80th Academy Awards Oscar Nominations 2008 - Best Picture

A Working Title Production

Tim Bevan, Eric Fellner and Paul Webster, Producers

This is the second nomination for both Tim Bevan and Eric Fellner, who received Best Picture nominations in 1998 for Elizabeth.   This is the first nomination for Paul Webster.

Wright, the BAFTA Award-winning director of Pride & Prejudice, has reunited with his filmmaking team and his Academy Award-nominated actress, Keira Knightley, for another classic British romance, starring James McAvoy (BAFTA Award nominee for The Last King of Scotland) opposite Ms. Knightley. Christopher Hampton (Academy Award winner for Dangerous Liaisons) has written the screenplay adaptation of Ian McEwans best-selling 2002 novel Atonement.

Filmed on location in the United Kingdowm, the films story spans several decades. In 1935, 13-year-old fledgling writer Briony Tallis (Saoirse Ronan) and her family live a life of wealth and privilege in their enormous mansion. On the warmest day of the year, the country estate takes on an unsettling hothouse atmosphere, stoking Brionys vivid imagination. Robbie Turner (Mr. McAvoy), the educated son of the familys housekeeper, carries a torch for Brionys headstrong older sister Cecilia (Ms. Knightley). Cecilia, he hopes, has comparable feelings; all it will take is one spark for this relationship to combust.

When it does, Briony who has a crush on Robbie is compelled to interfere, going so far as accusing Robbie of a crime he did not commit. Cecilia and Robbie declare their love for each other, but he is arrested and with Briony bearing false witness, the course of three lives is changed forever.

Briony continues to seek forgiveness for her childhood misdeed. Through a terrible and courageous act of imagination, she finds the path to her uncertain atonement, and to an understanding of the power of enduring love.

A Mandate Pictures/Mr. Mudd Production

Lianne Halfon, Mason Novick and Russell Smith, Producers

This is the first nomination for all three.

  "Can’t we just kick it old school? I could just put the baby in a basket and send it your way. You know, like Moses in the reeds."

Meet Juno MacGuff (Ellen Page) – a confidently frank teenage girl who calls the shots with a nonchalant cool and an effortless attitude as she journeys through an emotional nine-month adventure into adulthood. Quick witted and distinctively unique, Juno walks Dancing Elk High's halls to her own tune - preferably anything by The Stooges - but underneath her tough no nonsense exterior is just a teenage girl trying to figure it all out.

While most girls at Dancing Elk are updating their MySpace page or shopping at the mall, Juno is a whip-smart Minnesota teen living by her own rules. A typically boring afternoon becomes anything but when Juno decides to have sex with the charmingly unassuming Bleeker (Michael Cera). Faced with an unplanned pregnancy, she and best friend Leah (Olivia Thirlby) hatch a plan to find Juno’s unborn baby the perfect set of parents courtesy of the local Penny Saver. They set their sights on Mark and Vanessa Loring (Jason Bateman and Jennifer Garner), an affluent suburban couple who are longing to adopt their first child. Luckily, Juno has the support of her dad and stepmother (J.K. Simmons and Allison Janney). After the initial shock that their daughter has been sexually active with the unlikely "virile" Bleeker, the family bands together to help Juno. Dad Mac accompanies Juno to size up the prospective adoptive parents to make sure they are not a couple of "wing nuts" while stepmother Bren provides emotional support as Juno fights the prejudices of underage pregnancy. While fall becomes winter and winter turns to spring, Juno moves closer and closer to her due date. Juno’s physical changes mirror her personal growth while the veneer of Mark and Vanessa’s idyllic life starts to show signs of cracking. With a fearless intellect far removed from the usual teen angst, Juno conquers her problems head-on, displaying a youthful exuberance both smart and unexpected.

A Fox Searchlight Pictures presentation, JUNO is directed by Jason Reitman (THANK YOU FOR SMOKING) from a script by Diablo Cody (Candy Girl) and is a Mandate Pictures/ Mr. Mudd production. Producers are Mason Novick and Mr. Mudd partners Lianne Halfon, John Malkovich and Russell Smith. Mandate’s Joe Drake and Nathan Kahane executive produced with Daniel Dubiecki, Reitman’s partner at Hard C. Jim Miller, who brought the project into Mandate, serves as co-producer along with the company’s Kelli Konop and Brad Van Arragon.

DIRECTOR’S STATEMENT

When I was twelve, my parents decided to adopt a child. I grew up in a very Loring-like residence with incense sticks, plexiglass enclosed tchotchkes, and framed portraits of my family posing all dressed in white (yup, that was us). One morning, we assembled in the living room where my sister and I were informed that we would be visited by a social worker that would deem whether or not we were an appropriate home for an adopted child. It was an audition of how good a family we were.

Of course, now I look back and realize we were a shoe-in… a happy loving affluent family who were adopting for all the right reasons. But at the time, I remember the pressure. Spending hours in front of this social worker, acting like I was in the British novelization of my own life. Hello sister, would you like to share my orange juice?

