![]() For her work on “ The Great Gatsby,” she won both categories at the Critics’ Choice awards. ![]() Martin herself is included in this set of statistics. Similarly, for Best Costume Design, Oscar winners have matched Critics’ Choice ten times in the last twelve years. The Oscars have matched the Critics’ Choice Best Production Design winners eleven times in the last twelve years and in a row for the last nine years. Carter for “ Black Panther: Wakanda Forever,” while the latter went to Florencia Martin and Anthony Carlino for “ Babylon.” Tempting as it is to follow the Oscar trend of Catherine Martin winning in twos, Critics’ Choice being the strong indicator that they are is enough to take some pause. This factors in last month’s Critics’ Choice awards, where neither Best Costume nor Production Design went to “ Elvis.” The former category was awarded to Ruth E. ![]() The same can’t be said for Best Production Design the film did get a boost recently with its SDSA win for Best decor/design of a period feature, but it has received few wins overall in this category. Going into these upcoming award ceremonies, “ Elvis” leads the precursors in overall wins for Best Costume Design. If she wins both categories, it would be her third time doing so - she previously achieved this honor for 2001’s “ Moulin Rouge!” and 2013’s “ The Great Gatsby.” Stars are aligning for Martin to repeat history, though she would need a boost, particularly in Best Production Design, and we’re still missing major pieces in the precursor puzzle.ĭepending on how the ADG, BAFTA, and CDG play out this month, the likelihood of an “ Elvis” sweep in both categories could lose momentum. Martin is nominated as a producer on “ Elvis,” which marks her first Best Picture nomination, though her chances of winning fall strictly in Best Costume Design and Best Production Design. Martin’s balance of historical references and fictional enhancements bridge an impressive connection to Austin Butler’s portrayal of Elvis Presley, an icon of presence and style in pop culture. ![]() The four-time Oscar winner received three Oscar nominations this year for “ Elvis,” her fifth feature with longtime partner and visionary collaborator Baz Luhrmann. Following a limited theatrical release on November 13, 2020, the film began streaming on Netflix on December 4.From the sun-kissed world-building of “Romeo + Juliet” and the vibrant designs of “ Moulin Rouge!,” to the technicolor spectacle of “ Elvis,” costume and production designer Catherine Martin is a master of her craft. Along the way, it also examines the washed-up wordsmith’s relationships with icons of his time, including Marion Davies (Amanda Seyfried), William Randolph Hearst (Charles Dance), and Orson Welles (Tom Burke). Mankiewicz (Gary Oldman), as he endeavors to finish the screenplay for Citizen Kane. The pic’s DoP, Erik Messerschmidt, also won, in the category of Best Cinematography.ĭirected by David Fincher, the black-and-white period drama follows alcoholic screenwriter Herman J. Tonight, Mank was nominated in a total of 10 categories, including Best Picture, Director, Actor, Supporting Actress, Cinematography, Costume Design, Makeup and Hairstyling, Sound and Original Score. The pair had been top contenders to win the Production Design Oscar throughout the 2021 awards season, having already won the the Art Directors Guild Award for Excellence in Production Design, two prizes at the inaugural Set Decorators Society of America Awards (Best Picture, Best Achievement in Decor/Design of a Period Feature Film), a BAFTA Award and a Critics’ Choice Award, among other accolades.Īt the Oscars, the pair bested the teams behind August Wilson adaptation Ma Rainey’s Black Bottom (production designer: Mark Ricker, set decorators: Karen O’Hara and Diana Stoughton), Florian Zeller’s acclaimed debut feature, The Father (production designer: Peter Francis, set decorator: Cathy Featherstone), Paul Greengrass Western News of the World (production designer: David Crank, set decorator: Elizabeth Keenan), and Christopher Nolan’s Tenet (production designer: Nathan Crowley, set decorator: Kathy Lucas).
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