required), the most from this group, but I believe Kenyan actress Lupita Nyong’o deserves the award for her remarkable debut in 12 Years A Slave. I think she will win, despite a setback at the BAFTA’s (losing to Lawrence).

BEST ORIGINAL SCREENPLAY
David O. Russell and Eric Warren Singer, American Hustle
Woody Allen, Blue Jasmine
Craig Borten and Melisa Wallack, Dallas Buyers Club
Spike Jonze, Her
Bob Nelson, Nebraska

Will Win: American Hustle
Could Win: Her
Should Win: Nebraska

Well we can probably write-off Woody (for obvious reasons), and Borten and Wallack are clearly out of their depth. Jonze won the SAG (against identical competition), which makes him the hot favourite, but there is so much love for American Hustle. Russell and Singer won the Golden Globe and the BAFTA. Will it go home empty handed? Much has been said about on-set improvisation, but I personally enjoyed the complexities of the screenplay and the dialogue. As much as say, Bob Nelson’s for Nebraska? No way, but I’d still be content with Russell winning. Jonze’s ideas are so timely, so eerily relevant. He has managed to create a subtle sci-fi about our technology-obsessed selves – featuring a world we will likely inhabit in the not-too-distant future – and set it around a profoundly unnerving but wholly believable core relationship. Quite a feat. Will Jonze get his first Oscar? It’s very possible. This is the tightest category.

BEST ADAPTED SCREENPLAY

Richard Linklater, Julie Delpy and Ethan Hawke, Before Midnight
Billy Ray, Captain Phillips
Steve Coogan and Jeff Pope, Philomena
John Ridley, 12 Years a Slave
Terence Winter, The Wolf of Wall Street

Will Win: 12 Years A Slave
Could Win: Captain Phillips, Philomena
Should Win: The Wolf of Wall Street or Before Midnight (come on guys!)

The only film nominated here with a legitimate chance of winning Best Picture is 12 Years Slave. How often does a Best Picture winner also fail to win one of the screenplay awards? The Artist didn’t, but it is pretty rare. Gravity won’t either. The point is, if 12 Years A Slave goes on to win Best Picture it is going to win this award. I wasn’t so wrapt in the film’s screenplay, actually. It is episodic and the passing of time isn’t all that well conveyed. Now, the cold distant mood of the film, it’s unsettling theatricality, could be attributed to McQueen’s direction, but save for some shock value, and intermittent tension, I wasn’t left as emotionally affected as I expected.

Terrence Winter’s adaptation of Jordan Belfort’s memoirs has resulted in the rare occurrence of a film bettering the source material. I didn’t like the novel at all. While Jordan’s establishment of his firm from the ground up, and the first-hand recollections of his international money smuggling was fascinating, Belfort’s self-glorification of his actions and his unwarranted storytelling indulgences grew wearying. Winter has changed key names, and made the FBI hunt more prevalent, but has cut out a heap of unnecessary diversions. Belfort’s narrative voice is still there – DiCaprio narrates after all – but there is an indictment of this behaviour, a moral comeuppance present in the final hour. I thought it was a brilliant adaptation.

How can we ignore Before Midnight, as perfect a culmination (maybe?) to the Before Trilogy, the creation of Richard Linklater, Julie Delpy and Ethan Hawke for almost two decades. Who could have imagined that their story would have ended up here, and yet it makes perfect sense. Meticulously crafted by three artists who know these characters inside and out, we are taken on a rollercoaster of emotions as the honest truths of marriage and commitment come tumbling out. Even though Coogan and Pope’s screenplay for Philomena and Ridley’s for 12 Years A Slave were deemed ineligible for the WGA, neither Wolf or Before Midnight won the award. Billy Ray did. Captain Phillips is a phenomenal film, and maybe I misjudged crediting Ray’s screenplay. Then we come to the BAFTA’s, and who wins here? Not Ridley, Ray or Winter, but Coogan and Pope. There is no longer a clear favourite in this category. Yet, most prognosticators are adamant Ridley will win here. If 12 Years A Slave has a claim for Best Picture, it must win here. It isn’t going to win much else.

