Comments are edited for length and clarity.
Editing
Caryn James: It’s really anybody’s guess, but it'll and will attend The Irishman because Thelma Schoonmaker may be a legend, she’s done all of the good Scorsese films. However, I’m really appalled that 1917 wasn’t nominated because it’s not one long take or maybe two long takes, it’s tons of takes brilliantly edited together, so we're beginning this conversation with one among the large oversights I feel from the Academy. Nicholas Barber: I feel that’s a really good point about 1917. it's a really crafty work of editing and it’s an odd omission. Beyond that, I feel that Jeff Groth will win for Joker, it’s got tons of flashy editing in there, many cool montages, many attention-grabbing moments, but I feel that Schoonmaker should win for The Irishman, simply because of the sheer scale of it. It’s an enormous amount of fabric that goes back and forth in time, and it covers all kinds of locations and characters. She had an absolutely mammoth task of taking all this material and fashioning it into this epic film.
Cinematography
NB: I feel that 1917 will win for this one. As Caryn mentioned it’s edited to seem sort of a series of long takes, but they’ve shot long scenes that take the characters from one location to a different. It’s an incredibly difficult feat that Roger Deakins has achieved, I almost can’t see how he couldn't tend the Oscar. However, I feel that The Lighthouse should win. It’s such a uniquely strange, distinctive, magical looking film shot in stark black and white, with an almost square aspect ratio: it really stands out. I feel it’s a true shame that The Lighthouse wasn't nominated for the other Oscars, so it might be lovely if it won for something.CJ: I agree that The Lighthouse really has amazing cinematography, but I feel 1917 will and will win because he did numerous innovative things with the camera therein film, and it all worked beautifully. So, I definitely think the Oscar for Roger Deakins is one of the sure things this year.
Score
NB: There are many good contenders but I'm getting to say Joker will win and will win. It’s a really powerful score without being too big and too bombastic. It’s quite eerie and intense, but it’s got a touch of the sadness and therefore the bleakness of the character that does send shivers down the spine. I actually think it’s one of the higher aspects of the film.CJ: I accept as true with what you’ve said, I feel it'll win, it should win, and it’s probably the simplest aspect of a movie that I actually don’t like considerably, but the music really works. it might be good to offer a gift to a lady, Hildur Guðnadóttir, for this. There aren’t tons of girls nominees this year, in order that they may take the chance to offer it to her. and that I think she’ll deserve it during a very strong year for the score.
Best Screenplay (Original)
NB: I feel Once Upon a Time in Hollywood will win; it’s a billet-doux to the movie business which will be hard for voters to resist. And in fact, Tarantino’s dialogue has always been so distinctive that probably half the screenwriters in Hollywood have imitated him or been influenced by him at just one occasion or another. However, I think, Knives Out should win, I feel the script is sensational, the dialogue is so elaborate, the plotting so sophisticated, the characters so colorful. I’m an enormous fan of it, and that I think anyone who sees it'll be impressed by that screenplay.CJ: Well I feel we will disagree about Knives Out another time! I feel it’s not as clever as many people think that it's, but I agree that Tarantino will win. and that I think that both the screenplay prizes this year are going to be consolation prizes for the films not winning other big prizes. Tarantino will win for Once Upon a Time in Hollywood, and it’s a terrific screenplay, but it should attend Noah Baumbach for Marriage Story, which is so beautifully written. It’s so layered, it feels true and natural, and each word therein screenplay registers and is vital during a way that doesn’t feel artificial. I feel it’s way too nuanced to win tons of awards, but I wish it might.
Adapted screenplay
CJ: For the adapted screenplay, I feel Greta Gerwig will and will win. Little Women does everything an adaptation should, it’s faithful to the source, but it’s also bold enough to form changes. She made it feel fresh and contemporary, and that I hope it wins because she’s been short-changed this year. I say this with a touch less confidence than I might have said every week ago because Jojo Rabbit has won the Bafta and therefore the Writers Guild Award therein category, so I might not rule out Jojo Rabbit because of the winner.NB: Yes. Well, I actually think Jojo Rabbit should win. It’s a really divisive film: it’s loathed by as many of us who like it, but he has taken a significant novel, Christine Leunens’ Caging Skies, and turned it into a weirdly sweet comedy with an imaginary Hitler. It’s a really bold and adventurous way of adapting a book, not just to transcribe it from one medium to a different, but totally reinvent it. If Little Women wins it'd essentially be a consolation prize; I do know tons of individuals were disappointed that Greta Gerwig didn't get a nomination for guiding, in order that they could be inclined to offer her this prize to form up for that.
