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#art of motion picture costume design
costumedump · 11 months
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Costumes For Anna Kendrick As Stephanie Smothers And Blake Lively As Emily Nelson
A Simple Favor
Designed By Renee Ehrlich Kalfus
27th Art Of Motion Picture Costume Design
FIDM Museum And Galleries
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sparklejamesysparkle · 8 months
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Kylie Minogue (as the fabled absinthe-induced hallucination known as "the Green Fairy") pays a visit to Ewan McGregor and crew in the 20th Century Fox/Baz Luhrmann musical romantic drama Moulin Rouge!, 2001. Catherine Martin, Baz Luhrmann's frequent collaborator and spouse, won two Academy Awards for her work on this film in the Best Art Direction and Best Costume Design categories, and the movie received a Golden Globe Award for Best Motion Picture - Musical or Comedy.
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daylightbird · 2 months
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Some of the nominations Society of the Snow (La sociedad de la nieve) received in Awards shows:
San Sebastian Film Festival (happened on September 2023 in Spain)
Audience Award (won and scored the highest rating ever for the award)
European Film Awards (happened on December 9th, 2023 in Germany)
Visual effects (won)
Make-up & hair (won)
Golden Globe Awards (happened on January 7th in USA)
Best Motion Picture – Non-English Language (didn't win)
Critics Choice Awards (happened on January 14th in USA)
Best Foreign Language Film (didn't win)
Best Score (didn't win)
Premios Goya (Goya Awards) (happens on February 10th in Spain)
Best film
Best original score
Best editing
Best production supervision
Best makeup and hairstyles
Best costume design
Best new actor
Best art direction
Best special effects
Best cinematography
Best sound
Best adapted screenplay
Best director
BAFTA Awards (happens on February 18th in UK)
Film Not in The English Language
Oscars (happens on March 10th in USA)
Best international feature film of the year
Achievement in makeup and hairstyling
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Sweeney Todd: The Demon Barber of Fleet Street is celebrating its 15th anniversary (released on the 21st of December 2007). A bloody and macabre musical film tells a story of a wronged barber named Benjamin Barker (now Sweeney Todd) who comes back home from Australia having served 15 years in prison on a false charge. After seeing that his life has changed and his family is gone, he swears to take revenge upon everyone who wronged him. From there, Sweeney starts to spin his crimson web.
The challenge to adapt the stage musical was accepted by the Gothic filmmaker Tim Burton who’s known for his distinctive style and feel. He was fascinated by Sweeney when he saw the stage production while still being student in 1980. The composer and lyricist Stephen Sondheim accepted the offer to adapt the musical to film with a certain hesitation. It took some decades for the film to see the daylight as Burton was occupied with other projects.
The film was a success both with critics and audience alike. The box office collected $153.4 million against the budget of $50 million. It received 3 Academy awards nominations (Best Actor, Best Art Direction and Best Costume Design), winning the Best Art Direction for Dante Ferretti and Francesca Lo Schiavo. Also, Sweeney got 4 Golden Globes nominations: for Best Motion Picture – Musical or Comedy, Best Actor – Motion Picture Musical or Comedy, Best Actress – Motion Picture Musical or Comedy and Best Director. It won 2 statues for Best Motion Picture and Best Actor for Depp.
Sondheim was happy with the finished product. He even praised the film for being one of the rare occasions when the stage musical was successfully transferred to the silver screen. (x) 
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ghegheganu · 6 months
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Suzanne Fabry (Belgian painter) 1904 - 1985
Female Nudes by the Sea, 1943
oil on canvas
157 x 173 cm. (61.75 x 68 in.)
signed and dated Suzanne Fabry/ 1943 (lower right)
private collection
© photo Sotheby's
Catalogue Note Sotheby's
Born in Brussels in 1904, Suzanne Fabry was the daughter of the Belgian symbolist painter Émile Fabry (1865–1966) and his wife Virginie Duchênes. Her brother, Barthélémy, was born in 1898. Three years before Suzanne’s birth, her father was named Professor of Drawing at the l’Académie Royale des Beaux-Arts de Bruxelles, where he had been a student in the 1880s, and her childhood was spent in his house-studio at rue Verte (today rue du Collège Saint-Michel, n°6) in Woluwe-Saint-Pierre, a south-eastern neighborhood of Brussels.
