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Believe it or not, this is the first Best Director nomination for longtime fan favorite and indie darling Anderson. He received a Best Original Screenplay nomination for The Royal Tenenbaums and Fantastic Mr. Fox got a Best Animated Feature Nomination, but this is the first time the Academy has recognized his work behind the camera.
The Grand Budapest Hotel has just about everything we’ve come to expect from an Anderson film – from symmetrical set pieces, to frequent inserts, to Bill Murray. But the rapid pace of the movie is likely what set this apart from Anderson’s other work, as it saved the movie from getting bogged down with silliness that tends to hurt Anderson during Oscar season.
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Along with Birdman, this was considered a mortal lock to receive a nomination. Richard Linklater’s Boyhood was a coming-of-age film in the truest sense of the word – the 4 main actors (Patricia Arquette, Ellar Coltrane, Lorelei Linklater, and Ethan Hawke) were hired when Coltrane and Linklater were 7 years old and filming was spread out to a few days a year for 12 consecutive years.
Touching but not cliché, innovative but beautifully ordinary, and funny without getting silly, Boyhood has a strong chance to win this category.
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What is this?
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This is paralleled later in the series in Jesse’s equally empty threat to kill Walter.
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A Martin Scorsese classic, Taxi Driver, revolves around the damaged psyche of Vietnam veteran Travis Bickle. In order to depict Travis as unstable, Scorsese utilizes shots through a blurry windshield, quick-cuts to the rearview mirror in his cab, and shots that seem to put him in complete isolation in a giant city.
Andrew isn’t nearly as damaged as Travis, but Whiplash makes very clear that his pursuit of greatness isn’t healthy, and utilizes some of the same techniques (mainly quick-cuts) to get this point across.
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