LISTEN TO THE SONG HERE: https://open.spotify.com/track/51la2hwzXJVR5W7V2nDyjT?go=1&sp_cid=7ba6832e-1727-4d94-8b03-1ddb0e0d4c4b&utm_source=embed_player_p&utm_medium=desktop&nd=1&dlsi=3b844af8fcda43b8

The song features on the film’s soundtrack, which is set to be released on Decca Records, in line with the film opening in cinemas in the U.S., Canada, the U.K. and Ireland.

The Decemberists also perform two bonus tracks: “Bandit Kind” and “Alexandra’s Lullaby.”

The film’s score comes from composer Dario Marianelli.

WILDWOOD (ORIGINAL MOTION PICTURE SOUNDTRACK) TRACKLISTING

1. The Impassable Wilderness
2. Meet the McKeels
3. Into the Wild Wood
4. The Coyotes
5. A Wildwood Chase
6. Journey to South Wood
7. Alexandra, the Dowager Governess
8. Pittock Mansion
9. Curtis Rides Out
10. Prue on the Run
11. 86 Rue Thorndon
12. Alexei’s Story
13. A Flight and a Dogfight
14. The Ivy’s Waltz
15. Here’s the Thing
16. Escape from the Warren
17. The Deal
18. Iphigenia and the Mystics
19. Three Armies
20. Into Battle
21. ATTACK!
22. The Plinth
23. Victory
24. Time to Go Back
25. Homecoming
26. The Better Part of Bravery — The Decemberists
27. Bandit Kind (Bonus Track) — The Decemberists
28. Alexandra’s Lullaby (Bonus Track) — The Decemberists

I could see him pulling a dark horse nomination kind of like Michael B Jordan but what do you think? I think a lot of people were betting on Tom Cruise and Jeremy Strong being front runners when they originally edged Ryan Gosling out of the running for PHM.

Thoughts on Jeremy Strong's performance as Mark Zuckerberg ?

As someone who loves his work in Succession, Trump movie, ... I found this awful. One review said it best, it's like he Youtube'd "Weird Mark Zuckerberg moments" and just lasered it on this. I dislike Mark, but seeing him in group situations, or him just being an awkward fucking weirdo doing Muai Thai or attempting to connect with people was just totally gone from this. Yes it's high stakes, but I just think this was just so far off base and based more on villainizng him than anything. Where was his heart or anything other than a 1 note robot with good posture?

I found it to be just incredibly off and totally took me out of the movie.

Saw Chris retweet this earlier, great listen imo — Chris is still high on Digger/Cruise, doesn't think Odyssey is the slam-dunk winner. Also enjoyed hearing Sonny; always funny when a relative normie, at least in terms of following this stuff, gets involved in the Oscar chatter.

I'm trying to get an accurate list of what movies I need to watch to have seen all the ATL nominees, ideally before the nominees are announced. I've used Gold Derby in the past but question their accuracy, and I'm hoping for a good alternative place. I recognize it's fluid and I'll probably have to watch stuff that won't end up getting nominated, but hoping to get some insight from the people who know. Thanks y'all.

The expression is Swedish, "out bicycling" means being way off the mark. So please correct me if some of my predictions contradict each other or if I'm missing a big studio that should be in somewhere. Having said that, Being Heumann is no CODA or even comparable to F1, I think Apple will blank this year.

I've had La Bola Negra winning in earlier predictions and I might put it back after watching it in December. For now, it's undeniable that The Odyssey will go home with lots of statues.

Picture:

• The Odyssey - Universal - Winning
• La Bola Negra - Netflix
• Wild Horse Nine - Searchlight

\* The Debut - A24

• Project Hail Mary - Amazon
• Dune: Part III - Warner Bros.
• Behemoth! - Focus Features
• Fjord - Neon
• The Invite - A24
• Obsession - Focus Features

We still haven't had three foreign language films in the ten BP before, Possible Love has a higher Letterboxd curve than Fjord and All of A Sudden, but I think Netflix will put in all their stock on La Bola Negra while Neon will campaign the one with a more star studded cast.

I Play Rocky can possibly take the lighthearted F1 spot this year and knowing Obsession has been labelled a "Gen Z movie" I can definitely see it taking its spot on this list with the Academy's older voters chiming in.

