The 83rd Academy Awards

[Fashionista]

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It's arguably the biggest awards show of the year, and this morning the
2011 Academy Awards nominations were announced...





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Best Picture

"Black Swan"
"The Fighter"
"Inception"
"The Kids Are All Right"
"The King's Speech"
"127 hours"
"The Social Network"
"Toy Story 3"
"True Grit"
"Winter's Bone"



Best Actress

Annette Bening ("The Kids Are All Right")
Nicole Kidman ("Rabbit Hole")
Jennifer Lawrence ("Winter's Bone")
Natalie Portman ("Black Swan")
Michelle Williams ("Blue Valentine")



Best Actor

Javier Bardem ("Biutiful")
Jeff Bridges ("True Grit")
Jesse Eisenberg ("The Social Network")
Colin Firth ("The King's Speech")
James Franco ("127 Hours")



Best Supporting Actress

Amy Adams ("The Fighter")
Helena Bonham Carter ("The King's Speech")
Melissa Leo ("The Fighter")
Hailee Steinfeld ("True Grit")
Jacki Weaver ("Animal Kingdom")



Best Supporting Actor

Christian Bale ("The Fighter")
John Hawkes ("Winter's Bone")
Jeremy Renner ("The Town")
Mark Ruffalo ("The Kids Are All Right")
Geoffrey Rush ("The King's Speech")



Best Director

Darren Aronofsky ("Black Swan")
Joel and Ethan Coen ("True Grit")
David Fincher ("The Social Network")
Tom Hooper ("The King's Speech")
David O'Russell ("The Fighter")



Best Animated Feature Film

"How to Train Your Dragon"
"The Illusionist"
"Toy Story 3"



Best Original Screenplay

Mike Leigh ("Another Year")
David Seidler ("The King's Speech")
Christopher Nolan("Inception")
Lisa Cholodenko, Stuart Blumberg ("The Kids Are All Right")
Scott Silver, Paul Tamasy and Eric Johnson ("The Fighter")



Best Adapted Screenplay

Danny Boyle, Simon Beaufoy ("127 Hours")
Aaron Sorkin ("The Social Network")
Joel and Ethan Coen ("True Grit")
Debra Granik, Anne Rosellini ("Winter's Bone")
John Lasseter, Andrew Stanton and Lee Unkrich ("Toy Story 3")


Best Foreign Language Film

"Biutiful" (Mexico)
"Dogtooth" (Greece)
"In a Better World" (Denmark)
" Incendies" (Canada)
"Outside the Law" (Algeria)


Art direction

"Alice in Wonderland"
"Harry Potter and the Deathly Hallows: Part I"
"Inception"
"The King's Speech"
"True Grit"



Cinematography

“Black Swan”
“Inception”
“The King's Speech”
“The Social Network”
“True Grit”



Costume design

"Alice in Wonderland"
"I Am Love"
"The King's Speech"
"The Tempest"
"True Grit"



Documentary feature

"Exit Through the Gift Shop"
"Gasland"
"Inside Job"
"Restrepo"
"Waste Land"



Documentary short

"Killing in the Name"
"Poster Girl"
"Strangers No More"
"Sun Come Up"
"The Warriors of Qiugang"



Film editing

"Black Swan"
"The Fighter"
"The King's Speech"
"127 Hours"
"The Social Network"



Makeup

“Barney's Version”
“The Way Back”
“The Wolfman”



Sound mixing

“Inception”
“The King's Speech”
“Salt”
“The Social Network”
“True Grit”



Original score

“How to Train Your Dragon”
“Inception”
“The King's Speech”
“127 Hours”
“The Social Network”



Visual effects

“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1”
“Hereafter”
“Inception”
“Iron Man 2”



Original song

“Coming Home” from “Country Strong”
“I See the Light” from “Tangled”
“If I Rise” from “127 Hours”
“We Belong Together” from “Toy Story 3"



Sound editing

"Inception"
"Toy Story 3"
"Tron: Legacy"
"True Grit"
"Unstoppable"



Animated short film

"Day & Night"
"The Gruffalo"
"Let's Pollute"
"The Lost Thing"
"Madagascar, carnet de voyage" ("Madagascar, a Journey Diary")


Live action short film

"The Confession"
"The Crush"
"God of Love"
"Na Wewe"
"Wish 143"




The 83rd Academy Awards will take place on
Sunday, February 27, 2011,
telecast live from the historic Kodak Theatre in Hollywood on ABC at 8PM ET
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http://abcnews.go.com/Entertainment/soc ... d=12748965

[Fashionista]

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[Fashionista]

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• Who cares???


