Guilds to the gills: Who's in top shape for Oscar best picture?
With the DGA weighing in today, I decided to take a look at which films had the strongest guild support heading into Thursday's Oscar nominations.
And then I realized it was no defense against the Academy surprise.
I devised a decidedly unscientific system in which each film would get two points for a Producers Guild, Directors Guild or Screen Actors Guild ensemble nomination. (No slight intended to the scribes, but I decided that with the dual adapted/original categories, I'd leave them and the individual SAG nominees with a single point.)
Tallying it all up, it would appear that "Lincoln," "Silver Linings Playbook," "Argo," "Les Miserables," "Zero Dark Thirty" and "Life of Pi" are in great shape -- not surprsingly -- with "The Best Exotic Marigold Hotel," "Moonrise Kingdom" and "Skyfall" positioned nicely if there are nine nominations.
Fighting for a potential 10th best picture nomination would be "Beasts of the Southern Wild," "Django Unchained," "Flight," "The Master" and "The Sessions." Perhaps the edge should go to "Django," which seemed to be left out of the SAG nominations because of its screening pattern.
| Rank | Film | PGA | DGA | WGA | SAG ensemble | SAG individual | Noms | Points | |
|---|---|---|---|---|---|---|---|---|---|
| 1. | Lincoln | x | x | adapted | x | Day-Lewis/Jones/Field | 7 | 10 | |
| 2t. | Argo | x | x | adapted | x | Arkin | 5 | 8 | |
| 2t. | Les | Miserables | x | x | x | Jackman/Hathaway | 5 | 8 | |
| 2t. | Silver Linings Playbook | x | adapted | x | Cooper/Lawrence/De Niro | 6 | 8 | ||
| 5. | Zero Dark Thirty | x | x | original | Chastain | 4 | 6 | ||
| 6 | Life of Pi | x | x | adapted | 3 | 5 | |||
| 7t. | The | Best Exotic Marigold Hotel | x | Smith | 2 | 3 | |||
| 7t. | Moonrise Kingdom | x | original | 2 | 3 | ||||
| 7t. | Skyfall | x | Bardem | 2 | 3 | ||||
| 10t. | Beasts of the Southern Wild | x | 1 | 2 | |||||
| 10t. | Django Unchained | x | 1 | 2 | |||||
| 10t. | Flight | original | Washington | 2 | 2 | ||||
| 10t. | The | Master | original | Hoffman | 2 | 2 | |||
| 10t. | The | Sessions | Hawkes/Hunt | 2 | 2 | ||||
| 15t. | Hitchcock | Mirren | 1 | 1 | |||||
| 15t. | The | Impossible | Watts | 1 | 1 | ||||
| 15t. | Looper | original | 1 | 1 | |||||
| 15t. | The | Paperboy | Kidman | 1 | 1 | ||||
| 15t. | The | Perks of Being a Wallflower | adapted | 1 | 1 | ||||
| 15t. | Rust and Bone | Cotillard | 1 | 1 |
Seems logical enough, right? But stay prepared for surprises. If we ran the same system last year, this is what would have happened:
| Rank | Film | PGA | DGA | WGA | SAG ensemble | SAG individual | Noms | Points | Best Pic | |
|---|---|---|---|---|---|---|---|---|---|---|
| 1t. | The | Artist | x | x | x | Dujardin/Bejo | 5 | 8 | BP | |
| 1t. | The | Descendants | x | x | adapted | x | Clooney | 5 | 8 | BP |
| 1t. | The | Help | x | adapted | x | Davis/Spencer/Chastain | 6 | 8 | BP | |
| 4 | Midnight in Paris | x | x | original | x | 4 | 7 | BP | ||
| 5 | Bridesmaids | x | original | x | McCarthy | 4 | 6 | |||
| 6t. | The | Girl with the Dragon Tattoo | x | x | adapted | 3 | 5 | |||
| 6t. | Hugo | x | x | adapted | 3 | 5 | BP | |||
| 6t. | Moneyball | x | adapted | Pitt/Hill | 4 | 5 | BP | |||
| 9t. | Albert Nobbs | Close/McTeer | 2 | 2 | ||||||
| 9t. | The | Ides of March | x | 1 | 2 | |||||
| 9t. | J. Edgar | DiCaprio/Hammer | 2 | 2 | ||||||
| 9t. | My Week with Marilyn | Branagh/Williams | 2 | 2 | ||||||
| 9t. | War Horse | x | 1 | 2 | BP | |||||
| 14t. | 50/50 | original | 1 | 1 | ||||||
| 14t. | Beginners | Plummer | 1 | 1 | ||||||
| 14t. | A | Better Life | Bichir | 1 | 1 | |||||
| 14t. | The | Iron Lady | Streep | 1 | 1 | |||||
| 14t. | Warrior | Nolte | 1 | 1 | ||||||
| 14t. | We Need To Talk About Kevin | Swinton | 1 | 1 | ||||||
| 14t. | Win Win | original | 1 | 1 | ||||||
| 14t. | Young Adult | original | 1 | 1 | ||||||
| Extremely Loud and Incredibly Close | 0 | 0 | BP | |||||||
| The | Tree of Life | 0 | 0 | BP |
The Academy of Motion Picture Arts & Sciences, ultimately, is its own beast.


A native of Los Angeles raised by two parents and "Hill Street Blues," Jon Weisman ankled his scriptwriting career and began working for Variety in 2004, subsequently serving as associate editor of features and television reporter before becoming awards editor. He promises not to use this platform to retroactively campaign for Oscars for “The Misfits,” though he’d feel justified in doing so.
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