‘Birdman or (The Unexpected Virtue of Ignorance)’
Any qualms about nominating a quartet for work which seems so personal should be overcome by the conception’s originality and the execution’s excitement. Actually, teams of three-plus scribes have been nominated almost 100 times.
‘Boyhood’
His Bergmanesque “Scenes From a Family” respects both the audience’s ability to supply the missing beats from year to year, and its willingness to go to the trouble. Such mature artistry is tailor-made for Academy favor.
‘Foxcatcher’
How should mostly inarticulate and wholly secretive characters speak? Through body language. This true-crime tragedy’s structure is smart, but the strategic use of silence is even smarter, and peers will recognize that.
‘The Grand Budapest Hotel’
Two prior writing noms demonstrate the branch’s penchant for Anderson’s brand of fancy: tart yet sweet, cynical yet twee. This time, and more than ever, it’s the creme filling inside a vigorous narrative. Pic opened early, yet showed legs.
‘Interstellar’
Scribes who tackle the Big Themes within established genres, from “2001” to “Platoon” to “Zero Dark Thirty,” perennially win peer respect. Three of the biggest themes — time, family and the universe — presage a fourth writing nom for a Nolan project.
‘Love Is Strange’
Tender, much-admired dramedy on a fresh topic — gay partners adrift in their twilight years — scored big in Indie Spirit nominations. The eloquent yet spare narrative could enter a dark horse into an already crowded field.
‘A Most Violent Year’
Chandor’s scripts garner honors while taking big risks, for example his nominated high-finance thriller “Margin Call.” This time he sums up life in NYC’s most dangerous year, 1981, at the same time subtly commenting on immigrants’ pursuit of the American dream.
‘Mr. Turner’
As in his nominated script for “Topsy-Turvy,” Leigh’s patented, improvisation-based, research-fueled development process re-creates the 19th century so vividly you can practically smell the soot, sweat and paint. An antiquarian’s bliss-out.
‘Selma’
Controversy may be brewing over how much credit helmer Ava DuVernay’s uncredited rewrite deserves, but the end product — distilling complex historical events into a propulsive, efficient narrative — is undeniably kudos-worthy, whoever held the pen.
‘Whiplash’
Scribes who anatomize interesting, unfamiliar callings often win recognition, cf. “The Messenger” and “Margin Call.” Who knew so much blood, sweat and tears (literally) went into creating great jazz, before Chazelle took us into the practice room?