The story of Juno comes from Diablo’s childhood when one of her closest friends in high school became pregnant and decided to take the baby to term. Often, she is asked what gave her the idea to make this into a movie. The first scene she ever thought of – the kernel of Juno – is that meeting at the Loring house, where Juno meets the potential parents of her child.

There is something incredibly complex about the character dynamics of that scene.

• -A middle class father who would normally only enter one of these homes to service the heater is now being treated like royalty.

• -A thirty-year-old man, terrified by entering the chapter of parenthood, is balancing between the placation of his wife and his fascination with this unique teenager.

• -A thirty-year-old woman, incapable of having a child of her own, has turned to the teenager she would normally ignore at the mall. She walks on eggshells, hoping to earn the trust of a girl that thinks of pregnancy as an inconvenience.

• -A tiny sixteen-year-old girl who would normally be egging the community gates is now auditioning the adults.

At the end of the day, Juno is not a movie about teenage pregnancy as much as it is about the delicate balance of these relationships. Somehow, Diablo’s script is able to approach each and all of the characters with sophisticated realism and respect.

There are so many things that make a film work. The mechanics of filmmaking are too complicated to single out any one thing. However, when I think of that scene and the approach to these characters, I can’t help feel that Diablo and I, in one way or another, have sat on either side of the living room in that scene. It is that combination of experiences. That collaboration of perspectives that made the film resonate not only with humor, but with warmth.

Jason Reitman

WRITER’S STATEMENT

My name is Diablo Cody-- well, not really. But who cares? Artifice is typically encouraged in Hollywood, even rewarded. This is a town where our "all-natural" golden girls are (literally) peroxided to the teeth and tanned into non-putrescible leather. A place where sworn enemies swallow their bile and swap "power hugs" on Highland. Even the sky looks like a matte painting on blue-hot afternoons, when the clouds are as firmly set as Jayne Mansfield's hair and the sun blazes immodestly. It's all pretty cool, but it sure as hell ain't real.

That's just one reason why I'm still slack-jawed with shock that JUNO-- a funky little movie that wears its heart on both sleeves-- ever came into being. I wrote the script back in Minnesota, a circumstance which should have logically counted as a strike against me. Sometimes I wrote at my kitchen table, sometimes I wrote at the local Target, sometimes I'd sneak a few blocks of dialogue during my precious 15-minute breaks at work. JUNO became my secret passion, and I anticipated our time together like a horny schoolgirl. I don't know if anyone believed that I could actually write a movie, and neither did I. Unlike the moist-browed screenwriters pimping their wares in cruel Burbank, I wrote in a comfortable vacuum.

Ironically, the person who brought this wholly Midwestern script to life was a quintessential Hollywood boy: Jason Reitman. I mean, he's the scion of a friggin' filmmaking dynasty! This is a guy who grew up knowing the Ghostbusters personally (and if you were a kid in the '80s, you know that's totally rad.) And yet, when we first met above a gun shop on Sunset, he radiated a warmth and authenticity that's in short supply out here. He just seemed way too cool-- too real-- to be an A-list director's son. Put it this way: I spent my college years watching MTV and leeching off my poor middle-class parents. Meanwhile, Reitman, the so-called "child of privilege," sold ad space in calendars at USC to fund his first short films. His work ethic belies his pedigree.

Reitman and I connected instantly, even though he jokes that he was scared of my tattoos. Frankly, I was scared of his talent. I'd mustered up some confidence in the script by then, but I couldn't have anticipated that someone like Jason-- an incredible writer in his own right-- would put his own stuff on hold to direct JUNO. But he did, and within months, we were rolling in Vancouver. It was fully ridiculous.

There are no words to describe what it's like to watch actors like Ellen Page and Allison Janney breathing life into the inert "blue baby" that is an unproduced screenplay. I'd hang by the monitors for hours, mentally freaking out. It's hard to say what was more joyful...actually writing JUNO, or surrendering the script to these talented people.

I've written other screenplays since JUNO and I hope, God willing, that I get to write more. But as Jason has frequently reminded me, you only get one first film. And like Juno MacGuff, who (improbably) finds true love at 16, I was fortunate enough to have been "deflowered" cinematically in the nicest possible way. The entire process-- from writing, to production, to release--was so warm, so exhilarating, and most of all, so real.

Diablo Cody

A Clayton Productions, LLC Production

Sydney Pollack, Jennifer Fox and Kerry Orent, Producers

This is Sydney Pollack’s sixth nomination and the third in this category. He won Best Picture and Directing Oscars® for Out of Africa (1985), and was nominated in the same categories for Tootsie (1982). His first nomination was for directing They Shoot Horses, Don’t They? (1969). This is the first nomination for both Jennifer Fox and Kerry Orent.

George Clooney stars in the title role of Michael Clayton, a "fixer" at Kenner, Bach & Ledeen, a top Manhattan law firm. A former criminal prosecutor from a working-class neighborhood, Clayton is an anomaly at the white-shoe firm; in spite of his 15-year tenure, he has not been promoted to partner and probably never will be. His boss, Marty Bach, sees Clayton as an invaluable asset to the firm, but only in his "niche," one that is relegated to cleaning up the firm’s sticky situations quickly and quietly.