Who cares?
One wonders why YOU would click on a thread about something YOU care nothing about



• Narcissits patting other narcissists on the back and ooooohing and aaaahing over their overpriced clothes. The gap between the haves and have nots gets wider all the time. We still have almost 10% unemployment in this country, are still at war and the economy is still in the tank but we use this fluff piece of massive egotism to bolster our sagging spirits? Do people still watch this show???

~~~ YEP!

I, for one, love watching

Some people still care about celebrating Art & Entertainment. It's not as if millions of viewers are strapped down to their couches and forced to watch the ceremony every year. And really... they still held the awards during the Great Depression, World War II, Vietnam, etc.



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[resigned]

Best Picture - The Kings Speech

Best Actor - Colin Firth

Best Actress - Natalie Portman

Best Supporting Actor - ( pending until I see the Fighter)

Best Supoorting Actress - " "

[Eliza]

Why Are There No Black Oscar Nominees This Year?

By Gary Susman
Posted Jan 26th 2011 11:45AM
Filed under: Features, Hot Topic, Oscar News, Awards

Notice something about the Oscar nominees announced on Tuesday? The list was awfully ... monochromatic.

This year marks the first time in 10 years that there have been no black acting nominees. Not since the 2001 Academy Awards have black actors been shut out of the Oscar race.

No one's suggesting that there should be racial quotas for the Oscars, nor are African-Americans the only under-represented minority among the nominees. Still, for the last decade, the Academy has recognized an explosion of black talent, and in numbers roughly proportional to the percentage of the U.S. population that's African-American. From 2002 to 2010, black stars earned 21 out of 180 acting nominations (that's 12 percent, about the same as their proportion among the general populace), and those nominations resulted in seven trophies for black performers. How does the Academy go from a tally like that down to zero?

In part, it's because the Academy favors a certain kind of movie (dramas, historical epics, biopics), and by and large, African-American actors were busy making other kinds of movies this year.

Look at the projects that the black movie stars who earned Oscar nominations during the 2000s released in 2010. Morgan Freeman and Forest Whitaker made action comedies ('Red' and 'Repo Men,' respectively). Queen Latifah and Jamie Foxx appeared in romantic comedies. (Both were in 'Valentine's Day,' and Latifah also had the lead in 'Just Wright.') Foxx made another comedy, 'Due Date.' Don Cheadle took a sidekick role in a superhero movie. Gabourey Sidibe, Mo'Nique, Viola Davis and Terrence Howard took regular roles on TV series. Davis also took bit parts in 'Knight & Day' and 'Eat Pray Love,' both star vehicles for others. Taraji P. Henson took a bit part in 'Date Night' and played Jaden Smith's mom in the 'Karate Kid' remake. Eddie Murphy made another 'Shrek' cartoon. Denzel Washington made two blockbuster action hits, 'The Book of Eli' and 'Unstoppable.' And Will Smith, AWOL from the screen since 2008, apparently spent the year making sure his kids find success in the family business before they hit puberty. None of these releases is the sort of project that wins an actor an Oscar.

At least all these performers had plenty of work during the year. As the list above suggests, Hollywood likes casting African-Americans in action movies and comedies, or in supporting roles oppisite kids or white stars. Even after a decade of Academy Award nominations, however, Hollywood is still not in the mindset that African-American lives are also a rich source of Oscar-worthy drama. Hollywood makes few dramas as it is (they don't make as much money as action spectacles, horror, or broad comedy), and it's still not certain (despite the worldwide bankability of Will Smith and Denzel Washington) that it can sell to overseas audiences dramas rooted in the African-American experience. The exceptions in recent Oscar history have largely been movies like 'Precious' that were made outside Hollywood, movies set in Africa ('Invictus,' 'The Last King of Scotland,' "Blood Diamond,' 'Hotel Rwanda') or both.

There were some potential Oscar performances by black actors in movies that Academy voters ultimately ignored. Kerry Washington and Anthony Mackie earned some acclaim for 'Night Catches Us,' an indie drama set in the Black Panther era, but the little-seen film didn't earn enough love or attention to win nominations from any major critics group. Djimon Hounsou co-starred in 'The Tempest,' but critics didn't love Julie Taymor's Shakespeare adaptation and may have seen Hounsou's casting as the savage Caliban as racially patronizing.

