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Movieman's Oscar Nomination Predictions 2000/2001
by Erik Childress

To call this year’s Oscar race as exciting as a rollercoaster whose decline goes from the Earth to the Moon, would simply just be yet another colorful metaphoric way to say what every other journalist and moronic gossip columnist will be saying in the weeks leading up to February 13, 2001. That is the Tuesday that has morning shows-a-buzzing and telephones-a-ringing with the nominations for the 73rd Annual Academy Awards. Oscar pundits will be turning guessing into an art form this year as its anyone’s guess who will be getting invitations to the biggest awards ceremony of the year. Some opinions will be made fools of while others may look like geniuses. I hope to fall in that latter category. Either way, we’re all looking for the hidden clues within where our nominees shall emerge.

We were hoping the Golden Globes would thin out the field, but were thrown for a corkscrew when Gladiator won Best Picture. The Screen Actors Guild nominations came out, but where was Michael Douglas in the Best Actor category and what was Benicio Del Toro doing there? Wasn’t he a supporting player? That opened up a slot for Gary Oldman alongside Jeff Bridges (both for The Contender) leaving us to wonder which one (if either) would get…..Oh no, I’ve gone cross-eyed.

So close that I’ve heard Jed Bush has been dispatched to cast a few extra votes for his family’s favorite film of last year, Dude, Where’s My Car. I also understand that Jed has been named as an accomplice in the trial of Willie Fulgear’s brother. You know Willie, the guy who “found” the missing Oscars last year. Ironically, I’ve heard that Katharine Harris will be announcing the nominations.

If Academy voters really wanted to screw with our heads; there are a few distinct, yet simple things they can do. (1) Fail to nominate Julia Roberts as Best Actress. This will leave us with no clear winners of the evening, thus creating a clean sweep of categorical drama. (2) Show some balls and nominate Christian Bale for American Psycho. He won’t have a chance in hell, especially if (like we suspect) you nominate Tom Hanks and Michael Douglas, but fill that 5th spot with the kind of risky grandeur that got a nod for Edward Norton in American History X a few years back. (3) Nominate Chocolat for Best Picture. You will hear a nation of critics change their tune (for a film everyone liked, but did not love) in outrage. Not only will it turn people against Chocolat quicker than a universal seapod, but also it will turn those same pod people against Miramax. For even in one of their more mediocre years in the post-Pulp Fiction era of their history, the nominations may still be the best that money can buy.

So, here they are without further ado, my predictions for the Oscar Nominations of the year 2000.


Benicio Del Toro “TRAFFIC”
Philip Seymour Hoffman “ALMOST FAMOUS”
Joaquin Phoenix “GLADIATOR”

THE LOCKS: You can lock up Dafoe, Del Toro, Finney and Phoenix for nominations.

THE CONTENDERS: The fifth spot could be coming down to one of The Contender’s supporting guys, Jeff Bridges or Gary Oldman. I think Tobey Maguire’s time has passed along with Wonder Boys, even though it’s his best performance. Philip Seymour Hoffman still has a chance to walk away with the fifth slot. He gave two great performances in both Almost Famous and State and Main. If he gets it, it will be for Famous, although will he be shortchanged for literally phoning in his role? Usually you can count on getting burned for just copying the Golden Globe or Screen Actor Guild nominations. Most of the time it’s a mixture between the two. And while Jeff Bridges has his Oscar clip with the shark steak sandwich and logic could dictate a split vote between him and Oldman, I’ll go longshot here and expect Philip Seymour Hoffman’s first nomination.


Judi Dench “CHOCOLAT”
Frances McDormand “ALMOST FAMOUS”
Julie Walters “BILLY ELLIOT”

THE LOCKS: Kate Hudson won the Golden Globe so her nomination is secured. Frances McDormand should also be a lock with Almost Famous as she also contributed greatly to Wonder Boys. Judi Dench has become an Academy favorite and the Miramax Oscar machine should buy, ah, get her a nomination. The steam that Billy Elliot has should get Julie Walters the fourth nod. Kate Winslet got the SAG nomination for Quills, but I think she’ll be passed over. It then comes between Globe nominee Catherine Zeta-Jones (Traffic) and the buzz-worthy Zhang Ziyi (Crouching Tiger, Hidden Dragon). Zeta got passed over for a SAG nomination by Winslet and Ziyi has been passed over almost altogether except for some critic’s groups. Zeta. Ziyi. Ziyi. Zeta. Where’s David Letterman when you need him? I think you’ll hear some “woos” and applause from the publicists in the audience when Zhang Ziyi’s name is announced as a nominee.