"While Michael is great at solving other people’s problems, the film catches him at the apex of dissatisfaction with his career," says Clooney, who also serves as an executive producer on the film. "He started out with ambitions of becoming a trial lawyer, but along the way what he really becomes is a bag man."

"Michael Clayton is a 45-year-old attorney who feels that he hasn’t done everything that he could have done with his life; he’s starting to think he should have done something else, or could have done better," says writer-director Tony Gilroy. "He’s made some bad choices and a lot of compromises. He has come to the point in life where his next few decisions will determine everything about him.

"How we make those choices—how fear, comfort, inertia and self-preservation bend us to the wheel—that’s the fuel for the story," offers Gilroy.

In the midst of his discontentment, Michael Clayton is sent to defuse Arthur Edens, Kenner, Bach & Ledeen’s chief litigator. The defense architect for the U/North case, Arthur suddenly suffers a crisis of conscience after finding a "smoking gun" memo that exposes the client’s moral turpitude. The character is played by Oscar nominee Tom Wilkinson, who notes, "It is very much a ‘road to Damascus’ moment. Arthur’s an expert lawyer who has been at the top of his game for years, but comes to a realization that he’s been defending a cancer."

"Given the infinity of destructive moral choices that are made every day by people who know what they're doing is wrong, it's always amazed me that there aren't more whistleblowers. When you consider how much is wrong, how deep that wrong is, and how much of it’s done by people who go home and pay their taxes and love their children, isn’t it astonishing how few actually go off the deep end?" says Gilroy. "Tom’s character is one of those magnificently intelligent madmen who can convince any judge, jury or plaintiff to drop or settle a case. It’s why he’s so good at what he does and makes the kind of money he makes. But at the end of the day, what’s the real cost?"

GENESIS OF THE SCRIPT

The original inspiration for "Michael Clayton" came to Gilroy during visits to New York law firms when he was doing research to write the screenplay of "The Devil’s Advocate." Gilroy recalls, "Wandering through these giant New York law offices, I was struck by how much goes on behind the scenes. Every firm had vast, back-of-the-house departments running twenty-four hours a day to keep them afloat."

In developing the script, Gilroy spent time talking to a gamut of law office personnel, including attorneys, paralegals and partners. Gilroy notes, "I heard a story about a firm involved in a huge corporate litigation that had gone on for almost a decade. The case had been essentially settled, and the firm had prevailed. The settlement was over a billion dollars. Things were so far down the line that the firm had begun clearing out the document rooms that had housed all the filings and paperwork. Two days before the final signing, at four o’clock in the morning, a third-year associate found a document that had never been placed in discovery. It was a very bad document, which would’ve meant a complete reversal of the case. The document never saw the light of day, and that associate had the fastest partner promotion in the history of the firm."

"I wanted to know what kind of person is up at four o’clock in the morning protecting the firm," continues Gilroy. "Who fills those gaps and makes those calls? What else do they have to do?

How far could that go? What would it do to you to have that job? The answer to those questions turned into ‘Michael Clayton.’"

"Tony’s script was interesting to me right off the bat," says producer Sydney Pollack, who was one of the early producers attracted to the project and also stars in the film as Marty Bach. "It is relevant and gets to the heart of the matter without lecturing, and it tells a story which has genuine suspense independent of moral issues."

Gilroy emphasizes, "‘Michael Clayton’ isn’t an issue film. There’s no ideological debate.

There’s no dark overlord arguing for some greater good. You’ve got a choir of fear and selfpreservation on one side and the lone voice of a manic, un-medicated virtuoso on the other.

Michael Clayton represents the rest of us in the middle. What will he do?"

Producer Steven Samuels remarks, "I enjoyed Tony’s realistic approach to telling the story. It’s a reflection of our world today. The main characters in ‘Michael Clayton’ have chosen career paths that come with certain rewards and compromises. It takes tremendous courage for someone to risk losing everything in order to do the right thing."

A Scott Rudin/Mike Zoss Production

Scott Rudin, Ethan Coen and Joel Coen, Producers

This is the second nomination in this category for Scott Rudin. He was also nominated for The Hours (2002).

This is the sixth nomination for both Ethan Coen and Joel Coen. It is the first nomination in this category for Joel Coen and the second for Ethan Coen, who was nominated for Fargo (1996). Joel Coen received a directing nomination for Fargo. The Coens won Oscars for writing Fargo, and were nominated for their screenplay for O Brother, Where Art Thou? (2000). They are also nominated this year for directing and writing No Country for Old Men. Ethan Coen and Joel Coen have also been nominated twice for Film Editing under the pseudonym Roderick Jaynes, for Fargo and again this year.

