So, who designed the best production? Let’s find out. (I wrote a short intro today. What’s it to you?)
Our first nominee is American Hustle. While it is a Best Picture nominee that will most likely be rewarded somewhere, I can’t see them voting for it here. The production design is practically invisible. They’ll probably vote for it in another category, but in this one, it has pretty much no shot.
The Great Gatsby, however, has a better shot. It’s ironic because, as it’s the only film here to not have a Best Picture nomination, you might think that it’s in a weak spot. Far from it. Best picture nominees lost this category in 2007 and 2010, both opting for Tim Burton films. The Great Gatsby may not be a Tim Burton film, but it is the type of film that you would see winning this category. Even people who didn’t like it praised the sets and costumes.
Then we have Gravity. Now I’m sorry, but I’m one of those people who can’t always tell the difference between Best Production Design and ‘Best Sets’. I love Gravity to death, but there were virtually no sets. However, we are talking about Gravity here. A film that seems destined to sweep the Oscars. So, could it potentially win this on sweep factor alone?
My personal favorite nomination of the year is Her‘s in this category. Spike Jonze’s stunning vision of the future comes to life in a way that’s both familiar and fresh. It’s not winning, though. There are more obvious films in the mix. Plus, the film will get it’s due in Original Screenplay. I highly doubt the Academy will want to reward it here as well.
Our last nominee is 12 Years A Slave. After the surprising victory of Lincoln last year, som epeople have speculated that 12 Years can pull off a win here. The problem is that the film was not as universally accepted by the Academy as Lincoln was, missing out on nominations for Cinematography, Score, and Sound. It could win, but I don’t think it’s very likely.
WILL WIN: The Great Gatsby
RUNNER UP: Gravity
SHOULD WIN: Her