This Oscar nomination came only a couple days after the writers, John Legend and Common, won the 2015 Golden Globe for Best Original Song.

Common was originally asked to write the song, and called Legend to ask for his help. Both writers drew on the gospel music of their youth, as well as the inspiration gospel music gave to Dr. King.

Reese Witherspoon is nominated for playing the protagonist, Cheryl Strayed, from the memoir Wild. In the film Witherpoon’s character hikes the 1,100-mile Pacific Crest Trail following emotional and physical turmoil which uproots her former life.

Critically, this role was seen as a courageous departure from Witherspoon’s known “perky persona.” In addition, Witherspoon took a physical risk, opting to not train for the trek/physical aspects of the role in favor of reflecting the real obstacles Strayed encountered.

Despite a few perceived snubs in the Best Director and Picture categories for Anderson, this is a category he has traditionally done well in. After receiving nominations for The Royal Tenenbaums and Moonrise Kingdom, the Grand Budapest is the favorite to take home this category.

Beautifully written, with language as flowery as its set pieces (especially when describing Monsieur Gustave), the screenplay matches the film in theme and quality. Read it here.

Zimmer tightens his chokehold on this category with his 12th nomination for Best Original Score since 1995’s The Lion King. Known for his work with director Christopher Nolan as of late, his powerful, anthemic scores have dominated some of the biggest movies in recent memory such as The Dark Knight, The Dark Knight Rises, and Inception. But the pair went in a different direction for Interstellar.

Zimmer and Nolan were aware that their sound “[had] sort of seeped into other people’s movies a bit” so it was time to reinvent it. Zimmer mostly got rid of the strings and drums that had become his trademark as of late, and the result was a more muted score that sat in the background for most of the movie but was just as powerful when it sprang into the foreground (e.g. “Docking”)

https://www.youtube.com/watch?v=YOWSTtXxf9s

Interestingly enough, Nolan had Zimmer write the score before Zimmer had any idea what the plot was. Some directors make their composers tailor the score to the movie, but Nolan usually gives Zimmer free reign to create.

This marks the first time since the Academy expanded to 10 Best Picture nominations in 2010 that someone nominated for Best Director didn’t see their movie get a Best Picture nomination. Though Miller can’t really complain, as he is now 2/3 on Best Picture (Capote and Moneyball) and Best Director (Capote and Foxcatcher) nominations.