Alternate Best Actor 1953: Jack Hawkins in The Cruel Sea

Jack Hawkins did not receive an Oscar nomination, despite receiving a BAFTA nomination, for portraying LT. Commander George Ericson in The Cruel Sea. 

The Cruel Sea takes a realistic approach of a single crew going through World War II. 

If that role sounds primed for Jack Hawkins, the man required to be in every epic during a certain period, you would be correct. This very much is mostly in his more expected wheelhouse just in the lead role, although just barely as the film very much focuses on several members of the crew to get a wider scope of how this life impacts the men. Hawkins provides his presence to the role of a British officer with the innate strength you’d want, and fitting to the most seasoned man called to deck. Hawkins often must fulfill those needs with delivery of his orders with that regal voice of his and with a quiet confidence about a man who knows what he’s doing. That is the set-up however that isn’t all there is to the film or his portrayal of Ericson, though Hawkins certainly does well in filling that Naval uniform so to speak. The film though is trying to be realistic so this isn’t at all about the glory of the navy, and I would say Hawkins is good because even when he’s in his most official capacity he’s not emphasizing any “rah rah” quality, just a man being professional. 

The film gets much darker when the men come across British men in the water but also know there is a German U-boat below the surface. Hawkins is good in this scene where his eyes do capture essentially the cruel but needed calculation of the man as he understands the gravity of his choice yet then proceeds to calmly order that the boat proceed to attack. When he’s called a murderer, even though Ericson had no choice lest their ship also be destroyed, Hawkins’s reaction takes that as truth even as he continues but still maintaining a veneer of indifference to maintain himself as the proper commander. We have a followup scene where Ericson confides his first officer his true heartbeat over the scene, and I’d say Hawkins is good in the scene, but I can’t help but admit I think he’s better in a short, yet very similar scene, in the end of The Bridge on the River Kwai where he also must justify his sacrificial action. There I truly felt the emotion, here I think Hawkins presents it well, certainly delivers on the needs of the moment, but his performance didn’t impact me to the degree of his later work. 

We follow the ship as it has its own destruction where Hawkins again has a good scene where he is recovered with the few remaining crew delivering genuine fear in his expression and conveying the severity of the situation. We follow that even with a personal note of the unfaithfulness of his wife where Hawkins delivers an effective bit of quiet exasperation, where he does care but has been through too much to care all that deeply. Hawkins shows instead the focus of the man now on his job where we have his pivotal scene of becoming obsessed that there is a German U-Boat even though all signs suggest otherwise. Hawkins is good in this scene in managing to portray this dancing on the line in his intensity between determination and paranoia. Hawkins plays around on the note effectively in the build up before he is proven to be right and once again saves the day in less than typically heroic circumstances. Hawkins gives a good performance here, but I will say, along with some of his other leading turns I’ve seen. There is something missing. Don’t get me wrong, he’s good in those other turns, he’s good here, but the weird thing is he weirdly feels like he has a greater presence…when in supporting roles. And it might just be that strange intangible of what makes a star a star, as Hawkins is good, has a strong presence, yet as a leading man, he’s just not quite as gripping as when he comes in and out of a film. 

Alternate Best Actor 1953

And the Nominees Were Not:

Chishū Ryū in Tokyo Story

Charles Boyer in The Earrings of Madame de...

Jack Hawkins in The Cruel Sea

James Stewart in The Naked Spur

Kazuo Hasegawa in Gate of Hell

Alternate Best Supporting Actor 2004: Results

10. Daniel Wu in New Police Story - Wu makes for a pretty whiny and obnoxious villain. Not in a way that works either. 

Best Scene: Last "duel".

9. Cameron Bright in Birth - Bright delivers on the specific hollow note asked of him but never makes an impact beyond that. 

Best Scene: Being challenged.

8. Tim Meadows in Mean Girls - Meadows finds the right tone for the material hitting his comedic marks while still being believable. 

Best Scene: Riot control.

7. William Hurt in The Village - Hurt manages to deliver what dramatic heft he can from the tricky material even if it only allows him to go so far with it. 

Best Scene: Explaining his decision. 

6. Bud Cort in The Life Aquatic With Steve Zissou - Cort gets the most out of his unusual role being both funny but also finding his own little arc as the surprisingly supportive "bond company stooge". 

Best Scene: Human being. 

5. Billy Bob Thornton in The Alamo - Thornton is the most interesting part of his film finding honesty in his deconstruction of man who knows he doesn't live up to his "living legend" status. 

Best Scene: Talking to Bowie. 

4. Nick Nolte in Clean - Nolte gives a very quiet and moving portrayal of man managing his own grief while also trying to honestly negotiate between family members dealing with the same loss. 

 

Best Scene: Important talk with his grandson.

3. Alfred Molina in Spider-Man 2 - Molina manages to thrive within the idea of the comic book villain while still providing essential grounding to provide balance. 

Best Scene: Finale. 

2. Peter O'Toole in Troy - O'Toole provides honest gravitas to tricky material and even more importantly emotional truth. 

Best Scene: Priam speaks to Achilles. 

1. Al Pacino in The Merchant of Venice - Good predictions Omar, Tony, Bryan, Shaggy, Tybalt, Tahmeed, Ytrewq, Luke, Robert, Harris, Maciej, Tim, RatedRStar, My top three of the year all are dealing with tricky material. O'Toole finding life in material that so many become stiff and awkward from. Hoffman finding genuine comedy even when so much of the attempted comedy around him is falling flat. Then Pacino who is in a slightly different situation in that he's dealing with Shakespeare however trying to accentuate a certain context many would argue was not intended in the original material. Pacino though excelling in this alternative approach and finding humanity within his "villain". Although I still settle on Hoffman. Because honestly being good in the bad comedy is a particularly rare occurrence and it's notable while I still found his film largely unfunny, I still laughed thanks to Hoffman. And really put say Dan Fogler, or even Jack Black into that role, I don't think they would've escaped the mediocrity let alone make the mediocrity into something that actually worked.  

Best Scene: "Do we not Bleed" 

Updated Overall

Next: 1953 Lead

Alternate Best Supporting Actor 2004: Peter O'Toole in Troy

Peter O’Toole did not receive an Oscar nomination for portraying King Priam in Troy. 

Troy tells the story of the Trojan war.

It is always fascinating with any sword and sandal film how easy it is to be a Quo Vadis instead of a Ben-Hur, a Samson and Delilah instead of a The Ten Commandments…a Troy instead of a Gladiator. Where the tone and aesthetic skewed just slightly one way or another makes it feel just silly dress up rather than any kind of captivating rendition of the type. As already noted Troy struggles within it falling into that dress up quality more frequently than not with the performances particularly frequently falling into that stilted attempt to sound almost too regal or legendary or whatever, it doesn’t work. The most notable exception to this situation is the legendary Peter O’Toole in the role of the Trojan King, the father of Paris (Orlando Bloom) and Hector (Eric Bana). Paris who creates the problem by taking Helen (Diane Kruger) from her actual husband, leading to the Greek army of Agamemnon (Brian Cox attempting more so the Ustinov/Laughton method for these things though I wouldn’t say he’s entirely successful as such) to invade Troy. Hector on the other hand is the great warrior and the responsible brother dealing with the weight of war. Priam stands then as the often stoic regal figure which O’Toole is more than happy to provide. O’Toole importantly just gives the utmost devotion to creating a genuine gravitas to the proceedings and doing his best to make you believe this world. O’Toole does achieve this as he finds the right combination between the regal but with enough of honestly a relaxed quality to not become that stiff quality a few of his co-stars struggle with. 

O’Toole is able to establish Priam as the old King with some wisdom but maybe too much of a connection to the old ways. O’Toole in a way presents a degree of a front as the wise King while we get more within certain moments where O’Toole thrives in bringing humanity within the legendary qualities so to speak. As we have O’Toole successfully delivering the words of Priam’s belief in the god Apollo where he can match the sort of elevated tone in every word of his delivery. O’Toole importantly makes it look easy which is in a way part of it, he doesn’t need to seem as though he’s dressing up as this man, he is this man. O’Toole takes it further however when we have the additional moments of the director’s cut where you see the love Priam has for his son Hector combined with his reason for that earlier devotion. When Priam tells of his prayer to Apollo that he believed saved the very young Hector’s life, O’Toole offers a quieter delivery where there is this strict sincerity of a father finding strength within that belief and most importantly the sense of the love for his son within the story. Contrasting that perhaps a bit, even though the film doesn’t do much with it, is O’Toole reactions during Paris’s one sided losing fight against Helen’s actual husband Menelaus (Brendan Gleeson), where we mostly see him trying to maintain that kingly grace yet when Paris shows obvious cowardice in the fight, O’Toole temporary disgust is just a great moment from the actor where you see most intense genuine emotion that Priam must keep down. An intriguing bit that sadly doesn’t get too much development beyond that moment. 

An even greater moment comes as a series of circumstances leads the greatest Greek warrior Achilles (Brad Pitt) to seek revenge for his cousin killed by Hector, as we see Achilles call out Hector for a one on one duel. Before Hector goes, knowing the likelihood of his fate, we get two moments from O’Toole where he manages to express the sides of the character in each. As first we have him wish for luck from Apollo essentially where O’Toole delivers it with the firm conviction of the caring king and devoted worshipper. Followed by a great bit of physical work where we see this quick, emotional and really instinctual extra moment where the man is shown behind the king. O’Toole in his hurried delivery bringing instead of the regal quality, the warmth and desperate love of a father one more time to a son he knows he’ll likely never speak to again. A notion that is only all the more powerful when Hector is not only killed by Achilles, but Achilles makes a mockery of his corpse by dragging Hector around on his chariot. This leads to not only O’Toole best scene but easily the best scene in the entirety of the film as Priam sneaks into the Greek encampment to ask Achilles for his son’s corpse to allow for a proper burial. 