NO COUNTRY FOR OLD MEN is a mesmerizing new thriller from Academy Award®- winning filmmakers Joel and Ethan Coen, based on the acclaimed novel by Pulitzer Prizewinning American master, Cormac McCarthy. The time is our own, when rustlers have given way to drug-runners and small towns have become free-fire zones. Featuring a cast that includes Academy Award®-winner Tommy Lee Jones ("The Fugitive," "Men in Black"), Josh Brolin ("Grindhouse"), Academy Award®-nominee Javier Bardem ("The Sea Inside"), Academy Award®-nominee Woody Harrelson ("The People Vs. Larry Flynt") and Kelly Macdonald ("Trainspotting"), NO COUNTRY FOR OLD MEN is written for the screen and directed by Joel and Ethan Coen, produced by Scott Rudin, Ethan Coen and Joel Coen, and executive produced by Robert Graf and Mark Roybal.

The story begins when Llewelyn Moss (BROLIN) finds a pickup truck surrounded by a sentry of dead men. A load of heroin and two million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law – in the person of aging, disillusioned Sheriff Bell (JONES) – can contain. As Moss tries to evade his pursuers – in particular a mysterious mastermind who flips coins for human lives (BARDEM) – the film simultaneously strips down the American crime drama and broadens its concerns to encompass themes as ancient as the Bible, and as bloodily contemporary as this morning’s headlines.

ABOUT THE PRODUCTION

At once a modern legend and a literary maverick, Cormac McCarthy was already renowned for his extraordinary stories set against the changing American West when he published No Country For Old Men in 2005. The book, featuring one of his most visceral, multilayered and contemporary stories, was an instant success. A sinewy, suspenseful, humor-spiked thriller, McCarthy’s page-turning tale of an honest man who happens upon $2.4 million in cash on the Texas borderlands is a story of headlong pursuit. It’s also a provocative meditation on good and evil in a modern West that has grown into a land more violent and lawless than the mythic frontier of yore.

At the heart of the story lie some of McCarthy’s most evocative themes, which he has explored in ten novels that have become classics: the fast-approaching end of an entire way of Western life; the last stand of honor and justice against a broken world; the ongoing human struggle against the sinister; the dark comedy and violence of modern times; the interplay of temptation, survival and sacrifice; and, added into the mix, a touch of sustaining love and a sliver of hope in the darkness.

McCarthy’s complex characters and symbolic themes were writ so large in No Country For Old Men it was clear that it would take filmmakers with their own equally distinctive skills for rich, wry and resonant storytelling to transform the power of what was on the page into striking images and crisp dialogue. It’s hard to imagine a better match for the dusky wit and stark humanity of McCarthy’s characters than Joel and Ethan Coen – who burst onto the American cinema scene with the influential comic noir classic BLOOD SIMPLE and have gone on to forge some of the most inventive motion picture tales of our times including RAISING ARIZONA, MILLER’S CROSSING, BARTON FINK, the Oscar®-winning FARGO, THE MAN WHO WASN’T THERE and O BROTHER WHERE ART THOU? With this film, the Coens marry McCarthy’s voice – complex, nuanced, layered and often humorous – with their own unique vision; the result is incredibly compelling and action-packed cinema.

The Coens first became aware of McCarthy’s novel through producer Scott Rudin. "He brought it to us thinking we might have an affinity for it," remembers Ethan, "and we did like the book. We also thought we could do something with it."

"It’s as close as we’ll ever come to doing an action movie," adds Joel. "It’s a chase story – with Chigurh chasing Moss and the Sheriff bringing up the tail. It’s a lot of physical activity to achieve a purpose. It’s interesting in a genre way; but it was also interesting to us because it subverts the genre expectations."

The Coens now set about adapting the story into a taut cinematic structure, emphasizing the darkly humorous and humanly revealing interplay between Llewelyn Moss, who discovers millions of dollars in the wreckage of a drug deal gone wrong, and the two antithetical men who are tracking him: the chilling psychopath Chigurh, on the one extreme, and the town’s profoundly decent Sheriff Bell, on the other. The result was a film that would take the Coens forward into new territory. "There is a good deal of humor in the book, although you wouldn’t call it a humorous novel, exactly," says Joel. "It’s certainly very dark – and that was our defining characteristic. The book is also quite violent, quite bloody. So the movie is probably the most violent we’ve ever made. In that respect it reflects the novel, I hope, fairly accurately."

The screenplay’s fresh view of McCarthy’s distinctly American themes, its rapid-fire pace and its inky black comic tone rapidly drew a cast of some of the finest actors working in films today. Tommy Lee Jones, who was ultimately cast in the role of Sheriff Bell, initially read McCarthy’s book shortly after it was published and was intrigued even then – and only more so when he learned the Coen Brothers would adapt the story. "Cormac McCarthy is arguably the best living prose stylist that we have in America," comments Jones. "His work raises intriguing questions for people who make films."

Josh Brolin is another big McCarthy fan who read the novel long before the screenplay.

"This book is one of the most amazing, violent and perfectly vernaculared stories that I've read in a long time," Brolin says. "Even though it's a linear story, just the structure of it was incredible. I just love the trio of Moss, Chigurh and Bell, and how it seemed like it was one person split three. As for the screenplay, Brolin says: "It’s an emotional, primal ride that is also about human principles of right and wrong, temptation and honor."

