2014 Oscar Awards Winners

oscars Here is a complete list of all the 2014 Oscar Awards Winners. Every prediction that we made was right. Link That’s 10 out of 10 right and if I count the guesses in the comments section it is 15/15 :smug: There were no surprises or upsets.

Best Picture goes to 12 Years a Slave as predicted

Best Actor goes to Matthew McConaughey for Dallas Buyers Club as predicted

Best Actress goes to Cate Blanchett as predicted

Best Director goes to Alfonso Cuaron for Gravity as predicted

Best Original Screenplay goes toSpike Jonze for Her as predicted

Best Adapted Screenplay goes to 12 Years a Slave as predicted

Best Original Song goes to “Let It Go” from Frozen as predicted

Best Original Score goes to Steven Price for Gravity as predicted

Best Production Design goes to The Great Gatsby

Best Film Editing goes to Gravity

Best Cinematography goes to Emmanuel Lubezki for Gravity as predicted.

A very well deserved win and a excellent Acceptance Speech by Lupita N’yongo

Best Supporting Actress goes to Lupita Nyong’o for 12 Years A Slave as predicted

Best Sound Editing.goes to Gravity as expected.

Best Achievement In Sound Mixing goes to Gravity

Jared Leto Acceptance Speech

Best Foreign Language Film goes to The Great Beauty

Honorary Oscar recipients for this year are Steve Martin, Angela Lansbury and Angelina Jolie

Best Documentary Feature goes to 20 Feet From Stardom

Best Documentary Short Subject goes to The Lady in Number 6: Music Saved My Life

Best Live Action Short goes to Helium

Best Visual Effects goes to Gravity as expected.

Best Animated Feature Film goes to Frozen

Best Animated Short Film goes to Mr. Hublot

Best Makeup and Hairstyling goes to Dallas Buyers Club

Oscar for best costume design goes to The Great Gatsby as expected.

Love the song Happy from Despicable Me 2 by @Pharrell I don’t think it will win but hope it wins

As predicted Jared Leto wins Best Supporting Actor for Dallas Buyers Club

Jennifer Lawrence trips again at the Oscars

Singer Pharell nominated for the song Happy from Despicable Me 2 arrives in shorts

  1. Author
    sputnik 10 years ago

    The Oscars have started and the winners are being updated live.

  2. cr7 10 years ago

    Any live streaming link ?

  3. cr7 10 years ago

    Damn . I was really hoping June squib wins best supporting actress . No surprise till now .

    • Author
      sputnik 10 years ago

      She was very good but it was Lupita’s win. Would have hated it if Jennifer won again.

      • cr7 10 years ago

        Yup . She was also deserving .Liked her acceptance speech .

  4. cr7 10 years ago

    Expected . happy for Cate Blanchett and Mathew Mccounaghey. Well deserved .

  5. Author
    sputnik 10 years ago

    Every prediction Link that I made was right. That’s 10 out of 10 right and if I count the guesses in the comments section it is 15/15 :smug:

    • cr7 10 years ago

      I agreed with you prediction . So 10/10 for me too 😛

      • Author
        sputnik 10 years ago

        Ha Ha Yes you got most correct 2 years in a row 🙂

      • Author
        sputnik 10 years ago

        hmm On the few wrong ones he is wrong by a huge margin. Most people may have predicted the same wins this year but then I saw some predictions by Hollywood critics and even our desi critics where they had Gravity for Best Picture or Steve McQueen for Best Director or Leo for Best Actor and so on.

        This year I made detailed predictions with who I think will win, who I actually want to win and whose win will be a upset.

        Some years there is a clear winner in a category. When you watch a movie or a performance you can tell that it will win an award without even watching the other nominations in that category. And sometimes you can just guess how the Academy might think. And it was a mix of two this year.

        I watched 12 Years a Slave even before it was nominated and I said “The movie will most probably be nominated for Oscars in the Best Picture, Best Director and Best Screenplay categories. If the movie doesn’t win Oscars in the main categories it will be because of it being similar to Django Unchained which released last year. The movie has a very powerful subject and it does not shy away from showing how horrible slavery was with all the physical and sexual abuse. The movie is recommended only for those who can stomach the violent disturbing scenes.” Link After watching all the other nominated movies I was sure it will win because of the subject.