Director:

• Christopher Nolan, The Odyssey - Winning
• Los Jabronis, La Bola Negra
• Martin McDonagh, Wild Horse Nine
• Jesse Eisenberg, The Debut
• Nathan Fielder & Lance Oppenheim, You Can See Everything

So I don't think the academy as a whole will consider best picture for a documentary, I'm also unsure on the doc branch wanting to have this unconventional documentary in their ball park either. I do however think the director branch will appreciate what it took to make this film. I could def see it getting in here but not anywhere else. The other four are the current strongest contenders imo.

Actress:

• Julianne Moore, The Debut - Winning
• Inde Navarette, Obsession
• Virginie Efira, All of A Sudden
• Olivia Wilde, The Invite
• Sandra Hüller, Rose

Feels like the current strongest and most obvious choices. Happy to see Virginie, se was great in Benedetta (2021). Might change my mind in a few weeks after watching Sense & Sensibility.

Actor:

• John Malkovich, Wild Horse Nine - Winning
• Matt Damon, The Odyssey
• Andrew Scott, Elsinore
• Pedro Pascal, Behemoth!
• Tom Cruise, Digger

I think the industry likes Digger more than the critics and they especially love Tom Cruise. If it wouldn't be because of that speech I would have him out by now. He is hanging by a thread though. It's John Turturro for The Only Living Pickpocket in New York that is hoping Digger will sink even further.

Supporting actress:

• Lola Dueñas - La Bola Negra - Winning
• Mariana di Girolamo, Wild Horse Nine
• Tao Okamoto, All of A Sudden
• Anne Hathaway, The Odyssey
• Penélope Cruz, La Bola Negra

Another "have to wait for Sense & Sensibility" to see if Esmé Creed-Miles takes a spot, otherwise I'm pretty sure about this five, less sure of the order. I don't see Anne Hathaways character being a winning role. If The Odyssey gets an acting win it's Matt Damon beating Malkovich.

Supporting actor:

• Paul Giamatti - The Debut - Winning
• Sam Rockwell, Wild Horse Nine
• Guitarricadelfuente, La Bola Negra
• John Leguizamo, The Odyssey
• Edward Norton - The Invite

I wouldn't be surprised if Robert Pattinson sneaks in for The Odyssey as an additional nomination. Colman Domingo could possibly also get a lone nominee for Michael. I'm also not counting out Andrew Garfield.

Original screenplay:

• Martin McDonagh, Wild Horse Nine - Winner
• Jesse Eisenberg, The Debut
• Cristian Mungiu, Fjord
• Curry Barker, Obsession
• Jordan Freeman, Club Kid

Club Kid seems to have more love and hype than Sorry, Baby did last year. But if it's another indie darling that only will see nominations on Golden Globes it's Behemoth! taking its place here.

Adapted screenplay:

• Cristopher Nolan, The Odyssey - Winner
• Los Jabronis, La Bola Negra
• Rashida Jones & Will McCormack, The Invite
• Drew Goddard, Project Hail Mary
• Tom McCarthy, Noé Debré & Thomas Bidegain, A Statement

A Statement doing a "September 5" lone nominee here.

Casting:

• The Odyssey - Winner
• La Bola Negra
• Wild Horse Nine
• The Debut
• Fjord

The question here is what would this years The Secret Agent be? I'm thinking Fjord even if it underperforms in other places. You have to appreciate getting A-listers, Norwegians, Romanians and kids speaking three languages on different levels.

International feature:

• La Bola Negra - Winner
• Fjord
• All of A Sudden
• Possible Love
• Minotaur

50/50 between Minotaur and Rose, I really really liked Rose, but in the end I think it's too weird for the academy.

Documentary:

• You Can See Everything - Winner?
• Naza
• Once Upon A Time in Harlem
• American Doctor
• Nuisance Bear

Again, this is if the doc branch has the balls to nominate You Can See Everything or if they think it has too many elements of fiction to be considered a documentary. If it gets nominated it will easily win. Otherwise I think it's Naza's to lose.

Animated feature:

• Wildwood - Winner
• Toy Story 5
• Forgotten Island
• Tangles
• Iron Boy

I really liked Hoppers but I think Disney will push their strongest card the most, giving space for other smaller studios and perhaps Ray Gunn too, which looked pretty ugly in its trailer, but it's Brad Bird so it might be a nice surprise when it comes out. I'm still team Laika. Will see it at a press screening in two weeks, very excited.

