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Luise Rainer Dies at 104; Won Best Actress Oscars for Two Years Running - New York Times

Photo Luise Rainer as Anna Held with William Powell as Florenz Ziegfeld Jr. in the 1936 film “The Great Ziegfeld.” Credit MGM, via Photofest

Luise Rainer, who left Nazi Germany for Hollywood and soared to fame in the 1930s as the first star to win back-to-back Oscars, then quit films at the peak of her career for occasional stage work and roles as a wife, mother and mountain climber, died on Tuesday at her home in London. She was 104.

Her daughter, Francesca Knittel Bowyer, said the cause was pneumonia.

Ms. Rainer was a child of middle-class Jews in Düsseldorf and Hamburg during World War I and came of age in a new Germany of depression, starvation and revolution. Under Max Reinhardt’s direction, she became a young stage and film star in Vienna and Berlin, performing Pirandello and Shaw. She watched the Reichstag burn in 1933 and heard Hitler on the radio. In 1934 an MGM scout signed her to a contract.

She sailed to America on the Île de France in 1935, a 5-foot-3 ingénue, rail thin, with dark hair and a sweet girlish smile, too innocent for celebrity. But it seemed everyone on board knew who she was. On her 25th birthday, the stewards arranged a celebration in the saloon, and she was serenaded by the Russian operatic bass Feodor Chaliapin and the great violinist Mischa Elman.

She landed in America, a stranger with a guttural Mittel-European accent that had to be subdued. But two years later, Ms. Rainer (pronounced RYE-ner) won her first Academy Award, as the best actress of 1936, for her portrayal of Anna Held, the actress, singer and scorned common-law wife of the showman Florenz Ziegfeld, in MGM’s lavish musical production “The Great Ziegfeld.”

Her part, paradoxically, was small. Critics said that a single take — perhaps the most famous telephone scene in film history — captured the Oscar. In it, the heartbroken Anna, smiling through tears and struggling for composure, congratulates Ziegfeld on his marriage to Billie Burke. She hangs up at last and dissolves in sobs. It is a moving, poignant tour de force, and the brutal camera does not look away.

A year later, Ms. Rainer won her second best actress Oscar for the role of O-Lan, the stoical peasant wife in “The Good Earth,” with Paul Muni as her husband, Wang Lung. Adapted from the Pearl S. Buck novel and produced by a dying Irving G. Thalberg, the movie called on Ms. Rainer for another dimension, an all-but-mute yet shattering performance that conveyed the suffering and endurance of China’s millions.

Her second Oscar stunned Hollywood. Greta Garbo, MGM’s leading actress, had been favored for her performance in the title role of “Camille.” For Ms. Rainer, it meant fame and a place in history: the first person to win the top acting award in consecutive years, a feat that would be matched only by Spencer Tracy, Katharine Hepburn, and Tom Hanks.

She seemed to stand on the threshold of greatness. Even her rivals like Carole Lombard, Norma Shearer and Myrna Loy thought so. So did an adoring public. But behind the scenery, Ms. Rainer was deeply unhappy. Her marriage to the volatile playwright Clifford Odets in 1937 was failing, headed for divorce in 1940. (He was absurdly jealous of Albert Einstein, who had been smitten by Ms. Rainer.)

And her career soon went into free fall. She came to regard her Oscars as a curse, raising impossibly high expectations. She made five more pictures for MGM over the next couple of years, but many critics and Ms. Ranier herself called them inferior and a waste of her talents. She said that Louis B. Mayer, the autocratic head of MGM, scoffed at her pleas for serious roles in films of significance.

Beyond unhappiness with her work, Ms. Rainer came to regard Hollywood itself as dysfunctional — intellectually shallow, absurdly materialistic and politically naïve, particularly in what she called its apathy toward the rise of fascism in Europe and Asia, and labor unrest and poverty in Depression America.

She walked out on Mayer, and her contract was torn up. She was not yet 30, and her meteoric career was all but over. She returned to Europe, studied medicine, aided orphaned refugees of the Spanish Civil War, appeared at war bond rallies in the United States and entertained Allied troops in North Africa and Italy during World War II. She also made one wartime film, “Hostages” (1943), for Paramount.

During the next three decades she appeared in a handful of plays on Broadway and in London, and took occasional roles on television. Federico Fellini enticed her into the cast of his Oscar-winning classic “La Dolce Vita” (1960), but she quit before shooting began, objecting to a sex scene with Marcello Mastroianni that was later cut from the script.