THE CONTENDERS: With one remaining there are four contenders. Well, actually three, since Elaine May is most likely going to get screwed for Small Time Crooks. An absolute shame. Kate Winslet got a Screen Actors Guild nomination for her work in Quills, but I don’t think that will carry over. My bet is on a race between Catherine Zeta-Jones for Traffic and the longshot of newcomer Zhang Ziyi for Crouching Tiger, Hidden Dragon.


Michael Douglas “WONDER BOYS”
Russell Crowe “GLADIATOR”
Tom Hanks “CAST AWAY”
Geoffrey Rush “QUILLS”

THE LOCKS: Tom Hanks won the Golden Globe. He’s a lock and he’s going to win his THIRD Oscar. Put it on the board. You heard it here first. So who are the competitors going to be? His closest running mate is Michael Douglas. Russell Crowe is getting nominated everywhere and should contribute to the Gladiator onslaught of nominations. Geoffrey Rush is a fine bet for Quills.

THE CONTENDERS: The fifth slot could be one of the BIG surprises of the morning. Could it be possible that they may actually the unbelievably worthy Christian Bale for American Psycho? Wishful thinking, Erik. Unfortunate. George Clooney won the other Globe for Best Actor and although I’d love to see him as a nominee, you know how the Academy feels about comedic performances and I don’t think they’re ready to nominate him. There’s a lot of speculation of Sean Connery getting his first nomination since winning in 1987. Both Javier Bardem (Before Night Falls) and Ralph Fiennes (Sunshine) got Globe nominations, but Jamie Bell (Billy Elliot) got a SAG nod. Will enough people have seen Ed Harris in Pollock to get him the shot? This is honestly, the last category I had to make a final decision on. It’s that hard. Harris’ name would get a lot of publicist yelps, but that film hasn’t been sold hard enough. Finding Forrester has been fading for awhile now and if the SAGS, the Globes or the Critics don’t mention his name, it’s unlikely that Connery will be up again. This is between Bardem and Bell. Bell danced as well as acted and if Billy Elliot comes through with a few more nominations, than Bell might come through. And as much as hate to just copy the Globe nominations, the name Javier Bardem can also cause a few yelps come nomination morning.


Laura Linney “YOU CAN COUNT ON ME”

THE LOCKS: Just like Hanks is going to win, we’ve known since March that Julia Roberts is going to win, so a nomination is only appropriate. Her closest competition will be Ellen Burstyn, in a much more challenging, heartbreaking role. Joan Allen is easily getting the third slot here and I feel pretty confident that Laura Linney will be rewarded for her work with a nod.

THE CONTENDERS: If Juliette Binoche gets the fifth slot for Chocolat, I’m going to spit cherries Witches of Eastwick style. But she’s in the running, which would actually be a slap in the face to Renee Zellweger (Nurse Betty) since she won the Golden Globe. Bjork may be the sacrificial lamb if Binoche slides into an undeserving under-the-table-like nomination, but I think Bjork’s performance is too good to overlook.


Almost Famous
Billy Elliot
Erin Brockovich
You Can Count On Me

THE LOCKS: Usually the five nominees for Best Picture are secured for Screenplay nods either here or in the adapted category. Although, occasionally one gets left out (Titanic), 4 out of 5 are still solid bets. Therefore Almost Famous is a guaranteed lock. Erin Brockovich has a shot at a picture nomination, but even it fails there, its solid script is good enough for a nomination. Both of them also got Writers Guild nominations. They are also usually good for 4 out of 5 of the nominations, but the field is still wide open.

THE CONTENDERS: If you doubt that, look at the worthy list, which will probably be overlooked. Chicken Run, Dancer in the Dark, Nurse Betty (not as worthy), Shadow of the Vampire, Small Time Crooks, State and Main and Sunshine. A shame. If we stick with the Writers Guild nods, then Billy Elliot should be able to sneak in there. Its chances for an Best Picture nod also increase its odds. That’s 3 with 2 to go. The WGA also nominated Best In Show and You Can Count On Me. I believe the other three legit contenders to be Cast Away, Gladiator and O Brother Where Art Thou? The Academy likes words with their screenplays, and that may be the only thing that Cast Away was short on. I think Best In Show will be the lone holdout from the WGA nominees with You Can Count on Me taking the fourth slot. I also think O Brother will be overlooked in favor of the more epic Gladiator, which is likely to get one of the five Picture slots.