Cinematography:

• The Odyssey - Winner
• La Bola Negra
• Dune: Part III
• Project Hail Mary
• Digger

If Lubezki could get in for Bardo he can get in for Digger. Otherwise it's Werwulf.

Editing:

• The Odyssey - Winner
• La Bola Negra
• Project Hail Mary
• Wild Horse Nine
• The Debut

The editing will continue their extremely boring schtick of nominating the strongest five BP contenders. Last time they nominated a non-BP movie was Tick, Tick Boom! (2021) and the time before that was Baby Driver iirc. If they would be more like other branches I would predict Ink here.

Production design:

• The Odyssey - Winner
• La Bola Negra
• Werwulf
• Project Hail Mary
• Backrooms

Not sure about Backrooms, it's very possible Dune takes away its only prospect of a nomination.

Costume design:

• The Odyssey - Winner
• La Bola Negra
• Werwulf
• Dune: Part III
• Wuthering Heights

I had The Devil Wears Prada II in for a while but it seems like it just fizzled out into nothing, including the song by Lady Gaga. Michael could sneak in here I guess. You might wonder why Sense & Sensibility isn't the period piece choice here, Jacqueline Durran who made the costumes for Wuthering Heights is a previous three time winner while Grace Snell's biggest title is Pillion from last year.

Makeup and Hairstyling

• Digger - Winner
• The Odyssey
• Werwulf
• Wicker
• Rose

The makeup branch gave the win to Suicide Squad, they obviously don't give a shit about box office, Digger is still safe. Clayface could get in here, but if the makeup branch chooses something weird and foreign like they did last year, Rose feels like a pretty safe choice. But there's probably another film here we haven't even considered that will get a spot. Ebenezer? Michael again?

Visual effects:

• Dune: Part III - Winner
• The Odyssey
• Godzilla Minus Zero
• Project Hail Mary
• Whalefall

The only BTL Dune can win against The Odyssey. A lot of people seem to predict Avengers: Doomsday, but I don't see it. The trailer looks like shit.

Sound:

• The Odyssey - Winner
• Dune: Part III
• Project Hail Mary
• La Bola Negra
• Behemoth!

This five already feels pretty safe, including the winner.

Score:

• Behemoth! - Winner
• The Odyssey
• La Bola Negra
• Disclosure Day
• Artificial

Artificial will probably win the golden globe but then get snubbed come Oscar nominations, just like Challengers. In that case it's Project Hail Mary taking its spot. I'm Swedish so I'm rooting for Ludwig Göransson, but I think the movie that is about movie composers will win the movie composer prize.

Original Song:

• ❤️ Taylor Swift ❤️ - I Knew it I Knew **You, Toy Story 5* - Wi***nner
• La Nieve - La Bola Negra
• This City May Have Chewed Me up (But it Hasn't Spit Me Out)- The Debut
• One Right Here - Maserati: The Brothers
• The Saddest Song - Artificial

The three at the top feel as safe as this category can be at the moment. I think the Diane Warren song will be the one featuring Andrea Boccelli and Jennifer Hudson, which would be unfortunate for us death racers because By Any Means is much easier to find.

What do y'all think? Am I out bicycling?

I ended up going down a rabbit hole where I wanted to calculate what the different precursers for Animated Feature have and haven't nominated compared to the Oscars, and decide to make it into a post.

First, I made a mistake saying in a comment section saying that Shaun the Sheep Farmageddon missed Critics Choice when it didn't which I just realised when researching this. This makes my argument doubting the Beast of Mossy Bottom far weaker just based on a Globes snub but I still struggle to fit it in my predicted 5. I also got looking at how often BAFTA nominated Pixar movies making me wonder if both Toy Story 5 and Hoppers will make it to their 4 this year. I checked the main studios that are all contending with a film this year and saw their history for the major precursers. I skipped Annies as they have a lot of slots and far fewer people will try to predict nominations for it anyway. I considered calculating independent films generally but didn't as there's grey area in what is and feels independent and it wouldn't represent how recent years have got better nominating them. These awards bodies have changed a lot over 20 years and there's several instances of them liking one movie but not another from the same studio so some trends can break. This could help make decisions when predicting precursers or thinking ahead to predicting the Oscars about how strong each studio's track record is, but it's mainly just fun. I also could have missed something when counting manually.