O’Toole’s amazing in this scene bringing such a potent combination of qualities. As we sense the overriding grief beneath every word and his eyes carry the heartbreak of a man who would never fully recover from this loss. Yet Priam’s first action is to kiss Achilles’s hands, the hands that killed his son and supplicate himself. O’Toole finds such power in his quiet and nuanced delivery of each word of true wisdom and warmth as he appeals to Achilles’s humanity with such a pure sense of belief in the greater nature of man. When speaking of Achilles’s own father’s death it isn’t pester but rather connect with the sense of regret of an older man who has seen so much pain and death in the world. O’Toole manages to create even warmth to this killer of his son in the moment, finding still while projecting such striking grief and creating a true poignancy of the moment of the father believing in humanity in what should be in his moment of greatest doubt. O’Toole is able to combine such overwhelming vulnerability as so much of his physical work is of a man near a complete emotional breakdown in the way his lip quivers, however countered with the strength in his voice of a man who believes he will succeed in this task. It feels a wholly natural combination of a man empowered by his grief, which naturally is no easy idea to convey, yet that always feels convincing thanks to the greatness of O’Toole. I mean O’Toole is so great in the scene that Pitt, in maybe the least of his performances, even becomes decent in the scene almost seemingly in reaction to what O’Toole is delivering. It is extraordinary work in the scene from O’Toole particularly within a film that is filled with so much of it is overwrought and stiff. O’Toole wholly elevates that scene to think you’re watching a much better film than you are through his great talents as a performer. A talent that I would say in the theatrical cut in particular is underexploited outside of the scene, though the more than crumbs he gets from those deleted moments thankfully do allow O’Toole to elevate himself beyond a one scene wonder and reactor who knows how to sell the material. O’Toole elevates every moment he does have to create a captivating portrayal of the King as a king but also a man, with one extraordinary scene that is worthy of mention along with the very best of his illustrious career. 

Alternate Best Supporting Actor 2004: Alfred Molina in Spider-Man 2

Alfred Molina did not receive an Oscar nomination for portraying Doctor Otto Octavius aka Doc Ock in Spider-Man 2.

Spider-Man 2 follows the continued adventures of Spider-Man aka Peter Parker (Tobey Maguire) this time against Doc Ock.

Molina plays the villain this time around working within similar contexts to Willem Dafoe’s Green Goblin/Norman Osborne from the first film though to do different ends. Similar in the sense that both films, very much fitting the style of Sam Raimi, involve a transformation towards evil. With Otto we meet him also attempting a risky experiment that will create an amazing breakthrough at Oscorp, although a difference being he’s technically an employee as a researcher being funded by now head of the company, Harry Osborne (James Franco). Molina’s first scene actually does a lot as we initially meet him as the somewhat reluctant host for Peter who is writing a paper on Otto’s work. Molina I think key, and really what is the backbone to where the character goes, is the initial coldness and kind of disregard for taking the time as he speaks of his work as far beyond any other requirement, only relenting when Harry reminds him of his financial support. There’s something there that Molina eventually expands on, though we first get an important reprieve where we see Otto lighten up when he finds out that Peter is the “Smart but lazy” student his friend has told him about and has lunch with his wife Rosie (Donna Murphy). Molina and Murphy for that matter I think importantly give no sense of where the film is going to go, instead convincingly playing with genuine chemistry a long loving married couple who still have fun chatting up about their old days and their differences as science and poetry focused people. They really are lovely together and exude such a strong sense of the relationship in just one scene to show it very much as the humanity of Otto. An element he even shares with Peter as he encourages him to take a forward approach romantically with such a sincere little grin of someone who is so in love he’d only want someone else to share that as well. It’s great work because Molina and Murphy work would be convincing in a feel good or even drama about the different yet connected couple, and don’t play the relationship as thin given it will be wiped away by the plot. 

Speaking of, we get Otto demonstrating his self-sustaining fusion reaction, which naturally requires the use of four giant mechanical arms grafted to his body, and we get the introduction from Otto. Molina opens as the slightly corny scientist with a bad joke and his general presentation, before starting the experiment with the arms where Molina fashions a direct intensity in his eyes and we see essentially the strength of his ego in the moment. A pivotal moment actually to play the seed of the character before we take the next step, less so as a Dr. Jekyll to Mr. Hyde as we saw with Norman Osborne and more so the man letting his worst element be taken to an extreme. An extreme that comes as the experiment goes terribly wrong, needing to be shut down by Spider-Man, Rosie dies, and Otto loses his protection from the influence of the arms leading to the arms to massacre the hospital staff that attempt to remove them. Where we make the shift very much more so to the Raimi style villain where there is a degree of arch to it, as we honestly begin Molina’s work as Doc Ock with a dramatic “Nooooo” at seeing what has happened and an announcement of anger that infuses both the losses he’s endured and the monster he seemingly has become. This might sound like a criticism but trust me it is not. Rather what Molina does is find ownership in the more operatic qualities that really aren’t all that out of sorts for a man finding himself both grafted to metal arms but also influenced by them that reinforce his worst impulses. Where we see the moment of the arms "building him” up and Molina’s terrific in playing into this frenzy as he goes with every suggestion to continue with the experiment but to only make it bigger without any thought to the consequences. 

Molina finding a pathway into then creating the villain as essentially showing that intensity but now as the man who has come to believe anything he does is perfectly fine as long as it is in service to his vision. In turn we do get quite a lot of fun of Molina then playing basically as the ego without any bounds and someone who comes to even enjoy his villainy as he goes about robbing banks, threats and kidnapping to meet his demands. Molina finds a juicy material in more ways than one honestly, as even some of his head movements are so specifically of this comic book effect that it is utilized in the ideal way where he presents the comic book heel in such a dynamic fashion. While also making him quite entertaining in playing up those egotistical moments of the villain playing around essentially such as when he purposefully sets up a train for destruction to exhaust Spider-Man with such aplomb, or coming to threaten Harry with the biggest smiles of someone just totally living in being the monster beyond himself by giving into those impulses. Molina getting to have fun with the fiend and thriving within the style of the film, yet never becoming too much that you lose the core of the character at any point. Molina successfully connects the “arch” elements with that sense of expanding ego leading to the finale where Doc Ock tries the experiment again only leading to greater destruction. When Doc Ock sees Peter, not Spider-Man, trying to talk sense into him, Molina’s moment of clarity is fantastic where we see the push and pull essentially between going with arms and his ego, to that humanity of his scene with his wife and Molina finds genuine pathos in the man realizing he’s gone off the deep end. Leading to a genuinely moving moment where he insists on stopping the experiment insisting he won’t be remembered as a monster, where Molina’s reaction embodies a loss of the ego, genuine sorrow in where it has taken him, but also a different new type of determination as he goes about righting his wrong. Molina delivering a strong performance that succeeds in managing to take ownership of the more overt comic book tone to make an entertaining villain, however without going so far that we lose the thread that provide the necessary grounding to make his strange journey believable within the tone of the film. 

Alternate Best Supporting Actor 2004: Nick Nolte in Clean

Nick Nolte did not receive an Oscar nomination for portraying Albrecht Hauser in Clean. 

Clean follows a drug addicted woman, Emily (Maggie Cheung), dealing with the aftermath of her longtime companion and the father, a musician, of a child who dies from a drug overdose. 

Nick Nolte plays the father of the deceased man who we see early on taking the news where Nolte’s reactions suggest a dad who really probably had a good relationship with his son at one time but has been lost and separated from his life for a good long time. His reaction to losing him is moving in the rather subdued reaction where Nolte conveys the complicated feelings of heartbreak but with a certain distance of that sense of separation with his son for some time. An idea continued when we first see Albrecht interact with Emily, where he suggests that she give some time away from her own son given the very difficult circumstances of the situation. Nolte’s very good in managing to find a tone within his delivery where we feel no sense of Albrecht playing a note of self-righteousness or meanness. Rather in Nolte’s sensitive delivery you see a certain awkwardness with her, a struggle to speak the words who knows the situation is tough, yet in his eyes and in his manner he is emphasizing a man who very much cares about his grandson’s well being and the ask for Emily to take a step back as she deals with her own personal struggle is from a place of genuine concern. Nolte doesn’t make it simple though and shows that Albrecht himself is just trying to do what he thinks is best in an extremely difficult situation. 

We check in with Nolte a few times as Albrecht continues to deal with the struggles of the dad. We see him in the strange situation as he has to try to make decisions regarding his son’s music. Nolte’s portrayal brings such a sincerity in his slightly confused reactions to talking to the producer and reacting to the suggested artwork for the albums. Nolte captures the sense of a man being in a totally alien world, that grief still nagging in his eyes, and just in every “Sure I guess” delivery being a man who wants to do right by his son yet within that is realizing just how out of his son’s world he was. Something we see extend when Albrecht is speaking to his ill wife about the choices, who speaks her own doubts about. In every word of trying to justify the decisions, Nolte alludes to this messy inability to really know exactly what his son was like but with still a strong sense that he loved his son despite that struggle. A struggle that only continues as the matter comes of whether or not his grandson should interact with the troubled mother or not. Nolte continues to excel in creating such effortless complication in his reactions including even his own grandson expressing his dislike for Emily. Where we get Nolte’s defense for her, which isn’t as simple as a heroic push back, rather again this quiet but powerful earnest understanding and empathy of someone who truly wants to allow Emily a second chance and to get to know her own son. 

Nolte never simplifies an element within this however as when he brings his grandson to spend time with Emily there are some restrictions from the man. Where we saw his empathy for Emily, we see his empathy for his wife and his grandson just as much in this moment as now he’s the one challenging her just as he challenged his wife and grandson’s own views of her. Nolte is able to express this coming from the same place of duty and genuine care. In every word it isn’t a threat, but rather very much a most honest and respectful demand for the sake of everyone that she not overstep these boundaries. Nolte is wonderful in the way he is able to combine simple straightforward love and empathy, with the complexity of trying to maneuver through such a difficult situation that will be good for Emily, his grandson and his wife. Nolte’s performance expresses consistently the weight of such a task, and is very moving because in his eyes you see the man who just wants to try to make the best he can out of a very challenging situation. There were so many ways this performance could’ve mis stepped a little bit into the more melodramatic. Nolte though glides through this work where every moment it is with the strong sense of a history we never saw. The history of a love for his family but even so the extension of that history, where we see the man even extending to a woman he barely knows but knew that his son cared for. Nolte instead of being secondary, he honestly makes Albrecht’s story a parallel moving depiction of grief and the challenges of moving forward with that loss. 

Alternate Best Supporting Actor 2004: Cameron Bright in Birth

Cameron Bright did not receive an Oscar nomination for portraying Young Sean in Birth.

Birth follows a widow Anna (Nicole Kidman) who is approached by a young boy who claims to be her reincarnated husband. 

