The Academy Awards happen this weekend and so it’s time once again to celebrate my favorite design elements in last year’s movies.  Of those films nominated for Best Production Design I’m pulling for Hail Caesar! and its giddy rendition of ‘50s LA.  But I suspect the Technicolor toss-up will go to La La Land.

If I were handing out awards, here are a few things I am Loving about last year’s set designs.

Best (and Worst) Bachelor Pads – Dev Patel’s ocean view apartment provided a perfect perch to search the world to find his roots.  By contrast, Casey Affleck’s basement digs in Manchester by the Sea offered no relief from his past.

Best Hideout – The elegant Georgian mansions offered more than Love & Friendship to Kate Beckinsale.

Deadliest Kitchen –Despite all its up-to-date trappings there was no heart to Rosamund Pike’s Gone Girl home.

Hippy-est Hut – Viggo Mortensen’s forest dwelling in Captain Fantastic was a survivalist’s paradise.

Best Contemporary Castle – The Camelot-era White House was a shining spot in Jackie. 

Best Dreams Do Come True House – Emma Stone’s Chateau Marmont bungalow provides a clear signal that she’s made it big in La La Land.

Best Slipcover – Proving once again that money can’t buy you love, this nothing-out-of-the-ordinary chenille blanket provided the perfect backdrop for the happy marriage in Loving.

Best Music Room —The eclectic mishmash of Meryl Streep’s apartment hit all the right notes in Florence Foster Jenkins. 

And now, the Grand Chaise—the one with the leopard print velvet slipcover—is awarded to The Place I Wish I Called Home: 

All my finalists offer water front views from spare structures.  I fancied the quiet Japanese dwellings in Silence and the modern Commie clubhouse in Hail Caesar! But the place that spoke my design language best was Amy Adams’s down-to-earth lakeside retreat in Arrival.

What a wonderful spring we’re having here in Northern California. I’ve been working on my garden removing the things that didn’t survive the deer or early frosts and then shopping for and planting more of what seems to thrive. The temperature is just warm enough to feel rejuvenating as I work outside and the light is so cinematic it deserves some kind of award.  Best Seasonal Glow–or something to that effect.

Last week, my landscape designer and friend Keeyla Meadows lended some expert help. Together we shopped at the wholesale nursery for more grevilleas and hellebores and added a white rhododendron and some daphne–fingers crossed that it survives since daphne can be so temperamental.  Then we spent a day placing and planting before the rains started up again.  At the end of that very full day of digging, watering, fertilizing and cleanup we sat down for a cup of tea in the twilight.  A large bird flew by and landed in a nearby eucalyptus tree directly across from where we were sitting. It immediately started to “whoo hooo” so we thought we knew what we were looking at but to confirm I fished out an old pair of binoculars.  Sure enough there was a great horned owl (“uncommon but widespread” says my Sibley Field Guide to Western Birds) challenging us to blink first.

According to “Birds–A Spiritual Field Guide “ (yes, I have ALL the bird books) the owl can be seen as either an omen of something terrible to come–think spooky Halloween creature–or a symbol of wisdom. Either way it seemed quite mystical to have it appear and communicate with us at that moment. We chose to think of “our” owl as a wise messenger blessing our clever efforts to outsmart the deer and anticipate the rain.

Usually this time of year is when I produce a post about my favorite set designs from the previous year’s movies.  Alas, I’ve been immersed in novel revisions or garden plans the past few weeks and didn’t take the time to put one together but if the Academy Awards show peaked your interest in seeing some of the nominated films here’s my 2 Cents on 2015 movie design.  Of the films nominated for Best Art Direction I was rooting for The Martian. I wasn’t up for seeing either The Revenant or Mad Max: Fury Road on the big screen but the rest of my family did and raved about Max’s visuals so I’m not surprised it won. Of the films I saw I absolutely loved the sinister modern house in Ex Machina (read about the mostly Norwegian locations here and here)

And the beautiful color palette of Brooklyn.

