> > And I'd like to know how Sky Captain and the World of Tomorrow did not get nominated for Art Direction or Cinematography or Visual Effects. I mean, seriously, how did that happen? It should have WON for Art Direction, but it wasn't even nominated?
>
> It's just the Academy's way of losing credibility. If there ever was a movie that was designed to win an Oscar, it's Sky Captain and the World of Tomorrow for the Visual Effects award.
>
> -FP

I'm not so sure. It's got to be hard to draw a line between an animated film like The Incredibles and a film that is only *mostly* animated like Sky Captain. I don't think the Academy has figured out what to do in these situations -- after all, the award was created in a time when there was a clear distinction between animation and actual visual effects work.

With the line of demarcation only getting blurrier, I think something needs to be done. One of the bizarre things that I haven't heard mentioned too much is digital work on cinematography. A movie like A Very Long Engagement has pretty clearly had its colors digitally altered throughout, but admittedly looks great. Is this a visual effect or cinematography? Of course in that case the camerawork and shot composition was also outstanding, so it's an easier nomination, but I think the point is clear.

I don't blame the Academy too much for choking on Sky Captain (though I agree that, aside from being blurry as hell, it looks way better than the other three nominees), but if they allow it to be nominated, why not also The Incredibles?

Stephen