El Comité Ejecutivo de la Rama de Efectos Visuales de la Academia determinó la lista final. Ahora se invitará a todos los miembros de la Rama de Efectos Visuales a ver extractos de 10 minutos de cada una de las películas preseleccionadas el sábado 6 de enero de 2018. Después de las proyecciones, votarán para nominar cinco películas para la consideración final del Oscar®.
Durante el proceso de nominaciones, todos los miembros con derecho a voto de la Rama de Música recibirán una Lista recordatoria de los trabajos enviados y una compilación de los clips de la canciones. Se les pedirá que visionen los clips y luego voten en su orden de preferencia por no más de cinco logros en la categoría. Las cinco que reciban el mayor número de votos se convertirán en las nominadas para la votación final del premio. Se puede nominar un máximo de dos canciones por película.
Para ser elegible, una canción debe consistir en palabras y música, ambas originales y escritas específicamente para la película. Debe usarse una interpretación claramente audible, inteligible y sustantiva tanto de la letra como de la melodía en el cuerpo de la película o como la primera canción en los créditos finales.
Las películas presentadas en 2017:
“Alien: Covenant,” Jed Kurzel, composer
“All I See Is You,” Marc Streitenfeld, composer
“All the Money in the World,” Daniel Pemberton, composer
“Annabelle: Creation,” Benjamin Wallfisch, composer
“Band Aid,” Lucius, composer
“Battle of the Sexes,” Nicholas Britell, composer
“Baywatch,” Christopher Lennertz, composer
“Beauty and the Beast,” Alan Menken, composer
“The Big Sick,” Michael Andrews, composer
“Blade Runner 2049,” Benjamin Wallfisch and Hans Zimmer, composers
“The Book of Henry,” Michael Giacchino, composer
“Born in China,” Barnaby Taylor, composer
“The Boss Baby,” Hans Zimmer and Steve Mazzaro, composers
“Boston,” Jeff Beal, composer
“Brad’s Status,” Mark Mothersbaugh, composer
“Brawl in Cell Block 99,” Jeff Herriott and S. Craig Zahler, composers
“The Breadwinner,” Mychael Danna and Jeff Danna, composers
“Breathe,” Nitin Sawhney, composer
“Brigsby Bear,” David Wingo, composer
“Brimstone & Glory,” Dan Romer and Benh Zeitlin, composers
“Captain Underpants The First Epic Movie,” Theodore Shapiro, composer
“Cars 3,” Randy Newman, composer
“The Circle,” Danny Elfman, composer
“Coco,” Michael Giacchino, composer
“Cries from Syria,” Martin Tillman, composer
“A Cure for Wellness,” Benjamin Wallfisch, composer
“Darkest Hour,” Dario Marianelli, composer
“Despicable Me 3,” Heitor Pereira, composer
“The Disaster Artist,” Dave Porter, composer
“A Dog’s Purpose,” Rachel Portman, composer
“Downsizing,” Rolfe Kent, composer
“Drawing Home,” Ben Holiday, composer
“Dunkirk,” Hans Zimmer, composer
“Earth: One Amazing Day,” Alex Heffes, composer
“A Fantastic Woman,” Matthew Herbert, composer
“The Fate of the Furious,” Brian Tyler, composer
“Father Figures,” Rob Simonsen, composer
“Ferdinand,” John Powell, composer
“Fifty Shades Darker,” Danny Elfman, composer
“Film Stars Don’t Die in Liverpool,” J. Ralph, composer
“First They Killed My Father,” Marco Beltrami and Buck Sanders, composers
“Get Out,” Michael Abels, composer
“A Ghost Story,” Daniel Hart, composer
“Gifted,” Rob Simonsen, composer
“The Glass Castle,” Joel P. West, composer
“Going in Style,” Rob Simonsen, composer
“Good Time,” Daniel Lopatin, composer
“Goodbye Christopher Robin,” Carter Burwell, composer
“Gook,” Roger Suen, composer
“Guardians of the Galaxy Vol. 2,” Tyler Bates, composer
“The Hitman’s Bodyguard,” Atli Ӧrvarsson, composer
“Hostiles,” Max Richter, composer
“Human Flow,” Karsten Fundal, composer
“An Inconvenient Sequel: Truth to Power,” Jeff Beal, composer
“It,” Benjamin Wallfisch, composer
“Jane,” Philip Glass, composer
“Jumanji: Welcome to the Jungle,” Henry Jackman, composer
“Justice League,” Danny Elfman, composer
“Kepler’s Dream,” Patrick Neil Doyle, composer
“King Arthur: Legend of the Sword,” Daniel Pemberton, composer
“Kingsman: The Golden Circle,” Henry Jackman and Matthew Margeson, composers
“Kong: Skull Island,” Henry Jackman, composer
“LA 92,” Danny Bensi and Saunder Jurriaans, composers
“LBJ,” Marc Shaiman, composer
“Lady Bird,” Jon Brion, composer
“Lake of Fire,” Qutub-E-Kripa, composer
“Last Flag Flying,” Graham Reynolds, composer
“The Lego Batman Movie,” Lorne Balfe, composer
“The Lego Ninjago Movie,” Mark Mothersbaugh, composer
“The Leisure Seeker,” Carlo Virzì, composer
“Let It Fall,” Mark Isham, composer
“Life,” Jon Ekstrand, composer
“Logan,” Marco Beltrami, composer
“The Lost City of Z,” Christopher Spelman, composer
“Loveless,” Evgueni Galperine and Sacha Galperine, composers
“Loving Vincent,” Clint Mansell, composer
“The Man Who Invented Christmas,” Mychael Danna, composer
“Mark Felt – The Man Who Brought Down the White House,” Daniel Pemberton, composer
“Marshall,” Marcus Miller, composer
“Mary and the Witch’s Flower,” Takatsugu Muramatsu, composer
“Maudie,” Michael Timmins, composer
“Molly’s Game,” Daniel Pemberton, composer