At the start of World War I, Suzanne moved with her family to England where they remained until the end of the war, first in Herefordshire and later in the Cornish town of Saint-Ives. They returned to their home in Belgium after the war and in 1923 Suzanne enrolled as a student at the Académie Royale des Beaux-Arts where she studied under Jean Delville (1867-1953) and Constant Montald (1862-1944), two of the founders, alongside her father, of a group of artists who called themselves “L'art monumental.” The group’s aim was to produce public, monumental, and culturally sophisticated art that would elevate the public consciousness through the representation of idealized universal themes. Their commanding nudes would constitute an important source of inspiration for Suzanne’s own work.
Suzanne graduated from the Académie in 1928 and embarked on her career as a painter in the 1930s, taking part in the triennial Salon in Antwerp (1930) and the quadrennial Salon in Liège (1931). Around the same time, her father was completing a cycle of large-scale paintings for the entrance and staircase of Brussels’ opera house, La Monnaie, where, many years later, Suzanne and her husband Edmond Delescluze (1905-1993) would be employed as costume and set designer respectively, a collaboration that began in 1948 and is recorded in over 900 sketches and stage maquettes preserved today in the archives of La Monnaie. She continued to pursue her career as a painter, alongside her work as head of the opera’s costume workshop, until her death in 1985.
In this monumental multi-figure composition, painted in 1943, Fabry adapted the solidity, scale, and style favored by the Symbolist painters of her father’s generation to a defiantly modern feminine subject. Fabry perfected her own brand of pointillism, establishing the pale blue background in broad loosely layered brushstrokes against which the four figures are sharply defined in saturated ochre tones. The palette and composition–statuesque theatrically posed figures arranged across a picture plane–ehcoing her father’s work, notably Maternity (1923) and Towards the Unknown, for which Suzanne posed and was photographed as aide memoires (see Jacqueline Guisset, Emile Fabry, 2000).
These photographs, and the studio practice they elucidate, suggest the context in which Suzanne developed her own working methods and artistic style. Suzanne’s four figures are arguably full-length self-portraits–with idealized features resembling the artist’s own, looking to her self-portrait with paintbrush in hand (1932) –making the composition a triumphant declaration of her artistic identity as both creator and muse.
The central figure’s pose recalls Botticelli’s iconic Birth of Venus, recasting the Renaissance goddess in a personal and fiercely modern mode. Rather than covering herself, Fabry’s figure reaches up to her auburn hair, staring straight at the viewer and seemingly strides forward, trading Botticelli’s stationary feigned modesty for confidence in motion. Impastoed splashes of water at her feet evoke Venus’s outsized shell in a more realistic and yet abstract reference perhaps to her own rebirth as an artist.
Fabry returned to the female nude the following year in a large-scale single-figure representation of a woman–perhaps herself–called L’Attente (1944), exhibited at the Salon de printemps that year. Holding an amphora above her head with two hands against a distant background of ancient ruins, the figure stands tall, matching the height of the doric column behind her, as a pillar of strength and fortitude, peering fearlessly ahead, her weight shifted to the front of her toes as if to leap forward.
Female Nudes by the Sea is an important rediscovery within the oeuvre of Suzanne Fabry, and the 20th-century Symbolist movement. In this multi-figure self-portrait, Fabry audaciously contends with her artistic heritage and asserts her own distinctive identity and aesthetic.
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Born in Brussels in 1904, Suzanne Fabry was the daughter of the Belgian symbolist painter Émile Fabry (1865–1966) and his wife Virginie Duchênes. Her brother, Barthélémy, was born in 1898. Three years before Suzanne’s birth, her father was named Professor of Drawing at the l’Académie Royale des Beaux-Arts de Bruxelles, where he had been a student in the 1880s, and her childhood was spent in his house-studio at rue Verte (today rue du Collège Saint-Michel, n°6) in Woluwe-Saint-Pierre, a south-eastern neighbourhood of Brussels of recent urbanisation.
At the start of the First World War, Émile Fabry moved with his family to England, first staying in Herefordshire and later in the Cornish town of Saint-Ives, where he would continue to paint, and they would remain until the end of the conflict. Back in Brussels, the family returned to their home on rue Verte, and in 1923 Suzanne enrolled as a student at the Académie Royale des Beaux-Arts, where her teachers included Jean Delville (1867-1953) and Constant Montald (1862-1944), two of the founders, alongside Suzanne’s father, of the group “L'art monumental”. Their aim was to produce art for the public sphere, monumental in scale and steeped within the cultural tradition of the period, intended to elevate the public conscience by means of representing idealised, universal themes. Their commanding nudes would constitute an important source of inspiration for Suzanne’s own work.