Cameron Bright plays the young boy who shows up to Anna’s apartment, just as she’s about to be remarried, telling her not to marry her fiancée and that he is her dead husband reborn. Bright, who had a brief period as the child actor for slightly dramatic parts, plays the central role in the sense that all action of the film is in reaction to the actions of this boy. The character is that of an enigma whose actions are elusive to all including his own parents, yet he challenges everyone seemingly with his knowledge that is far greater than some random boy pulling a prank. Bright’s performance is one that I would describe as hollow, though hollow with a purpose. The purpose in director Jonathan Glazer’s vision makes him not easily discernible in terms of the truth. Instead what Bright portrays is this cold determination of sorts. All the information he conveys, all of the claims about him being the dead man, it is with calm troubling conviction where it seems like he simply knows this rather than needing to think about it. Even when stating he’s no longer his mother’s “Stupid son” but rather this man, it is with just this directness where the emotion is almost that of a slight annoyance that someone would doubt his claim. Bright’s face rarely changes expression however the expression itself does serve the purpose as this ever watching pestering face in that detachment. 

He’s not teasing, he’s not smiling, he’s just there and in that consistency you get the sense of why others would find the boy’s behavior more than a little infuriating after a while. Even when getting in a bath with Anna, Bright’s performance still accentuates this matter of fact distance in the action rather than any intention beyond almost duty. Eventually however Young Sean is challenged by a lover of the real Sean as the real love of his life breaking ruse. Even in the breaking of said ruse however, Bright’s performance as he admits not being Sean, not as someone admitting fault or a game, but almost in this logical dictation that he cannot be Sean because he loves Anna and the real Sean did not. Eventually leading him to finally leave Anna alone and seemingly return to his own life. An aspect that is only briefly touched upon as we see him taking a school picture, and suddenly there no longer is that detachment to boy in Bright’s performance and perhaps even normalcy. Bright’s performance I would say delivers on the need of the design of the character to an extremely specific end. There’s no “why” exactly to the young Sean about his performance, nor do we see the steps in the transformation to or back from it. Rather he is as he is and stays the enigma even when the “truth” is shaken. I would say it is a good performance, and I think importantly Bright doesn’t play up any creep factor in a traditional sense that might’ve been the easy route. Having said that, it think the performance services the need of the film but in the end exists within a certain limitation of that need without really an impact beyond it. 

Alternate Best Supporting Actor 2004: William Hurt in The Village

William Hurt did not receive an Oscar nomination for portraying Edward Walker in The Village. 

The Village follows an isolated village surrounded by a forest where strange creatures seem to lurk. 

William Hurt plays the elder of the village, a performer who may have had the best armor to deal with the sometimes ropey dialogue of M. Night Shyamalan, because Hurt himself sometimes has a very peculiar way of delivering lines. And for me, unless he’s lost in space, this works regardless even if most actors you might call it stilted, for Hurt it works and for Hurt I was convinced every word he says in this film which is an achievement in itself, particularly when also very talented actors like Joaquin Phoenix and Sigourney Weaver I found fumbled a bit when trying to get every word across. Hurt handles it with ease. Hurt is effective in doing his best to essentially earn the twist in playing the man who is part of the village, bringing the general needed gravitas as the elder so to speak. What Hurt does so well is play very much with the twist in mind throughout the film and more than anyone earns in his performance. As there is the sense of the weight of the lie in everything that he does, even as he tries to keep this general calm of the man projecting concern and strength for his community. 

Within the moments where the young village stalwart Lucius (Joaquin Phoenix) decides that he should try to leave the village for better medicines, Hurt’s reactions within this area with a combination of concern and admiration. The former even not for the man’s life but rather something else that is nagging at him. When even Lucius attempts to make the trip unauthorized, Edward doesn’t react with anger rather appreciation for the bravery of the young man. Hurt’s reaction in the moment portrays honest affection for the spirit of the young man and really even a sense of hope for the future. The main crux of the story comes as Lucius is severely injured by the mentally unwell Noah (Adrien Brody), leaving Edward’s blind daughter Ivy (Bryce Dallas Howard) to want to save him. Coming to the revelations of the piece, though again I’ll credit Hurt for very much wanting to do the work to try to provide a bit of depth within the context of the twist. Including when Edward tells Ivy of his own father, a financial wizard who was murdered for his wealth. Hurt brings within the delivery of this speech frankly a sense of modernity, a hint of nostalgia for his dad, but also a very strong sense of motivation for the man’s rejection for the rest of the world. Leading to the twist which felt unavoidable at the time of the film’s release, as Edward shows her that the strange creatures lurking in the woods are in fact costumes the elders wear to keep their children to stay within the village. Hurt even within this revelation even excels in his almost half embarrassed/half calming declaration that it is “farce” as he supports his daughter breaking the rules and leaving the forest.

 Leading to what really is Hurt’s standout scene where the rest of the elders come to learn of the choice and some of them severely question the break of their oaths. Hurt is terrific in the scene because what he calls upon is this old passion in his performance as he speaks not only of the crimes of Noah, but the hope of his daughter and Lucius. Bringing within it not just a sense of love and concern for the future, but also the sense of conviction of someone who is reckoning essentially against the strictures of his old choice and instead supporting the fundamental spirit of why he made that original choice. It’s a strong scene for Hurt, one that naturally reveals this history professor who made the decision to go with others to hide essentially in the forest away from society to make some idealized version of society to avoid those ills, now dealing with the ills regardless. Hurt makes the pain of dealing with these realizations feel absolutely real and creates something tangible in the emotional strain he brings in every word noting the man's true passion to hold onto the idea of innocence behind the village meanwhile allowing the fundamental rules of the village to be broken.  It’s there and it is only a shame that this is basically the end of the notion and not something the film deals with beyond a certain point. Which is unfortunate as the film might’ve had something if it continued in the direction alluded to by this scene, but basically the film is wrapping up so that’s that. Regardless, Hurt delivers on alluding to that potential, in creating a performance that not only naturally supports the twist also weaves within it some genuine emotion. I will say it is unfortunate the film isn't better because what Hurt does is create a greater promise within the premise, which sadly the premise as is only allows Hurt to go so far. 

Alternate Best Supporting Actor 2004: Tim Meadows in Mean Girls

Tim Meadows did not receive an Oscar nomination for portraying Mr. Ron Duvall in Mean Girls. 

Mean Girls follows girls being mean.

Tim Meadows plays the principal of the school where the various teenage cliques clash. SNL alum Tim Meadows very much set out not to be any sort of strict principal of maybe past High School films and instead a largely comedic presence. Although I will say Meadows’s performance is fairly artful in the tone he manages here, which I wouldn’t say is strictly realistic but is convincing as the principal even often used in a comedic sense. Meadows in the more comedic moments playing well the essentially put on smile where his eyes seem just slightly dying inside during the basic school functions and notably at the end of the film where he attempts in vain to cut short the dramatic speech of our protagonist, where every one of his deliveries of “you really don’t need to make a speech” is pretty great in his effortless combination of cordiality with the strong undercurrent of someone saying “shut up and get off the stage”. Meadows’s performance has a bit more to it than that however in playing that convincing part of the high school principal a bit more genuinely. 

As we see his certain exasperation at the nonsense of his student population which is funny, but there is enough of a dignified manner to still be convincing beyond that. Particularly a moment where Rachel McAdams’s villainous queen bee Regina George shares her one burn book, though altered to make it look like it’s not hers, with his Mr. Duvall. Meadows plays the comedy in his eyes of deciphering what she’s up to, but with enough of a genuine pause when asking about the books noting that the high school coach was making out with students. Something that comes later where not too much is made out of the moment, but Meadows is good in bringing a low key gravitas when firmly instructing the coach to stay away from the underage girls. On a similar though slightly lighter note his annoyed delivery about leaving southside only to deal with the girl riot from the burn book, is amusing but does have a bit of weight to it, followed by his commanding requirement that all the girls go to the assembly. Followed by his fairly hilarious yet still pointed way of setting up the “peace talks” essentially, where he brings a certain grace, but with also comedy in his casual threat switch from “well keep you all night” to “well keep you to four” however with the same conviction. A conviction that perhaps is a bit lost when trying to talk to the girls immediately runs into discussion of the menstrual cycle, and Meadows’s overwhelmed reaction to passing the buck again is pretty good. The only note I’m pretty ambivalent to in this performance is the relationship between Mr. Duvall and math teacher Ms. Norbury (Tina Fey). Where we get Mr. Duvall slightly awkwardly asks her if she needs to talk about things, then we see them silently slow dancing together. I don’t think it’s bad, I don’t think Meadows performs poorly either, it’s just kind of there for me. Otherwise though this is a good well attuned performance, that delivers on the right tone, as he’s funny but also still believable. 

Alternate Best Supporting Actor 2004: Billy Bob Thornton in The Alamo

Billy Bob Thornton did not receive an Oscar nomination for portraying Davy Crockett in The Alamo.

The Alamo seems like there is a good film trying to get out, which is supported by the production history where it sounds like earlier versions wanted a more complex and complete version of the history, that is sadly kept prisoner by the extremely standard mostly “print the legend” approach. 

The most substantial element of that version lies within Davy Crockett and Billy Bob Thornton’s portrayal of the character. As what Thornton and the film do, it very specifically seeks to break down the notions of the legend Davy as the “king of the wild frontier” and deal with him on more human terms. We are introduced to Davy as the politician and living legend where he’s literally at a function where someone is performing his “life story” for him. Thornton’s quite effective in managing to balance a combination of the politician taking the points with a certain smiling graciousness, yet within that smile denotes someone not entirely comfortable with the nature of the situation. After Davy loses his political seat he ends up going to Texas and joining forces at the Alamo, and honestly is a pivotal scene for Thornton’s whole performance as Davy twofold. One in his saying he got kicked out of the congress so might as well go to Texas, Thornton delivers that line very much like he’s running his PR campaign. It isn’t with the pride of a man trying to fight for freedom but entirely a man looking for some avenue to continue his career. Adding on top of that the moment where he is told that the full Mexican army is heading towards the Alamo, Thornton’s reaction and delivering of having thought there wasn’t much fighting, is with a glint of genuine fear and more than a bit of disbelief as we see guy potentially looking to score some political points now in the middle of a genuine war. 