Crouching Tiger, Hidden Dragon
Wonder Boys

THE LOCKS: Traffic won the Globe Screenplay. Count it. Wonder Boys should also be an easy lock and in the spirit of screenplays and best picture possibilities, I’ll bet safely on Crouching Tiger, Hidden Dragon.

THE CONTENDERS: We’re left with four possibilities for the remaining two slots. Quills and Requiem for a Dream received a lot of acclaim, but Chocolat and High Fidelity got the Writers Guild nominations. Again, the WGA is usually good for 4 out of 5 and since three of my locks got WGA nods I’ll have to go with one out of each of the piles. Quills was a more literate script than Requiem so I’ll go with that along with Miramax Oscar favorite, Chocolat to round out the slots.


Crouching Tiger, Hidden Dragon

THE LOCK: I don’t know enough about the foreign films up for consideration, but I do know that Crouching Tiger, Hidden Dragon is going to be nominated and is going to WIN in March.


Cameron Crowe “ALMOST FAMOUS”
Ridley Scott “GLADIATOR”
Darren Aronofsky “REQUIEM FOR A DREAM”
Steven Soderbergh “TRAFFIC”

THE LOCKS: We know Steven Soderbergh is going to get at least one nomination here and it safe to say that one will be for Traffic. Ang Lee won the Globe. Count him in. The Academy won’t pull a Spielberg on Ridley Scott and exclude him for Gladiator, which is likely to hit the double digits in nominations. And Cameron Crowe didn’t get nominated for Jerry Maguire back in ’96. He will for Almost Famous.

THE CONTENDERS: If the Academy does one thing consistently, it’s to screw at least one of the directors of one of the best picture nominees out of a directing nomination. But since we don’t know for sure what’s getting nominated for the top prize (although I think I have a pretty good idea), we can only speculate. I don’t believe the Academy will give Soderbergh (Erin Brockovich) two nominations. Not only is it undeserving, it’s a tad unfair. As stated earlier, I think Wonder Boys’ thunder has finally run out and Curtis Hanson will be left off the list with it. So will Quills’ Philip Kaufman. A lot of people hated Dancer in the Dark. That theory worked for nominations for David Lynch (Blue Velvet) and Martin Scorsese (The Last Temptation of Christ). It won’t this year for Lars Von Trier. That brings me down to two choices. Darren Aronofsky (Requiem for a Dream) and Robert Zemeckis (Cast Away). The Academy loves to shock us with a nomination for a bright new, almost publicly unknown (i.e. John Singleton, Atom Egoyan). Aronofsky fits that profile with only his second film, which just happened to also, be brilliant. Zemeckis’ film was even more brilliant with its simplicity in the same way that Aronofsky pounded us into hypnotic horrific submission. But which film is more likely to get a Best Picture nomination? That’s right, Zemeckis gets screwed here.


Almost Famous
Cast Away
Crouching Tiger, Hidden Dragon

THE LOCKS: That’s right. I’m calling these five films out. Gladiator and Crouching Tiger are destined for double digit nominations and I think the Hidden Dragon with its critical and now, box office, success is going to steal a slot from Billy Elliot. Traffic is certainly one of the front runners and Almost Famous, despite its disappointing box office run, has maintained enough steam through the critic circles and the Golden Globes to secure a spot here. And I firmly believe Cast Away is a legitimate contender here and its now just my heart talking. It’s from the same head that called it the BEST FILM OF 2000! And multiple technical nominations will boost that number right into a Best Picture nod.

THE CONTENDERS: If any of my five picks fails to come through, than either Billy Elliot, Erin Brockovich, Wonder Boys, or God help me, Chocolat, will snag one of them. And I do mean one of them because you can take at least four of those five films to the bank. Let’s all say a prayer to, whomever you worship now, that Chocolat doesn’t get a nomination here.



My Funny Friend and Me “THE EMPEROR’S NEW GROOVE”
Things Have Changed “WONDER BOYS”
When You Come Back to Me Again “FREQUENCY”

THE LOCKS: Bob Dylan won the Globe and will probably win the Oscar, so give him a nomination for Things Have Changed. Bjork wrote a whole album of songs for Dancer in the Dark and I’ve Seen It All was the best one. Sting wrote a whole bunch of songs for The Emperor’s New Groove, but most of them got scrapped. Of what remains, his My Funny Friend and Me should be a lock.