Having graduated from the Académie in 1928, Suzanne began her career as a painter in the 1930s, taking part in the triennial Salon in Antwerp (1930) and the quadrennial Salon in Liège (1931). Around the same time, her father was completing a cycle of large-scale paintings for the entrance and staircase of Brussels’ opera house, La Monnaie, where, many years later, Suzanne and her husband Edmond Delescluze (1905-1993) would be employed as costume and set designer respectively, a collaboration that began in 1948 and is recorded in over 900 sketches and stage maquettes preserved today in the archives of La Monnaie. She continued to pursue her career as a painter, alongside her work as head of the opera’s costume workshop, until her death in 1985.
Source: Ambrose Naumann Fine Art
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bananaofswifts · 9 months
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The 2023 class is 40% women. 34% belong to underrepresented ethnic/racial communities and 52% hail from 51 countries and territories outside the United States. There are many recent Oscar nominees among the invitees, such as Austin Butler (“Elvis”), Paul Mescal (“Aftersun”), Stephanie Hsu (“Everything Everywhere All at Once”) and Kerry Condon (“The Banshees of Inisherin”). The list also includes many of the 95th ceremony’s winners, such as Ke Huy Quan (supporting actor for “Everything Everywhere All at Once”) cinematographer James Friend (“All Quiet on the Western Front”) and composer and songwriter M.M. Keeravani and Chandrabose (“Naatu Naatu” from “RRR”). Even the dynamic “RRR” lead acting duo of Ram Charan and N. T. Rama Rao Jr. have also been extended invitations, along with the film’s production designer Sabu Cyril and cinematographer K.K. Senthil Kumar.
Even “Swifties” were upset that Swift was double snubbed at last year’s nominations — for original song (“Carolina”) and live action short (“All Too Well: The Short Film”) — however, they can rest assured, seeing her join the ranks of the music branch as she continues her global tour, and has her feature directorial debut in the works.
Also invited are a slew of global artists, artisans and talents such as actors Zar Amir-Ebrahimi (“Holy Spider” and recent Variety breakthrough talent recipient) Raúl Castillo (“The Inspection”) and Rosa Salazar (“Alita: Battle Angel”), director Joseph Kosinski (“Top Gun: Maverick”), screenwriters Kazuo Ishiguro (“Living”) and Charlotte Wells (“Aftersun”) and marketing and awards public relations executives such as Warner Bros-Discovery CEO David Zaslav, Bela Bajaria and Kelly Dalton from Netflix and Antonio Gimenez-Palazon from Sony Pictures.
“The Academy is proud to welcome these artists and professionals into our membership,” said Academy CEO Bill Kramer and Academy President Janet Yang. “They represent extraordinary global talent across cinematic disciplines and have made a vital impact on the arts and sciences of motion pictures and on movie fans worldwide.”
Other interesting statistics about this invitee class are four branches invited more women than men to join — casting directors, costume designers, makeup artists and hairstylists and marketing and public relations. The Actors and Directors branches had most of their candidates hail from underrepresented ethnic and racial communities.
Eight filmmakers have been invited to multiple branches — Daniel Kwan and Daniel Scheinert (“Everything Everywhere All at Once”), Colm Bairéad (“The Quiet Girl”), Edward Berger (“All Quiet on the Western Front”), Antonio Campos (“The Devil All the Time”), Lukas Dhont (“Close”), Ana Katz (“The Dog Who Wouldn’t be Quiet”) and Santiago Mitre (“Argentina, 1985”); however, they can only select one upon accepting membership.
In 2022, the Oscars invited 397 new members, including singer Billie Eilish, Oscar winner Ariana DeBose, “Belfast” stars Caitríona Balfe, Jamie Dornan and Disney exec Dana Walden.
With the addition of this new member class, the Academy is now 34% women, 18% from underrepresented communities and 20% from outside the U.S.
This year’s slate of awards contenders will have massive star power and legendary filmmakers in the mix such as Martin Scorsese’s “Killers of the Flower Moon” with Leonardo DiCaprio and Denis Villeneuve’s “Dune Part Two” with Zendaya and Timothée Chalamet.
Music Taylor Swift – “Where the Crawdads Sing,” “Cats”
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dweemeister · 2 months
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Programming note: 2024's "31 Days of Oscar" marathon
For newer followers, mostly...
At around the time of the Academy Awards every year, this blog launches into its annual 31 Days of Oscar marathon (tagged "31 Days of Oscar"), based on the marathon of the same name put on Turner Classic Movies (TCM) in the U.S. and Canada. The queue is largely inspired by the structure of that marathon.
31 Days of Oscar begins this Friday on Friday, February 9. It runs until late in the night after the 96th Academy Awards on Sunday, March 10.