BEST ANIMATED FEATURE

The Croods
Despicable Me 2
Ernest
and Celestine
Frozen
The Wind Rises

Will Win: Frozen
Could Win: The Wind Rises
Should Win: Frozen

Three of the highest grossing films in the world in 2013 are in this category here. The Croods cracked the Top 10 in the Australian Box Office, but falls well short of the other two juggernauts in Frozen and Despicable Me 2. Ernest & Celestine is simply too small a film to be a chance, though I understand it is quite lovely, while The Wind Rises hasn’t been as strongly received as Miyazaki’s previous films. If The Wind Rises was anywhere near as good as Spirited Away or My Neighbour Totoro then I thought this would be a shoo-in after a pretty weak year for Pixar and Dreamworks. While stunningly animated the two-pronged narrative doesn’t gel as well as you’d hope, but as a farewell to filmmaking it is still a satisfying one. Miyazaki’s love for invention and machines, and his anti-war/establishment sensibilities are at the very heart. Disney put together one of their best in recent years while Pierre Coffin and Chris Renaud have benefited from the enormous success of Despicable Me and made a film equally entertaining. I didn’t much care for Despicable Me when I saw it in cinemas in 2009, but after thoroughly enjoying the sequel (I watched it alone in the presence of less than ten others in a public screening) I immediately revisited it. Turns out it is actually very good. I can’t predict this category with any authority, but Frozen has understandably been the hit of the summer, and looks to have the most supporters.

BEST FOREIGN LANGUAGE FILM

The Broken Circle Breakdown
(Belgium)
The Great Beauty
(Italy)
The Hunt
(Denmark)
The Missing Picture
(Cambodia)
Omar
(Palestine)

Will Win: The Great Beauty
Could Win: The Broken Circle Breakdown, The Hunt
Should Win: The Hunt

I guess one of the big factors to consider in this category is how much exposure these films have had in the US. I understand that The Great Beauty and The Missing Picure are currently in cinemas. The Hunt – which has been on the circuit since Cannes in 2012, had a very limited release mid 2013. The BO reports show that it made little money. Actually, I think it made more here in Australia. The Great Beauty has much fresher legs, but despite having received mixed reviews from Cannes, has gone on to win at the European Film Awards, the Golden Globes and the BAFTAS. If there was a clear favourite it is Sorrentino’s film. The Broken Circle Breakdown, after causing a sensation at Berlin in early 2013, has had perhaps the widest release of all the films in contention. I know a lot of people loved that film, too. I can’t back it, though.

BEST DOCUMENTARY – FEATURE

The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
20 Feet From Stardom

Will Win: The Square
Could Win: 20 Feet From Stardom, The Act of Killing
Should Win: Dirty Wars

What a pleasant surprise to see Dirty Wars nominated in this category. It was my favourite documentary of 2013. This immense feat of investigative journalism from National Security correspondent Jeremy Scahill unravels like an elaborate mystery, unveiling harrowing truths about the U.S military rules of engagement and their covert operations. Cutie and the Boxer was the other surprise selected from the Shortlist. Blackfish and Stories We Tell, near-unanimously praised, missed out.

I expect this to come down to The Act of Killing (that over-indulgent Director’s Cut could hurt its chances, but this is an extraordinary film) and The Square (this brave investigation into the Egyptian Revolution through the stories of six different protesters became the first Kickstarter film to be nominated for an Oscar). Many prognosticators are predicting that 20 Feet From Stardom will take out the prize, however. With inspiring stories, amazing voices and rousing concert footage, 20 Feet From Stardom is a delightful, intelligently constructed commemoration to some of the heroes of music - Hall Of Fame worthy performers who contributed their talents to some of rock’s biggest acts, securing widespread admiration without ever being in the limelight. The Square won the DGA, and 20 Feet From Stardom won at the ACE Eddies. I can’t call it. Call this one a hunch.

BEST ORIGINAL SONG

“Happy,” Despicable Me 2
“Let It Go,” Frozen
“The Moon Song,” Her
“Ordinary Love,” Mandela: Long Walk to Freedom

Will Win: Let it Go
Could Win: Ordinary Love
Should Win: Happy

While few of the songs in Frozen left a lingering impression, ‘Let It Go’ certainly did. In the context of the film, I feel it is the best song nominated here. ‘The Moon Song’ also has resonance, but pops up when Her is making one of it’s few pacing stumbles. Pharrell Williams does a great job on the Despicable Me films and ‘Happy’ is a pleasant listen. The nomination is reward alone. U2 are a star act, and could be enough for AMPAS to vote their way. They won the Globe and it is a rousing song, but I think ‘Let it Go’ will take the Oscar, even with the field controversially reduced to just four nominees.