THE CONTENDERS: The final two slots are up for grabs. The Academy tradition of big songwriters and cartoons always comes into play here. So lets get that lame One in a Million song out of here from Miss Congeniality (despite its Globe nomination). Bounce had a nice closing credits song called Need to Be Next To You, but does anyone know who wrote it and who sang it? Rugrats in Paris had a song (“I Want a Mom That Will Last Forever”), but again, wrote and sang? Kenny Loggins did a song for The Tigger Movie (Your Heart Will Lead You Home) and Elton John wrote a batch for The Road To El Dorado (Someday Out of the Blue), but one was way back in February and Elton already has a statuette from The Lion King. So forget about all of them. We’ve got 6 contenders I think going for 2 open slots. “I Believe” from Billy Elliot keeps getting brought up, but the wrote-and-sang rule applies. Yet, I don’t think it will matter with Crouching Tiger, Hidden Dragon as “A Love Before Time” gets nominated, recalling what many people think is overshadowing the fight sequences in that film and that’s the love story. The Grinch had the lovely melody “Where Are You Christmas” but I think its nominations lie elsewhere. You want big names? How about perennial nominee Randy Newman for his opening ballad to Meet the Parents (“A Fool In Love”) which gets the film’s first big laugh. Possible, but like every other year, its just not Randy’s. John Mellencamp had a lovely closing anthem called Yours Forever (The Perfect Storm), but will its lack of radio play keep it away from the ears of the voters? Frankly, I’m bringing it down to a two-way race for the fifth slot between Mellencamp and Garth Brooks with his father/son tribute (as opposed to the serial killer aspect) of Frequency. I’ve been burned before in this category and if it hasn’t been mentioned by now, it probably won’t. Mellencamp makes way for Garth.


Cast Away
Crouching Tiger, Hidden Dragon
The Patriot

THE LOCKS: Wide open category only allows two locks and those are Gladiator (the Globe winner) and Crouching Tiger, Hidden Dragon.

THE CONTENDERS: Longshots include All the Pretty Horses, Malena, The Perfect Storm and Quills. I’m also nailing the coffin on Sunshine. Seriously, other than critics, who saw it? Requiem for a Dream had one of the year’s most frightening scores, but it may be too “hip” and “new wave” for Academy voters. On the other spectrum, Traffic had a great subdued score, but maybe a little too subdued. The Academy seems to nominate Rachel Portman regularly now, but I can barely remember the score for Chocolat. That brings me down to four possibilities: Billy Elliot, Cast Away, Dinosaur and The Patriot. I like to bet on Disney in this category, and James Newton Howard truly did have one of the year’s most majestic scores, so put Dinosaur in. John Williams always seems to get a nomination and he’s got The Patriot. If the music people want to give Stephen Warbeck a nomination they’ll probably do it for Billy Elliot instead of Quills. And was there a better use of music all last year than Alan Silvestri’s score for Cast Away? I don’t think so, but it was only about 20 minutes of music that was a variation on the same theme. So what? It was more memorable than the score to Billy Elliot. Chalk up Cast Away and The Patriot to round out the 5.


Cast Away
How the Grinch Stole Christmas
Shadow of the Vampire

THE LOCKS: There are 5 Makeup finalists this year and 3 are destined for nominations. The two locks should be How the Grinch Stole Christmas and Shadow of the Vampire

THE CONTENDERS: Bedazzled is barely a finalist, let alone a contender. The final two true finalists are Cast Away and The Cell. The latter was a visual marvel, if certainly nothing else, and did boast some great makeup jobs. But the Academy has continued to show its tendency to honor simplicity and I think Tom Hanks’ subtle makeup jobs on that island will grab the third nomination. Frankly, I’m surprised that X-Men was passed over as a finalist in favor of Bedazzled.


The Perfect Storm

THE LOCKS: Just like with the Makeup category, we have finalists. 7 of them. Out of those, I think we can all agree that the work in Dinosaur was extraordinary. Remember, some of the surroundings was live action and not just animation. The work is the same as Jurassic Park and it will get a nomination. Everyone also remembers how perfect that storm was in The Perfect Storm and it should get the second nod.

THE CONTENDERS: Of the five remaining, The Grinch is remembered more for its sets and makeup than for special effects. Cast Away had an amazing plane crash, some storm footage and the removal of some distant islands, but that’s about it. And X-Men is basically a mish-mash of all the visual effects we’ve been seeing since James Cameron brought morphing to us in The Abyss. The final two contenders are Gladiator and Hollow Man. The latter perfected the invisible man technology and even gave us new anatomy lessons, but did you know that some of those interior shots of the Coliseum in Gladiator weren’t even there alongside the actors. That’s all post, baby. Hollow Man, while deserving, seems too obvious a choice in the effects category and Gladiator is looking for double digits here.


