完整获奖名单:www.douban.com/movie/oscar 相关豆列:www.douban.com/doulist/408392/ 【最佳影片】Best Picture 《拆弹部队》/ “The Hurt Locker” Nominees to be determined 【最佳导演】Directing 凯瑟琳·毕格罗《拆弹部队》/ “The Hurt Locker” Kathryn Bigelow 【最佳男主角】Actor in a Leading Role 杰夫·布里奇斯《疯狂的心》/ Jeff Bridges in “Crazy Heart” 【最佳女主角】Actress in a Leading Role 桑德拉·布洛克《弱点》/ Sandra Bullock in “The Blind Side” 【最佳男配角】Actor in a Supporting Role 克里斯托弗·沃尔茨《无耻混蛋》/ Christoph Waltz in “Inglourious Basterds” 【最佳女配角】Actress in a Supporting Role 莫妮克《珍爱》/ Mo’Nique in “Precious” 【最佳动画长片】Animated Feature Film 《飞屋环游记》/ “Up” Pete Docter 【最佳纪录长片】Documentary (Feature) 《海豚湾》/ “The Cove” Nominees to be determined 【最佳外语片】Foreign Language Film 《谜一样的双眼》阿根廷 / “El Secreto de Sus Ojos” Argentina 【最佳原创剧本】Original Screenplay 马克·鲍尔《拆弹部队》/ “The Hurt Locker” Written by Mark Boal 【最佳改编剧本】Adapted Screenplay 乔福瑞·福莱切《珍爱》/ “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher 【最佳摄影】Cinematography 《阿凡达》/ “Avatar” Mauro Fiore 【最佳剪辑】Film Editing 《拆弹部队》/ “The Hurt Locker” Bob Murawski and Chris Innis 【最佳音效剪辑】Sound Editing 《拆弹部队》/ “The Hurt Locker” Paul N.J. Ottosson 【最佳音响效果】Sound Mixing 《拆弹部队》/ “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett 【最佳视觉效果】Visual Effects 《阿凡达》/ “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones 【最佳化妆】Makeup 《星际迷航》/ “Star Trek” Barney Burman, Mindy Hall and Joel Harlow 【最佳艺术指导】Art Direction 《阿凡达》/ “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair 【最佳服装设计】Costume Design 《年轻的维多利亚女王》/ “The Young Victoria” Sandy Powell 【最佳配乐】Music (Original Score) 迈克·吉亚奇诺《飞屋环游记》/ “Up” Michael Giacchino 【最佳歌曲】Music (Original Song) "The Weary Kind" -《疯狂的心》/ “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett 【最佳动画短片】Short Film (Animated)《商标的世界》法国 / “Logorama” Nicolas Schmerkin 【最佳真人短片】Short Film (Live Action) 《新房客》丹麦 / “The New Tenants” Joachim Back and Tivi Magnusson 【最佳纪录短片】Documentary (Short Subject) 《普鲁登斯的音乐》/ “Music by Prudence” Roger Ross Williams and Elinor Burkett
All night long, the jokes kept coming on the same subjects: Avatar this, George Clooney that. Sandra Bullock, accepting her award for Best Actress, acknowledged "all the people who didn't" help her, including "George Clooney, who threw me in a pool. I still hold a grudge." Ben Stiller showed up painted like a Na'vi to introduce the makeup category (for which Avatar wasn't nominated), and the Argentine winner of Best Foreign Language Film thanked the Academy "for not considering Na'vi a foreign language."
It's the classic comedy strategy of the have-nots making fun of the haves, and the hoary Oscar tradition of using famous movies and celebrities as the punch lines to jokes understandable to the mass of viewers — most of whom haven't seen, and might not have heard of, the smaller films and actors, who tend to get the awards. Oooh, Avatar, $2.5 billion at the box office ... Heh heh, George Clooney, world's coolest movie star ... Rim shot.
Except that on Sunday night, the haves had not. Clooney did not win an Academy Award, and neither did the film he was nominated for, the early front runner (and utterly Oscar-worthy) Up in the Air, which even failed to cop its expected prize for Best Adapted Screenplay. Avatar won only three of the nine categories for which it was eligible — the door prizes of Cinematography, Art Direction and Special Effects — and its begetter, James Cameron, supped on the special gall of losing Best Picture and Best Director to The Hurt Locker and his ex-wife Kathryn Bigelow, respectively. The Hurt Locker was also up for nine Oscars. It won six, and the evening's bragging rights.
No question, The Hurt Locker is a near perfect war film and an excellent choice for Best Picture. Bigelow's job wrangling this orphan project into shape, and her shot-by-shot mastery of the story, should be considered no less impressive than her swaggering hero's effectiveness in defusing bombs on Baghdad streets. The same goes for Mark Boal's winning screenplay, based on his reporting for a Playboy nonfiction piece about IED squads (which really should have put the script in the Best Adapted Screenplay category).
But The Hurt Locker's Oscar haul had less to do with the movie's merits than with the Academy membership's make-up and mind-set. Remember, to win Best Picture you don't have to make the best picture; you have to make the picture that appeals to the voters, who are older, politically liberal and artistically conservative. Here's how those and other factors may have played in The Hurt Locker's favor — and doomed Avatar.