The premise is simple. For 31 days, the only films that may appear on this blog must have either received an Academy Award nomination or were given an Honorary Oscar. That rule makes this the most exclusive time on this blog, but arguably its most accessible. For good and ill, the Academy Awards are a gateway into cinephilia (it was a secondary gateway for yours truly). They remain valuable because it gives us a glimpse of the tastes of those in Hollywood at a given time.
And it's the Academy of Motion Picture Arts and Sciences' (AMPAS) primary fundraiser - the Academy, on a daily basis, fosters younger filmmakers; maintains one of the largest film libraries in the world (not just Oscar nominees, but films of all types from across the globe), is one of the most important organizations in the world that embarks upon restoring damaged or neglected movies; and educates the public about cinema through various initiatives and the Academy Museum of Motion Pictures in Los Angeles.
This year, 31 Days of Oscar will be dedicated to a single category for each day. The schedule will look like this:
Friday, February 9: Costume Design
Saturday, February 10: Supporting Actress
Sunday, February 11: Supporting Actress
Monday, February 12: Production Design (formerly Art Direction)
Tuesday, February 13: Screenplay (Adapted and Original)
Wednesday, February 14: Screenplay (Adapted and Original)
Thursday, February 15: Director
Friday, February 16: Film Editing
Saturday, February 17: Supporting Actor
Sunday, February 18: Supporting Actor
Monday, February 19: Original Song
Tuesday, February 20: Original Score (including all past variants of this award)
Wednesday, February 21: Documentary Feature
Thursday, February 22: Cinematography
Friday, February 23: Makeup and Hairstyling (including films before the addition of Hairstyling to this award title)
Saturday, February 24: Lead Actress
Sunday, February 25: Lead Actress
Monday, February 26: Visual Effects
Tuesday, February 27: International Feature Film (formerly Foreign Language Film)
Wednesday, February 28: Sound (including all past variants of this award)
Thursday, February 29: All short categories (Animated, Documentary, and Live Action)
Friday, March 1: Animated Feature
Saturday, March 2: Lead Actor
Saturday, March 3: Lead Actor
Monday, March 4: Director
Tuesday, March 5 - Sunday, March 10: Best Picture (including the films nominated at the 1st Academy Awards for Best Unique and Artistic Picture)
Hope you enjoy! I am also not affiliated with TCM or the Academy in any way, shape, or form.
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5starcinema · 9 months
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Happy Birthday Jean Cocteau.
Anyone who has experienced the poetic wonder of Cocteau's motion pictures understands why today should be noted.
His insanely complex preoccupations and aesthetic contradictions were a treasure chest from which he selected assorted gems—or sometimes just the odd bauble. His name, his works, and his very visage (he was obsessed with being photographed) are inextricably linked to almost every art movement of the 20th century, and the self-promoting, ever-evolving artist was never shy about exploiting his experience and ubiquity.
As a writer of films and plays, librettist, painter, sculptor, set and costume designer, film director, actor, essayist, social butterfly, and dandy, Cocteau stubbornly acknowledged only one title throughout his career: poet.
More significantly, he professed only one cinematic goal: that we might, in his words, "all dream the same dream together." It’s all up there on the screen.
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byneddiedingo · 1 year
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John Turturro and John Goodman in Barton Fink (Joel Coen and Ethan Coen, 1991)
Cast: John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney, Tony Shalhoub, Jon Polito, Steve Buscemi. Screenplay: Joel Coen, Ethan Coen. Cinematography: Roger Deakins. Production design: Dennis Gassner. Film editing: Joel Coen, Ethan Coen. Music: Carter Burwell. 