Within the scheme of the film Thornton is consistently the most interesting aspect throughout the film as he creates a real complexity in the story of Davy within the scheme of the Alamo. Thornton does play the part as the “hero” rather what he manages to do is create a lot of different fascinating shades to the idea of the folk legend. Where Thornton is quite remarkable in finding moments of trying to live up to the name while also at others admitting to being far less than what is expected of him. You have the moments where people do speak of the legend of Davy, and I love the moment actually where Davy takes a pot shot at a Mexican soldier, where Thornton’s whole manner suddenly is very much playing the part of the legend briefly as a sort of morale boost to everyone around him, even playing off the near miss of the shot as having got caught in the wind with this certain not entirely false, but not entirely true confidence of someone doing his job of playing the part, while not entirely living up to the part. Contrasting that is when he speaks to Jim Bowie (Jason Patric), another man of legend whose stories apparently are true, unlike most of Davy’s. Thornton brings such a naturalistic realization of the slight embarrassment at needing to admit that he’s far from his legend particularly noting his lack of a Coonskin hat with a bit quiet humor, where he manages to hit the right note of sincerity of someone kind of caught in the middle of an idea he is partially responsible for but also is not. Thornton manages to find a nuance in it, not being someone who denies it, not being someone who lies about it either, finding the struggle to deal with the notion but not wanting to entirely destroy it either. 

Within the buildup towards the battle Thornton does the most out of any performer to add some genuine gravity to every moment and creates a journey which can follow with Davy in dealing with the challenges of the situation. Once more not choosing a single approach so easily, such as when after an initial skirmish Davy suggests burning down some buildings to prevent the Mexicans from using them as cover. Thornton's initial delivery is very much as the nonchalant hero as he notes he wanted to stretch his legs anyways. When actually in the action though Thornton does keep a sense of real urgency if not fear as he has to take on Mexican soldiers and even kills one. A moment where Thornton is great is the moment of shooting the man and his eyes realize the very real weight of killing a man in the moment. Following it with his particularly powerful delivery of asking what the man’s name was before the man dies, Thornton captures such a potent sense of real humanity within the moment that does not make it all a simple “killing the enemy” moment. Similarly we have a key moment when asked about his past exploits, and Thornton’s reactions are a combination of a certain humility though combined with a certain fear and even an understanding of his limits as a soldier. Thornton finding a poignancy in underplaying his exploits and more so emphasizing that his previous duties weren’t exactly of a great warrior. All except his speaking on a time where he was part of a raiding party where they killed natives in fire and the grease from the dead men cooked potatoes that their squad prepared to eat. Thornton’s quite effective because as he begins the story it is of the wise man sharing accomplishments however as it continues in each step there is a haunting shame that forms in his eyes and that even in his most unusual story it isn’t one of any kind of triumph. 

Thornton during the battle and build up scenes, really just brings a much needed weight in every moment, from even just trying to ease tensions by playing the violin, to later every single reactionary moment through the battle where you can feel every moment of loss most through him. Leading eventually to his final scene where I think you do see the most weakness of the film get in the way, as the more human idea of Crockett is pushed aside for his hero moment as he unleashes his disgust against General Santa Anna rather than ask for mercy. There was probably a way to reach this point, where we see Davy purposefully play up the notion of being the “legend” that could’ve been better realized, however I wouldn’t say on a writing side entirely builds up to it perfectly. Having said that, I think Thornton does more than an admirable job of not overplaying the moment, finding the needed venom in his delivery, the disdain in his eyes, and his “what the hell” moment of accepting his demise to make it work as well as he can. And while in a way I think it is his least interesting scene, as he more so becomes part of the rest of the film so to speak, he in no way gives a bad performance in the scene. Thornton’s work and the character of Crockett however is a testament to the potential of the film, because he does offer a complex and more subtle depiction of the historical figure. Given how good Thornton is here working with the imperfect material, I would say if the film had maybe stuck closer to these ideas, we might’ve had a truly great historical epic and I think Thornton could’ve gone even further in the role. Having said that, even existing in a flawed film, Thornton does his best to elevate what he has and is by the far the most worthwhile element of the film. 

Alternate Best Supporting Actor 2004: Daniel Wu in New Police Story

Daniel Wu did not receive an Oscar nomination for portraying Joe Kwan in New Police Story. 

New Police Story follows a superstar police officer Chan (Jackie Chan) as he faces off against a team of young criminals. 

Daniel Wu plays Joe Kwan, the head of those criminals who solely exist to pester Officer Chan, and appear early on as a masked crew who entrap Chan’s fellow officers, putting them in a death trap then forcing Chan to play various games of skill unless they kill the officers. Wu is the figurehead of this group and essentially plays the part as very much the smug snake. There isn’t too much complication early on as he just smiles with a casual disgust for Chan and in every delivery basically pronouncing his own greatness compared to Chan, as he kills those officers with only a bit of joy and certainly without any hesitation. He certainly is one of the villains that exist in an action movie. 

This sends Chan down a spiral, only becomes reinvigorated when a young police officer Frank (Nicholas Tse), who also reinvigorates the movie by being the best part of the film, through his easy going charisma, natural humor he finds throughout but also very much delivering on the stakes even when his co-stars aren’t quite as convincing. Tse’s simple fun to watch in bringing that endearing energy through every scene he is, including the action scenes where he's sort of more surprised though trying to go with the flow demeanor just adds to each and every one. Although this is common for Tse, and by that I mean I seem to be often reviewing a different performance from a Hong Kong film where Nicholas Tse is the best part. Back to the requested performance, Wu on the other hand I don’t find particularly or endearing or menacing, as we learn his character is the privileged, screw up son of the chief of police. An element that doesn’t exactly make him more menacing or sympathetic for the most part. Rather as Wu played the note of smugness as the villain, as the son he presents a very generalized fed up rebellion and not much more. We proceed then to follow the heroes, who become a bit more interesting thanks to the efforts of Tse. He brings a bit of wily conviction as we learn he’s a fake policeman who pretended to be one to avenge his family against the gang. An element Tse does what he can with and again makes for the one character I actually care about fully in the film. 

This eventually leads to some fights between the sides, where we mostly get Wu doing his best, I’m smelling something face, followed by that overly satisfied smile as he gets away. Pretty much rinse and repeat until the final confrontation, where he and Chan play one more game of put together the gun and shoot it. That’s where Wu is at his best because the loss of that smug face as he sees Chan will win, is a more than decent moment. Followed by Joe choosing to get killed by the cops then turn himself in to his own father. Wu is good to bad in this moment, as his initial reaction of anguish at this realization of his humiliation and there is some sense of the years of that relationship with his father. Then he falls into just some emotional mugging and becomes considerably less good by the end of it. Leaving this to be a not particularly impactful villainous turn in any way. Tse on the other hand makes for a strong surprising sidekick who quite frankly steals the film from Chan, to the point you wish he had more to work with, more to do as what only holds him back is the film is only kind of interested in his character. 

Alternate Best Supporting Actor 2004: Al Pacino in The Merchant of Venice

Al Pacino did not receive an Oscar nomination for portraying Shylock in The Merchant of Venice. 

Merchant of Venice follows theoretical Shakespeare comedic romantic antics while a much darker story is going on in the background. 

This film marks the first and still only full cinematic representation of Al Pacino’s training and passion as a Shakespearean actor. Previously getting a doc with scenes version in his self-directed Looking For Richard, but here we get the full force of Pacino’s Shakespearean powers and he does not disappoint. Although now for the darker elements of the film where essentially Shylock is an antisemitic stereotype of the Jewish moneylender, the villain of the piece who must be dealt with at some time while the rest of the story is going along. This version specifically attempts to rework this idea, something I wouldn’t say works entirely in terms of the film as a singular package, by providing additional historical context and creating a sympathetic background for Shylock. The additional opening scenes were particularly important for Pacino and this depiction of the character, as we see him visually spat upon by Antonio (Jeremy Irons), rather than just referred to, a former Jewish man. Pacino portrays in these silent moments a man quietly giving his devotion to his faith, and taking in the mistreatment from Antonio with grace, yet his eyes are not of a man forgetting the injustice. An idea is to return to where we see Bassanio (Joseph Fiennes) seeking money for a trip, a mutual acquaintance of both men. Pacino thrives with the words of the Bard, with a precision but also an ease. They just flow from him so articulately in a way that speaks to his version of the character of Shylock, finds a certain music to them, but also most importantly makes them comprehensible and captivating. 

Pacino’s performance really is rather remarkable because in this career there became a sort of expected Al Pacino type performance, which weren’t necessarily bad but were part of his later career kind of “star persona” he developed essentially as offshoots of his Oscar winning performance. Pacino in this film however fully evokes classic actor driven Pacino in his realization and real devotion to the part of Shylock. He is dialed in and his delivery of the language is part of that, but a natural tool that is the potent realization of the character of Shylock. A character Pacino realizes far beyond that of just a villain as you could easily argue was the way Shakespeare designed him. Pacino is incredible in the scene of getting Antonio to fund Bassanio with the promise of a “pound of flesh” from Antonio to Shylock if it is not paid. Pacino’s working on multiple levels and very much takes the moment far beyond a villain making a strange request. Rather what Pacino does in his delivery is throw it out as pure business, yet in his eyes and manner there is a decisive pressing of Antonio. Within Pacino’s performance you see his disgust for the man, and the very unusual debt and payoff Pacino issues in his eyes as the challenge from Shylock to see Antonio suffer. Suffer specifically though for the wrongs that the man had inflicted upon him. 

Pacino consistently comes against each scene of his to create an empathetic state for Shylock. We see this as he exists in his home and gives instruction to his daughter Jessica, while essentially trying to defend his Jewish home. A speech that could be of a self-enclosed villain in his place, only concerned about money, yet Pacino finds his own avenue quite notably. Pacino brings this exhaustion in every statement to defend himself and his life. Finding a man burdened by society essentially being against him and just trying to exist within his faith to the extent he can. Pacino grants motivation and life to the character as we follow him into the process of demanding the pound of flesh from Antonio within his monologue for insisting on collecting the debt, a monologue where perhaps you can make the best case for defending Shakespeare’s own work by at least granting some humanity to the character. Pacino more than runs with this amount as he is genuinely heartbreaking in the passion he brings to describe the commonalities between a Jewish person and a Christian. Pacino finding more than just anger towards the notion of othering a Jewish person, as there is the sense of the years of pain in the man, the torture to his soul, and even in his rage, it is a rage filled with real human plight of a man who has been mistreated all his life. It is a stellar moment as Pacino is gripping with every word and is one of the great Shakespearean speeches caught on film and delivered by Pacino. 