1. Age. For the Oscar voters, who are at the senior end of the demographic spectrum from the mass audience, which most movies are made for, the most convenient way to see the nominated films is on screeners at home, where The Hurt Locker plays just fine. A Lourdes miracle would be needed for the Academy geriatrics to throw away their walkers and actually go to a theater — the only place Avatar can be appreciated in all its 21st century splendor. Filmmakers rushing to the 3-D format had better learn to be satisfied with the boodle they earn at the box office and not expect to win Oscars for a project that doesn't look like an HBO movie.
2. Size. Over the decades, the membership has shown a fondness for small dramas with an obvious social message and a prejudice against gigantic science-fiction pictures that use pioneering techniques to create a compelling new world — albeit with their own obvious social message. Avatar is every bit as political as The Hurt Locker in its eco-friendly theme, and much more boldly anti-military: by the end of the movie, viewers are meant to be cheering for the deaths of the U.S. soldiers trying to occupy Pandora. It didn't help. The Oscar voters saw Avatar (if they did watch it) as just another genre film. No sci-fi movie has ever won Best Picture.
3. The Shock of the New. Not to generalize about old people, like the typical Academy member, but every one of them is resistant to change or novelty. Anything new in movies seems less like progress and more like a renunciation of the artistic standards they were nurtured on. Consider that in 1942, the Academy gave its top awards, Best Picture and Director, to John Ford's How Green Was My Valley, a poignant evocation of a Welsh mining town. Fine, honorable, fully worthy. The film it beat: Citizen Kane. Who needs all those low-angle shots, the deep-focus cinematography, the oblique, multifaceted view of a powerful publisher? Those aren't innovations; they're ostentations — cinematic showing off. Thus the Academy blew its chance to give due homage to what is still considered the greatest American movie.
4. The Grudge Report. Maybe the Oscar voters simply hate Cameron; apparently that's an easy and widespread feeling in Hollywood. The evening provided ample evidence that some categories were a popularity contest — not among the mass of viewers but the 5,000-plus Academy voters. They may as well have scrawled, "We like you, we really like you," on their ballots next to the boxes checked off for Best Actress Bullock (The Blind Side) and Best Actor Jeff Bridges (Crazy Heart). The victors' chief competition, Meryl Streep and Clooney, were two more examples of the haves: 16 Oscar nominations (but no win since 1983) for Streep, and radiant Clooneyness for George. What do you give the man who has everything? Nothing. Same with Cameron, whose $2.5 billion worldwide take for Avatar will let him cry all the way to the bank, which he could now buy.
So the top-grossing film of all time was creamed by the least-seen film ever to win the Academy of Motion Picture Arts and Sciences's top prize. Even the Argentine director took home one more Oscar than Cameron did on Sunday night. Hell, the hippie Swedish dude who did the sound editing and mixing for The Hurt Locker out-statuetted Cameron two to nothing. And at the end of the broadcast, co-host Steve Martin kidded, "The show is so long that Avatar now takes place in the past." Now that's just piling on. By then, Cameron was the underdog. Martin should have made a joke about that have-it-all The Hurt Locker.
到最后给了【拆弹部队】凯瑟琳·毕格罗一双喜临门,双黄蛋啊!我看女导演腿都软了,走道都如似梦呓。主持人扶着凯瑟琳,把拿着她的一座奥斯卡说:“阿凡达已经过去式了”。不知卡梅隆感想如何,先是自己前妻,人家还坐在前排不知故意与否,最后还拿了全场最大赢家,我靠笑死了。
他俩主持没啥意思,就像爱很复杂除了精美,也没啥意思。而且还需要NPH先唱。。。干脆让人家主持嘛,又不让。
其实比起风骚的金刚狼,我还蛮喜欢这两个喜欢讲笑话的老戏骨。
两位大叔主持,NPH唱了开场。
10年前的奥斯卡比现在用心多了。最佳配乐的那段舞蹈,最佳男女主角前的搭档夸赞都比现在走过场的程序有趣得多
哎,在线看的缺点就是不好确定时间轴,硬生生的看了3个多小时,真是无聊得可以。。。
Boring~
5
重温,整体水平肯定是比后来要高的。阿凡达爆冷错失最佳影片这个点实在太遗憾了。
两位主持人都是喜剧明星,挺好。
这届大概是我刷的次数最少的一期,主持人卖腐不是我的菜
除了记得女导演获奖了,其他的完全木有印象啊……
用唱歌“报”提名电影,没有用“拍恶搞提名电影的短片”来得有意思。反倒采访最佳动画长片提名主角们挺有意思的。
8/10
笑点太无趣。恐怖片精剪还不错。
这届马马虎虎吧,虽然爆冷但基本无感,最大遗憾就是《阿凡达》错失了几个大奖(只得了几个技术奖项),反倒是卡神的前妻凯瑟琳·毕格罗的《拆弹部队》大获全胜,毕格罗也成为了为数不多获得最佳导演的女性影人。PS,还是最喜欢《珍爱》,桑德拉·布洛克凭借《弱点》终成影后,本届最佳纪录片《海豚湾》是我们法学老师在课堂上不停推荐我们看的一部电影,也算有缘。
双人主持#¥
最喜欢的一届奥斯卡颁奖典礼,两个主持人太搞笑了
还有点印象。最佳影片最佳导演不给阿凡达给拆弹部队存心的啦。
那年的拆弹也是冤案,心疼卡梅隆。