How fitting that the female leads of these two films also wore some of my favorite Oscar gowns.

To quote my backyard visitor–Whoo hooo!  What were your favorite movie sets from last year?  How about Oscar fashions?  I’d love to hear.

This weekend is the Oscars and rumor has it that actress and design enthusiast Julianne Moore is helping to decorate the official Green Room.  I’m looking forward to seeing what she comes up with. I’m also excited about taking one more glimpse at the art direction and sets from the past year’s movies.

Whether it was the rat-a-tat-tatty backstage actors’ nests in BIRDMAN, the righteous ‘60s digs in SELMA or the futuristic funhouse of GUARDIANS OF THE GALAXY, the sets from this year’s movies enthralled and entertained.

Thanks to all the set designers and art directors who made last year’s movies BELLE-isimo. To you I present my annual Chaise Lounge (or Longue for you Francophiles) awards for the best design elements in the movies of 2014:

Best Kitchen – The colorful upstart Indian kitchen in THE HUNDRED-FOOT JOURNEY may not have earned the Michelin star but it got my vote. Runner up: The off-the-rails food truck in CHEF.

 Best Lighting – I went WILD for that little glowing tent out on the trail.

Best Color Palette–Who could resist seeing Wes Anderson’s world through rose-colored glasses in THE GRAND BUDAPEST HOTEL?

Best Library – The multi-dimensional/time travel farm house bookshelves were (INTER)STELLAR.

Creepiest Cottage – The pool house/cottage in THE ONE I LOVE proved that fantasies–real estate or marital–aren’t always the best reality.

Best Houseboat – Spacious and done in a thoroughly modern grey-on-grey color scheme, the ark in NOAH offered a rustic-chic place to come in out of the rain.

Worst Bachelor/Bachelorette Pad – The sad computer filled room in THE IMMITATION GAME vied with Bill Murray’s ramshackle dump in ST. VINCENT and Rapunzel’s rocky tower in INTO THE WOODS for dreariest place to pine for an unrequited love.

Best Hangout – The rooftop on Tina Fey’s childhood home was the only place to find peace in THIS IS WHERE I LEAVE YOU.

Best Chamber of Horrors – Take one urban loft piano hall add a dungeon like practice room, then mix in the wood-paneled Old Boy’s Club rehearsal room and you’re sure to get WHIPLASH. Runner-up: The eery Roman bone chapel in TRIP TO ITALY.

And now, the Grand Chaise—the one with the leopard print velvet slipcover—is awarded to The Place I Wish I Called Home:

Though I lusted after Neil Patrick Harris’s modern house in GONE GIRL, things just got a little too messy for me.  And the rap star razzle-dazzle of Gugu Mbatha-Raw’s place in BEYOND THE LIGHTS turnt me up.  But I think the tired grandeur of the viager Parisian apartment in MY OLD LADY seemed cozy cool—especially if I could bring in a few more lamps and see it in the golden glow of THE THEORY OF EVERYTHING.

2013 Chaise Lounge Awards*

Given the number of solitary protagonists in films this year, movie set designers were often limited to outfitting claustrophobic dwellings the size of a lifeboat, a space capsule or an abandoned car. But fortunately they were not slavishly bound to small-scale design in every film.

Leonardo DiCaprio splurged on luxurious objets d’art, circa 1920  in “The Great Gatsby” and 1990 in “The Wolf of Wall Street,” Jennifer Lawrence piled pattern on pattern on the walls of her ’70s suburban home in “American Hustle” and Joaquin Phoenix found rosy-hued design love throughout the futuristic cityscape of “Her.”

So thank you to the art directors who once again used scrumptious furnishings, wallcoverings, textiles and art to tell tales at the movies. Here are my annual Chaise Lounge (or Longue for you Francophiles) awards for the best design elements in the movies of 2013 . . .

Best Closet–Nothing says you’ve arrived like a two story custom closet from which to fling your pastel-hued shirts a la “The Great Gatsby.” Though as long as we’re talking fantasy, I wouldn’t mind occasionally popping into the time travel closet in “About Time.”