The Coen brothers are nothing if not audacious, and attempting something so outrageous and anomalous as Barton Fink at the beginning of their careers -- it was their fourth feature, after Blood Simple (1984), Raising Arizona (1987), and Miller's Crossing (1990) -- shows a certain amount of courage. It's a melange of satire, horror movie, comedy, thriller, fantasy, and fable that had many critics singing its praises. It was their first film to receive notice from the Motion Picture Academy, earning three Oscar nominations: supporting actor Michael Lerner, art directors Dennis Gassner and Nancy Haigh, and costume designer Richard Hornung. And it was the unanimous choice for the Palme d'Or at the 1991 Cannes Film Festival; Joel Coen also won as best director and John Turturro as best actor. Evidently it took everyone by surprise. But although it's a provocative and unsettling movie, there's not enough of any one element in the melange to suggest to me that it's more than the work of a couple of extraordinarily talented writer-directors riffing on whatever comes to their minds. Barton (Turturro) is a playwright whose hit on Broadway in 1941 gets him a bid to come work in Hollywood. There, studio head Jack Lipnick (Lerner) assigns him to write a wrestling picture for Wallace Beery. Stymied in his attempt to come up with a screenplay, Barton decides to pick the brain of a famous novelist who has also come to work in Hollywood, W.P. Mayhew (John Mahoney). The playwright, the studio head, and the novelist are all caricatures of Clifford Odets, Louis B. Mayer, and William Faulkner, respectively. Each caricature is well-done: What we see of Barton's play is a deft parody of the Odets-style leftist "little people" dramas like Waiting for Lefty and Awake and Sing! that Odets was known for. Lipnick is a rich, sentimental vulgarian with a mean streak, who like Mayer was born in Minsk. And Mayhew not only goes by the name "Bill," as Faulkner did among his friends and family, he also has a wife back home named Estelle, just as Faulkner did. Moreover, he is an alcoholic who is looked after in Hollywood by his mistress, Audrey Taylor (Judy Davis), who is clearly based on Faulkner's Hollywood mistress, Meta Carpenter. But then we have the turns into horror-fantasy when Barton tries to hole up in a Los Angeles hotel and makes friends with his next-door neighbor, an insurance salesman named Charlie Meadows (John Goodman). Good-time Charlie is later revealed to be a serial killer named Karl Mundt -- another of the Coens' in-jokes: The real-life Karl Mundt was a right-wing dunce who represented South Dakota (neighbor state to the Coens' Minnesota) in Washington from 1939 to 1973. Clearly, Barton Fink is not without a certain baroque fascination to it. It's the kind of film you can spend hours analyzing and annotating. But this makes it, for me, little more than a fabulous mess.
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weclassybouquetfun · 11 months
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We're in Emmys season and we are also in the final season of TED LASSO and I can not discern whether the cast is stomping for their final season or for Emmy consideration. Surely a bit from column A and column B.
Well, they have until June 26 to get 'er done (shout out to Larry the Cable Guy). Apple TV+ is touting their mustachioed prize pony TED LASSO out for special events.
May 1st they kick off Apple TV+'s THINK APPLE TV+ FYC installation with a fan event. The event features a panel moderated by their pal Yvette Nicole Brown (Community). Expected to be there are Jason Sudeikis, Brendan Hunt, Brett Goldstein, Juno Temple, Phil Dunster, Jeremy Swift, Kola Bokinni, Cristo Fernández, Billy Harris and James Lance.
There will also be a trivia game hosted by comedian Ryan Budds and will feature Charlie Hiscock (Will), Stephen Manas (Richard) and Moe Jeudy-Lamour (Thierry/Van Damme).
Kola will be back there the next day as part of a panel hosted by Essence Magazine alongside SHRINKING's Jessica Williams.
Saturday will be a panel about Costume and Production Design to TED LASSO's production and art designer Paul Cripps will be there with Costumer Jacky Levy.
Cast your eyes to the end of May, specifically May 30th, where the cast and creatives of the show will be celebrating the finale with the Paley Center for Media at the Motion Picture Academy of Arts and Sciences Theater.
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As the announcement says, "Participants are subject to change." Standard language, but it really came home to people when NONE of the cast members listed for the YELLOWSTONE PaleyFest panel attended.
They weren't filming, others said the cast were sitting out in solidarity with Kevin Costner who is in a contract dispute with creator Taylor Sheridan. I don't know what happened with all of that, but Wes Bentley and Gil Birmingham did attend Deadline Contenders weeks later.
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Brett was on hand for the SHRINKING panel.
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*I finally got my TED LASSO biscuits that day. It was a good day.