“Moomins and the Winter Wonderland,” Łukasz Targosz, composer
“The Mountain between Us,” Ramin Djawadi, composer
“Mudbound,” Tamar-kali, composer
“The Mummy,” Brian Tyler, composer
“Murder on the Orient Express,” Patrick Doyle, composer
“My Cousin Rachel,” Rael Jones, composer
“Norman: The Moderate Rise and Tragic Fall of a New York Fixer,” Jun Miyake, composer
“Okja,” Jaeil Jung, composer
“Oklahoma City,” David Cieri, composer
“The Only Living Boy in New York,” Rob Simonsen, composer
“Only the Brave,” Joseph Trapanese, composer
“Our Souls at Night,” Elliot Goldenthal, composer
“Paris Can Wait,” Laura Karpman, composer
“Patti Cake$,” Geremy Jasper and Jason Binnick, composers
“Phantom Thread,” Jonny Greenwood, composer
“The Pirates of Somalia,” Andrew Feltenstein and John Nau, composers
“Pirates of the Caribbean: Dead Men Tell No Tales,” Geoff Zanelli, composer
“The Post,” John Williams, composer
“Professor Marston and the Wonder Women,” Tom Howe, composer
“The Promise,” Gabriel Yared, composer
“Pulimurugan,” Gopi Sundar, composer
“Raw,” Jim Williams, composer
“Roman J. Israel, Esq.,” James Newton Howard, composer
“Saban’s Power Rangers,” Brian Tyler, composer
“Same Kind of Different as Me,” John Paesano, composer
“The Second Coming of Christ,” Navid Hejazi, Ramin Kousha and Silvia Leonetti, composers
“Served Like a Girl,” Michael A. Levine, composer
“The Shack,” Aaron Zigman, composer
“The Shape of Water,” Alexandre Desplat, composer
“Slipaway,” Tao Liu, composer
“Smurfs: The Lost Village,” Christopher Lennertz, composer
“Spider-Man: Homecoming,” Michael Giacchino, composer
“Split,” West Dylan Thordson, composer
“The Star,” John Paesano, composer
“Star Wars: The Last Jedi,” John Williams, composer
“Step,” Laura Karpman and Raphael Saadiq, composers
“Stronger,” Michael Brook, composer
“Suburbicon,” Alexandre Desplat, composer
“Swing Away,” Tao Zervas, composer
“Thank You for Your Service,” Thomas Newman, composer
“Their Finest,” Rachel Portman, composer
“Thelma,” Ola Fløttum, composer
“Thor: Ragnarok,” Mark Mothersbaugh, composer
“Three Billboards outside Ebbing, Missouri,” Carter Burwell, composer
“Tickling Giants,” Paul Tyan, composer
“Tommy’s Honour,” Christian Henson, composer
“Trafficked,” David Das, composer
“Transformers: The Last Knight,” Steve Jablonsky, composer
“XXX: Return of Xander Cage,” Brian Tyler and Robert Lydecker, composers
“Victoria & Abdul,” Thomas Newman, composer
“Voice from the Stone,” Michael Wandmacher, composer
“Wakefield,” Aaron Zigman, composer
“War for the Planet of the Apes,” Michael Giacchino, composer
“Wilson,” Jon Brion, composer
“Wind River,” Nick Cave and Warren Ellis, composers
“Wonder,” Marcelo Zarvos, composer
“Wonder Woman,” Rupert Gregson-Williams, composer
“Wonderstruck,” Carter Burwell, composer
“Year by the Sea,” Alexander Janko, composer
Se pondrá a disposición de todos los miembros de la Rama de Música una lista recordatoria de las obras presentadas en la categorí, en la papeleta de nominaciones para que voten en orden de su preferencia por no más de cinco logros. Los cinco logros que reciban el mayor número de votos se convertirán en las nominadas para la votación final del premio.
Para ser elegible, la banda sonora original debe ser un cuerpo sustancial de música que sirva como subrayado dramático original, y debe estar escrito específicamente para la película por el compositor que la presente. Las bandas sonoras diluidas por el uso de música preexistente, disminuidas en el impacto por el uso predominante de canciones o cualquier música no compuesta específicamente para la película por el compositor que la presente, o ensambladas a partir de la música de más de un compositor no serán elegibles.
El sábado 6 de enero de 2018, todos los miembros de la Rama de Maquilladores y Estilistas de la Academia serán invitados a ver extractos de 10 minutos de cada una de las siete películas preseleccionadas. Despues de las proyecciones, los miembros votarán para nominar tres películas al Oscar®.
Para ser considerada elegible a los 90th Academy Awards de la Academia, los largometrajes deben estrenarse en un cine comercial en el condado de Los Angeles antes de la medianoche del 31 de diciembre y estar en cartel una duración mínima de siete días consecutivos.
De acuerdo con las reglas de la Academia, una largometraje debe tener un tiempo de ejecución de más de 40 minutos y debe haber sido exhibida teatralmente en una película de 35 mm o 70 mm, o en un formato digital calificado.
Los largometrajes que reciban su primera exhibición pública o distribución de cualquier manera que no sea un lanzamiento teatral no son elegibles para los Premios de la Academia en ninguna categoría.
Las nominaciones para los 90th Academy Awards se anunciarán el Martes, 23 de Enero de 2018.
La retransmisión de la Ceremonia de entrega de Premios será el Domingo, 4 de Marzo de 2018, en el Dolby Theatre™ en el Hollywood & Highland Center® en Hollywood, y será televisada, por la cadena de televisión ABC a más de 225 países.