Documentary
CJ: Documentaries are often such an upscale category, it’s quite uneven this year, but I predict American Factory will win. It plays into the liberal idea of yank workers who try to unionize and can’t and feeds into American navel-gazing, where the ‘big bad Chinese factory owners’ are available and mistreat US workers. Also, there’s the Obama factor, since their production company is behind the film. But I don’t think it is the strongest film. I feel The Cave should win, which is a few makeshift hospitals in Syria. Of these films, it's the foremost artistic also as substantive and moving.NB: I’m getting to agree about American Factory, but I feel that For Sama should win. It’s a very staggering film; once we mention films being brave and filmmakers being brave, that tends to be in inverted commas. We mention ‘brave artistic choices’ or ‘thematic choices’, but as far as actual bravery, there’s almost never been a movie to match with For Sama. There are things during this documentary which I had not seen before during a film and things which I hope nevermore to ascertain during a film – it really is one among a sort.CJ: If For Sama and therefore the Cave could share the award that might be an ideal solution, I think.
International film
NB: I feel Parasite will win and will win. There’s a small chance that folks might vote for Parasite because the best picture then votes for something else within the international film category, but I feel that’s a really tiny chance. The parasite has been winning awards non-stop around the world since it won the Palme d’Or at Cannes, and therefore the other nominees shouldn’t bother to point out up; there's nothing else on the shortlist that's quite as exciting.CJ: it's definitely getting to get a world film, that's absolutely a certainty. Partly because it’s not getting to win the simplest picture, and this may be how to reward it. It’s audacious, it's brilliantly done, it's a fantastic, eye-opening film that everybody has embraced. and that I don’t disagree that it should win, but my heart is with Pain and Glory. I actually wish that that might win because it’s one of Almodóvar’s best films, it’s so personal, so touching. I feel bad that it's being overshadowed by Parasite such a lot, like every other international film this year.
Supporting actors
CJ: I feel this is often the strongest category of all. Anyone of these nominated should win and it might be perfectly fine, but Brad Pitt has won every other award running up to the present . he's excellent in Once Upon a Time in Hollywood, he has this roguish, natural charm on screen and really lightens up that film. And also, he’s been giving great acceptance speeches, which is not any small thing to voters. They’re witty, they’re self-deprecating, he’s humble, he’s Brad Pitt! So, I feel he definitely goes to win this, and he should win it, but it’s a troublesome call. I feel that Joe Pesci has given a good better performance, it’s so different from anything he’s done. within the Irishman, he’s the more restrained, chilling version of the lethal gangster, and it's an excellent performance. it might be nice if he won but I feel it'll be Brad Pitt. And why not?NB: I accept as true with all that, I feel Brad Pitt will win, I even have some issues with it though, for one thing, I don’t really think it’s a supporting actor role, I feel he's the co-lead with Leonardo DiCaprio, arguably with Margot Robbie also. It didn’t impress me the maximum amount as a number of the people during this category, but he’s already won just about every award during a season thus far, and he’s done it with good humor and beauty so I can’t see that he won’t win again. But I agree that it might be nice if Joe Pesci won. it's quite something, in any case, these years that he could still surprise us. His quietly menacing, a lizard-like mob boss was as terrifying as any of his characters but totally different from any of them. That was an enormous surprise.
NB: It’s slightly of a subject of this year’s award season that same people seem to be winning award after award, Laura Dean being the classic example: Golden Globes, Screen Actors Guild, Bafta. The interesting thing about this is often, she’s nominated for Marriage Story, but if she wins, which I feel she goes to, it'll even be for her role in Little, Women. It’s unusual for somebody to possess two really strong, but also distinctive, supporting roles in one year. So, I feel she’ll win for Marriage Story and for little Women, and usually for the industry’s new-found appreciation of her. You'll call it the Lauranaissance or the Renaissance! However, I feel Scarlett Johnson should win. She’s been nominated for two Oscars this year, and she’s never been nominated before, which is kind of ridiculous. She’s really the center and soul of Jojo Rabbit, so this is often ready to be an honest year to rectify the wrongs of her not really being given much love from the Academy already.CJ: I feel Laura Dean will win, which I feel she should win for both of those roles, but mostly for Marriage Story. And one of the reasons she goes to win is the character she plays — the shark of a lawyer — could also be a personality those voters in Hollywood really recognize. She does it with plenty of wits: taking a difficult role that might are extremely unlikable or dour and making it sparkle. I don’t think that Jojo Rabbit is Scarlett Johansson’s best role. If anyone was going to achieve an upset, it'd be here, but I don’t think there’s a chance of that, I definitely think it’s Laura Dean’s Oscar, and she or he deserves it this year.