        When I watched Her I said “Its very different and I think this should and will win the Oscar for Best Original Screenplay.” even before watching all the nominations in that category. Link

        When I watched Dallas Buyers Club I knew Mathew will win Best Actor and Jared Leto will win Best Supporting Actor. But before the nominations were even announced I thought Daniel Bruhl will be nominated for Best Supp Actor for Rush but he wasn’t. I also said this after watching 12 Years a Slave – “Michael Fassbender is excellent as the cruel slave owner who is sexually abusing Patsey. He will definitely be nominated for an Oscar for Best Supporting Actor and he will most probably win.”

        And even though I did not like Gravity I knew it will win all the technical awards including Best Director.

  6. Author
    sputnik 10 years ago

    Oscars 2014: McConaughey says, ‘All right, all right, all right’

    “All right, all right, all right.”
    These words from the 1993 film “Dazed and Confused” put Matthew McConaughey on the map as an actor — and returned Sunday night as he took the stage to accept his best actor Oscar for “Dallas Buyers Club.”

    After thanking the motion picture academy — “all 6,000 members,” fellow nominees and “Dallas Buyers Club’s” director and cast members — a humbled McConaughey listed the three things he needs each day: “something to look up to” (God), “something to look forward to” (his family) and “someone to chase” (himself in 10 years).

    And added, “All right, all right, all right.”
    He has included that famous phrase in his many memorable acceptance speeches this awards season.”


    • cr7 10 years ago

      I liked his acceptance speech . In fact all the winners of acting categories given fantastic acceptance speeches . Specially Leto .

  7. Author
    sputnik 10 years ago

    The famous Oscar Selfie.

    And here is our desi version.

    • Author
      sputnik 10 years ago

      Jennifer Lawrence Jokes About Flashing Her Boob To ‘Shut Down The Internet’ Watch from 5 min 32 seconds.

  8. Saurabh 10 years ago

    I guess that’s from Gowariker’s directorial debut Pehla Nasha, with Deepak Tijori as the hero and others were just cameo appearances (in a song maybe).It was a ripoff of the Brian DePalma thriller Body Heat I think.

  9. Author
    sputnik 10 years ago

    ‘The Dallas Buyers Club,’ the AIDS film no one wanted to make

    “In the summer of 1992, an aspiring filmmaker named Craig Borten drove from Los Angeles to Dallas to see a man named Ron Woodroof. Borten was just a few years out of Syracuse University and didn’t know what kind of movies he wanted to make, or if he wanted to make them at all.

    But he’d read about Woodroof, a fast-living — and, as it happened, deeply homophobic — straight electrician and rodeo habitue who had been diagnosed with AIDS in 1986. First out of self-preservation and then as a grudging crusade, Woodroof began smuggling unapproved drugs from Mexico and other countries, prolonging his life and the lives of thousands of others. Borten thought there might be a movie in his tale.

    For nearly three days, an ailing Woodroof talked as Borten ran the tape recorder. The would-be filmmaker was astonished at how a crude and self-involved homophobe could become an unwitting hero in the terrifying early days of the AIDS epidemic. “He was this enigmatic character: wearing a cowboy hat, incredibly raw about women, about drugs, about AIDS,” Borten would later recall. “I remember thinking ‘this is bigger than life itself.'”

    Woodroof died a few months later in his early 40s. Shortly after, Borten completed a script about him and his flouting of the medical establishment, setting it in the worlds of hospitals, the gay community and Texas rodeo. He called it “The Dallas Buyers Club,” after the pharmaceutical ring Woodroof ran.”

    “Many movies have a twisty backstory, but inside Hollywood, “Dallas Buyers” is the stuff of legend. It is a tale of the doomed commitment of superstars like Brad Pitt and Ryan Gosling, the dissipated interest of filmmakers as diverse as Marc Forster and Dennis Hopper, numerous shaky financial arrangements, two studios with cold feet, a writer so tortured by rejection that he spiraled into addiction, a bailout by men in the decidedly unglamorous business of Texas fertilizer, and the film’s eventual salvation by an actor who for many years had best been known for semi-naked bongo drumming.

    In short, a story as mythic as Woodroof’s itself.

    Just a few days after 9/11, producer Robbie Brenner received a call.

    Brenner had been guiding Borten on the “Dallas Buyers” script since the 1990s — she and others had pounded the pavement to track down financiers and studios willing to back it, only to be met by a familiar reply. We love the script. But we just can’t put up the money for a movie about a man dying of AIDS, it went. And sure, “Philadelphia” had been a huge hit, but the hero of that film was a sympathetic man wrongly fired for the disease, not a cynical rogue who went around insulting people.