Tyler Perry's 'For Colored Girls' offered meaty roles to a who's-who of black actresses, and it was based on material with a literary pedigree and a place in the theatrical canon. Still, mainstream critics don't take Perry seriously; they see the Madea creator as someone who makes sanctimonious slapstick. They thought 'For Colored Girls' found him out of his depth, though they did single out Phylicia Rashad and Kimberly Elise for praise among his talented ensemble cast. (Of course, that there were so many strong actresses in the cast may have worked against the film, as no single one of them may have mustered enough Academy votes.)

The African-American star who may have had the best chance at an Oscar this year was Halle Berry. 'Frankie and Alice' marked her first movie in three years, and it gave her a difficult role as a schizophrenic, the sort of acting challenge and audience-pleasing tearjerker that the Academy usually loves. Berry's emotional 2002 Best Actress win for 'Monster's Ball' remains a highlight of Oscar history, and after the years she's spent since, wandering in the critical and commercial desert, the Academy may have been ready to embrace her once again. She even got a Golden Globe nomination for the role. But the film was barely released, critics were indifferent, and Natalie Portman already had the split-personality vote sewn up for 'Black Swan.'

The other reason there aren't more Oscar-worthy roles for black performers is that there are still not many African-American directors, screenwriters or studio executives. By and large, the people in those positions tend to make movies about the worlds they know. Look at the settings of this year's nominated films: the ivory towers of Harvard, the Irish Catholic enclaves on the outskirts of Boston, the canyons of Utah, the suburbs of Los Angeles, the ballet stages of New York, the Ozarks, the old West, Buckingham Palace. All that's missing are movies about hockey teams and bar mitzvahs.

The slate of upcoming 2011 movies offers few apparent opportunities for African-American actors to earn Oscar nominations next January. There's 'The Help,' a prestige drama based on the best-seller about African-American housemaids in the segregated South during the Civil Rights era. There might by Oscar nominations there for Viola Davis and Octavia Spencer. And the upcoming 'Winnie' stars Jennifer Hudson and Terrence Howard as Winnie and Nelson Mandela. It's the kind of set-in-Africa biopic that could earn both stars a return trip to the Kodak Theatre. And it's possible that an indie film not yet on Hollywood's radar -- like 'Precious' in 2009 - could feature meaty roles for African-American performers.

Otherwise, however, next year's Oscar list, and the lists in years to come, could very much resemble the roster announced Tuesday. Unless the Academy broadens its taste, or the industry stops pigeonholing African-American stars into a narrow range of movies, or there's an increase in diversity behind the camera, there probably won't be an increase in diversity at the Oscar podium.


Follow Gary Susman on Twitter @garysusman.

blog.moviefone.com

[Fashionista]

Best Picture - The Kings Speech

Best Actor - Colin Firth

Best Actress - Natalie Portman

Best Supporting Actor - ( pending until I see the Fighter)

Best Supoorting Actress - " "

Have not seen The Fighter yet either, but I've heard from friends who have that give it a

Plz report back/share



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[Fashionista]

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(from left to right): Ryan Reynolds, Jake Gyllenhaal, Anne Hathaway, James Franco, Jennifer Lawrence,
Anthony Mackie, Olivia Wilde, Jesse Eisenberg, Mila Kunis, Robert Duvall, Joseph Gordon-Levitt,
Andrew Garfield, Rashida Jones, Garrett Hedlund and Noomi Rapace.


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[resigned]

Best Picture - The Kings Speech

Best Actor - Colin Firth

Best Actress - Natalie Portman

Best Supporting Actor - Christian Bale

Best Supoorting Actress - Melissa Leo

Updated - The Fighter was very good. Christian Bale's performance is amazing. He deserves the Oscar hands down. Melissa Leo has a great performance too - although I was distracted slightly cuz she reminded me of a cross between Tammy Wynette and Cindy Anthony.

[Fashionista]

Updated - The Fighter was very good. Christian Bale's performance is amazing. He deserves the Oscar hands down. Melissa Leo has a great performance too - although I was distracted slightly cuz she reminded me of a cross between Tammy Wynette and Cindy Anthony.

<center>I can see that I can see that I can se that
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Thanks or reporting back!

[Fashionista]