She made one more film, playing a Russian dowager with a craving for roulette in a 1997 British adaptation of Dostoyevsky’s novel “The Gambler.” She also appeared at Academy Awards ceremonies in 1998 and 2003 as Hollywood paid tribute to past Oscar winners.

Her activities made small headlines: the once-famous actress, reduced to this or that. But there was an alternate life playing out in the wings for Ms. Rainer. In the summer of 1945 she married a wealthy New York publisher, Robert Knittel. They had a daughter, Francesca, a year later. They lived in London for decades, and in Geneva.

In addition to her daughter, she is survived by two granddaughters and two great-grandchildren.

The couple loved travel, books, plays, music — their friends included Arturo Toscanini, Marian Anderson, Thomas Mann and Bertolt Brecht — and especially climbing in the Alps. “He was a mountain climber, and he taught me how to climb,” she recalled years after her husband’s death in 1989. “Robert went with a fiddle up to the Matterhorn, and at the top of the Matterhorn he played a Bach sonata.”

Luise Rainer was born in Düsseldorf on Jan. 12, 1910, to Heinrich and Emilie Königsberger Rainer. Her father was a businessman and her mother a pianist from a cultured family. Luise became an actress at 16, discovered by Reinhardt at an audition, and joined his Vienna company. Starting in 1928, she appeared in many plays in Vienna and Berlin.

In 1935 she appeared in her first American picture, “Escapade,” with William Powell. After her Oscar triumphs, she was cast in five less memorable MGM films: “The Emperor’s Candlesticks” and “Big City” in 1937 and “The Toy Wife,” “The Great Waltz” and “Dramatic School” in 1938. Then her star faded.

More than seven decades later, as she celebrated her centenary in 2010, Ms. Rainer, in an interview with The Scotsman, looked back on Hollywood’s golden era with a hint of revenge.

“I was one of the horses of the Louis B. Mayer stable, and I thought the films I was given after my Academy Awards were not worthy,” she said. “I couldn’t stand it anymore. Like a fire, it went to Louis B. Mayer, and I was called to him. He said, ‘We made you, and we are going to kill you.’

“And I said: ‘Mr. Mayer, you did not make me. God made me. I am now in my 20s. You are an old man,’ which of course was an insult. ‘By the time I am 40 you will be dead.’ ”

She was not quite right. She was 47 when he died. But she outlived him by more than a half-century.

Jennifer Aniston, Oscar Nominee? 5 Takeaways from the 2015 SAG Award ... - Daily Beast