    Borten said he couldn’t blame them. “This was the elevator pitch for my film: ‘It’s a story about a racist homophobe with AIDS who befriends a man who dresses as a woman. Then they both die.'”

    But many actors and filmmakers embraced it. There was a David-vs.-Goliath quality to a story of a man who challenged Big Pharma. Woodroof was a colorful and juicy antihero. And the film was about AIDS, which had jolted society and also afflicted many in Hollywood.

    Woody Harrelson agreed to star and Dennis Hopper was aboard to direct in the mid-1990s. Columbia Pictures was set to buy the project. But the studio didn’t seem intent on making it, and the principals decided to keep it independent. When no financing materialized, Harrelson and Hopper wound up leaving.

    So when Brenner picked up the phone that September she couldn’t believe her ears. On the other end of the line was the director, Marc Forster. Forster was a film-school pal of Brenner’s, and was white-hot as buzz built for his upcoming interracial romantic drama “Monster’s Ball.” The filmmaker told his old friend that he had just read the “Dallas Buyers” script (which had since also added a co-writer in Melisa Wallack), and wanted to make it his next film.

    Brenner hung up elated. More than a decade after the Magic Johnson announcement — and nearly as long after “Philadelphia” — Hollywood would at last produce another high-profile film about AIDS. The movie about an outlaw who discovers himself was, as she put it, “a coming-of-age story about a grown man” but it was also set against an important social backdrop. “Monster’s Ball” was soon shown to Brad Pitt, who also liked the “Dallas Buyers” script. He and Forster decided to team up. (Years later, this budding relationship would yield “World War Z.”)

    Brenner and another producer on the project, David Bushell, sold it to Universal, and soon Bushell and the Universal producer Marc Abraham were developing it.

    And then “Dallas” hit a wall. With concerns that the script wasn’t sufficiently polished, according to a person involved with Universal at the time, executives began a fruitless cycle — they’d hire a writer, pass on their version and then repeat the process all over again. In one instance, they handed the keys to Stephen Belber, a playwright who had also written the screenplay for “The Laramie Project,” about the murder of gay student Matthew Shepard. They tried an up-and-comer named Chase Palmer. They gave a shot to Guillermo Arriaga, the writer of “Amores Perros,” a triptych with a similarly tragic undertone. They passed on his script too.

    Beset with offers for movies that were actually getting made, Forster moved on. So did Pitt.

    Plenty of acclaimed movies, including “Shine” and “The Curious Case of Benjamin Button,” have endured years of false starts. But more than almost any other film, “Dallas Buyers” underscores just how capricious a place Hollywood can be. Producers game-plan pitches and strategize cast choices, but the decisive factors often are well beyond their control.

    Years had gone by, and the movie was back to Square One. Borten, meanwhile, his once-hot project now nearly 15 years old, began wrestling with substance-abuse issues. He had once been a wunderkind who had written a daring movie about AIDS. Now he was on his way to becoming famous as the author of Hollywood’s longest-stalled script.

    “You hear about the entertainment industry beating you down, but you don’t realize what that kind of rejection can do to you until you go through it,” said Borten, an imposing man who counts among his unexpected life experiences a past romantic relationship with the actress Julie Delpy.

    In 2008, things briefly looked up for “Dallas” at Universal when Ryan Gosling and Craig Gillespie, who were coming off the sleeper hit “Lars and the Real Girl,” signed on. But the financial willingness wasn’t there. There were murmured jokes at the studio about that “feel-good AIDS movie.” There was talk about trying to move the project to the more prestige-oriented Focus Features, but little action.

    Frustrated, Borten and Wallack extricated the rights and brought Brenner back to find new money. But the well was dry. Even though years had passed since her last go-round, and the AIDS crisis in the U.S. was neither as taboo nor as grave, financiers were still reluctant. It was as though Hollywood executives had done an about-face but still come to the same conclusion. Before, the subject of AIDS was too touchy. Now the feeling was that it was no longer relevant.

    In the spring of 2011, as he rode around Los Angeles with a reporter talking up “The Lincoln Lawyer,” Matthew McConaughey sipped a Corona and, very calmly, said that he thought by making “Dallas Buyers Club” a top priority for him, the movie could finally get made.

    But surely he had heard about all the big-name actors who’d struck out? “Oh, I know,” he said, a twinkle in his eye. “But I think we may have it this time.”