In the actual trial to determine the fate of Antonio and whether or not Shylock will receive his pound of flesh, Pacino is amazing. Pacino once more not taking it as a villain, despite the ridiculous violent request of his, yet he manages to bring a specific pent of anger within the scene. An anger that again has the personal disdain for Antonio but within the words of challenge against the city, Pacino’s performance is simply incredible as there is the sense in his man’s eyes his challenge of calling out essentially the injustice of all of society. Pacino is marvelous as in a way giving a greater version of his “you’re out of order” speech, as he calls out the society’s use of slaves with such distinct disdain, and his announcement that his debt is “mine”, isn’t of a man of greed, it is a man filled with dissatisfaction for the world he lives in. Shylock’s demands are stopped by some hidden disguises and logic of a pound of flesh but without blood, and if that were not enough he is also charged with intention to murder. A crime that leads him to lose half of his wealth and almost his life. Shylock is spared these punishments though with the requirement from Antonio that he convert to Christianity. Pacino is heartbreaking his physical work as you see the floor fall beneath his feet, the man barely being able to hold his constitution together, his face filled with such sickening distress, and expresses the violent loss of Shylock's self by forcing him to deny his own religion. Pacino delivers a truly great performance, that is so unique within his filmography. Excelling with Shakespeare, but also within his own work, I'd say the film overall is less successful, in morphing Shylock from a villain to a tragic figure of a man so defeated by the cruel society he lives in that vengeance becomes the only hope he can grasp onto. 

Alternate Best Supporting Actor 2004: Bud Cort in The Life Aquatic With Steve Zissou

Bud Cort did not receive an Oscar nomination for portraying Bill Ubell in The Life Aquatic With Zissou. 

Since I had a few different options of who to cover for the last couple spots, thought I’d devote one them to give some time to Bud Cort, an actor who made a name for himself as the unorthodox leading man in the very early seventies, before working as a character actor for the rest of his career. A highlight of this section being his work here with Wes Anderson’s large trope of performers. Cort playing a role that in most films would not be of note and even more so the performer certainly wouldn’t be someone who deserves much mention. Cort specifically playing Bill Ubell the Bond company stooge that Steve Zissou (Bill Murray) must take on his new expedition in order to ensure funding for the trip. Cort’s first relatively short scene being one of my favorites in any Wes Anderson film, where Steve and Steve’s possible son Ned (Owen Wilson) just learned of Bill’s required presence and Steve instantly badgers Bill about not badgering him. Cort’s turn of curiosity has this perfect innocence to it, as does his follow up question “Why would I do that?” asked with genuine conviction. To which Steve notes him being a Bond company stooge, Cort’s reaction is both hilarious yet also genuinely moving as he so earnestly notes that he may be a bond company stooge but he’s also a human being, followed by just the perfect hangdog expression. Only made all the better when Steve apologizes and Cort’s face brightens so sincerely as being part of the time, right down to his eagerness to join hands with Steve and Ned. It’s a quick bit but honestly ideal character actor work where Cort makes it all so memorable so quickly, funny but also giving us a real sense of this character. 

Cort afterwards being part of the crew sort of where he manages to portray genuine enthusiasm in moments, with also a combination of some mild confusion, even worried concern when witnessing Steve’s decision to steal equipment from his rival. Cort brings an enjoyable directness about everything he does, including when the boat is invaded by pirates and Bill, being able to speak Filipino, negotiates with pirates. Cort’s practical manner is what is so great where he’s just direct with every line and so pure about it. Particularly the moment where the pirates take him as a hostage instead, and Cort’s “aw shucks” combined with a bit of “I guess I’ll go with it” is just great. As is his hostage call to the crew, where Cort’s whole delivery is so brilliantly matter of fact as just a practical business guy, nothing special including the kidnapping. I especially love the moment when Steve and crew are rescuing Bill, where Bill stops Steve from attacking one of the locals, where Cort’s bright smile and delivery of “he’s a friend” again paints immediately the sense of refuge in his situation and again reinforcing the funny but also heartwarming sincerity of his character. Something that manages to even extend when Bill is completely part of the crew even emphatically telling the man they stole equipment from that they stole it. Cort’s performance in the moment even sells the embracing of the chaos as even when admitting to stealing it is still of the utmost earnestness in showing Bill just as a guy who believes, even as a bond company stooge. Completing his arc of sorts in a way that is convincing and created just by his little bits throughout that are mostly funny, but there is something especially endearing out of Bill’s journey through Cort’s performance. A wonderful show of a character actor’s talent, because Cort’s not trying to steal the film, or steer it away from its course, he’s just elevating every moment he has and elevating the film that much more by giving real life to largely a bit part. And showing that while Bill may be a bit part, he can also be a human being. 

Alternate Best Supporting Actor 2004

 And the Nominees Were Not:

Al Pacino in The Merchant of Venice

Peter O'Toole in Troy

William Hurt in The Village

Nick Nolte in Clean

Billy Bob Thornton in The Alamo

Predict These Five, Those Five Or Both.

Tim Meadows in Mean Girls

Daniel Wu in New Police Story

Cameron Bright in Birth

Alfred Molina in Spider-Man 2

Bud Cort in The Life Aquatic With Steve Zissou

Best Costume Design

1931:

1. Ed Ware & Vera West - Dracula
   
2. Travis Banton - Dr. Jekyll and Mr. Hyde
3. Uncredited - Frankenstein
4. René Hubert - À Nous la Liberté 
5. Uncredited - The Smiling Lieutenant

1932:

1. Mitchell Leisen - The Sign of the Cross
2. Vera West - The Mummy
   
3. Travis Banton & Edith Head - Love Me Tonight
4. Travis Banton - Shanghai Express
5. Uncredited - Freaks

1933:

1. Adrian - Queen Christina
2. John Armstrong - The Private Life of Henry VIII
3. Uncredited - The Invisible Man
4. Max Pretzfelder - Don Quixote
5. Orry-Kelly - 42nd Street

1934:

1. Uncredited - Babes in Toyland
2. Vicky Williams - Cleopatra
3. Travis Banton - The Scarlet Empress
4. Paul Colin - Les Misérables
5. Gwen Wakeling - The Affairs of Cellini

1935:

1. Murray Mayer - The Black Room
2. Vera West - The Bride of Frankenstein
3. Adrian - Anna Karenina 
4. Dolly Tree - Mad Love
5. Dolly Tree - A Tale of Two Cities

1937:

1. Ernest Dryden - The Prisoner of Zenda
2. Ernest Dryden - Lost Horizon
   
3. Irene  - Shall We Dance
4. Uncredited - Pepe Le Moko
5. Adrian - Conquest

1938:

1. Milo Anderson - The Adventures of Robin Hood
   
2. Konstantin Eliseev - Alexandre Nevsky
3. Adrian & Gil Steele - Marie Antoinette
4. Edith Head - If I Were King
5. Louis Granier - La Marseillaise

1942:

1. Orry-Kelly - Casablanca
2. Georges Wakhévitch - The Devil's Envoys
   
3. Earl Luick - The Black Swan
4. Rydo Loshak, Marie Pickering & Leon Roberts - Yankee Doodle Dandy
5. Edith Head - I Married A Witch

1943: 

1. Joseph Bato -  The Life and Death of Colonel Blimp
2. Karl Sandt Jensen & Olga Thomsen - Day Of Wrath
3. Irene and Howard Shoup - Cabin In the Sky
4. René Hubert - Jane Eyre
5. René Hubert - Heaven Can Wait

1944:

1. Irene Sharaff - Meet Me In St. Louis
2. Roger K. Furse - Henry V
3. Leonid Naumov - Ivan the Terrible Part I
4. Irene - Gaslight
5. René Hubert - The Lodger

1945:

1. Mayo - Children of Paradise
2. Elizabeth Haffenden - The Wicked Lady
3. Uncredited - The Men Who Tread on the Tiger's Tail
4. Renié - The Bodysnatcher
5. Oliver Messel - Caesar and Cleopatra

1947:

1. Hein Heckroth - Black Narcissus
2. Orry-Kelly - Ivy
3. Jean Louis - The Lady From Shanghai
4. Yvonne Wood - A Double Life
5. Rosine Delamare - Monsieur Vincent

1948:

1. Hein Heckroth - The Red Shoes
2. Roger K. Furse - Hamlet
3. Cecil Beaton - Anna Karenina 
4. Margaret Furse - Oliver Twist
5. Edward Stevenson - Blood on The Moon

1949:

1. Edith Head & Gile Steele - The Heiress
2. Edith Head, Dorothy Jeakins, Elois Jenssen, Gile Steele & Gwen Wakeling - Samson And Delilah 
3. Oliver Messel - The Queen of Spades
4. Michael Meyers & Ann Peck - She Wore A Yellow Ribbon
5. Anthony Mendelson - Kind Hearts and Coronets

1950:

1. Georges Annenkov - La Ronde
2. Uichi Ôhata - Rashomon
3. Marcel Escoffier - Orpheus
4. Dorothy Jeakins - Cyrano De Bergerac
5. Edith Head & Charles LeMaire - All About Eve

1951:

1. Ivy Baker - The Tales of Hoffmann
2. Beatrice Dawson - Pandor and the Flying Dutchman
3. Herschel McCoy - Quo Vadis
4. Doris Lee - A Christmas Carol
5. Sheila Graham & Thomas N. Morahan - Captain Horatio Hornblower

1952:

1. Marcel Vertès - Moulin Rouge
2. Roger K. Furse - Ivanhoe 
3. Mayo - Casque d'Or
4. Walter Plunkett - Singin' In The Rain
5. Riley Thorne - Limelight

1954:

1. Kôhei Ezaki & Mieko Yamaguchi - Seven Samurai
2. Uncredited - Samurai I: Musashi Miyamoto
3. Norman Martien - 20,000 Leagues Under the Sea
4. Margherita Marinari  - La Strada
5. Uncredited - Godzilla 

1955:

1. Margaret Furse & Roger K. Furse - Richard III
2. Edith Head & Yvonne Wood - The Court Jester
3. Uncredited - Samurai II: Duel at Ichijoji Temple
4. Jerry Bos - The Night of the Hunter
5. Sophie Devine & Orry-Kelly - Oklahoma!