Everyone’s favorite Us Weekly cover star scored a surprise SAG Award nod. Is Oscar next? We peruse the most surprising takeaways from this year’s SAG list.
Jennifer Aniston, Oscar nominee?
The once implausible thought is inching closer to a reality for the former Friends star—an undeniably gifted comedic actress who’s been wallowing in trite romantic films (of both the clichéd comedy and sappy drama type) and overly ribald raunch-coms. Aniston scored the biggest surprised mention when the Screen Actors Guild Awards announced their nominees Wednesday morning, earning a nod for in Best Actress for her performance in the indie Cake.
Is an Oscar nomination next? From Aniston’s surge in the Oscar race to Edie Falco’s record-breaking nod, here’s a list of the biggest surprises and takeaways from the 2015 SAG Award nominations.
Jennifer Aniston could get an Oscar nomination Four of the five slots in the Best Actress Oscar race have been sewed up for months now, with Julianne Moore (Still Alice), Reese Witherspoon (Wild), Rosamund Pike (Gone Girl), and Felicity Jones (The Theory of Everything) essentially guaranteed nods. This has been blasted as a “weak year” for the category—something that I and I daresay Jenny Slate, Tilda Swinton, Marion Cotillard, Shailene Woodley, and a slew of other deserving contenders who have disappeared from the conversation disagree with—meaning that there’s no real frontrunner for that last nomination.
The odds-on contenders for it are Amy Adams for Big Eyes and Hilary Swank for The Homesman. Adams has been thought to score the nod pretty much since Big Eyes has been announced, but, unfortunately, the movie just isn’t that good and her performance, while fine, is not that remarkable. Swank is excellent in The Homesman, which is a movie that few people even know exists. That means Aniston, who has been promoting the hell out of Cake and boasts the all-important “narrative” that Oscar voters salivate over (major celebrity reinvents herself in stripped-of-vanity indie drama) actually does stand a shot—albeit a long one.
Since it launched in 1994, the SAG Awards have been an uncanny crystal ball for predicting the Oscar nominations with 18 to 19 of the 20 nominees in the acting categories overlapping. That should be spectacular news for Aniston, except for the caveat: that overlap rate has dropped dramatically in the past two years. In those years, only 14 nominees overlapped. At the 2013 ceremony, Christoph Waltz wasn’t even nominated for Django Unchained at the SAG Awards, but went on to win at the Oscars.
So given the tepid reviews that Cake is receiving outside of Aniston’s performance and the recent history of acting surprises, expect a more traditional Oscar nominee like Adams or Swank, or possibly even Cotillard, who’s been gaining steam for her performance in Two Days, One Night, to take that fifth slot.
There’s still no clear Best Picture frontrunner At this point in the Oscar race there’s usually an odds-on favorite to win Best Picture, a film that’s already well on its way to steamrolling every precursor critics’ prize and awards ceremony—think 12 Years a Slave, The Artist, Slumdog Millionaire. This year, however, it’s not even a clear two-way race, a la Social Network vs. The King’s Speech or The Hurt Locker vs. Avatar. Boyhood, Birdman, The Imitation Game, and Selma could all, conceivably, win Best Picture at the Oscars at this point, and the SAG Award nominations did nothing to settle which one is more likely to do so.
Birdman did score one more nod than both Boyhood and The Imitation Game, with its four to their respective three, but the trio of contenders all earned Best Ensemble mentions—which is the SAG equivalent of Best Picture—and all three are equally likely contenders for victory. Not only that, while the SAG nominees are good predictors of Oscar nominees, Best Ensemble is actually a terrible predictor of who will win Best Picture. Last year American Hustle took the category while 12 Years a Slave won Best Picture at the Oscars, indicative of a history in which only nine of the 18 Best Ensemble winners took home the big prize at the Academy Awards.
And as for Selma, while it was shut out completely from the SAG Awards, the film shouldn’t be counted out yet. While the other three major contenders premiered at festivals months ago and have been screening for critics and SAG voters ever since, Selma has only just begun its screenings. Giving the rousing response it’s getting from the audiences that have seen it and the unusual Best Picture toss up going on right now, it could still make a late entry grab for the golden boy.
Edie Falco and Meryl Streep broke SAG records Meryl Streep broke her own record for her 15th nomination in the film categories with her nod in Best Supporting Actress for Into the Woods. (She has 16 total nominations, including one in the TV field for Angels in America.) But it’s Edie Falco who’s the reigning queen of SAG. She set a career nominations record with her 21st nod—all in the TV fields—for Best Actress in a Comedy for Nurse Jackie. She’s won five times, all in either Best Actress in a Drama or Best Ensemble in a Drama for The Sopranos. This year she faces off against the eclectic mix of Uzo Aduba (Orange Is the New Black), Julie Bowen (Modern Family), Julia Louis-Dreyfus (Veep), and Amy Poehler (Parks and Recreation).
And Julianna Margulies could set a new oneWith her nomination in Best Actress in a Drama for The Good Wife, Julianna Margulies could set a new record for the most SAG Award wins of all time. Currently, she’s tied with Alec Baldwin—both have eight SAG Awards to their names. Margulies’s competition is Claire Danes (Homeland), Viola Davis (How to Get Away With Murder), Tatiana Maslany (Orphan Black), Maggie Smith (Downton Abbey), and Robin Wright (House of Cards). The reigning Emmy champ coming off her best season yet on The Good Wife, Margulies could very well set that record, too.
Aniston, who has been promoting the hell out of Cake and boasts the all-important “narrative” that Oscar voters salivate over (major celebrity reinvents herself in stripped-of-vanity indie drama) actually does stand a shot—albeit a long one.
There were very few snubs and surprises Aside from the inclusion of Jennifer Aniston in Best Actress, the film categories included very few snubs and surprises. Perhaps the other biggest surprise is Jake Gyllenhaal’s Best Actor nomination for Nightcrawler over Selma’s David Oyelowo. It’s undeniably a great boon for Gyllenhaal, who was looking like he’d be shut out the race. But the SAG Awards has been historically kinder to Hollywood’s young studs than Oscar. Past contenders like Emile Hirsch (Into the Wild), Ryan Gosling (Lars and the Real Girl), Leonardo DiCaprio and Armie Hammer (J. Edgar), Daniel Bruhl (Rush), and Dev Patel (Slumdog Millionaire) all scored SAG nods before being snubbed for Oscar in favor of Hollywood veterans.
Otherwise on the film side, Naomi Watts (St. Vincent) getting in Best Supporting Actress over Laura Dern (Wild) is unexpected, while the lack of mention for Into the Woods and Selma in Best Ensemble is a surprise, too.
On the TV side, it’s a joy to see Orphan Black’s Tatiana Maslany, who is criminally overlooked by most awards organizations (especially the Emmys), get a Best Actress in a Drama nod, while it’s a little exhausting that Downton Abbey’s Maggie Smith is nominated there yet again when the likes of Kerry Washington (Scandal), Christine Baranski (The Good Wife), Elisabeth Moss (Mad Men), or Lizzy Caplan (Masters of Sex) would have been far more deserving. It’s also a pleasant surprise that Orange Is the New Black breakout star Uzo Aduba made her way into the Best Actress in a Comedy race alongside such category heavyweights and Hollywood veterans.
See the full list of SAG Award nominees here.