BEST CINEMATOGRAPHY

Philippe Le Sourd, The Grandmaster
Emmanuel Lubezki, Gravity
Bruno Delbonnel, Inside Llewyn Davis
Phedon Papamichael, Nebraska
Roger A. Deakins, Prisoners

Will Win: Gravity
Could Win: Inside Llewyn Davis, Nebraska
Should Win: Gravity

Another nomination for Deakins, and another year he will likely go home empty-handed. For great work, too. Lubezki is the best, though. How didn’t he win for Tree of Life? Re-teaming with his buddy Cuaron could (and should) provide him with the accolade. From my understanding the pair had to invent equipment to actually shoot this film. Very strong competition this year – Deakins, Papamichael, Delbonnel and even Sean Bobbitt (12 Years A Slave) and Hoyte Van Hoytema (Her) who weren’t nominated. Any winner here would be worthy, but there are shots in Gravity that defy belief.

BEST FILM EDITING

Jay Cassidy, Crispin Struthers and Alan Baumgarten, American Hustle
Christopher Rouse, Captain Phillips
John Mac McMurphy and Martin Pensa, Dallas Buyers Club
Alfonso Cuarón and Mark Sanger, Gravity
Joe Walker, 12 Years a Slave

Will Win: Captain Phillips
Could Win: Gravity
Should Win: Captain Phillips

Always an interesting category, Best Film Editing, as the winner often proves to be the Best Picture winner. A few years back Kirk Baxter and Angus Hall won this award for The Girl With the Dragon Tattoo, which they also won for The Social Network in 2009. Neither of these films went on to win Best Picture, however. But you and I both know these films are better than their respective winners (The King’s Speech and The Artist). Of all of the nominees, the two that stood out were Gravity and Captain Phillips. The other that stood out was Dallas Buyers Club, of which I found the editing quite appalling.

While there aren’t many cuts in Gravity there is an extraordinary seamlessness to the editing, considering the amount of effects. Captain Phillips has some of the finest action/response editing you will see. The immense tension of the Somali Pirate’s attacks is built from the tight cuts between the boats approaching the freighter and the reactions of Hanks and his crew onboard. That’s just in the early stages as the tension is relentless. When watching both of these films, I forgot I was in a cinema and felt transported into space, or onto a freighter being hijacked. While there are other elements responsible for creating this sensation, the editing plays a big role.

So, who will win? At the ACE Editing Awards American Hustle (comedy/musical) and Captain Phillips (drama) were the winners. Hustle was the expected winner (and I think deserved), while Captain Phillips surprised a lot of people. The consensus tip was Gravity. What does this mean? It seems very unlikely that Captain Phillips is going to win Best Picture (but buzz has returned with a flurry for the film that also won Best Adapted Screenplay at the WGA), but it could very well win Best Editing. The BAFTA’s didn’t tell us anything either, with Rush beating out both Captain Phillips and Gravity. If Gravity is shaky in one of the tech categories, it is this one.

BEST COSTUME DESIGN

Michael Wilkinson, American Hustle
William Chang Suk Ping, The Grandmaster
Catherine Martin, The Great Gatsby
Michael O’Connor, The Invisible Woman
Patricia Norris, 12 Years a Slave

Will Win: The Great Gatsby
Could Win: American Hustle or 12 Years A Slave
Should Win: American Hustle

I have only seen three of the nominees from this category (not The Grandmaster or The Invisible Woman) but I can’t see the Academy overlooking either American Hustle or The Great Gastby. The costumes were an integral part of Baz Luhrman’s glittery adaptation of F. Scott Fitzgerald’s masterpiece. His wife Catherine Martin designed the costumes (as she always does) and they are hard to ignore. The costumes and the hair and makeup (no nomination) in American Hustle are amongst its most obvious qualities. I can’t fault the costume design – especially Bale’s and Cooper’s attire - and the Academy could take the opportunity to award the film they clearly enjoyed.

BEST MAKEUP AND HAIRSTYLING

Adruitha Lee and Robin Mathew, Dallas Buyers Club
Stephen Prouty, Jackass Presents: Bad Grandpa
Joel Harlow and Gloria Pasqua-Casny, The Lone Ranger

Will Win: Dallas Buyers Club
Could Win: The Lone Ranger
Should Win: Dallas Buyers Club

Matthew McConaughey and Jared Leto genuinely look ill in Dallas Buyers Club, which comes not only from their incredible weight loss, but is courtesy of the make-up team. Either of the other two nominees could win, sure, but Dallas deserves this.  