1957:

1. Yoshirô Muraki - Throne of Blood
2. Manne Lindholm - The Seventh Seal
3. Piero Gherardi - Nights of Cabiria
4. Helen Rose - Designing Women
5. Beatrice Dawson - The Prince and The Showgirl 

1958:

1. M. Safonova - Ivan The Terrible Part II
2. Toshikazu Sugiyama - The Ballad of Narayama
3. Greta Johansson & Manne Lindholm - The Magician
4. Edith Head - Vertigo
5. Masahiro Katô - The Hidden Fortress

1960:

1. Valles & Bill Thomas - Spartacus
2. Tina Grani - Black Sunday
3. Piero Gherardi - La Dolce Vita
4. Uncredited - The Time Machine
5. Marik Vos - The Virgin Spring

1961:

1. Yoshirô Muraki - Yojimbo
2. Veniero Colasanti & John Moore - El Cid
3. Sophie Devine - The Innocents
4. Irene Sharaff - West Side Story
5. Edith Head - Breakfast At Tiffany's

1963:

1. Piero Tosi - The Leopard
2. John McCorry - Tom Jones
3. Anthony Mendleson - Dr. Syn, Alias the Scarecrow
4. Piero Gherardi - 8 1/2
5. Vittorio Nino Novarese & Renié - Cleopatra

1965:

1. Orson Welles - Chimes At Midnight
2. Piero Gherardi - Juliet of the Spirits
3. Phyllis Dalton - Doctor Zhivago
4. Lidia Skarzynska & Jerzy Skarzynski - The Saragossa Manuscript
5. Vittorio Nino Novarese - The Agony And The Ecstasy 

1966:

1. Nadezhda Buzina, Mikhail Chikovani & V. Vavra - War and Peace Part II
2. Elizabeth Haffenden & Joan Bridge - A Man For All Seasons
3. Uncredited - The Sword of Doom
4. Carlo Simi - The Good The Bad and The Ugly
5. Maya Abar-Baranovskaya & Lidiya Novi - Andrei Rublev

1967:

1. Ondrej Brezovský & Theodor Pistek - Marketa Lazarova
2. Roza Satunovskaya - Viy 
3. Nadezhda Buzina, Mikhail Chikovani & V. Vavra - War and Peace Part IV
4. John Truscott - Camelot
5. Uncredited - -Le Samourai 

1968: 

1. Danilo Donati - Romeo and Juliet
2. Hardy Amies - 2001: A Space Odyssey
3. Margaret Furse - The Lion in Winter
4. Carlo Simi - Once Upon A Time in the West
5. Enrico Job - The Great Silence

1970:

1. Gitt Magrini - The Conformist
2. Eva Lackingerová - Valerie and Her Week of Wonders
3. Simon Virsaladze - King Lear
4. Margaret Furse - Scrooge
5. Dorothy Jeakins - Little Big Man

1971:

1. Ilse Richter - McCabe & Mrs. Miller
2. Yvonne Blake & Antonio Castillo - Nicholas and Alexandra
3. Tiny Nicholls - The Devils
4. Milena Canonero - A Clockwork Orange
5. Helen Colvig - Willy Wonka & The Chocolate Factory

1973:

1. Alejandro Jodorowsky & Nicky Nichols - The Holy Mountain
2. Edith Head - The Sting
3. Sue Yelland - The Wicker Man
4. Uncredited - Lady Snowblood
5. Michael Baldwin - Theater of Blood

1974:

1. Anthea Sylbert - Chinatown
2. Rosanna Norton - Phantom of the Paradise
3. Theadora Van Runkle - The Godfather Part II
4. Theoni V. Aldredge - The Great Gatsby
5. Tony Walton - Murder on the Orient Express

1975:

1. Milena Canonero & Ulla-Britt Söderlund - Barry Lyndon
2. Hazel Pethig - Monty Python and the Holy Grail
3. Edith Head - The Man Who Would Be King
4. John Napier - Hedda
5. Jacqueline Guyot - The Story of Adele H.

1977:

1. John Mollo - Star Wars
2. Tom Rand - The Duellists
3. Shama Zaidi - The Chess Players
4. Patrizia von Brandenstein - Saturday Night Fever
5. Anthea Sylbert - Julia

1978:

1. Chi-Yu Liu - The 36th Chamber of Shaolin
2. Yvonne Blake - Superman
3. Anthony Powell - Death on the Nile
4. Patricia Norris - Days of Heaven
5. Patricia Norris - Movie Movie

1979:

1. John Mollo - Alien
2. Gisela Storch - Nosferatu the Vampyre 
3. Anthony Powell - Tess
4. Albert Wolsky - All That Jazz
5. Bobbie Mannix - The Warriors

1980:

1. Seiichiro Hagakusawa - Kagemusha
2. John Mollo - Star Wars Episode V: The Empire Strikes Back
3. Patricia Norris - The Elephant Man
4. Danilo Donati - Flash Gordon
5. J. Allen Highfill - Heaven's Gate

1981:

1. Bob Mackie - Pennies From Heaven
2. James Acheson - Time Bandits
3. Deborah Nadoolman - Raiders of the Lost Ark
4. Milena Canonero - Chariots of Fire
   
5. Bob Ringwood - Excalibur

1983:

1. Milena Canonero - The Hunger
2. Aggie Guerard Rodgers & Nilo Rodis-Jamero - Star Wars Episode VI: Return of the Jedi
3. Ruth Myers - Something Wicked This Way Comes
4. Yvonne Sassinot de Nesle - Danton
5. Santo Loquasto - Zelig

1984:

1. Theodor Pištěk - Amadeus
2. Elizabeth Waller - The Company of Wolves
3. Gabriella Pescucci - Once Upon A Time in America
4. Bob Ringwood - Dune
5. John Bloomfield - The Bounty

1985:

1. Emi Wada - Ran
2. Charles Knode - Legend
3. James Acheson - Brazil
4. Raymond Hughes - Return to Oz
5. Deborah L. Scott - Back to the Future

1986:

1. April Ferry - Big Trouble in Little China
2. Sylvie Gautrelet - Jean De Florette
3. Gloria Glynn - Blue Velvet
4. Jenny Beavan & John Bright - A Room With A View
5. Ellis Flyte, Brian Froud & Polly Smith - Labyrinth

1987:

1. James Acheson - The Last Emperor
2. Erica Edell Phillips - Robocop
3. Phyllis Dalton - The Princess Bride
4. Donfeld - Spaceballs
5. Dorothy Jeakins - The Dead

1988:

1. James Acheson - Dangerous Liaisons 
2. Aggie Guerard Rodgers - Beetlejuice
3. Gabriella Pescucci - The Adventures of Baron Munchausen
4. Renée April - The Moderns
5. Deborah Nodoolman - Coming to America

1991:

1. Ruth Myers -  The Addams Family
2. Huamiao Tong - Raise the Red Lantern
3. Ellen Lens - Prospero's Books
4. Valérie Pozzo di Borgo - Delicatessen
5. Marilyn Vance - The Rocketeer

1992:

1. Eiko Ishioka - Dracula
2. Sandy Powell & Dien van Straalen - Orlando
3. Ann Hollowood & Polly Smith - Muppet Christmas Carol
4. Bob Ringwood & Mary E. Vogt - Batman Returns
5. Glenn Wright - Unforgiven

1993:

1. Gabriella Pescucci - The Age of Innocence
2. Changmin Chen - Farwell My Concubine
3. Janet Patterson - The Piano
4. Phyllis Dalton - Much Ado About Nothing
5. Jenny Beavan & John Bright - The Remains of the Day

1994:

1. Sandy Powell - Interview With the Vampire
2. Moidele Bickel - La Reine Margot 
3. Mark Thompson - The Madness of King George
4. Tim Chappel & Lizzy Gardiner - The Adventures of Priscilla, Queen of the Desert
5. April Ferry - Maverick

1996:

1. Alexandra Byrne - Hamlet
2. Christian Gasc - Ridicule
3. Ruth Myers - Emma
4. Janet Patterson - Portrait of a Lady
5. Ann Roth - The English Patient

1997:

1. Jean-Paul Gaultier - The Fifth Element
   
2. Sandy Powell - The Wings of the Dove
3. Deborah Lynn Scott - Titanic
4. Deena Appel - Austin Powers International Man of Mystery
5. Janet Patterson - Oscar and Lucinda

1998:

1. Sandy Powell - Shakespeare in Love
   
2. Alexandra Byrne - Elizabeth
3. Mary Zophres - The Big Lebowski
4. Sandy Powell - Velvet Goldmine
5. Liz Keogh Palmer - Dark City

1999:

1. Lindy Hemming - Topsy-Turvy
2. Colleen Atwood - Sleepy Hollow
3. Milena Canonero - Titus
4. Marit Allen - Eyes Wide Shut
5. Kym Barrett - The Matrix

2000:

1. Janty Yates - Gladiator
2. Eiko Ishioka - The Cell
3. Tim Yip - Crouching Tiger Hidden Dragon
4. William Chang - In the Mood For Love
5. Jacqueline West - Quills

2001:

1. Ngila Dickson & Richard Taylor - LOTR: The Fellowship of the Ring
2. Karen Patch - The Royal Tenenbaums
3. Catherine Martin & Angus Strathie - Moulin Rouge!
4. Caroline Harris & Silvie Michajlova - A Knight's Tale
5. David C. Robinson - Zoolander

2002:

1. Sandy Powell - Gangs of New York
2. Emi Wada - Hero
3. Ngila Dickson & Richard Taylor - LOTR: The Two Towers
   
4. Ruth Myers - Nicholas Nickleby
5. Julie Weiss - Frida

2003:

1. Ngila Dickson & Richard Taylor - LOTR: The Return of the King
2. Milan Desai & Janet Patterson - Peter Pan
3. Colleen Atwood - Big Fish
4. Wendy Stites - Master and Commander: The Far Side of the World
5. Ngila Dickson - The Last Samurai

2004:

1. Emi Wada - House of Flying Daggers
2. William Chang - 2046
3. Colleen Atwood - Lemony Snicket's A Series of Unfortunate Events
4. Sandy Powell - The Aviator
5. Madeline Fontaine - A Very Long Engagement

2005:

1. Janty Yates - Kingdom of Heaven
2. Jacqueline Durran - Pride & Prejudice
3. Gabriella Pescucci & Carlo Poggioli - The Brothers Grimm
4. Margot Wilson - The Proposition
5. Isis Mussenden - The Chronicles of Narnia: The Lion The Witch and the Wardrobe

2008:

1. Choi Eui-yeong & Kwon Yoo-jin - The Good The Bad The Weird
2. Tim Yip - Red Cliff Part I
3. Sammy Sheldon - Hellboy 2
4. Michael O'Connor - The Duchess
5. Jacqueline West - Australia

2009:

1. Anna B. Sheppard - Inglorious Basterds
2. Sandy Powell - The Young Victoria
3. Monique Prudhomme - The Imaginarium of Doctor Parnassus
4. Tim Yip - Red Cliff Part II
5. Janet Patterson - Bright Star

2010:

1. Fung-San Lui - Let the Bullets Fly
2. Mary Zophres - True Grit
3. Laura Jean Shannon - Scott Pilgrim vs. The World
4. Antonella Cannarozzi - I Am Love
5. Gill Horn - Valhalla Rising

2011:

1. Jacqueline Durran - Tinker Tailor Solider Spy
2. Mark Bridges - The Artist
3. Sandy Powell - Hugo
4. Michael O'Connor - Jane Eyre
5. Sonia Grande - Midnight In Paris

2012:

1. Manon Rasmussen - A Royal Affair
2. Jacqueline Durran - Anna Karenina
3. Kym Barrett & Pierre-Yves Gayraud - Cloud Atlas
4. Sharen Davis - Django Unchained
5. Joanna Johnston - Lincoln

2013:

1. Patricia Norris - The Immigrant
2. William Chang - The Grandmaster
3. Mary Zophres - Inside Llewyn Davis
4. Catherine Martin - The Great Gatsby
5. Michael O'Connor - The Invisible Woman

2014:

1. Milena Canonero - The Grand Budapest Hotel
2. Mark Bridges - Inherent Vice
3. Jacqueline Durran - Mr. Turner
4. Amanda Neale - What We Do in the Shadows
5. Anushia Nieradzik - Belle

2015:

1. Jenny Beavan - Mad Max: Fury Road
2. Courtney Hoffman - The Hateful Eight
3. Jacqueline Durran - Macbeth
4. Jacqueline West - The Revenant
5. Sandy Powell - Cinderella

2016:

1. Jo Sang-gyeong - The Handmaiden
2. Dante Ferretti - Silence
3. Marina Hoermanseder - The Neon Demon
4. Mary Zophres - Hail Caesar!
5. Colleen Atwood - Fantastic Beasts and Where to Find Them

2017:

1. Mark Bridges - Phantom Thread
2. Renée April - Blade Runner 2049
3. Luis Sequeira - The Shape of Water
4. Lindy Hemming - Paddington 2
5. Stacey Battat - The Beguiled

2018:

1. Mary Zophres - The Ballad of Buster Scruggs
2. Sandy Powell - The Favourite
3. Lena Mossum - The Man Who Killed Don Quixote
4. Jane Petrie - The Outlaw King
5. Alexandra Byrne - Mary Queen of Scots

2019:

1. Mayes C. Rubeo - Jojo Rabbit
2. Massimo Cantini Parrini - Pinocchio
3. Massimo Cantini Parrini - Ophelia
4. Jacqueline Durran - Little Women
5. Alexandra Byrne - The Aeronauts

2020:

1. Alice Babidge - True History of the Kelly Gang
2. Alexandra Byrne - Emma
3. Suzie Harman & Robert Worley - The Personal History of David Copperfield
4. Ann Roth - Ma Rainey's Black Bottom
5. Carlo Poggioli - Waiting For the Barbarians

2021:

1. Malgosia Turzanska - The Green Knight
2. Jacqueline West & Bob Morgan - Dune
3. Mary Zophres - The Tragedy of Macbeth
4. Janty Yates - The Last Duel
5. Paul Tazewell - West Side Story

2022:

1. Linda Muir - The Northman
2. Mary Zophres -  Babylon
3. Jacqueline Durran - The Batman
4. Monika Buttinger - Corsage
5. Sophie O'Neill & Zac Posen - The Outfit

2023:

1. Holly Waddington - Poor Things
2. Uncredited - Cobweb
3. Jacqueline West - Killers of the Flower Moon
4. Janty Yates & Dave Crossman - Napoleon
5. Kasia Walicka Maimone - The Wonderful Story of Henry Sugar

2024:

1. Linda Muir - Nosferatu
2. Jacqueline West - Dune Part II
3. Emmanuelle Youchnovski - The Substance
4. Massimo Cantini Parrini - Maria
5. Janty Yates & Dave Crossman - Gladiator II

2025:

1. Kate Hawley - Frankenstein
2. Wen-Ying Huang - Resurrection
3. Colleen Atwood & Christine L. Cantella - Kiss of the Spider Woman
4. Milena Canonero - The Phoenician Scheme
5. Jennifer Johnson - Bugonia

James Acheson, 4 noms 2 wins

Best Costume Design 1981: Time Bandits  (Nom)

Best Costume Design 1985: Brazil (Nom)

Best Costume Design 1987: The Last Emperor (WINS)

Best Costume Design 1988: Dangerous Liaisons (WINS)

Adrian, 4 noms 1 win

Best Costume Design 1933: Queen Christina (WINS)

Best Costume Design 1935: Anna Karenina (Nom)

Best Costume Design 1937: Conquest (Nom)

Best Costume Design 1938: Marie Antoinette (Nom)

Renée April, 2 noms

Best Costume Design 1987: The Moderns (Nom)

Best Costume Design 2017: Blade Runner 2049 (Nom)

Colleen Atwood, 5 noms

Best Costume Design 1999: Sleepy Hollow (Nom)

Best Costume Design 2003: Big Fish (Nom)

Best Costume Design 2004: Lemony Snicket's A Series of Unfortunate Events (Nom)

Best Costume Design 2016: Fantastic Beasts And Where To Find Them (Nom)

Best Costume Design 2025: Kiss of the Spider Woman (Nom)

Travis Banton, 4 noms

Best Costume Design 1931: Dr. Jekyll and Mr. Hyde (Nom)

Best Costume Design 1932: Love Me Tonight (Nom)

Best Costume Design 1932: Shanghai Express (Nom)

Best Costume Design 1934: The Scarlet Empress (Nom)

Jenny Beavan, 3 noms 1 win

Best Costume Design 1986: A Room With A View (Nom)

Best Costume Design 1993: The Remains of the Day (Nom)

Best Costume Design 2015: Mad Max: Fury Road (Nom)

Mark Bridges, 3 noms

Best Costume Design 2011: The Artist (Nom)

Best Costume Design 2014: Inherent Vice (Nom)

Best Costume Design 2017: Phantom Thread (WINS)

John Bright, 2 noms

Best Costume Design 1986: A Room With A View (Nom)

Best Costume Design 1993: The Remains of the Day (Nom)

Nadezhda Buzina, 2 noms 1 win

Best Costume Design 1966: War and Peace Part II (WINS)

Best Costume Design 1967: War and Peace Part IV (Nom)

Alexandra Byrne, 5 noms 1 win

Best Costume Design 1996: Hamlet (WINS)

Best Costume Design 1998: Elizabeth (Nom)

Best Costume Design 2018: Mary Queen of Scots (Nom)

Best Costume Design 2019: The Aeronauts (Nom)

Best Costume Design 2020: Emma (Nom)

Milena Canonero, 7 noms 3 wins

Best Costume Design 1971: A Clockwork Orange
Best Costume Design 1975: Barry Lyndon (Winner)

Best Costume Design 1981: Chariots of Fire (Nom)

Best Costume Design 1983: The Hunger (Winner)

Best Costume Design 1999: Titus (Nom)

Best Costume Design 2014: The Grand Budapest Hotel (Winner)

Best Costume Design 2025: The Phoenician Scheme (Nom)

William Chang, 3 noms

Best Costume Design 2000: In the Mood For Love (Nom)

Best Costume Design 2004: 2046 (Nom)

Best Costume Design 2013: The Grandmaster (Nom)

Mikhail Chikovani, 2 noms 1 win

Best Costume Design 1966: War and Peace Part II (WINS)

Best Costume Design 1967: War and Peace Part IV (Nom)

Dave Crossman, 2 noms

Best Costume Design 2023: Napoleon (Nom)

Best Costume Design 2025: Gladiator II (Nom)

Phyllis Dalton, 3 noms

Best Costume Design 1965: Doctor Zhivago (Nom)

Best Costume Design 1987: The Princess Bride (Nom)

Best Costume Design 1993: Much Ado About Nothing (Nom)

Sophie Devine, 2 noms

Best Costume Design 1955: Oklahoma! (Nom)

Best Costume Design 1961: The Innocents (Nom)

Ngila Dickson, 4 noms 2 wins

Best Costume Design 2001: LOTR: The Fellowship of the Ring (WINS)

Best Costume Design 2002: LOTR: The Two Towers (Nom)

Best Costume Design 2003: LOTR: The Return of the King (WINS)

Best Costume Design 2003: The Last Samurai (Nom)

Danilo Donati, 2 noms 1 win

Best Costume Design 1968: Romeo and Juliet (WINS)

Best Costume Design 1980: Flash Gordon (Nom)

Ernest Dryden, 2 noms 1 win

Best Costume Design 1937: The Prisoner of Zenda (WINS)

Best Costume Design 1937: Lost Horizon (Nom)

Jacqueline Durran, 7 noms 1 win

Best Costume Design 2005: Pride & Prejudice (Nom)

Best Costume Design 2011: Tinker Tailor Soldier Spy (WINS)

Best Costume Design 2012: Anna Karenina (Nom)

Best Costume Design 2014: Mr. Turner (Nom)

Best Costume Design 2015: Macbeth (Nom)

Best Costume Design 2019: Little Women (Nom)

Best Costume Design 2022: The Batman(Nom)

April Ferry, 2 noms 1 win

Best Costume Design 1986: Big Trouble in Little China (WINS)

Best Costume Design 1994: Maverick (Nom)

Margaret Furse, 4 noms 1 win

Best Costume Design 1948: Oliver Twist (Nom)

Best Costume Design 1955: Richard III (WINS)

Best Costume Design 1968: The Lion in Winter (Nom)

Best Costume Design 1970: Scrooge (Nom)

Roger K. Furse, 4 noms 1 win

Best Costume Design 1944: Henry V (Nom)

Best Costume Design 1948: Hamlet (Nom)

Best Costume Design 1952: Ivanhoe (Nom)

Best Costume Design 1955: Richard III (WINS)

Piero Gherardi, 4 noms

Best Costume Design 1957: Nights of Cabiria (Nom)

Best Costume Design 1960: La Dolce Vita (Nom)

Best Costume Design 1963: 8 1/2 (Nom)

Best Costume Design 1965: Juliet of the Spirits (Nom)

Elizabeth Haffenden, 2 noms

Best Costume Design 1945: The Wicked Lady (Nom)