Brolin’s third of the trio is Llewelyn Moss, the army vet who quickly gets himself in a jam when he decides to take a potentially life-changing stash of drug money, but more for love than greed, according to Brolin. "I think from Moss’ point of view," he explains, "the whole thing stems from his relationship with his wife, Carla Jean. He has such an incredible love for her. He wants to be able to create a better life for them and to make her happy – that’s his drivin goal."

Acclaimed Spanish actor Javier Bardem, who landed the plum role of Chigurh, the killer who embodies the sinister heart of the borderlands drug world, was not familiar with the book until he had read the script, which instantly grabbed him. "I thought it was a very powerful story about violence and about how to control and stop the huge wave of violence that the world is living through right now," he says of the adaptation.

Kelly Macdonald, who plays Moss’s young wife Carla Jean, had a similarly strong reaction to the screenplay – not only to its human drama but its humor. "I saw just how funny it was," she says. "The characters came so alive off the page and they’re all quite dry-witted and that’s the thing that really stuck with me."

THE CHASE: CAST AND CHARACTERS

At the heart of NO COUNTRY FOR OLD MEN are its characters – men and women who inhabit a rapidly changing West – a place where lawlessness has led to a brave new world of international drug running and where the old rules no longer seem to apply. Against this backdrop, Sheriff Bell becomes a main lynchpin of the story – a stoic, philosophical law man with a dry-as-bone sense of humor and a rock-solid moral foundation who is bedeviled by the advent of the drug trade’s new breed of criminal and the violence it has brought to the land that he loves. Astonished by his new reality, Sheriff Bell represents an acute, heartbroken yearning for the more honorable way things used to be. "The movie is, no surprise given the title of the book, in part about Sheriff Bell’s perspective on time going by, on aging and on things changing," says Joel Coen.

"I assume that’s part of why the book is set in 1980, and not strictly speaking present day," adds Ethan. "It takes place just when the cross-border drug trade was getting very brutal, and that provides an opportunity for reflection by the Sheriff."

In considering who might play this riveting, yet reflective, character, the Coens found that Tommy Lee Jones quickly came to mind. "There are just very, very few people who can carry a role like this one," muses Joel. "Sheriff Bell is the soul of the movie and also, in a fundamental way, the region is so much a part of Sheriff Bell, so we needed someone who understood it." He continues: "It’s a role that also requires a kind of subtlety that only a really, really great actor can bring to it. Again, the list of these is pretty short, so when you put those two criteria together, you come up with Tommy Lee Jones. Being a Texan, the region is a part of his core." For Jones, the role proved irresistible, despite one initial hesitation. "I suppose I have played several Texas law enforcement officers," reflects Jones, modestly, "so I thought about that several times before accepting the job. But the attraction of working with Cormac McCarthy’s material was overwhelming."

Indeed, Sheriff Bell would be a complete departure from other lawmen Jones has played. Jones was especially moved by the character’s attempt to come to grips with the absurd reality that the world around him keeps getting worse despite everything he’s tried to do to make it better. He says: "In the course of the story, Sheriff Bell finds himself outmatched by this new monstrous form of criminality that he has to deal with. But he starts to learn that to react with disillusionment and disappointment is essentially all in vain."

The Coens found casting the Llewelyn Moss character somewhat more challenging than casting Sheriff Bell. Moss, a Vietnam veteran, is a decent-hearted Texas good ol’ boy who would likely never have crossed the law – until he comes across a great deal of drug money that appears to belong to a group of dead men.

"Moss is sort of a regular person who's caught up in extraordinary circumstances and has one unreflective moment where he decides to appropriate a bunch of money that isn't his," explains Ethan Coen. "He then spends the rest of the movie trying to avoid the consequences. So he's very much the action center of the movie."

Adds Joel, "In this story, you have a good guy and a bad guy, and Moss is the in-between guy." But that in-between quality proved harder to nail than anyone expected. "We thought it'd be really easy to find Moss," laughs Ethan, "because, in our minds, we thought, well, we just need a good clean kid. And it turns out it's not easy to embody that without either being dull, or being, again, not of the region."

At last, the Coens found an actor who was able to bring a dynamic presence, rife with a distinctly Western touch, to the role: Josh Brolin, who has emerged as a breakthrough screen actor. "Josh grew up on a ranch so he had a feeling for where Moss comes from," explains Ethan. "He was just a natural in the role." Brolin, who was raised in rural Central California, felt an immediate affinity with the character. He says: "Moss is really a compilation of a lot of guys that I grew up with. These are guys who have principles, yet I think they would probably do the same thing as Moss under the circumstances."

Providing the third side of the film’s taut moral triangle is Anton Chigurh, the chilling, offbeat villain who leaves no witnesses behind. The uniquely dark character would call for an actor capable of going to extremes of intensity.

"Chigurh’s actually described in the book as someone without a sense of humor," says Joel.