The Cell
Crouching Tiger, Hidden Dragon
How the Grinch Stole Christmas

THE LOCKS: Gladiator and The Cell were both spectacles for the cornea and should seal up nominations here. Other than that, it’s anyone’s guess.

THE CONTENDERS: Cast Away, Dancer In the Dark, O Brother Where Art Thou, Shadow of the Vampire, Sunshine and X-Men all have possibilities. The Art Directors Guild chose Billy Elliot, Chocolat, The Perfect Storm and Wonder Boys in their “contemporary” production design category. I don’t see any of those four getting a nod, although their fifth nod, Almost Famous, does have a chance. That brings us down to the ADG’s Period/Fantasy category, which alongside The Cell and Gladiator also nominated Crouching Tiger Hidden Dragon, The Grinch and The Patriot. I’m gonna throw a wrinkle into the mix and suggest Quills as well. The Grinch sets looked like, well…sets, but they were grand sets and will probably get a nomination. The Patriot will be overshadowed here. I know that Almost Famous redesigned the Continental Hyatt House, but other than William’s house, I don’t remember much art direction. So I’m gonna go a safe bet with Crouching Tiger and also stick my wrinkle in and watch Quills get nominated.


Almost Famous
The Cell
Crouching Tiger, Hidden Dragon

THE LOCKS: The Cell and Gladiator are the only real standouts for costumes and I’d be surprised if either of them were passed over.

THE CONTENDERS: Sunshine is a true longshot here. If X-Men hadn’t changed all their costumes to look alike, it may be a serious contender instead of another longshot. A Miramax sweep may get Chocolat a nomination here, although it better not. The Academy does love their period pieces and Quills should fill that niche along with Crouching Tiger, Hidden Dragon. O Brother Where Art Thou’s costumes were too bland to make an impression here. The Academy likes big, bold, bright elaborate clothes. The Grinch had a lot of big, bright costumes and may be able to sneak in here. The Academy also likes to represent many different periods of history with their costume category and I think the fifth slot will either be from the 70s (Almost Famous) or the American Revolution (The Patriot). Something tells me that three big historical epics will be enough. And, although The Patriot could likely replace Quills on the final list, the costume guys will honor the costumes of the Band Aids over the Redcoats.


Cast Away
Crouching Tiger, Hidden Dragon
O Brother, Where Art Thou?

THE LOCKS: Crouching Tiger Hidden Dragon, Gladiator and O Brother Where Art Thou all got nominations from the American Society of Cinematographers. They will also get Oscar nods.

THE CONTENDERS: Longshots include All the Pretty Horses, The Claim, Quills and Unbreakable. Dancer in the Dark shifts from shaky to sort of a subdued beauty, but the Academy loves pure beauty. The Patriot and The Perfect Storm were the other two nominees from the ASC and although the last few years they’ve been predicting 4 out of 5. I think this year it will be only 3. If it is 4 – then The Patriot will come through. If the Academy wants to give Steven Soderbergh 2 solo nominations this year, instead of hogging the director category, they may go with his alias, Peter Andrews, for the three-color schemes of Traffic. The brief concert footage in Almost Famous alone was worthy of a nomination here, but it was a more personal film and the Academy likes films big in scope. Requiem for a Dream had some of the most creative cinematography of the year, but generally, the Academy prefers beauty to darkness. Cast Away gets the fifth slot.


Cast Away
Crouching Tiger, Hidden Dragon
The Perfect Storm

THE LOCKS: Film Editing is usually reserved for two things: Best Picture nominees and Well-Received Blockbusters. Crouching Tiger Hidden Dragon, Gladiator and Traffic should be locks here.

THE CONTENDERS: Some longshot possibilities include Dancer in the Dark, Erin Brockovich, The Patriot and Quills. I just can’t believe that Chocolat will be remembered for its editing, but that longshot Best Picture nomination gives it potential. Same thing goes for O Brother, Where Art Thou and Billy Elliot. Almost Famous will be the sole Picture exclusion here, but I believe Cast Away will come through. And it would be nice to see the deserving Requiem for a Dream pick up another nod here, but if it gets overlooked for Score and Cinematography, then it will likely get brushed aside here in favor the well-received blockbuster, The Perfect Storm, which, admittedly, did have some great editing.