    You could be forgiven for doubting McConaughey. The actor was coming off the not-quite-Oscar-caliber “Ghosts of Girlfriends Past” and “Surfer, Dude,” and still hadn’t accrued the credibility movies like “Bernie” and “Mud” would bring him. He did, however, have a level of intense commitment, the kind that comes from wanting people to see you differently.

    In the project’s latest director, Jean-Marc Vallee, McConaughey also had a partner in stubbornness. A veteran indie helmer, Vallee had made movies like “C.R.A.Z.Y.” and “Young Victoria” outside the system. He didn’t know about the Hollywood ways of overthinking a movie to within an inch of its life, and didn’t much care about it. With his prodding, with Brenner’s persistence (Wallack describes her as someone who “somehow always gets things done”) and with McConaughey making clear to his agents at CAA that this was a priority, it had a shot.

    And so last summer, a group of Canadian equity investors was willing to put up the funds. Then they got cold feet. “Sometimes you think you’re right there, and it turns out you’re not,” Vallee, with salt-and-pepper hair and an intense aura, would say later. “But I like to say ‘keep the faith.’ I thought, ‘Something will save us.’ ”

    That something turned out to be CAA agents Laura Lewis and Roeg Sutherland. Or, more specifically, McConaughey’s subtle ways of pushing them and their colleagues. The actor had begun losing weight, and he started talking about it in late-night interviews. He was essentially dictating that the movie get made, a kind of caloric throwing of the gauntlet. If he lost the weight and his representation couldn’t justify it, they’d have egg on their face.

    CAA and the indie-film wrangler Cassian Elwes landed a few million dollars from the upstart L.A.-based Voltage Pictures, which had helped finance “The Hurt Locker.” But they were still at least $2 million short, and time was running out. McConaughey couldn’t keep the weight off forever. They would shoot in 2012 or not at all.

    Their angel came from an unlikely place. Elwes’ ex-wife, Holly Wiersma, also a producer, was now dating the investor-producer Logan Levy. And Levy’s father had a friend who worked at Truth Chemical, a Houston-based company that had made its money primarily in the fertilizer business. Hollywood glamour it wasn’t. But the Truth Chemical partners, Tony Notargiacomo and Joe Newcomb, were hankering to get into the movie business. A period AIDS drama wasn’t exactly what they had in mind. But it had a movie star in McConaughey — a Texas boy with some swagger, like them — and it had buzz, and that was enough.

    “Dallas Buyers” may be one of the most serious-minded dramas to come out of the mainstream movie business this year. Yet its existence illustrates that filmmaking ambition isn’t just the result of persistence; it depends on more chance-y factors, like a star looking to redefine himself at the moment a couple of celebrity-minded businessmen have some change in their pockets.

    “There are times as a producer when you want to scream ‘Why am I doing this,’ when the rock you’re pushing up a hill rolls on top of you,” said Brenner, whose acolyte, Rachel Winter, guided the movie as a producer on set. “And then something comes from out of nowhere to remove it.”

    McConaughey summed it up this way: “With indie movies, the making it is the easy part. It’s everything that comes before.”

    Even with the money, the challenges were far from over. The production needed to find its Rayon, the cross-dressing man afflicted with AIDS who in the script forms a friendship and a business arrangement with Woodroof. Gael Garcia Bernal had dropped out for family reasons. Other big names weren’t so sure about playing a cross-dresser.

    Jared Leto, a successful rock star who rarely acted anymore, had less to lose. Vallee barely knew Leto. But in a Skype meeting, Leto appeared in full drag as Rayon. The director was convinced. Meanwhile, Vallee liked Noomi Rapace for the female lead, a doctor who initially fights Woodroof, but he was persuaded to take Jennifer Garner, who others felt would be more commercial.

    And then the big battle ground: time and money. Vallee and his manager, Nathan Ross, another of the film’s producers, wanted a budget of about $8 million and 40 days to shoot. Yet there was only $5 million and a lightning-quick 25 days. And even that was a stretch, enabled mainly by shooting in rebate-rich Louisiana.

    Many directors would have walked, but Vallee stayed. Critics often extol a filmmaker’s vision as “uncompromising.” But sometimes the art of filmmaking comes down to knowing when to make the calculation that the perfect is the enemy of the good.

    In the end, the movie was acquired this spring by Focus Features — a division of the company that, notably, tried unsuccessfully to make it for seven years.


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