"But beyond that, his background’s quite sketchy. He’s relentless but there’s alsosomething mysterious about him. You don’t quite know where he’s come from."

He continues: "We needed an actor who would be able to flesh out Chigurh in a substantial way, but also without giving away too much, and keeping that sense of mystery – hence, Javier Bardem."

Bardem has quickly risen as one of international cinema’s greatest talents, garnering an Academy Award® nomination for his role as Cuban poet Reinaldo Arenas in BEFORE NIGHT FALLS, and winning the Best Actor Award at the Venice Film Festival as the remarkable bedridden hero of THE SEA INSIDE. With Chigurh, Bardem faced one of his most exciting challenges yet – embodying a mythic villain whose soul appears to let in no light. Says Bardem:

"One of the themes of the movie is this huge wave of violence that the world has been taken by, and Chigurh symbolizes that violence in that he has no roots, he always takes things one step further and he’s unstoppable." In developing the character, Bardem collaborated closely with the Coens. "Talking with Joel and Ethan changed my whole perspective, and the character morphed into something more interesting, more complex, and also funnier," he says.

Alongside this trio of men are two equally compelling women. In the role of Moss’s wife Carla Jean is Scottish actress Kelly Macdonald, who garnered an Emmy Award and a Golden Globe nomination for her powerful performance in HBO’s THE GIRL IN THE CAFÉ and surprised the filmmakers with her audition. "Just as we were saying you can't really act the region, we cast Kelly Macdonald, who happens to be a Scottish actress from Glasgow," laughs Joel. "I just didn't believe she could play a gal from West Texas – but she convinced us otherwise in the audition."

Macdonald was especially impressed with how Carla Jean had been written on the page as a strong-minded young woman who seems to be on equal footing with her husband. "It's a really sweet relationship," observes Macdonald. "You get the sense that they're very well matched, and she can give as much as he can take. That's the thing that really came across when I read it.

There's kind of a nice banter between them, but there's also this real genuine kind of love."

Tommy Lee Jones was also pleased with the casting. "Kelly has the West Texan accent down perfectly," comments Jones, which is high praise coming from a real West Texan. "Between takes she was this sweet little girl from Scotland but when the camera turned on she became this pretty, tough West Texas gal. I was very impressed."

The other central relationship in the story is that of Sheriff Bell and his wife Loretta, a character who is instrumental in helping to define Bell. Playing Loretta is Academy Award® and Golden Globe nominee Tess Harper, who herself hails from Arkansas. The Coens had been fans of her work since TENDER MERCIES, and note her ability to "convey a lot in a very short space of time."

Says Harper of her character: "Loretta is the rock that holds the Sheriff to where he needs to be. She’s his one port in the storm."

UNDER THE BIG SKY: THE SETTING

NO COUNTRY FOR OLD MEN unfolds against one of America’s most visceral and mythologized landscapes: the hardscrabble, desolate Texas-Mexico borderlands, where the two countries are divided only by the banks of the Rio Grande. To authentically capture this sunravaged, blood-soaked locale that straddles two countries, the production journeyed to the dry plains of West Texas and the deserts of New Mexico, where the Coens collaborated once again with five-time Academy Award® nominee Roger Deakins as cinematographer. "The setting is actually part of the reason that we wanted to do this film," Ethan Coen notes. "We'd done our first movie (BLOOD SIMPLE) in Texas, although that was in Austin, but we'd also traveled through West Texas, and were attracted to it even before we read the book." He continues: "The setting is so integral to the book, to the story – it’s about where it takes place as much as anything else. It is a very beautiful landscape, but in a bleak rather than picturesque way. It's not an easy place to live in, and that's important to what the story is about – the human confrontation with this harsh environment." Joel concurs, "It’s a place with a history of violence and of being inhospitable in a way. As with all of Cormac McCarthy’s novels, the location is a character itself – and it can't be separated from the story." Deakins contributed stunningly austere visuals that allowed the locations to come to electrifying life. He recalls that in earlier conversations with the Coens, "we talked about the heat and the light and the mix of colors for the motel and the streets at night." Deakins also had his own influences in mind. "For me, NO COUNTRY FOR OLD MEN was like a Sam Peckinpah movie," he explains. "It has the feel of a period piece – but then the contemporary world intrudes. I especially thought of Peckinpah’s BRING ME THE HEAD OF ALFREDO GARCIA, where the characters still live by the rules of the past and are out of touch with the modern world."

To heighten this tension, Deakins used light as a storytelling device throughout NO COUNTRY FOR OLD MEN. "I loved contrasting the brightness of exteriors with the darkness of interiors and the bleached feel of the landscape with the garish colors of the nighttime world," he says.