Best Bathroom—Layer multiple patterns of foil wallpaper and you have one mighty fine disco bathroom where con artists can do the (“American) Hustle.”

Best Kitchen–Modest and cluttered, Brad Pitt’s kitchen telegraphed the beauty of everyday life before all zombie hell broke loose in “World War Z.”

Worst Laundry Room–Since the nuns refused to come clean, the convent laundry in “Philomena” harbored plenty of dirty little secrets.

Best Terrace–Even if their relationship was on shaky ground, Ethan Hawke and Julie Delpy found some beautiful rockwork terraces in Greece to shore up their marriage in “Before Midnight.”

Best Winter Retreat–Who wouldn’t want to build a snowman at the beautiful ice palace in “Frozen?”

Best Those Were The Good Old Days Décor–Like Cate Blanchett in “Blue Jasmine,” I would have felt pretty blue about having to slum it in San Francisco after losing that fabulous house in the Hamptons.

Best Villain’s Lair–Grand but menacing, Donald Sutherland’s digs (as well as the victors’ prize homes) made neoclassical design feel especially nasty in “The Hunger Games: Catching Fire.” And though Daniel Brühl’s father wouldn’t back his racing career, the ancestral Austrian home gave me quite a “Rush.”

Best Bare Bones Media Room–You don’t need a million bucks in order to catch up with family while catching the game in “Nebraska.”

Best Feminine Mystique Interiors–Rosy red and pink wall panels, lampshades and screensavers lit up Joaquin Phoenix’s emotional wasteland in “Her.”

Best Sex and the Single Girl Pad–Amy Adams’s sleek white brick apartment in “American Hustle” was no scam. Least likely to win this category, Keri Russell’s sad “Austenland” bedroom hustled any potential Darcys away.

Worst Cruise Cabin–No matter the expansive ocean views, it’s a toss-up who had the more horrific quarters between Tom Hanks’s floating prison in “Captain Phillips” and Robert Redford’s sinking ship in “All Is Lost.”

Best Dead End Digs–Narrow hallways ending in tiny doors in ‘60s Greenwich Village musicians’ apartment buildings showed that “Llewyn Davis” wasn’t getting inside any scene. Runner-up–the spare hilltop Australian bungalow in “Saving Mr. Banks.”

Best Robot Décor–Once you’ve seen one Ye Olde Pub interior–and a bunch of severed blue-blood limbs–you’ve pretty much seen them all in “The World’s End.”

Best Workshop–Though Robert Downey Jr.’s workshop went kablooey, the make-do Midwestern garage helped prove that Ironman will always save the day. Also nominated, Lily Tomlin’s bike shop in “Admission.”

Cheeriest Aboveground Underground Club–The salmon pink and sky blue paint job gave hope to those in need at the motel where Mathew McConaughey ran the “Dallas Buyers Club.”

Best Home Appliance/First-Aid Kit–The total home health care healing machine in “Elysium” was out of this world.

Best Wedding Decor–Show up to see your daughter married then end up falling in love with the groom’s father and moving into his lovely Italian villa? Turns out “Love Is All You Need.”

Best Outdoors Massage Parlor–Catherine Keener’s lovely trellised garden made for a great spot to dish the dirt in “Enough Said.”

And now, the Grand Chaise—the one with the leopard print velvet slipcover—is awarded to The Place I Wish I Called Home.

Though I could commit to the brown shingle-style house with the private dock in Connecticut in “The Big Wedding” or spend a fair amount of time killing time in the rambling Georgian villa on the Cornwall coast in “About Time,” my heart goes to Tobey McGuire’s rose-covered writer’s cottage in “The Great Gatsby.”  The Arts & Crafts interiors and homey flower gardens made me want to kick up my heels, old sport!

*A version of this post ran 2/23/14 in the Bay Area News Group papers.

Photos provided by Annapurna Pictures, Fox Searchlight, Lionsgate, Disney, Sony Pictures, and Warner Brothers