'Birdman', 'Budapest' And 'Boyhood' Get Key Oscar Boost To Lead Critics ... - Deadline.com

Continuing its romp through the critics kudos this awards season, Fox Searchlight’s Birdman drew a whopping 13 nominations from the Broadcast Film Critics Association’s 20th Annual Critics’ Choice Movie Awards. In fact it’s a big day for Fox in general as Searchlight’s March release, The Grand Budapest Hotel was remembered to the tune of 11 nominations, while big Fox scored 6 nominations with Gone Girl. All three compete for Best Picture, Director, Screenplay and significant acting nods. This is a big boost in particular for Budapest, coming on the heels of its SAG nod for Outstanding Cast as well as four key Golden Globe nominations.  Usually films opening as early as March are largely forgotten when it comes to Best Picture attention, but Budapest could be a rare exception in recent years if this triumph for the Wes Anderson comedy is repeated at the Oscars.  The last film that opened as early as March, or even April, and went on to a Best Picture Oscar nomination was Erin Brockovich in 2000.
The rest of the nominees for Picture include the other critics’ darlings of the season so far, IFC’s Boyhood with 8 nominations, The Imitation Game with 6 , the surging Nightcrawler, Selma, The Theory Of Everything, Whiplash and Unbroken. The latter got 4 key nominations including Director for Angelina Jolie , a rebound of sorts after the upcoming Christmas Day release was completely, and shockingly, shut out in last week’s Golden Globe nominations. This should brighten spirits at Universal’s Hollywood premiere tonight which Jolie will sadly miss due to a well-publicized case of Chicken Pox. And it should steal some of the star power thunder for the CCMAs from the normally glitzy Globes. which this year bypassed the opportunity to nominate some of the bigger names.
Two other major studio war films with big stars, American Sniper and Fury, that were also totally shut out by the Globes also got a small rebound from the Broadcast Critics with nominations for the lesser Best Action Movie  and Action Actor prize for Bradley Cooper and Brad Pitt respectively. But that’s probably small comfort for a couple of movies that had their sights set much higher and couldn’t break into the categories that count. And though they got significant below the line mentions, two other biggies, Paramount and Warner Bros’  Interstellar and Disney’s Into The Woods also failed to make the Best Picture list (though Woods grabbed a nod for Meryl Streep in Supporting as well as for its sterling ensemble), as did Foxcatcher, which on the heels of its Globe Best Picture- Drama nod, received nothing more from the CCMAs than Supporting Actor for Mark Ruffalo and a Makeup nomination (for Steve Carell’s nose no doubt, if not the deserving Carell himself).
In the lead acting races the contenders are pretty much the same ones we have seen from SAG and the Globes. Only Marion Cotillard’s performance in Belgium’s Two Days, One Night was a CCMA Best Actress nomination not showing up on the other lists, although she has won several other critics group awards this season including from the New York Film Critics.  