BEST ORIGINAL SCORE

John Williams, The Book Thief
Steven Price, Gravity
William Butler and Owen Pallett, Her
Alexandre Desplat, Philomena
Thomas Newman, Saving Mr. Banks

Will Win: Gravity
Could Win: Her, Philomena
Should Win: Gravity

I haven’t heard Williams’ score for The Book Thief, but being Williams I pretty much know what to expect. Desplat and Newman received token nominations for their ‘adequate’ compositions. While perfectly serviceable, neither has created work that rivals their best. Butler and Pallett’s contribution to Her is an essential facet and very impressive, but none of the nominees come close to Price. Hans Zimmer is a notable absentee, thought to be nominated for either 12 Years A Slave and/or Rush. While I initially admired the music in McQueen’s film on a second look it seemed an ill fit, especially the Inception-esque droning early on. He’s clearly short of ideas. What happened to Mark Orton’s score for Nebraska? I guess it was deemed ineligible. I have been a bit confused by some prognosticators going with Desplat here. Perhaps Gravity is as much of a sure thing as I expect. Nah. I am tipping Price for Gravity, in my opinion one of the near-certainties.  

BEST PRODUCTION DESIGN

Judy Becker (Production Design) and Heather Loeffler (Set Decoration), American Hustle
Andy Nicholson (Production Design); Rosie Goodwin and Joanne Woollard (Set Decoration), Gravity
Catherine Martin (Production Design) and Beverley Dunn (Set Decoration), The Great Gatsby
K.K. Barrett (Production Design) and Gene Serdena (Set Decoration), Her
Adam Stockhausen (Production Design) and Alice Baker (Set Decoration), 12 Years a Slave

Will Win: The Great Gatsby
Could Win: Gravity, 12 Years A Slave
Should Win: Her

I am going with Gatsby. Undeniably impressive set design, from a pretty decent group of nominees. K.K Barrett and Gene Serdena earn points for their originality and innovation in Her. They would have been my pick.

BEST VISUAL EFFECTS

Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould, Gravity
Joe Letteri, Eric Saindon, David Clayton and Eric Reynolds, The Hobbit: The Desolation of Smaug
Christopher Townsend, Guy Williams, Erik Nash and Dan Sudick, Iron Man 3
Tim Alexander, Gary Brozenich, Edson Williams and John Frazier, The Lone Ranger
Roger Guyett, Patrick Tubach, Ben Grossmann and Burt Dalton, Star Trek Into Darkness

Will Win: Gravity
Could Win: The Hobbit: The Desolation of Smaug
Should Win: Gravity

Quite surprised that Pacific Rim wasn’t nominated here. The only (tiny) threat to Gravity is The Hobbit. Smaug. Was. Impressive.

BEST SOUND EDITING

Steve Boeddeker and Richard Hymns, All Is Lost
Oliver Tarney, Captain Phillips
Glenn Freemantle, Gravity
Brent Burge, The Hobbit: The Desolation of Smaug
Wylie Stateman, Lone Survivor

Will Win: Gravity
Could Win: Captain Phillips, The Hobbit: The Desolation of Smaug
Should Win: ?

BEST SOUND MIXING

Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro, Captain Phillips
“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro, Gravity
Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson, The Hobbit: The Desolation of Smaug
Skip Lievsay, Greg Orloff and Peter F. Kurland, Inside Llewyn Davis
Andy Koyama, Beau Borders and David Brownlow, Lone Survivor

Will Win: Gravity
Could Win: Inside Llewyn Davis, The Hobbit: The Desolation of Smaug
Should Win: ?

BEST SHORT FILM – ANIMATED

Feral
Get a Horse!
Mr. Hublot
Possessions
Room on the Broom

BEST SHORT FILM – LIVE ACTION

Aquel No Era Yo (That Wasn’t Me)
, Esteban Crespo
Avant Que De Tout Perdre (Just Before Losing Everything)
, Xavier Legrand and Alexandre Gavras
Helium
, Anders Walter and Kim Magnusson
Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?)
, Selma Vilhunen and Kirsikka Saari
The Voorman Problem
, Mark Gill and Baldwin Li

BEST DOCUMENTARY – SHORT SUBJECT

CaveDigger
Facing Fear
Karama Has No Walls
The Lady in Number 6: Music Saved My Life
Prison Terminal: The Last Days of Private Jack Hall

Sorry guys I have not seen any of the nominees in these three categories, so can offer no commentary.

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