Best Picture
Best Cinematography, Color - Loyal Griggs
Best Editing - Anne Bauchens
Best Costume Design, Color - Edith Head/Ralph Jester/John Jensen/Dorothy Jeakins/Arnold Friberg
Best Art Direction-Set Decoration, Color - Hal Pereira/Walter H. Tyler/Albert Nozaki/Sam Comer/Ray Moyer
Best Sound, Recording - Loren L. Ryder
Best Effects, Special Effects - John P. Fulton (WON)
Now that I think about it, that might not be so bad. As a recent graduate of the film school (toot. toot.), I am equally interested in both the film itself and the behind-the-scenes fun! And truly, is there anything more beautiful than the inspiring dedication and zeal of producer/director Cecil B. DeMille? When I saw Sunset Boulevard, I knew why Norma Desmond would want to work with the master. DeMille may have taken some creative liberties with chronologies, and some critics may claim that his work is bloated and sappy, somewhat cheesy. But can you doubt his sincerity? Can you doubt his dedication? Can you doubt his ability to actually get a large cast and crew and finances together to make his enormous vision come to be? I'm pretty sure you can't.
It was only a matter of time before this movie showed up here. Its significance in my life combined with my dream of making Biblical epics made its presence an inevitability. It's been some time since I've seen it, but I did take an Old Testament course last semester that made me reread the story of Moses in its entirety (that's a high five moment). Let's take a journey on the Casting Coup Couch, shall we?:
