Cinematography, for the entire trilogy and even just for the IMAX sequences alone. Just a stunning way to watch a film and I truly hope it revolutionizes the film industry. It's definitely a good sign that more blockbusters have started to utilize IMAX technology while shooting. It is truly a pleasure to watch.
Though not quite on the level of what was accomplished in Inception, the editing is nevertheless superlative and superior to anything else cut thus far this year. From the comprehensibly structured action beats to the parallel editing of Bane's speech and the havoc around Gotham, I think another case could be made for Lee Smith this year.
A film is like a battleground. There's love, hate, action, violence, death. In one word: emotions.
I think Wally deserves a nomination, but not an Oscar. Both Deakins' work in Skyfall, and Malaimare's work in The Master have him beat. I think Rises looks fantastic, but after multiple viewings I don't feel as though it's Wally's best lit and/or shot film.
Crazy Eight wrote:I think Wally deserves a nomination, but not an Oscar. Both Deakins' work in Skyfall, and Malaimare's work in The Master have him beat. I think Rises looks fantastic, but after multiple viewings I don't feel as though it's Wally's best lit and/or shot film.
Yeah I agree, still think The Prestige and Inception are his best.
I lost all respect for the Academy the year that they awarded Best Picture to "Shakespeare in Love" over "Saving Private Ryan." SPR was a truly groundbreaking movie that then set the standard for all other war movies to follow. That was the beginning of the Spielberg-hate in the Academy.
Anyway, when it comes to TDKR, I think they will get technical noms galore relating to sound, cinematography, etc., but because of its genre it will, unfortunately, get little else. Of course, if they did get one single acting nomination I think it should be Hardy. What he did not only through physical acting (eyes, hands, movement, etc.) but through his voice was truly mesmerizing. Even the little seemingly-innocuous details like Bane "knitting" gave far more depth to an antagonist character than is usual in film today.
I also hope Hans Zimmer gets a nod, though again he won't win because of the genre and style. Like another poster said, the chant alone is unique; it went beyond the musical soundtrack and became an integral part of the movie's landscape, almost like a character itself. It had a symbolic duality for both the protagonist and the antagonist.