Best Costume Design 1966: A Man For All Seasons (Nom)

Edith Head, 10 noms 1 win

Best Costume Design 1932: Love Me Tonight (Nom)

Best Costume Design 1938: If I Were King (Nom)

Best Costume Design 1942: I Married A Witch (Nom)

Best Costume Design 1949: The Heiress (WINS)

Best Costume Design 1949: Samson and Delilah (Nom)

Best Costume Design 1955: The Court Jester (Nom)

Best Costume Design 1958: Vertigo (Nom)

Best Costume Design 1961: Breakfast At Tiffany's (Nom)

Best Costume Design 1973: The Sting (Nom)

Best Costume Design 1975: The Man Who Would Be King (Nom)

Hein Heckroth, 2 noms 2 wins

Best Costume Design 1947: Black Narcissus (WINS)

Best Costume Design 1948: The Red Shoes (WINS)

Lindy Hemming, 2 noms 1 win

Best Costume Design 1999: Topsy-Turvy (WINS)
Best Costume Design 2017: Paddington 2 (Noms)

René Hubert, 4 noms

Best Costume Design 1931: À Nous la Liberté (Nom)

Best Costume Design 1943: Jane Eyre (Nom)

Best Costume Design 1943: Heaven Can Wait (Nom)

Best Costume Design 1944: The Lodger (Nom)

Eiko Ishioka, 2 noms 1 win

Best Costume Design 1992: Dracula (WINS)

Best Costume Design 2000: The Cell (Nom)

Irene, 2 noms

Best Costume Design 1937: Shall We Dance (Nom)

Best Costume Design 1944: Gaslight (Nom)

Dorothy Jeakins, 4 noms

Best Costumes Design 1949: Samson and Delilah (Nom)

Best Costume Design 1950: Cyrano De Bergerac (Nom) 

Best Costume Design 1970: Little Big Man (Nom)

Best Costume Design 1987: The Dead (Nom)

Orry-Kelly, 3 noms 1 win

Best Costume Design 1933: 42nd Street (Nom)
Best Costume Design 1942: Casablanca (WINS)

Best Costume Design 1947: Ivy (Nom)

Manne Lindholm, 2 noms

Best Costume Design 1957: The Seventh Seal (Nom)

Best Costume Design 1958: The Magician (Nom)

Catherine Martin, 2 noms

Best Costume Design 2001: Moulin Rouge! (Nom)

Best Costume Design 2013: The Great Gatsby (Nom)

Mayo, 2 noms 1 win

Best Costume Design 1945: Children of Paradise (WINS)

Best Costume Design 1952: Casque d'Or (Nom)

Anthony Mendleson, 2 noms

Best Costume Design 1949: Kind Hearts and Coronets (Nom)

Best Costume Design 1963: Dr. Syn, Alias the Scarecrow (Nom)

Oliver Messel, 2 noms

Best Costume Design 1945: Caesar and Cleopatra (Nom)

Best Costume Design 1949: The Queen of Spades (Nom)

John Mollo, 3 noms 2 wins

Best Costume Design 1977: Star Wars (WINS)

Best Costume Design 1979: Alien (WINS)

Best Costume Design 1980: Star Wars Episode V: The Empire Strikes Back (Nom)

Linda Muir, 2 noms 2 wins

Best Costume Design 2022: The Northman (WINS)

Best Costume Design 2024: Nosferatu (WINS)

Ruth Myers, 4 noms 1 win

Best Costume Design 1983: Something Wicked This Way Comes (Nom)

Best Costume Design 1991: The Addams Family (WINS)

Best Costume Design 1996: Emma (Nom)

Best Costume Design 2002: Nicholas Nickleby (Nom)

Deborah Nadoolman, 2 noms

Best Costume Design 1981: Raiders of the Lost Ark (Nom)

Best Costume Design 1988: Coming to America (Nom)

Patricia Norris, 4 noms 1 win

Best Costume Design 1978: Days of Heaven (Nom)

Best Costume Design 1978: Movie Movie (Nom)

Best Costume Design 1980: The Elephant Man (Nom)

Best Costume Design 2013: The Immigrant (WINS)

Vittorio Nino Novarese, 2 noms

Best Costume Design 1963: Cleopatra  (Nom)

Best Costume Design 1965: The Agony and the Ecstasy (Nom)

Michael O'Connor, 3 noms

Best Costume Design 2008: The Duchess  (Nom)

Best Costume Design 2011: Jane Eyre (Nom)

Best Costume Design 2013: The Invisible Woman (Nom)

Massimo Cantini Parrini, 3 noms

Best Costume Design 2019: Pinocchio (Nom)

Best Costume Design 2019: Ophelia (Nom)

Best Costume Design 2024: Maria (Nom)

Janet Patterson, 5 noms

Best Costume Design 1993: The Piano (Nom)

Best Costume Design 1996: Portrait of a Lady (Nom)

Best Costume Design 1997: Oscar and Lucinda (Nom)

Best Costume Design 2003: Peter Pan (Nom)

Best Costume Design 2009: Bright Star (Nom)

Gabriella Pescucci, 4 noms 1 win

Best Costume Design 1984: Once Upon A Time in America (Nom)

Best Costume Design 1988: The Adventures of Baron Munchausen (Nom)

Best Costume Design 1993: The Age of Innocence (WINS)

Best Costume Design 2005: The Brothers Grimm (Nom)

Carlo Poggioli, 2 noms

Best Costume Design 2005: The Brothers Grimm (Nom)

Best Costume Design 2020: Waiting For the Barbarians (Nom)

Theodor Pištěk, 2 noms 2 wins

Best Costume Design 1967: Marketa Lazarova (WINS)

Best Costume Design 1984: Amadeus (WINS)

Sandy Powell, 11 noms 3 wins

Best Costume Design 1993: Orlando (Nom)

Best Costume Design 1994: Interview With the Vampire (WINS)

Best Costume Design 1997: The Wings of the Dove (Nom)

Best Costume Design 1998: Shakespeare in Love (WINS)

Best Costume Design 1998:  Velvet Goldmine (Nom)

Best Costume Design 2002: Gangs of New York (WINS)

Best Costume Design 2004: The Aviator (Nom)

Best Costume Design 2009: The Young Victoria (Nom)

Best Costume Design 2011: Hugo (Nom)

Best Costume Design 2011: Cinderella (Nom)

Best Costume Design 2018: The Favourite (Nom)

Renié, 2 noms

Best Costume Design 1945: The Body Snatcher (Nom)

Best Costume Design 1963: Cleopatra (Nom)

Bob Ringwood, 3 noms

Best Costume Design 1981: Excalibur (Nom)

Best Costume Design 1984: Dune (Nom)

Best Costume Design 1992: Batman Returns (Nom)

Aggie Guerard Rodgers, 2 noms

Best Costume Design 1983: Star Wars Episode VI: Return of the Jedi (Nom)

Best Costume Design 1988: Beetlejuice (Nom)

Ann Roth, 2 noms

Best Costume Design 1996: The English Patient (Nom)

Best Costume Design 2020: Ma Rainey's Black Bottom (Nom)

Carlo Simi, 2 noms

Best Costume Design 1966: The Good The Bad and The Ugly (Nom)

Best Costume Design 1968: Once Upon A Time in The West (Nom)

Irene Sharaff, 2 noms 1 win

Best Costume Design 1944: Meet Me In St. Louis (WINS)

Best Costume Design 1961: West Side Story (Nom)

Polly Smith, 2 noms

Best Costume Design 1986: Labyrinth (Nom)

Best Costume Design 1992: Muppet Christmas Carol (Nom)

Gile Steele, 2 noms 1 win

Best Costume Design 1949: The Heiress (WINS)

Best Costume Design 1949: Samson and Delilah (Nom)

Anthea Sylbert, 2 noms 1 win

Best Costume Design 1974: Chinatown (WINS)

Best Costume Design 1977: Julia (Nom)

Richard Taylor, 3 noms 2 wins

Best Costume Design 2001: LOTR: The Fellowship of the Ring (WINS)

Best Costume Design 2002: LOTR: The Two Towers (Nom)

Best Costume Design 2003: LOTR: The Return of the King (WINS)

Dolly Tree, 2 noms

Best Costume Design 1935: Mad Love (Nom)

Best Costume Design 1935: A Tale of Two Cities (Nom)

V. Vavra 2 noms 1 win

Best Costume Design 1966: War and Peace Part II (WINS)

Best Costume Design 1967: War and Peace Part IV (Nom)

Emi Wada, 3 noms 2 wins

Best Costume Design 1985: Ran (WINS)

Best Costume Design 2002: Hero Nom)

Best Costume Design 2004: House of Flying Daggers (WINS)

Gwen Wakeling, 2 noms 

Best Costume Design 1934: The Affairs of Cellini (Nom)

Best Costume Design 1949: Samson and Delilah (Nom)

Jacqueline West, 6 noms 

Best Costume Design 2000: Quills (Nom)

Best Costume Design 2008: The Duchess (Nom)

Best Costume Design 2015: The Revenant (Nom)

Best Costume Design 2021:  Dune (Nom)

Best Costume Design 2023:  Killers of the Flower Moon (Nom)

Best Costume Design 2024:  Dune Part II (Nom)

Vera West, 3 noms 1 win

Best Costume Design 1931: Dracula (WINS)

Best Costume Design 1932: The Mummy (Nom)
Best Costume Design 1935: Bride of Frankenstein (Nom)

Janty Yates, 5 noms 2 wins

Best Costume Design 2000: Gladiator (WINS)

Best Costume Design 2005: Kingdom of Heaven (WINS)

Best Costume Design 2021: The Last Duel (Nom)

Best Costume Design 2023: Napoleon (Nom)

Best Costume Design 2025: Gladiator II (Nom)

Tim Yip, 3 noms

Best Costume Design 2000: Crouching Tiger Hidden Dragon (Nom)
Best Costume Design 2008: Red Cliff Part I (Nom)

Best Costume Design 2009: Red Cliff Part II (Nom)

Mary Zophres, 7 noms 1 win

Best Costume Design 1998: The Big Lebowski (Nom)

Best Costume Design 2010: True Grit (Nom)

Best Costume Design 2013: Inside Llewyn Davis (Nom)

Best Costume Design 2016: Hail Caesar! (Nom)

Best Costume Design 2018: The Ballad of Buster Scruggs (WINS)

Best Costume Design 2021: The Tragedy of Macbeth (Nom)

Best Costume Design 2022: Babylon (Nom)