1. Norbit — It’s Norbit bro, and it’s Oscar-nominated. I just found that funny. It doesn’t matter what it’s for, and I’m not taking anything away from the great makeup people. But for better or worse, Norbit is an Oscar-nominated film. Just wanted to point out this silliness.

2. I don’t care about having a front-runner or not. That’s no concern of mine. My issue is that if you take a list of all the Best Picture winners in history, can you honestly pick one of these nominees to join that illustrious list? Some might say There Will Be Blood, as I know quiet a few folks who love this movie fiercely. But I would disagree.

3. Just because a film is fresh and new (which I did not think Juno was anyway), that makes it a Best Picture nominee? So why isn’t Knocked Up nominated? 300? I am so against this nomination, I might be willing to call Juno the most undeserving Best Picture nominee I’ve ever seen.

4. As for the writer/director combo, I think there are two elements at work here. One is coincidence. 3 of the year’s best films, according to the Academy, were also the best written and best directed. This is a very common occurrence, and it just so happens that this year, several of the films were written and directed by one guy.

Second, I think that being in control of both the writing and directing of a film allows for greater control and execution of the vision for the movie, if its in the hands of a good writer/director. Nothing is lost in translation from page to screen, as the entire vision is formulated in the mind of one man (or two, with the Coen Brothers), who then executes this vision himself. Rather than exist as two separate entities, the writing and directing of the film can in this case inform each other, which can lead to a great film.

Usually, people who write and direct their own material are very good filmmakers, as it takes a whole lot more talent to be able to do this.

5. I was just poking fun at In The Valley of Elah. I’m sure Tommy Lee Jones is excellent in it, but the point of my comment was that I’m guessing many of the voters didn’t see it and are basing their votes on the word of their colleagues or guild awards or critical buzz.

And you’re welcome

Also, in case I didn’t mention it before, I entirely agree with you that Marion Cotillard should win that Oscar for Best Actress – I can’t recall a better performance by an actress off of the top of my head, which is not to say that they don’t exist, but nonetheless, WOW, what a performance… (and to connect that thought to the Tommy Lee Jones discussion, how many people saw either Away From Her or La Vie En Rose? Maybe more than went to In the Valley of Elah, but still not very many, which cuts entirely against the argument that because a film was not a solid box office performer, it should potentially not be given Oscar attention. –I know you’re not making that blanket statement, but I’m just throwing it out there.)

Thanks again for blogging.

I always enjoy reading your opinions and the fact that you take reasoned stands and support what you have to say with well-thought out analysis. This is no different.

However, I do disagree with a couple of the things you said. First of all, I know you prefaced your Norbit comment with a recognition that it was for makeup, but I wouldn’t overstate the nomination or take away from the make-up people who created/implemented their designs. Why punish them for being a part of a dismal movie when their particular work was exceptional? I don’t think anyone will now think of Norbit as an “Oscar-nominated film” – people who pay enough attention to the category of make-up also understand how to cabin the importance and weight of that achievement in relation to the film as a whole.

Secondly, I would agree with you that in general the Best Picture noms are a bit underwhelming and I, like you, did not entirely love any of them so far and away that they should take the cake. But maybe that’s not so bad. Why do we always need a front-runner? Michael Clayton was an extremely well-done movie with well-written dialogue, methodical direction, and fantastic acting. I think that it could end up surprising people with a strong showing, or it might even pull out the Best Picture in a way similar to Crash — maybe as a credit to the ensemble and because the other categories in which it is nominated are simply too strong for it to come out on top. I think that direction and writing have other clearer front runners though Tony Gilroy did a great job as a first-time director, and unfortunately for Tom Wilkinson he played his role perfectly during the same year that Javier Bardem played the scariest man on film since Anthony Hopkins in Silence of the Lambs and George Clooney was too understated to beat out Daniel Day Lewis who absolutely deserves the Oscar.

Also, I’m not sure I understand why you’re so against Juno being a Best Picture nomination other than the fact that you didn’t particularly like the movie. In all honesty, I think it was overrated too. But it was new, original, fresh, and interesting, even if it didn’t turn out as well as I hoped it would. I personally don’t think it’s fair to compare every year’s best film nominations to some of the greatest films of all time, unless you’re willing to say that if the films in any given year are average or poor, we should be willing to consider films from every other year in American film history. Nonetheless, I appreciate your feeling that maybe this year’s films just weren’t up to snuff.

Next, I agree that ONCE deserved far more recognition in the original song category, and I think that it’s unfortunate that the film didn’t seem to fit into any other category because I think it was the most unique, interesting film I saw all year.

Lastly, I noticed that Tony Gilroy (Michael Clayton), Paul Thomas Anderson (There Will Be Blood), and the Coen Brothers (No Country For Old Men) were all nominated for both directing and writing Oscars. Do you think the Academy is rewarding ambition or execution? Both? What are your thoughts on that? I don’t know exactly what it signifies, if anything at all, but I found it worth noting.

So… now that you got your Top Ten observations of the 2008 Oscars out (in record time, I might add), you think you could put up a “Who Could Win, Who should Win, Who Will Win” analysis?? I’d love to hear your take.

Thanks again for taking the time to write and your dedication to your blog, Mave.

I’m guessing Academy voters were split the way you and I are, which accounts for the absence in the music category. But surprisingly (for me at least, as I did NOT like this movie), nobody seemed to be divided on whether or not they thought this was one of the year’s best films, as it tied (with No Country For Old Men) for the most nominations of any film.