Cast Away
Crouching Tiger, Hidden Dragon
The Perfect Storm

THE LOCKS: The Sound category is usually one of the best friends of the big action blockbusters. Usually 1 or 2 Best Picture nominees also benefits. I think Cast Away and Gladiator fits that criteria as one is the big epic this category embraces and the other was a challenge for sound designers since a good portion of the film contained no dialogue.

THE CONTENDERS: Almost Famous and Traffic also have potential for nominations here, but I’d bet that Crouching Tiger, Hidden Dragon has a better shot. You could almost throw the following up in the air and whichever sticks to this category gets the nominations. This list includes All the Pretty Horses, The Cell, Dinosaur, Frequency, Mission Impossible 2, The Patriot, Quills, Requiem for a Dream, Space Cowboys, Unbreakable, What Lies Beneath and X-Men. Notice what’s missing? That’s what will get nominated – the rage of The Perfect Storm and the deafening depth charges of U-571.


Mission: Impossible 2
The Perfect Storm

THE LOCKS: Like Visual Effects and Makeup, the Sound Effects Editing category produces a list of finalists. This time there are 7 and 3 are again destined. Usually the nominees here echo the ones from the Best Sound category (or vice versa). Therefore I’d put money on Gladiator and The Perfect Storm as locks.

THE CONTENDERS: The other 5 finalists include Cast Away, Mission Impossible 2, Space Cowboys, U-571 and Unbreakable. I can’t remember anything special about Unbreakable in terms of sound effects. Yet the sound designers like to throw curves here, so you never know, even if I don’t think Space Cowboys has a chance either. That leaves 3. I think Cast Away is more of a “sound” movie than a “sound effects” movie. And it’s a tough call between Mission Impossible 2 and U-571. I’m betting that U-571 picks up the Sound category nomination, even though either could. For that purpose, I’m going with Tom Cruise here, if for no other reason than to increase my percentage. At least one of them is going to be right.

There you go, the nomination predictions in all their hopeful glory. Some parting words – GO CAST AWAY! Prevent a Chocolat/Miramax landslide. May the tradition of the film with the most nominations (in this case, Gladiator) going on to win Best Picture be averted this year. See you after the nominations are announced.

The Nominee Breakdown (Predictions)

13 – Gladiator (Picture, Director, Actor, Supporting Actor, Original Screenplay, Original Score, Visual Effects, Art Direction, Costume Design, Cinematography, Film Editing, Sound, Sound Effects Editing)
12 – Crouching Tiger, Hidden Dragon (Picture, Foreign Language Film, Director, Supporting Actress, Adapted Screenplay, Original Song, Original Score, Art Direction, Costume Design, Cinematography, Film Editing, Sound)
7 – Almost Famous (Picture, Director, Supporting Actor, 2 Supporting Actresses, Original Screenplay, Costume Design)
7 – Cast Away (Picture, Actor, Original Score, Makeup, Cinematography, Film Editing, Sound)
6 – Traffic (Picture, Director, Supporting Actor, Adapted Screenplay, Cinematography, Film Editing)
4 – The Perfect Storm (Visual Effects, Film Editing, Sound, Sound Effects Editing)
4 – Quills (Actor, Adapted Screenplay, Art Direction, Costume Design)
3 – Erin Brockovich (Actress, Supporting Actor, Original Screenplay)
3 – Wonder Boys (Actor, Adapted Screenplay, Original Song)
2 – Billy Elliot (Supporting Actress, Original Screenplay)
2 – The Cell (Art Direction, Costume Design)
2 – Chocolat (Supporting Actress, Adapted Screenplay)
2 – Dancer in the Dark (Actress, Original Song)
2 – Dinosaur (Original Score, Visual Effects)
2 – How the Grinch Stole Christmas (Makeup, Art Direction)
2 – Requiem for a Dream (Actress, Director)
2 – Shadow of the Vampire (Supporting Actor, Makeup)
2 – You Can Count On Me (Actress, Original Screenplay)
1 – Before Night Falls (Actor)
1 – The Contender (Actress)
1 – The Emperor’s New Groove (Original Song)
1 – Frequency (Original Song)
1 – Mission Impossible 2 (Sound Effects Editing)
1 – O Brother, Where Art Thou? (Cinematography)
1 – The Patriot (Original Score)
1 – U-571(Sound)

- Erik Childress

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originally posted: 02/10/01 07:16:47
last updated: 02/10/01 07:20:50
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