<center>Details of Dramatic Changes for Oscars Telecast

Oscar producers Bruce Cohen and Don Mischer explain to
The Hollywood Reporter that they are taking a radical departure from past shows.

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The Oscars are entering the world of virtual reality.

Producers of the Feb. 27 show are abandoning the concept of a traditional set. Instead, they will rely on a series of “projections” to give the show a constantly changing look.

“Our design this year is actually going to reflect more content than you would usually expect of an awards show of this type,” producer Don Mischer tells The Hollywood Reporter in an interview with fellow producer Bruce Cohen in the Kodak Theater. “We’re using our environment to take us to different places, different times, and it will change dramatically. The look will change from act to act.”

Producers plan to take viewers on a trip through Hollywood history.

“We’re doing six or seven scenic transitions during the show, but they are each sort of a different concept,” Cohen explains. “In other words, one might be a scene from a film, one might be a more specific time in history, one might be a specific event, one might be a specific genre. The hope is that we briefly leave the Kodak in 2011 -- not literally, but metaphorically -- and take the audience, both in the room and on television, to a specific time and place.”

Pressed for more detail, Cohen adds, “This is the tenth anniversary of the best animated feature Oscar, so we go to an animated environment to present that Oscar -- actually two, animated feature and animated short -- but the reason we are there is to celebrate that this is the tenth anniversary of the best animated feature Oscar.”

The transitions, Mischer explains, will not be long segments, but 30-45 second set-ups. “We are not going back to teach history, but to put the awards in context.”

The design scheme grew out of the theme that the two producers devised once they began working on the show back in June. In an extensive review of past broadcasts, they were struck by the two-fold nature of the assignment. On the one hand, they have to come up with something new and different. On the other, they wanted to recognize the previous 82 years of Oscar history.

“Is there any way to approach the show where those two ideas are working together and not fighting each other with every single decision?" they asked themselves. The solution, they decided, was somehow to combine the old and the new.

To that end, they cast Anne Hathaway and James Franco -- two of the youngest hosts to ever front the Oscars -- as audience surrogates for the journey.

“Yes, they are famous, but they are on their way up,” Cohen says of the two stars. “They are not untouchable, they are not unreachable. We hope they will offer [the audience] a way in. So everyone come along, and we’ll see through the eyes of these two up-and-coming stars.”

The hosts’ job, he says, will be “to take the audience on this journey of a show that will hopefully start in one place, and if it all goes according to plan, it will take you back to where we started at the end.”

To realize that on stage visually, the producers have been working with production designer Steve Bass, who’s previously worked with Mischer on such shows as the 62nd Primetime Emmy Awards and We Are One: The Obama Inaugural Celebration at the Lincoln Memorial.

While the production has moved into the Kodak to set up the show, it’s been using the daytime hours to hang the physical scenery on which the projections will be displayed, and then during the night another team has been programming the projections. Working throughout this weekend, the goal is to have the whole system up-and-running by Monday.

So how did the two producers sell the concept of their novel approach to the Academy and ABC, since it wasn’t simply a matter of constructing the sort of physical models that have been used in the past?

While the two producers walked the Academy and ABC through what they call “the story of the show,” Cohen admits, “We weren’t able to show them what the actual images would look like, but we were able to show them what the images would be. For better or worse, I think they have a very clear idea in their heads of what we think the show is going to be. We’re kind of as curious as they are [to see] when it’s all up this weekend, how similar what we’ve had in our heads for the last month or two is to the actual experience.”

http://www.hollywoodreporter.com/news/d ... ast-101577



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[Fashionista]

<center>Melissa Leo Breaks Oscar Silence</center>

The Fighter nominee talks to Jacob Bernstein about being cast as the mother of an actor just 11 years her junior—and the thinking behind her controversial Oscar ad campaign.

For many Oscar nominees, there comes a time when the army of advisers around them—the publicists, the studios, the agencies, and the various consultants—decide it’s best for them to just stop talking. For Melissa Leo, that moment may have arrived shortly after the Best Supporting Actress contender for The Fighter took out a number of ads in the Hollywood trades to promote herself.


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The mock beauty campaign—showing Leo looking glamorous, with the word “Consider” placed strategically above her head—was meant to be humorous, and it was certainly original. But not everyone was amused. Suddenly Leo, who had been seen as a frontrunner, was facing questions about a backlash.

On one hand, there was the brilliant, scene-stealing performance as the big-haired matriarch in The Fighter, which had already garnered Leo a Golden Globe. But once the ads hit, there was some buzz that Leo was pushing it, a possible blunder in an industry where campaigns cost millions of dollars but are supposed to look effortless. And so this reporter, on a quest to talk with Leo, ran into radio silence: Emails and phone calls to her representatives went unreturned. Clearly, someone had reasoned, there was nothing to be gained from speaking any further.

But then, as luck would have it, there she was—sitting in a restaurant in downtown Manhattan chatting with a theater director, just a few feet away from the reporter who’d been trying to wrangle an interview. When this reporter approached her, he expected little more than a stock referral to her representatives. But instead, Leo ripped a sheet of paper from her notebook, wrote down her personal phone number, and set up an appointment for that evening.

Six hours later, Leo was at her house in upstate New York, dusting the place, which she shares with her cat and her dog (“There’s no one special,” she said. “I find interpersonal heterosexual relationships difficult”) and dishing openly about her unusual life and her current status as not-quite-Oscar frontrunner. (And on her controversial ad campaign, too; more on that later.)

Leo grew up in New York City, doing shows with a puppet workshop around the corner from her parents’ apartment. But then at age 9, with the “rent control laws changing and my father fucking up big time,” her parents’ marriage broke up. “There was a year I remember very painfully, when my father was traveling around Europe trying to find himself or some nonsense, and we were up in Vermont trying to make a living,” she recalled. But she adds that her dad is “a part of my life at this point, and he is who he is and that’s how he did it.”

From there, Leo lived an itinerant childhood, eventually winding up in England. There, she enrolled in theater school before going broke, dropping out, and moving back to the U.S. Soon after, her father reemerged and sent an application for his daughter to SUNY Purchase, which is known for its strong drama program. “I didn’t take no test,” Leo said, with a laugh. “I didn’t sign no form.”

Leo was accepted—but left after two and a half years. Her pre-college education had been weak, and Leo was utterly unprepared for the academic part of the coursework. “They claim me as an alumna, though I did not alum,” she said. Back in New York City, Leo learned how to dance on stilts and began performing in the streets and at Bar Mitzvahs with a Dixieland Jazz Band.

In 1983, she got her first acting work, with a recurring role on All My Children. It led to a respectable career as a working actress, doing everything from off-Broadway plays to forgettable TV movies. In the mid-'90s, she found greater success as the tough detective Kay Howard on Homicide: Life on the Street, the critically acclaimed NBC drama. After Homicide, there were other jobs but nothing that would ratchet up her profile further. “There were mountaintops and deep dark valleys,” she remembered, her voice cracking a bit. (“I’m a little verklempt,” she admitted.) But then, when she hit her mid-40s, Leo’s career got interesting—at the very point when most actresses begin to falter. First came a role in Alejandro González Iñárritu’s much-lauded 21 Grams, playing the grieving wife of a man who’s just been convicted of vehicular manslaughter. Then, a few years later, she filmed Frozen River, an indie flick about a woman who becomes an immigrant smuggler after her husband abandons her. It sold to Sony Pictures Classics and earned Leo her first Oscar nomination.

Which brings us to The Fighter. As it turns out, Frozen River also attracted an inquiry from David O. Russell. He’d watched the film at the suggestion of Mark Wahlberg, with whom he was working on a new movie about a boxer who’s being trained by his retired, drug addicted brother.