Best actor
NB: It’s very, very, very hard to imagine anyone beat Joaquin Phoenix. Again, Golden Globes, Screen Actors Guild Award, Bafta; he’s winning all the awards for his agonized Batman villain, why should he stop now? I had issues with the film, but I did enjoy his performance. But, Antonio Banderas should win. Whilst Joe Pesci can still surprise us, Antonio Band eras surprised us with just how subtle and sensitive he is often with this bittersweet portrayal of an aging director who happens to resemble Almodóvar.CJ: I totally agree that Banderas should win. it is a heartbreaking performance; it is so rich and it’s so unexpected. I’ve seen that film quite once and it really is moving every single time. But I also agree that Joaquin Phoenix will win. I do mind that he’s going to win actually because I don’t think it’s a very good performance.
CJ: There’s a subject this year in both leading actor categories: the votes will attend these over-the-top performances that are the utmost amount about makeup and mimicry as their anything, which I feel that’s why Renée Zellweger goes to win for Judy. I not only disliked that film, but I disliked the performance. But she looked slightly bit like Garland, and it’s the sort of performance that gets awards. I feel Scarlett Johansson should win for Marriage Story, she’s totally brilliant within the film. It’s a nuanced performance, it’s real, it’s subtle, and it’s really hard for performances like that to win awards for a couple of reasons. you'd think actors would know better, but apparently, they don’t.NB: I'd be very happy if Scarlett Johansson won also. As I said before, I feel she’s an underrated actress, but, I feel Saoirse Ronan should win. She’s only 25 and it’s the fourth year she’s been nominated, and it seems that with Greta Gerwig she has found a really exciting partnership. But, yes, Renée Zellweger seems to be an absolute shoo-in here. the only thing the Academy loves quite an actor playing another superstar is an actor playing another superstar who sings.
Best director
CJ: This, with one exception, could also be a very strong category. I feel Bong Joon-ho will win for Parasite. And he deserves it, it’s an incredible film. Who should win? Honestly, anyone but Todd Phillips for Joker, I feel the other four are deserving. Of all of them, probably Scorsese should win because I feel The Irishman was dismissed as ‘another gangster movie’ and it’s much more than that. It’s emotional, and there’s a deep sense of regret and maturity within the film. And Todd Phillips stole such tons from Scorsese for Joker, it’s pathetic that he’s been nominated within an equivalent category. So, I'd accompany Scorsese should win, but I'd not be upset if any of the others won, including Bong.NB: I feel that Sir Sam Mendes will win, it’s such an enormous feat, making a two-hour war movie that appears like it was shot in two takes. It’s different, it’s complicated, it’s technically challenging altogether sorts of ways. I feel that Bong Joon-ho should win it for Parasite, just because as soon as Parasite starts, you get a real sense that someone’s on top of things of the story, but also on top of things of you. You’re within the palm of his hand.
Best picture:
I feel Parasite should win, and it’s definitely in with a chance. It keeps winning awards, so there is a really reasonable chance that it'd be the first-ever non-English-language film to win the only picture, Oscar. As for what's getting to win, I feel 1917 is that the favorite, it’s just won big at the Baftas. But, Once Upon a Time in Hollywood might just sneak ahead, because the Oscars are all about glamorizing and fetishizing the movie industry, and that’s what Tarantino’s film is all about too.CJ: I feel there are only three serious contenders for best picture: 1917, Parasite and Once Upon a Time in Hollywood. I do not think the Academy goes to supply the award to a foreign-language film this year. I feel 1917 will win, which I feel it should win. It’s brilliant and it’s quite stunted, it’s a deeply emotional film. there's a chance that when Upon a Time in Hollywood could win, as a kind of compromise choice, so I wouldn’t rule it out, breaking the tie of the three serious contenders, but I feel within the top it'll be 1917.NB: I’ve always thought the first non-English language film to be the only picture is getting to be a huge, sweeping, romantic period drama that seems very grand and important, and it won’t be this rather dark, nasty, sneaky little satirical thriller.
CJ: We shouldn't forget that there are numerous films that didn’t even get nominations that need to have. The one that basically surprised me was The Farewell because it ticked all the boxes that you simply would think Oscar voters would have liked: it’s original, it’s accessible, it made plenty of cash and made a star of Awkwafina. Lulu Wang did a terrific job in putting this film together and making it work, and somehow it didn't register with voters.NB: For me, the one that basically disappointed me was the whole exclusion of Jordan Peele’s Us. I do know that not everyone loved it, but I assumed it had been a really great film. If nothing else, Lupita N’yongo could are up for the only actress and best-supporting actress for the same film. The Academy really doesn't ‘look good’ to ignore that film generally, and to ignore her especially.
CJ: I feel that's one of the varied serious omissions this year. What were they thinking? see more info.
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