"One of the biggest challenges was making a smooth transition from dawn to nighttime at the ‘drug deal’ location and into the river. We dealt with it as best we could by shooting in the dawn light, shooting at dusk and recreating a ‘fake dawn’ with lighting rigs." At the same time, Deakins believes that the landscapes are merely echoes of what really counts in the frame – characters. He says, "Every film that I’ve worked on has been primarily about character. To me, the locations are only a backdrop and I always feel that I am primarily photographing characters. If a shot is pretty, but doesn’t set a mood or help develop the story, then it is pointless. I love photographing faces and we had some of the best actors working today." Deakins’ work with the Coens has won widespread acclaim and awards, including Academy Award® nominations for FARGO, BARTON FINK and THE MAN WHO WASN’T THERE.

He notes that their simpatico creative relationship lies at the core of their successful collaborations. "We know each other well and have a similar approach to visuals," the cinematographer summarizes. "I really just hope the photography works for the story and appears seamless."

That sense of seamlessness in storytelling was also aimed for in the editing room, where the Coens’ long-lived collaborator and seeming third-wheel, the enigmatic and elderly British editor Roderick Jaynes, who has been with them since BLOOD SIMPLE, once again cut their picture.

The shoot itself began in Marfa, Texas, a notoriously rugged area about three and a half hours from El Paso. Best known as the spot where the 1950s epic GIANT was filmed, Marfa – population 2030 – boasts as its main attraction the Hotel Paisano where James Dean, Elizabeth Taylor, Rock Hudson, and Dennis Hopper set up headquarters during filming. Here, rising young production designer Jess Gonchor whose work to date has included the high-fashion comedy THE DEVIL WEARS PRADA and the more intimate period drama CAPOTE, began collaborating with the Coens, searching for just the right locations for the film’s most dramatic scenes. For Gonchor, the key was understatement. Says Gonchor: "The Coens did such a tremendous job with the script, that I didn’t want to upstage anything – I just wanted to add to the storytelling with the scenery that I designed." One of Gonchor’s biggest challenges was creating Ellis’s cabin – where Sheriff Bell comes to his Uncle, a former Deputy Sheriff himself, for advice when he’s at the brink of despair. Recalls Gonchor, "We prefabricated the structure in Santa Fe where Joel and Ethan could see the progress, painted it, aged it, dressed it and then trucked the entire cabin out to Texas." Despite the long distances between locations, the unpredictable weather, poisonous desert creatures and scorching temperatures, the authentic locations proved invaluable – offering up the haunting, lonely atmosphere that makes the borderlands of Texas at once so fierce and so poetic.

Following their work in Texas, the company moved on to New Mexico, where they also shot in Las Vegas, New Mexico, a historic town seventy miles from Santa Fe, where the timeless, Western-style streets and iconic downtown plaza were able to double for several small Texas towns. It was also the site of another of Gonchor’s pre-fab marvels, the U.S.-Mexico border crossing which leads from Eagle Pass, Texas to a small Mexican town.

The simulated border crossing was erected on the University Boulevard freeway overpass in Las Vegas, and necessitated closing down the bridge and freeway exit for a week while the 50,000- pound steel structure was hauled in and put into place. Las Vegas residents took it in stride but tourists and out-of-towners driving through were mystified as to why the U.S.-Mexico border checkpoint had moved this far north or if New Mexico was really part of Mexico after all!

The landscape of NO COUNTRY FOR OLD MEN also extends to the characters’ heads, particularly that of Javier Bardem, who sports an evocative haircut in the role of Chigurh, designed by Academy Award® winning Lead Hair Stylist, Paul Leblanc (AMADEUS). Explains Leblanc: "I worked very closely with Mary Zophres, the costume designer, and ‘the boys’ as I call them, in designing this look for Javier’s character. We wanted him to look strange and scary but not over-the-top. So I designed this original haircut to give the sense that he’s really mysterious – one that leads you to ask ‘where is this guy from?’ – but without necessarily giving away the fact he’s a killer. It’s kind of a bi-historical hairstyle, if you will. It could be 17th Century, it could be 1970s." Leblanc, who also worked on O BROTHER WHERE ART THOU and THE LADYKILLERS, happily came out of semi-retirement to re-team with the Coens.

"They are my favorite filmmakers to work with," he says. "They’re so collaborative and I think they really like hair, because they focus on it a lot. Ultimately, like everything else, the hair is used to create character."

A JoAnne Sellar/Ghoulardi Film Company Production

JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

This is the first nomination for both JoAnne Sellar and Daniel Lupi. This is the fifth nomination for Paul Thomas Anderson and the first in this category. He is also nominated this year in the Directing and Adapted Screenplay categories. He was nominated for his original screenplays for Boogie Nights (1997) and Magnolia (1999).

A sprawling epic about family, faith, power and oil, THERE WILL BE BLOOD is set on the radical frontier of California’s turn-of-the-century petroleum boom. The story chronicles the rise of one Daniel Plainview (Daniel Day-Lewis), who transforms himself from a down-and-out silver miner raising a son on his own into a self-made oil tycoon.

When Plainview gets a mysterious tip that there’s a little town out West where an ocean of oil is oozing out of the ground, he heads with his son, H.W. (Dillon Freasier), to take their chances in dust-worn Little Boston. In this hardscrabble town, where the main excitement centers around the holy roller church of charismatic preacher Eli Sunday (Paul Dano), Plainview and H.W. make their lucky strike. But even as the well raises all of their fortunes, nothing will remain the same as conflicts escalate and every human value – love, hope, community, belief, ambition and even the bond between father and son – is imperiled by corruption, deception and the flow of oil.