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nahasjungle · 1 year
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Academy award movies from 2017
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#ACADEMY AWARD MOVIES FROM 2017 PROFESSIONAL#
nominated for Best Actress in a Supporting Role ( Janet Leigh).nominated for Best Writing, Story and Screenplay - Written Directly for the Screen ( Ernest Lehman).nominated for Best Film Editing ( George Tomasini).nominated for Best Art Direction-Set Decoration, Color.nominated for Best Sound ( George Dutton).nominated for Best Art Direction-Set Decoration, Black-and-White Or Color ( Hal Pereira & Henry Bumstead).nominated for Best Art Direction-Set Decoration, Color ( Hal Pereira).nominated for Best Costume Design, Color ( Edith Head).nominated for Best Writing, Screenplay ( John Michael Hayes).nominated for Best Sound, Recording ( Loren L.nominated for Best Cinematography, Color ( Robert Burks).nominated Best Cinematography, Black-and-White ( Robert Burks).nominated for Best Actress In A Supporting Role ( Ethel Barrymore).nominated for Best Writing, Original Screenplay ( Ben Hecht).nominated for Best Actor In A Supporting Role ( Claude Rains).nominated for Best Effects, Special Effects ( Jack Cosgrove).nominated for Best Cinematography, Black-and-White ( George Barnes).nominated Best Actor In A Supporting Role ( Michael Chekhov).nominated for Best Writing, Original Story ( John Steinbeck).nominated for Best Cinematography, Black-and-White ( Glen MacWilliams).nominated for Best Writing, Original Story ( Gordon McDonell for " Uncle Charlie").nominated for Best Picture ( Alfred Hitchcock).nominated for Best Music, Scoring Of A Dramatic Picture ( Franz Waxman).nominated for Best Writing, Original Screenplay ( Charles Bennett & Joan Harrison).nominated for Best Picture ( Walter Wanger).nominated for Best Effects, Special Effects ( Paul Eagler & Thomas T.nominated for Best Cinematography, Black-and-White ( Rudolph Maté).nominated for Best Art Direction, Black-and-White ( Alexander Golitzen).nominated Best Actor In A Supporting Role ( Albert Bassermann).nominated for Best Writing, Screenplay ( Robert E.nominated for Best Music, Original Score ( Franz Waxman).nominated for Best Film Editing ( Hal C.nominated for Best Effects, Special Effects ( Jack Cosgrove & Arthur Johns).nominated for Best Director ( Alfred Hitchcock).nominated for Best Art Direction, Black-and-White ( Lyle R.nominated for Best Actress In A Supporting Role ( Judith Anderson).nominated for Best Actress In A Leading Role ( Joan Fontaine).nominated for Best Actor In A Leading Role ( Laurence Olivier).recipient of the 2008 Honorary Academy Award for his work as a Production Designer.won Best Music, Original Song for the song " Whatever Will Be, Will Be (Que Sera, Sera)" ( Jay Livingston & Ray Evans).won Best Cinematography, Color ( Robert Burks).won Best Music, Scoring Of A Dramatic Or Comedy Picture ( Miklós Rózsa).won Best Actress In A Leading Role ( Joan Fontaine).won Best Cinematography, Black-and-White ( George Barnes).In 2008, the honorary Academy Award was presented to 98 year old production designer Robert F. In 1968, Alfred Hitchcock was presented with the Irving G. The annual Oscar presentation has been held since 1929. They are intended for the films and persons the Academy believes have the top achievements of the year. The votes have been tabulated and certified by the auditing firm PricewaterhouseCoopers for 72 years, since close to the awards' inception.
#ACADEMY AWARD MOVIES FROM 2017 PROFESSIONAL#
The Academy Awards, popularly known as the Oscars, are the most prominent film awards in the United States and most watched awards ceremony in the world.Īcademy Awards are granted by the Academy of Motion Picture Arts and Sciences, a professional honorary organization.
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costumedump · 11 months
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Costume For Gemma Chan As Astrid Young Teo
Crazy Rich Asians
Costume Designer Mary Vogt
Christian Dior Fall 2016 Ready To Wear
27th Art Of Motion Pictures Costume Design
FIDM Museum And Galleries
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Billie Eilish and Finneas, who won an Oscar in March for co-writing “No Time to Die” from the James Bond film of the same name, were invited to join the Academy of Motion Picture Arts & Sciences on Tuesday (June 28) They were among 12 people invited to join the music branch and among 397 people invited to join the Academy across all branches.
An invitation to join the Academy is generally a perk of winning an Oscar. Ariana DeBose, who won best supporting actress for West Side Story, and Troy Kotsur, who won best supporting actor for CODA, were invited to join the actors branch.
Other notables who were invited to join are Jamie Dornan, Kodi Smith-McPhee and Sheryl Lee Ralph (acting), and film critic Leonard Maltin and music supervisor Julia Michels (members at large).
Invitations to membership extended this year: short films and feature animation (41), documentary (38), sound (32), actors (30), producers (30), visual effects (28), executives (26), marketing and public relations (25), members at large (25), writers (22), directors (21), production design (16), makeup artists and hairstylists (13), film editors (12), music (12), costume designers (11), cinematographers (10) and casting directors (9).