At first, Leo hesitated at the idea of playing Wahlberg’s mother Alice. At 50, she is just 11 years older than her would- be celluloid son. (His crack-smoking sibling onscreen is Christian Bale, 14 years Leo’s junior in real life.) “It didn’t feel appropriate at all,” she said. Still, she wanted to meet Russell and keep the door open for future projects—and Leo quickly overcame her misgivings. “David is like a magical child,” she said. “His excitement is contagious and palpable and he was quite convinced that I should be his Alice.” (Oddly enough, the two met at the same karma-packed restaurant that brought Leo together with this reporter.) By the end of two hours, Leo was sold. “I left and called my people and said, ‘I really want to do this film.’ ”

It’s a good thing she did, Leo said , because everything about her Fighter role has been a joy—the garish costumes, the press-on nails; and working with Bale, Wahlberg, and Amy Adams, who plays her son’s girlfriend onscreen and whom she calls “an angel at my side.” Leo even admitted to enjoying herself on the awards circuit, despite the endless appearances and interviews. “The food is pretty good,” she shrugged.

And as for that ad campaign that Hollywood isn’t sure what to think about? Truth be told, Leo said, she’s mystified. “I’ve been busting my ass, trying to get the movie sold and seen, and now I show up where they ask, get put into hair and makeup that they pay for, so I can promote this thing [and campaign]. So I’m a little confused. I thought this is what we’re doing. This is what all the girls are doing.” Leo adds that she conceived the ads before she was nominated—and if she had known she would wind up in contention for Best Supporting Actress, she might have done things differently. “It didn’t seem so nomination oriented,” she said. “It was fun.”

Particularly after a two-year period in which she worked constantly. In addition to The Fighter, Leo had a sizable role in the most recent Hillary Swank vehicle, Conviction, as well as a regular part on HBO’s Treme. And she’s just starred in Kevin Smith’s new movie, Red State, which recently debuted at Sundance.

With awards season drawing to a close, Leo said she’s looking forward to getting a little time off. “I do feel like I can step back just a bit and make some decisions now about the work I do, rather than the work simply choosing me,” she said. Then she paused, and reconsidered.“But I don’t want to get too choosy about shit. I just love working. I have to work.”

Plus: Check out more of the latest entertainment, fashion, and culture coverage on Sexy Beast—photos, videos, features, and Tweets.

Jacob Bernstein is a senior reporter at The Daily Beast. He has also written for New York magazine, Paper, and The Huffington Post.


The Daily Beast LINK

& Melissa Leo on Her Controversial Ads:
The Oscars Are About 'Pimping Yourself Out'
The Hollywood Reporter LINK


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[Fashionista]

<center>Kids~Reenact~Oscar~Nominated~Movies



The Social Network

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The King's Speech

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Black Swan

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The Fighter

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127 Hours

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.

[Fashionista]

<center>
February 27, 2011

[Fashionista]

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2 hours 31 Minutes






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[Fashionista]

<center>
Big Winners

Christian Bale, Natalie Portman, Melissa Leo and Colin Firth show off their
Oscars @ the 83rd Annual Academy Awards


Best Picture
"Black Swan," Mike Medavoy, Brian Oliver and Scott Franklin, Producers
"The Fighter" David Hoberman, Todd Lieberman and Mark Wahlberg, Producers
"Inception," Emma Thomas and Christopher Nolan, Producers
"The Kids Are All Right," Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray, Producers
WINNER: "The King's Speech," Iain Canning, Emile Sherman and Gareth Unwin, Producers
"127 Hours," Christian Colson, Danny Boyle and John Smithson, Producers
"The Social Network," Scott Rudin, Dana Brunetti, Michael De Luca and Ceán, Producers
"Toy Story 3" Darla K. Anderson, Producer
"True Grit" Scott Rudin, Ethan Coen and Joel Coen, Producers
"Winter's Bone" Anne Rosellini and Alix Madigan-Yorkin, Producers

Actor in a Leading Role
Javier Bardem in "Biutiful"
Jeff Bridges in "True Grit"
Jesse Eisenberg in "The Social Network"
WINNER: Colin Firth in "The King's Speech"
James Franco in "127 Hours"

Actor in a Supporting Role
WINNER: Christian Bale in "The Fighter"
John Hawkes in "Winter's Bone"
Jeremy Renner in "The Town"
Mark Ruffalo in "The Kids Are All Right"
Geoffrey Rush in "The King's Speech"

Actress in a Leading Role
