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Oscars have recognized fantasy and science fiction-genre films, acting and directing hon- ors seem like a long shot. "I'd be shocked if we got a Best Picture nomination," says Blomkamp. "But I think Sharlto deser ves a [Best Actor] nomination — though I don't know how realistic that is — because he gave his all, and it reads on screen. It's an amazing performance." Another sci-fi hit, the rebooted Star Trek franchise, may also get some Oscar respect. After all, director J.J. Abrams — who made his feature directorial debut with Mission: Im- possible III, co-created Lost, and last year ex- ecutive produced the hit film Cloverfield — cast a bunch of hot, young actors in this ori- gin stor y and surrounded himself with trusted collaborators, including cinematog- rapher Dan Mindel (MI:3); editors Maryann Brandon and Mar y Jo Markey (MI:3, Alias), production designer Scott Chambliss (MI:3, Alias) and ILM's Roger Guyett. Shot on location in Italy and at Shepper- ton Studios in the UK, Nine is the follow-up to Rob Marshall's Oscar-winners Chicago and Memoirs of a Geisha, and stars Daniel Day-Lewis as a character based on Fellini. But musicals don't always get the Oscar vote — Dreamgirls failed to get a Best Pic- ture nom. But maybe with 10 slots it'll squeak in this year. Disney-Pixar's Up, di- rected by Pete Docter (Monsters, Inc.) also looks likely to get a nomination — and may be the one populist hit to bridge the grow- ing gap between box office success and Oscar recognition. Finally, after it was snubbed by the docu- mentar y branch, the Sasha Ger vasi-di- rected Anvil: The Stor y of Anvil, one of the year's best-reviewed films, about the has- been metal band, has now mounted a Best Picture campaign instead. With 10 slots now available, maybe the real-life Spinal Tap can pull off an upset. E D I T I N G Several films look likely to get nominated. The Hurt Locker's riveting, suspenseful por- trait of the courage under fire of the mili- tary's most unrecognized heroes: the techni- cians of the bomb squad, features work from editors Bob Murawski (Spider-Man 2 & 3) and Chris Innis. The Road was cut by Jon Gregor y, who cut The Proposition for director Hillcoat, and whose credits include many collaborations with British directors Mike Leigh (Secrets and Lies,Naked) and Mike Newell (Four Weddings and a Fu- neral, Donnie Brasco). Nine, with its international cast and shooting schedule, was edited by Oscar-winner Claire Simpson (The Reader) and Emmy-nominated Wyatt Smith. Director/producer/ choreographer Rob Marshall is no stranger to the challenges of mak- ing successful musicals and movies. He triumphed with Chicago, which won six Oscars, including Best Pic- ture, and won another three Os- cars for Memoirs of a Geisha. "We spent 10 months posting Nine," he repor ts, "and we began the edit on Long Island, where I live. We just rented a house and my editors set up there. Then we moved to Sound One and Orbit Space in the Brill Building for mix- ing. We did the final mix at Pinewood." Avatar was a "massive editing job," reports Cameron, who cut it with John Refoua, ACE, who previously collaborated with Cameron on the 3D documentary Ghosts of the Abyss and Dark Angel, and Stephen Rivkin, ACE (The Pirates franchise). The team worked at Cameron's cutting room in Malibu and at the Playa Vista stage where the film was shot. And Up In The Air, cut by Dana Glauber- man, may get a nod for its perfectly pitched rhythms, while Guy Ritchie's eagerly-awaited version of Sherlock Holmes reunites him with editor James Herbert (their previous collabo- rations include RocknRolla, Revolver, the docu- mentar y The Ego Has Landed and the ABC television pilot Suspects). "After doing so many projects together we have a real short- hand, which is a huge advantage on a project this size," says Ritchie."We also had a lot of vi- sual effects shots — done by Framestore and Double Negative — it was a challenging edit." A N I M AT I O N With 20 films competing, the category ex- panded to five noms. But while animation is more popular than ever, it's getting harder and harder to figure out what is — and is not — an animated film. This past year saw Fantastic Mr. Fox, The Princess and the Frog, Where the Wild Things Are, Ice Age; Dawn of the Dinosaurs,Coraline, A Christmas Carol, Astro Boy, Ponyo, Cloudy with a Chance of Meatballs, Up and Monsters vs. Aliens all chasing slots. And in this mix, some highly traditional, retro-styled projects are going up against Up's shiny, 3D CG imager y. Disney Anima- tion Studios' The Princess and the Frog, with F I L M S Don't be surprised if Crazy Heart's director Scott Cooper and star Jeff Bridges (L-R) receive nominations. www.postmagazine.com January 2010 • Post 25 OSCAR PICKS