Actors
Funke Akindele – “Omo Ghetto: The Saga,” “Jenifa”
Caitríona Balfe – “Belfast,” “Ford v Ferrari”
Reed Birney – “Mass,” “Changeling”
Jessie Buckley – “The Lost Daughter,” “I’m Thinking of Ending Things”
Lori Tan Chinn – “Turning Red,” “Glengarry Glen Ross”
Daniel K. Daniel – “The Fugitive,” “A Soldier’s Story”
Ariana DeBose – “West Side Story,” “The Prom”
Robin de Jesús – “tick, tick…BOOM!,” “The Boys in the Band”
Jamie Dornan – “Belfast,” “Barb & Star Go to Vista Del Mar”
Michael Greyeyes – “Wild Indian,” “Woman Walks Ahead”
Gaby Hoffmann – “C’mon C’mon,” “Wild”
Amir Jadidi – “A Hero,” “Cold Sweat”
Kajol – “My Name Is Khan,” “Kabhi Khushi Kabhie Gham…”
Troy Kotsur – “CODA,” “The Number 23”
Vincent Lindon – “Titane,” “The Measure of a Man”
BarBara Luna – “The Concrete Jungle,” “Five Weeks in a Balloon”
Aïssa Maïga – “The Boy Who Harnessed the Wind,” “Mood Indigo”
Selton Mello – “My Hindu Friend,” “Trash”
Olga Merediz – “In the Heights,” “Adrift”
Sandra Kwan Yue Ng – “Echoes of the Rainbow,” “Portland Street Blues”
Hidetoshi Nishijima – “Drive My Car,” “Cut”
Rena Owen – “The Last Witch Hunter,” “The Dead Lands”
Jesse Plemons – “The Power of the Dog,” “Judas and the Black Messiah”
Sheryl Lee Ralph – “Sister Act 2: Back in the Habit,” “The Distinguished Gentleman”
Renate Reinsve – “The Worst Person in the World,” “Welcome to Norway”
Marco Rodriguez – “El Chicano,” “Unspeakable”
Joanna Scanlan – “After Love,” “Notes on a Scandal”
Kodi Smit-McPhee – “The Power of the Dog,” “Let Me In”
Suriya – “Jai Bhim,” “Soorarai Pottru”
Anya Taylor-Joy – “The Northman,” “Last Night in Soho”
Music
Billie Eilish Baird O’Connell – “No Time to Die”
Amie Doherty – “Spirit Untamed,” “The High Note”
Lili Haydn – “Strip Down, Rise Up,” “Broken Kingdom”
Leo Heiblum – “Maria Full of Grace,” “Frida”
Natalie Holt – “Fever Dream,” “Journey’s End”
Nathan Johnson – “Nightmare Alley,” “Knives Out”
Jacobo Lieberman – “Maria Full of Grace,” “Frida”
Ariel Rose Marx – “Shiva Baby,” “Rebel Hearts”
Hesham Nazih – “The Guest,” “Born a King”
Finneas O’Connell – “No Time to Die”
Dan Romer – “Luca,” “Beasts of the Southern Wild”
Nerida Tyson-Chew – “H Is for Happiness,” “Anacondas: The Hunt for the Blood Orchid”
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iffltd · 2 years
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above:  costume art by Robert Fletcher who also designed the costumes for STAR TREK The Motion Picture
                             WRITING  STAR  TREK  PART  II
Despite a mixed response from audiences and critics, STAR TREK  the motion picture  (1979) was a box office success with a seemingly guaranteed audience for a sequel.
For the follow-up, Paramount selected television producer Harve Bennett to spearhead the new movie (seen above in image 5 with STAR TREK creator Gene Roddenberry who would be involved as “executive consultant” as The Motion Picture’s perceived shortcomings and difficult production were largely attributed to him).
Likewise, the film would be produced via Paramount’s television division (presumably under the thinking that the film could just as easily be sold directly to tee-vee if a theatrical release was deemed unnecessary). This was in keeping with the film’s budgetary restrictions to approximately 13 million opposed to the first feature’s attributed forty-five. (The exact budget of STAR TREK  the motion picture is actually more difficult to ascertain than has largely been reported; the $45 million price tag also includes all costs incurred by earlier attempts to set up at least 3 previous movie versions and the STAR TREK: Phase Two television series that would be the aborted new Paramount Network’s flagship, including the new show’s costs paid to teleplay writers and the creation of sets, models, props and costumes all of which would have to be re-conceived for a widescreen theatrical production).