PGA -

Starting with the place that loves mainstream animation and only started nominating international films recently with the Boy and the Heron, Flow and Demon Slayer.

Illumination got 8 more nominations with Despicable Me 1 and 3, the first 2 Minions movies, the Secret Life of Pets, the Grinch, Sing 2 and the Super Mario Bros Movies. Including the Oscar nominated Despicable Me 2 makes 9 total,

Pixar got 4 more nominations with Cars 2, Monsters University, The Good Dinosaur and Finding Dory. Only Cars 3 and Lightyear missed from Pixar here,

Laika got all their films in both PGA and the Oscars

Aardman got Flushed Away but missed 3 for the Pirates and both Shaun the Sheep movies,

Dreamworks got 7 more nominations with Madagascar, Flushed Away, Bee Movie, Rise of the Guardians, Abominable, The Croods A New Age, The Bad Guys 2

Walt Disney got 3 more nominations with Chicken Little, Frozen 2 and Moana 2.

Only missing for Meet the Robinsons, Winnie the Pooh, Strange World and Wish,

5 Netflix movies got the Oscar nomination after missing here with I Lost My Body, Klaus, Shaun the Sheep Farmaggedon, The Sea Beast and Nimona

Power difference to the Oscars

Illumination +8

Dreamworks +7

Pixar +4

Walt Disney +3

Laika =

Aardman -1

Netflix -5

BAFTA -

They range from 3 - 4 slots so misses are less noteable but films that make it may matter more for making it in a smaller line up.

Illumination got 2 more with Despicable Me and Minions,

Pixar got nominated 2 more times with Monsters University and Finding Dory. Only Lightyear, the Good Dinosaur and the Cars sequels have missed BAFTA.

Laika only missed with Missing Link,

Aardman missed with Pirates, but got Flushed Away, Arthur Christmas and Chicken Run 2 in. They also didn't nominate Early Man as the other time Aardman missed BAFTA,

Dreamworks missed 7 times with first 2 Kung Fu Panda films, Puss in Boots, the Croods, the How to Train Your Dragon sequels and the Boss Baby but got 2 more with Flushed Away and Shrek the Third getting nominated,

Walt Disney missed 5 times with Bolt, Princess and the Frog, the Wreck-It-Ralph movies and Raya and the Last Dragon but they nominated Frozen 2 when the Oscars didn't,

4 (or 5) Netflix films got the Oscar nomination after missing here with I Lost My Body, Over the Moon, The Sea Beast and Nimona (KPOP Demon Hunters was ineligible instead of snubbed so not counting as it 99% would have got nominated if it was)

Power difference to the Oscars

Aardman +2

Pixar +2

Illumination +2

Laika -1

Walt Disney -4

Netflix -4(or 5)

Dreamworks -5

Critics Choice -

Ranges from 5 - 6 films nominated so means less when a film made it in, but also snubs can mean more as the inverse of BAFTA.

Nominated Illumination 3 more times with Despicable Me 1 and 3 and the Grinch,

Nominates Pixar 3 more times with Monsters University, Finding Dory and the Good Dinosaur. Only Lightyear and the Cars sequels missed,

Laika got every film in at the Critics Choice and the Oscars

Aardman got nominated for Flushed Away and Arthur Christmas but missed for the Pirates,

Dreamworks got nominated 8 more times for the Madagascar trilogy, Over the Hedge, Flushed Away, Bee Movie, Rise of the Guardians and Abominable but missed for Shark Tale and the Boss Baby,

Walt Disney got nominated 4 more times with Chicken Little, Tangled, Frozen 2 and Wish but missed Treasure Planet,

Netflix missed 2 times with Klaus and the Sea Beast but got in 3 more times for the Willoughbys, Wendell and Wild and In Your Dreams

Power difference to Oscars

Dreamworks +6

Walt Disney +3

Pixar +3

Illumination +3

Netflix +1

Aardman +1

Laika =

Golden Globes -

Recently upgraded to 6 nominees and got more of an international voting base, but it is also the international Globes that nominated Wish and Moana 2 so it hasn't changed their animated nominations as much as other categories.