Previous underdogs,  Jennifer Aniston in Cake and  Jake Gyllenhaal  in Nightcrawler repeated their SAG and Globes success with nods here too making both very formidable bets, as I have suspected since seeing their respective films in Toronto in early September, to show up on Oscar’s radar too. One small surprise in the Best Actor category where front runners Eddie Redmayne, Benedict Cumberbatch  and Michael Keaton will face off again, is the inclusion of Budapest’s Ralph Fiennes  over Carell. Fiennes has been considered a bit of a long shot this season but he’s gaining momentum after his Globe nod in the Musical /Comedy Actor category and an ensemble nod from SAG. He has two additional nods from CCMA, as does Keaton, for both Comedy Actor and Ensemble. Selma’s David Oyelowo, a SAG no-show , rounds out the Best Actor field. Still Alice’s frontrunning Julianne Moore, Wild’s Reese Witherspoon, The Theory Of Everything’s Felicity Jones  and Gone Girl Rosamund Pike complete the list of Best Actress contenders. The Supporting candidates are identical to the Globes except for CCMA additions going to Inherent Vice’s hilarious Josh Brolin for the men  and Snowpiercer’s outrageous Tilda Swinton for the women (even though she may be playing a man in this one).
The CCMAs also seem to be strongly in line with the Globes this year in producing a Best Director list that matches perfectly with Budapest’s Wes Anderson, Selma’s Ava DuVernay, Gone Girl’s David Fincher, Birdman’s Alejandro G. Inarritu and Boyhood’s Richard Linklater.  Only the inclusion of Jolie  for the CCMA list differs because this group (of which I am a voting member) generally allows six nominations per category instead of five (except for Best Picture which has ten).
The Critics’ Choice Movie Awards is increasingly important in the scheme of things and will for the third year in a row take place on the same day that Oscar nominations will be announced. It airs – to the East Coast – live on new network partner, A&E from the Hollywood Palladium at 9 PM ET on January 15th with Michael Strahan hosting. The organization has quite a track record in matching the ultimate Oscar winners. Last year, the eventual Academy Award champs first picked up a CCMA in 17 of the 19 categories they share. The Oscars differed only for Makeup  and Foreign Film (where the critics chose Blue Is The Warmest Color, a film ineligible for Oscar in that category). Two years after he was stunningly snubbed in the morning for a Best Director Oscar  nomination for Argo, Ben Affleck went on that evening to win that honor at the CCMAs beginning a run that led to the DGA award  and eventually the Best Picture Oscar.
Here’s the full list of nominees in all 28 categories:
BEST PICTURE
Birdman
Boyhood
Gone Girl
The Grand Budapest Hotel
The Imitation Game
Nightcrawler
Selma
The Theory of Everything
Unbroken
Whiplash
BEST ACTOR
Benedict Cumberbatch – The Imitation Game
Ralph Fiennes – The Grand Budapest Hotel
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
David Oyelowo – Selma
Eddie Redmayne – The Theory of Everything
BEST ACTRESS
Jennifer Aniston – Cake
Marion Cotillard – Two Days, One Night
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild
BEST SUPPORTING ACTOR
Josh Brolin – Inherent Vice
Robert Duvall – The Judge
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash
BEST SUPPORTING ACTRESS
Patricia Arquette – Boyhood
Jessica Chastain – A Most Violent Year
Keira Knightley – The Imitation Game
Emma Stone – Birdman
Meryl Streep – Into the Woods
Tilda Swinton – Snowpiercer
BEST YOUNG ACTOR/ACTRESS
Ellar Coltrane – Boyhood
Ansel Elgort – The Fault in Our Stars
Mackenzie Foy – Interstellar
Jaeden Lieberher – St. Vincent
Tony Revolori – The Grand Budapest Hotel
Quvenzhane Wallis – Annie
Noah Wiseman – The Babadook
BEST ACTING ENSEMBLE
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Into the Woods
Selma
BEST DIRECTOR
Wes Anderson – The Grand Budapest Hotel
Ava DuVernay – Selma
David Fincher – Gone Girl
Alejandro G. Inarritu – Birdman
Angelina Jolie – Unbroken
Richard Linklater – Boyhood