After Jack Sowards’ and Bennett’s writing of some five screenplay drafts for the sequel produced many intriguing ideas, plots and character arcs, (and after Sam Peeples, who’d written the Original Series’ second pilot, “Where No Man Has Gone Before.” wrote a largely dissimilar new script which was rejected), the consensus was arrived at that the second film’s story had yet to find itself. Nicholas Meyer, who’d been hired as director largely on the strength of his first feature TIME AFTER TIME (1979) and was an accomplished novelist, screenwriter and “script doctor,” ultimately went through the various drafts, drew from the agreed-upon best ideas and in about twelve days (going unpaid and uncredited) wrote a problem-solving final draft that quickly became the shooting script after he addressed script concerns and contributions from Roddenberry, Shatner and Nimoy.
below:  Concept Art and Storyboards
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U.S.S. Reliant -1864  designed by Joe Jennings  Mike Minor
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Ceti Eel design by ILM’s Ken Ralston
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Celebrating  the  40th  Anniversary  of  the  Original  Theatrical  Release  of  STAR  TREK  II   T h e  W r a t h  o f  K h a n     June  4   1982
           part  1  --  Pre - Production  and  Concept  Art / Storyboards
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"Dirty Secrets" by Tony & The Kiki  ~Credits~ Artist: Tony & The Kiki Director, Writer, & Stop Motion Animator: Zee Chang DOP: Grayson Kohs Producers: Zubin Anklesaria & Julia Elaine Mills Field Producer: Jasmine Dreame Wagner AC: Patrick Scanlon Gaffer: Forest Erwin Choreographer/Location Manager: Alessandra Valea Carranante Costume Designers: Max Vernon & David Quinn Additional Costumes: Anthony Alfaro, Alessandra Valea Carranante Art Dept: Anthony Alfaro, Max Vernon, Zee Chang, & Alessandra Valea Carranante Art PA: Michael Allen Gallo HMU: Edward Zola Powell & Max Vernon & Anthony Alfaro Colorist: Molly Kate Nolan Post Producer: Ryan Turner Editor: Brendan Barone Production Company: Echobend Pictures
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filmmakerlife1 · 10 days
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Exploring the Prestigious World of Famous Film Awards
Film awards are not just accolades; they are milestones that celebrate excellence, creativity, and innovation in the world of cinema. From Hollywood's iconic Oscars to international festivals like Cannes and Berlinale, the film industry thrives on recognizing outstanding achievements in storytelling, acting, directing, and technical craftsmanship. In this article, we delve into the prestigious realm of famous film awards and highlight their significance in shaping the cinematic landscape.
1. The Academy Awards (Oscars)
The Oscars, hosted by the Academy of Motion Picture Arts and Sciences, is arguably the most renowned film award ceremony globally. Since its inception in 1929, the Oscars have honored the best in filmmaking across various categories, including Best Picture, Best Director, Best Actor, and Best Actress. Winning an Oscar not only brings recognition but also catapults artists and films into the spotlight, cementing their place in cinematic history.
2. Cannes Film Festival
As one of the oldest and most prestigious film festivals, Cannes attracts filmmakers, actors, and industry professionals from around the world. The festival's coveted Palme d'Or award is a symbol of cinematic excellence, with past winners including legendary directors like Quentin Tarantino, Martin Scorsese, and Francis Ford Coppola. Cannes not only celebrates artistic merit but also serves as a platform for showcasing diverse voices and groundbreaking storytelling.
3. Berlin International Film Festival (Berlinale)
Known for its eclectic lineup of films ranging from avant-garde artistry to mainstream appeal, the Berlinale is a melting pot of global cinema. The festival's Golden Bear award recognizes exceptional films that push boundaries and provoke thought, reflecting Berlin's reputation as a hub for artistic experimentation and cultural dialogue.
4. Golden Globe Awards
The Golden Globes bridge the gap between film and television, honoring excellence in both mediums. With categories like Best Motion Picture and Best Performance by an Actor/Actress in a Drama or Musical, the awards showcase a wide spectrum of talent and genres. The Golden Globes also serve as a precursor to the Oscars, often indicating which films and performances may garner further recognition.
5. BAFTA Awards
The British Academy Film Awards (BAFTA) celebrate cinematic achievements from the UK and around the world. With categories encompassing everything from costume design to screenplay, BAFTA recognizes the multifaceted contributions that make a film memorable and impactful. Winning a BAFTA is a testament to both artistic merit and cultural relevance.
Conclusion
famous film awards play a pivotal role in shaping industry trends, recognizing talent, and inspiring future generations of filmmakers. Whether it's the glamour of the Oscars, the artistic flair of Cannes, or the cultural diversity of Berlinale, these awards showcase the best of what cinema has to offer. As filmmakers and audiences alike continue to embrace innovation and storytelling, the legacy of famous film awards remains an integral part of the cinematic experience.
For more insights into the world of film awards and to explore past winners, visit Filmmaker Life's Winners Page.
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