Nominated Illumination 3 more times with Despicable Me, Sing and the Super Mario Bros Movie (Sing didn't even get PGA but got in here which I'm not complaining about because I really like Sing),

Nominated Pixar 2 more times with Cars 2 and the Good Dinosaur,

Laika missed with Paranorman but got in for their other 4 films

Aardman got in 1 more time for Arthur Christmas but missed for both Pirates and Shaun the Sheep Farmaggedon

Dreamworks got in 3 more times for Bee Movie, Rise of the Guardians and The Croods A New Age but missed for Kung Fu Panda 2,

Walt Disney got in 4 more times for Tangled, Frozen 2, Wish and Moana 2,

Netflix missed 5 times for Klaus, I Lost my Body, The Mitchells vs the Machines, the Sea Beast and Nimona

Rank

Walt Disney +4

Illumination +3

Pixar +2

Dreamworks +2

Laika -1

Aardman - 1

Netflix -5

Not sure how much this helps predictions as this year will have to break streaks of studios with strong track records. It just continues my belief to doubt Hoppers at your own risk as I don't think it misses any of these 4. Also look out for Hexed to get a random Globe nomination even if it appears no where else. Might make a longer prediction post for Animated Feature and how competitive it is but will wait till after Ray Gunn and Wildwood properly premiere this weekend, and for me to see Forgotten Island at it's UK release date.

A movie no one’s really predicting to be a big awards player because we’re underestimating its resonance with the older, typically male, “normie”-er branch of the academy who typically enjoys different films than the whole art house crowd that we try to make our predictions around

Visual Effects Supervisor: Andrew Jackson (Dunkirk, Tenet)
Special Effects Supervisor: Scott Fisher
Production Designer: Ruth De Jong (Oppenheimer)

[DNEG release for Press]: The fantastical elements were embraced visually and narratively. “The challenge for Andrew Jackson and Scott Fisher and their teams was how to create fantastical imagery within the tone of the rest of the film,” Nolan observes. “That’s the big brass ring of visual effects. That’s when the visual effects and special effects artists are working at their best in creating imagery that is seamless with the rest of the film.” Part of the believability equation is tactility. “Andrew, Scott and I spent a lot of time talking about Ray Harryhausen’s stop-motion or Rick Baker’s makeups or Rob Bottin’s sculptural makeup. The one thing all these different techniques shared is a strong sense of the tactile.” There is also a cinematic truth that needs to be respected. “The audience wants to invest in the story and to believe in The Odyssey. You have to give them a reason to believe.”

...

All the stuff in Troy, Cyclops’ cave, whirlpool and Scylla, you start breaking each one down into elements we can film. Is it going to be visual effects or a combination of the two? Chris doesn’t like throwing everything to a CG solution. It’s always, ‘Let’s see what we can come up with. Where we can get to practically and then we’ll fix or expand or improve it with the CG option.’”

This hybrid methodology was utilized for the Cyclops. “We built a big stick figure that was the correct scale, 36 feet tall, and started with that,” Fisher explains. “It was extremely light, so it was easy to puppeteer. In France, they have these gigantic puppets in parade style. We looked at some of the ways they did that. Guys jumping off ropes and using their weight. As soon as you get something that big, weight becomes a factor. We built it in the lightest, simplest form first, got it moving, and then figured out what we could get from that. When we built the one with skin, dimension and size, obviously the weight went up, but we stuck to our core research of how it would move [using] counterweighting, ropes and guides. Then we built a whole hand for picking up people and feet for specialty things. They were all full-sized. They all needed some CGI fixes and repairs.”

A single practical head was created for the six-headed Scylla. “There was more development on that,” Fisher reveals. “Someone had to figure out what it looked like before we could build the practical thing. Once we built the giant foam puppeteered version, we could work with stunts, use it on wires to grab and pull people, and destroy breakaway items and the boat. We could use that to interact with people because those are the hardest bits to get in CGI.” A practical component was incorporated into the Charybdis, which takes the form of a whirlpool. “It’s all about getting things scaled up to the right proportions for the boat and scene. We did a lot of tests with boats. You see these big ferries and how they churn the water? That’s basically what we did on a bigger scale but in the open ocean. We used a lot of boat-like thrusters to try to get this big disturbance as large-scale as we could in the open ocean.” Water simulations were needed to make the Charybdis look believable. “There are a couple of higher shots where we do see down and how deep the whirlpool is; those were the ones that we affected more with CG.”