BEST ORIGINAL SCREENPLAY
Birdman – Alejandro G. Inarritu, Nicolas Giacobone, Alexander Dinelaris, Jr., Armando Bo
Boyhood – Richard Linklater
The Grand Budapest Hotel – Wes Anderson, Hugo Guinness
Nightcrawler – Dan Gilroy
Whiplash – Damien Chazelle
BEST ADAPTED SCREENPLAY
Gone Girl – Gillian Flynn
The Imitation Game – Graham Moore
Inherent Vice – Paul Thomas Anderson
The Theory of Everything – Anthony McCarten
Unbroken – Joel Coen & Ethan Coen, Richard LaGravenese, William Nicholson
Wild – Nick Hornby
BEST CINEMATOGRAPY
Birdman – Emmanuel Lubezki
The Grand Budapest Hotel – Robert Yeoman
Interstellar – Hoyte Van Hoytema
Mr. Turner – Dick Pope
Unbroken – Roger Deakins
BEST ART DIRECTION
Birdman – Kevin Thompson/Production Designer, George DeTitta Jr./Set Decorator
The Grand Budapest Hotel – Adam Stockhausen/Production Designer, Anna Pinnock/Set Decorator
Inherent Vice – David Crank/Production Designer, Amy Wells/Set Decorator
Interstellar – Nathan Crowley/Production Designer, Gary Fettis/Set Decorator
Into the Woods – Dennis Gassner/Production Designer, Anna Pinnock/Set Decorator
Snowpiercer – Ondrej Nekvasil/Production Designer, Beatrice Brentnerova/Set Decorator
BEST EDITING
Birdman – Douglas Crise, Stephen Mirrione
Boyhood – Sandra Adair
Gone Girl – Kirk Baxter
Interstellar – Lee Smith
Whiplash – Tom Cross
BEST COSTUME DESIGN
The Grand Budapest Hotel – Milena Canonero
Inherent Vice – Mark Bridges
Into the Woods – Colleen Atwood
Maleficent – Anna B. Sheppard
Mr. Turner – Jacqueline Durran
BEST HAIR & MAKEUP
Foxcatcher
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Into the Woods
Maleficent
BEST VISUAL EFFECTS
Dawn of the Planet of the Apes
Edge of Tomorrow
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Interstellar
BEST ANIMATED FEATURE
Big Hero 6
The Book of Life
The Boxtrolls
How to Train Your Dragon 2
The Lego Movie
BEST ACTION MOVIE
American Sniper
Captain America: The Winter Soldier
Edge of Tomorrow
Fury
Guardians of the Galaxy
BEST ACTOR IN AN ACTION MOVIE
Bradley Cooper – American Sniper
Tom Cruise – Edge of Tomorrow
Chris Evans – Captain America: The Winter Soldier
Brad Pitt – Fury
Chris Pratt – Guardians of the Galaxy
BEST ACTRESS IN AN ACTION MOVIE
Emily Blunt – Edge of Tomorrow
Scarlett Johansson – Lucy
Jennifer Lawrence – The Hunger Games: Mockingjay Part 1
Zoe Saldana – Guardians of the Galaxy
Shailene Woodley – Divergent
BEST COMEDY
Birdman
The Grand Budapest Hotel
St. Vincent
Top Five
22 Jump Street
BEST ACTOR IN A COMEDY
Jon Favreau – Chef
Ralph Fiennes – The Grand Budapest Hotel
Michael Keaton – Birdman
Bill Murray – St. Vincent
Chris Rock – Top Five
Channing Tatum – 22 Jump Street
BEST ACTRESS IN A COMEDY
Rose Byrne – Neighbors
Rosario Dawson – Top Five
Melissa McCarthy – St. Vincent
Jenny Slate – Obvious Child
Kristen Wiig – The Skeleton Twins
BEST SCI-FI/HORROR MOVIE
The Babadook
Dawn of the Planet of the Apes
Interstellar
Snowpiercer
Under the Skin
BEST FOREIGN LANGUAGE FILM
Force Majeure
Ida
Leviathan
Two Days, One Night
Wild Tales
BEST DOCUMENTARY FEATURE
Citizenfour
Glen Campbell: I’ll Be Me
Jodorowsky’s Dune
Last Days in Vietnam
Life Itself
The Overnighters
BEST SONG
Big Eyes – Lana Del Rey – Big Eyes
Everything Is Awesome – Jo Li and the Lonely Island – The Lego Movie
Glory – Common/John Legend – Selma
Lost Stars – Keira Knightley – Begin Again
Yellow Flicker Beat – Lorde – The Hunger Games: Mockingjay Part 1
BEST SCORE
Alexandre Desplat – The Imitation Game
Johann Johannsson – The Theory of Everything
Trent Reznor & Atticus Ross – Gone Girl
Antonio Sanchez – Birdman
Hans Zimmer – Interstellar

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