Annette Bening in "The Kids Are All Right"
Nicole Kidman in "Rabbit Hole"
Jennifer Lawrence in "Winter's Bone"
WINNER: Natalie Portman in "Black Swan"
Michelle Williams in "Blue Valentine"

Actress in a Supporting Role
Amy Adams in "The Fighter"
Helena Bonham Carter in "The King's Speech"
WINNER: Melissa Leo in "The Fighter"
Hailee Steinfeld in "True Grit"
Jacki Weaver in "Animal Kingdom"

Animated Feature Film
"How to Train Your Dragon" Chris Sanders and Dean DeBlois
"The Illusionist" Sylvain Chomet
WINNER: "Toy Story 3" Lee Unkrich

Art Direction
WINNER: "Alice in Wonderland"
"Harry Potter and the Deathly Hallows Part 1"
"Inception"
"The King's Speech"
"True Grit"

Cinematography
"Black Swan," Matthew Libatique
WINNER: "Inception," Wally Pfister
"The King's Speech," Danny Cohen
"The Social Network," Jeff Cronenweth
"True Grit," Roger Deakins

Costume Design
WINNER: "Alice in Wonderland," Colleen Atwood
"I Am Love," Antonella Cannarozzi
"The King's Speech," Jenny Beavan
"The Tempest," Sandy Powell
"True Grit" Mary Zophres

Directing
"Black Swan," Darren Aronofsky
"The Fighter," David O. Russell
WINNER: "The King's Speech," Tom Hooper
"The Social Network," David Fincher
"True Grit," Joel Coen and Ethan Coen

Documentary (Feature)
"Exit through the Gift Shop," Banksy and Jaimie D'Cruz
"Gasland," Josh Fox and Trish Adlesic
WINNER: "Inside Job," Charles Ferguson and Audrey Marrs
"Restrepo," Tim Hetherington and Sebastian Junger
"Waste Land," Lucy Walker and Angus Aynsley

Documentary (Short Subject)
"Killing in the Name"
"Poster Girl"
WINNER: "Strangers No More"
"Sun Come Up"
"The Warriors of Qiugang"

Film Editing
"Black Swan"
"The Fighter"
"The King's Speech"
"127 Hours"
WINNER: "The Social Network"

Foreign Language Film
"Biutiful," Mexico
"Dogtooth," Greece
WINNER: "In a Better World," Denmark
"Incendies," Canada
"Outside the Law (Hors-la-loi)," Algeria

Makeup
"Barney's Version," Adrien Morot
"The Way Back," Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
WINNER: "The Wolfman," Rick Baker and Dave Elsey

Music (Original Score)
"How to Train Your Dragon," John Powell
"Inception," Hans Zimmer
"The King's Speech," Alexandre Desplat
"127 Hours," A.R. Rahman
WINNER: "The Social Network," Trent Reznor and Atticus Ross

Music (Original Song)
"Coming Home" from "Country Strong," Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
"I See the Light" from "Tangled," Music by Alan Menken Lyric by Glenn Slater
"If I Rise" from "127 Hours," Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
WINNER: "We Belong Together" from "Toy Story 3," Music and Lyric by Randy Newman

Short Film (Animated)
"Day & Night," Teddy Newton
"The Gruffalo," Jakob Schuh and Max Lang
"Let's Pollute," Geefwee Boedoe
WINNER: "The Lost Thing," Shaun Tan and Andrew Ruhemann
"Madagascar, carnet de voyage (Madagascar, a Journey Diary)" Bastien Dubois

Short Film (Live Action)
"The Confession," Tanel Toom
"The Crush," Michael Creagh
WINNER: "God of Love," Luke Matheny
"Na Wewe," Ivan Goldschmidt
"Wish 143," Ian Barnes and Samantha Waite

Sound Editing
WINNER: "Inception," Richard King
"Toy Story 3," Tom Myers and Michael Silvers
"Tron: Legacy," Gwendolyn Yates Whittle and Addison Teague
"True Grit," Skip Lievsay and Craig Berkey
"Unstoppable," Mark P. Stoeckinger

Sound Mixing
WINNER: "Inception," Lora Hirschberg, Gary A. Rizzo and Ed Novick
"The King's Speech," Paul Hamblin, Martin Jensen and John Midgley
"Salt," Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
"The Social Network," Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
"True Grit," Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland

Visual Effects
"Alice in Wonderland," Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
"Harry Potter and the Deathly Hallows Part 1," Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
"Hereafter," Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
WINNER: "Inception," Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
"Iron Man 2," Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick

Writing (Adapted Screenplay)
"127 Hours," Screenplay by Danny Boyle & Simon Beaufoy
WINNER: "The Social Network," Screenplay by Aaron Sorkin
"Toy Story 3," Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich
"True Grit," Written for the screen by Joel Coen & Ethan Coen
"Winter's Bone," Adapted for the screen by Debra Granik & Anne Rosellini

Writing (Original Screenplay)
"Another Year," Written by Mike Leigh
"The Fighter," Screenplay by Scott Silver and Paul Tamasy & Eric Johnson; Story by Keith Dorrington & Paul Tamasy & Eric Johnson
"Inception," Written by Christopher Nolan
"The Kids Are All Right," Written by Lisa Cholodenko & Stuart Blumberg
WINNER: "The King's Speech," Screenplay by David Seidler [/i]





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