THERE WILL BE BLOOD is the fifth film from writer-director Paul Thomas Anderson (PUNCH-DRUNK LOVE, MAGNOLIA, BOOGIE NIGHTS, HARD EIGHT). Anderson’s screenplay is loosely based upon the classic, 1920s muck-raking novel Oil! tycoon, in the mold of such historical oil pioneers as Edward Doheny and John Rockefeller, Plainview will bring progress and riches to a land that has never known them, at a cost that will blacken his very soul.

As portrayed by Academy Award®-winning actor Daniel Day-Lewis, Daniel Plainview is a man whose charm, aspirations and uncompromising obsession with remaining self-made will stir up a maelstrom in the Central California town of Little Boston. As oil gushes up from the ground, Plainview will bring changes of operatic sweep to this insular world – pitting belief, hope, love and hard work against cynicism, greed, seduction and monstrous corruption. Shot in Marfa, Texas where the legendary oil-themed GIANT was filmed decades ago, Anderson and a devoted cast and crew have crafted a symphonic tapestry of images that appear to come to vivid, visceral life right out of a sepia-toned photograph -- yet are completely original and intimately specific to Daniel Plainview’s meteoric rise and bloodcurdling descent.

THE STORY

Paul Thomas Anderson, a two-time Academy Award® nominee, has previously directed four films set in the West, though each has been its own entirely distinctive exploration of the territory. His first film, HARD EIGHT, was a crime thriller set amidst the casinos of Las Vegas. This was followed by BOOGIE NIGHTS, a kaleidoscopic look at the adult film industry; MAGNOLIA an interwoven tale of one devastating and magical night in the San Fernando Valley; and PUNCH-DRUNK LOVE, that rare fresh take on the romantic comedy. THERE WILL BE BLOOD marks Anderson’s first journey into the foundational days of California’s lavish wealth and power, before movies, before high-tech, when oil was the driving force of the land and brought hungry, ambitious men Westward in search of fortune and a new future.

THERE WILL BE BLOOD began with Upton Sinclair’s 1927 novel Oil!

Paul Thomas Anderson was primarily inspired by the 500-page novel’s first 150 pages, wherein Sinclair delves in exquisite detail into the gritty, precarious lives of oil prospectors and oil workers.

He was also drawn to Sinclair’s pitting of unbridled greed against unchecked spiritual idealism, each with their own insidious consequences. From that foundation of inspiration, he found his own characters of Daniel Plainview and Eli Sunday wending in their own directions, towards their own intertwined fates.

Anderson began to do further research – prowling through the oil museums that dot California – letting the era’s plentiful, richly atmospheric photographs further fire up his imagination. “You get giddy looking at all those amazing photos,” Anderson notes, “getting a real sense of how people lived their lives. There’s so much history in the oil areas around Bakersfield -- they’re filled with the grandsons of oil workers and lots of folklore. So we did an incredible amount of research and I got to be a student again and that was a thrill.”

80th Academy Awards Oscar Nominations 2008

Best Animated Feature

Best Actress

This is her fifth nomination and the second in this category. She was also nominated for her leading role in Elizabeth (1998). Her supporting role nominations were for The Aviator (2004), for which she won the Oscar, and Notes on a Scandal (2006). She is also nominated this year in the supporting category for I’m Not There.

This is her fourth nomination in this category. Her other nominations were for Darling (1965), for which she won an Oscar, McCabe & Mrs. Miller (1971) and Afterglow (1997).

This is her first nomination.

This is her third nomination and the second in this category. She was nominated for her leading role in You Can Count on Me (2000) and her supporting role in Kinsey (2004).

This is her first nomination.

80th Academy Award Presentation - 2008 Oscar Winners (Click Here to Continue)

"No Country" wins Best Picture, Best Director. Daniel Day-Lewis wins best actor for his role in "There Will Be Blood". Javier Bardem, Tilda Swinton Win Supporting Role Academy Awards, "Ratatouille" awarded Oscar for Best Animation Feature

80th Academy Awards Oscar Nominations 2008 - Best Picture Nominees:

Atonement

Juno

Michael Clayton

No Country For Old Men

There Will Be Blood

Best Actress

This is her fifth nomination and the second in this category. She was also nominated for her leading role in Elizabeth (1998). Her supporting role nominations were for The Aviator (2004), for which she won the Oscar, and Notes on a Scandal (2006). She is also nominated this year in the supporting category for I’m Not There.

This is her fourth nomination in this category. Her other nominations were for Darling (1965), for which she won an Oscar, McCabe & Mrs. Miller (1971) and Afterglow (1997).

This is her first nomination.

This is her third nomination and the second in this category. She was nominated for her leading role in You Can Count on Me (2000) and her supporting role in Kinsey (2004).

This is her first nomination.