Costume Design and Visual Effects of Immortals, Cinematography of Jane Eyre, Production Design of Pa Negre, Editing of Martha Marcy May Marlene, and Production Design of Hugo
12. The effects team behind the Visual Effect of Attack the Block
For compensating for the tight budget with creativity, for creating memorable monsters, and for serving the story without being gimmicky
11. Jacqueline Durran for the Costume Design of Tinker Tailor Soldier Spy
(also noteworthy: Production Design)
For understanding the intricacy of men’s clothing, for building character from the threads, for conveying the different classes of MI6 agents, and for working beautifully in tandem with the production design team
10. Dana Glauberman for the Editing of Young Adult
For the impeccable comic timing, and for perfectly balancing the laughs with the drama
9. Udo Kramer and Bernhard Henrich for the Production Design of Chicken with Plums
(also noteworthy: Costume Design)
For nailing every aspect of the period in Iran without losing the directors’ playful vision, for using colours and shadows to perfection, and for the broken violin
8. Alberto Iglesias for the Original Score of The Skin I Live In
(also noteworthy: Production Design)
For the thrill in every pulsating moment, for working within the atmosphere to create mood, for the range, and for continuing his collaboration with one of the world’s most exciting directors
7. Robbie Ryan for the Cinematography of Wuthering Heights
For capturing the beauty of a butterfly on the ledge of a window and the mane of a horse in the field, for the intimacy, and for shaping the story with image
6. Hayedeh Safiyari for the Editing of A Separation
For creating a maze without getting lost, for taking the audience right to the edge of discovery and pulling back, and for shaping the narrative and visual structure of the film through her cuts
5. Emmanuel Lubezki for the Cinematography of Tree of Life
(also noteworthy: Visual Effects)
For the picturesque imagery, for capturing the intimacy of a mother’s affection for his son with as much mastery as he does the grandiosity of genesis, and for giving us thousands of postcard perfect images
4. Matthew Newman for the Editing of Drive
(also noteworthy: Costume Design)
For heightening our tension, for releasing that tension with explosive bursts of violence, and for allowing the subtleties of the performances and Gosling’s cool charisma to sink in
3. Gokhan Tiryaki for the Cinematography of Once Upon a Time in Anatolia
For endlessly broadening his range with a limited palette, for continuing to intrigue in the most monotonous locale, and for crafting a beautiful film out of an excruciating lighting exercise
2. Chris King and Gregers Sall for the Editing of Senna
For producing a coherent narrative entirely from existing footage, for transitioning between family videos and racing footage with ease, and for controlling our heartbeats and tear glands at once
1. Manuel Alberto Claro for the Cinematography of Melancholia
(also noteworthy: Visual Effects and Production Design)
For the complexity of the relationship established between scenes, for the thematic significance of every shot, and for the striking beauty of every frame
For compensating for the tight budget with creativity, for creating memorable monsters, and for serving the story without being gimmicky
11. Jacqueline Durran for the Costume Design of Tinker Tailor Soldier Spy
(also noteworthy: Production Design)
For understanding the intricacy of men’s clothing, for building character from the threads, for conveying the different classes of MI6 agents, and for working beautifully in tandem with the production design team
10. Dana Glauberman for the Editing of Young Adult
For the impeccable comic timing, and for perfectly balancing the laughs with the drama
9. Udo Kramer and Bernhard Henrich for the Production Design of Chicken with Plums
(also noteworthy: Costume Design)
For nailing every aspect of the period in Iran without losing the directors’ playful vision, for using colours and shadows to perfection, and for the broken violin
8. Alberto Iglesias for the Original Score of The Skin I Live In
(also noteworthy: Production Design)
For the thrill in every pulsating moment, for working within the atmosphere to create mood, for the range, and for continuing his collaboration with one of the world’s most exciting directors
7. Robbie Ryan for the Cinematography of Wuthering Heights
For capturing the beauty of a butterfly on the ledge of a window and the mane of a horse in the field, for the intimacy, and for shaping the story with image
6. Hayedeh Safiyari for the Editing of A Separation
For creating a maze without getting lost, for taking the audience right to the edge of discovery and pulling back, and for shaping the narrative and visual structure of the film through her cuts
5. Emmanuel Lubezki for the Cinematography of Tree of Life
(also noteworthy: Visual Effects)
For the picturesque imagery, for capturing the intimacy of a mother’s affection for his son with as much mastery as he does the grandiosity of genesis, and for giving us thousands of postcard perfect images
4. Matthew Newman for the Editing of Drive
(also noteworthy: Costume Design)
For heightening our tension, for releasing that tension with explosive bursts of violence, and for allowing the subtleties of the performances and Gosling’s cool charisma to sink in
3. Gokhan Tiryaki for the Cinematography of Once Upon a Time in Anatolia
For endlessly broadening his range with a limited palette, for continuing to intrigue in the most monotonous locale, and for crafting a beautiful film out of an excruciating lighting exercise
2. Chris King and Gregers Sall for the Editing of Senna
For producing a coherent narrative entirely from existing footage, for transitioning between family videos and racing footage with ease, and for controlling our heartbeats and tear glands at once
1. Manuel Alberto Claro for the Cinematography of Melancholia
(also noteworthy: Visual Effects and Production Design)
For the complexity of the relationship established between scenes, for the thematic significance of every shot, and for the striking beauty of every frame
Previously on Best of 2011
Do over! Hugo for all the awards.
ReplyDeleteI sort of feel like I'm the only one who liked Young Adult that didn't like the editing (or the directing) very much. And for a film with a palette that's so dun, dun, dun Tinker Tailor is one gorgeous film, is it not?
Indeed.
ReplyDeleteNarrowing down a whole year in technical accomplishment to only 12 films is a fool's errand. I could have filled up the list with TTSS, Melancholia, Drive and Tree of Life with three mentions apiece.
So that's why TTSS only got costume. I'm in love with the production design and in some ways I think it's inseparable from the costume. They complement one another.