The only one that I have to go and see is Brooklyn. I was surprised to see it get the best picture nod, but Saorise Ronan, she's very mesmerizing; she has probably the most piercing set of eyes in Hollywood.

Once I get in my mind that it's going to go "da da da dadada da da," then it's kind of like filling in the blanks.

Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.

I don't want to call anyone an outright winner without having seen everything.

Ennio Morricone is royalty. He doesn't really do this a lot and Quentin brought him back [in Hateful Eight]. Quentin [Tarantino] basically went back and made his The Good, The Bad and The Ugly-kind of film, the ultimate epic spaghetti western, and then you've got mister spaghetti western himself scoring your movie. It's gonna be hard to not vote for him in a landslide. Probably the easiest win of the night.

The idea of watching an entire film basically from one person's perspective - and not even really from their perspective, but [it's] probably the most intimately shot film that's in any of these categories. If you're not familiar with Son of Saul, basically it's a film about a Jewish guy who's in concentration camp, but he helps dispose of the bodies after they leave the gas chamber. So, you watch the entire movie looking at Saul's face and looking at his interactions with people.

Obviously movies like this [Fast and the Furious 7] don't get any love from the Academy. If they do, it may be special effects or sound editing or something like that.