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Director Danny Boyle’s “Slumdog Millionaire” was named best film of 2008 by the National Board of Review of Motion Pictures on Thursday in the first major award of the Oscar season.

Clint Eastwood won best actor for “Gran Torino” and Anne Hathaway picked up best actress for “Rachel Getting Married,” while David Fincher was named best director for “The Curious Case of Benjamin Button.”

The best supporting actor award went to Josh Brolin for “Milk” and Penelope Cruz for “Vicky Cristina Barcelona.”

Such critical nods are helpful for movie studios’ marketing campaigns as they jockey for attention for their films before the Academy Awards, the industry’s top honors, in February.

“Slumdog Millionaire, with brilliant direction by Danny Boyle and incredible performances, shares a passionate story about one man’s courage and determination for the woman he loves,” said Annie Schulhof, the board president.

Based on the bestselling novel “Q & A” by Vikas Swarup, the film tells the tale of a poor boy in India who gets a shot at winning millions on television game show “Who Wants To Be A Millionaire” as he tried to reunite with his lost love.

The screenplay is written by Simon Beaufoy, who shared the best adapted screenplay award with Eric Roth (”The Curious Case of Benjamin Button”), while the film’s star, Dev Patel, won the breakthrough performance by an actor.

Best foreign film was won by Russia’s “Mongol,” best animated feature went to “Wall-E,” best documentary was “Man on a Wire,” best ensemble cast was “Doubt” and best original screenplay was awarded to Nick Schenk for “Gran Torino.”

Next week, the Los Angeles Film Critics Association and the New York Film Critics Circle announce their award winners and the Golden Globe Awards, voted by the Hollywood Foreign Press Association, and the Critics Choice Awards, voted by the Broadcast Film Critics Association, will unveil their nominees before awards ceremonies in January.

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The International Animated Film Society announdced the nominations (December 1) and Dreamworks Animation’s Kung Fu Panda leads the pack.

The International Animated Film Society, ASIFA-Hollywood, announced nominations today for its 36th Annual Annie Awards recognizing the year’s best animated features, television productions, commercials, videogames and short subjects. DreamWorks Animation’s Kung Fu Panda leads the field with 17 nominations out of 27 overall for the studio, including Best Animated Feature, and individual nominations for character animation, character design, directing, music, production design, storyboarding, voice acting and writing. Walt Disney Animation Studios and its Best Animated Feature Bolt received 9 nominations and Pixar Animation Studios and its Best Animated Feature WALL•E received 8 nominations. Completing the Best Animated Feature category is Sony Pictures Classics Waltz With Bashir and Sherman Pictures/Lama Films $9.99.

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These are the movies arriving on DVD, November 18th.

Angus Maclaine (Directing Animator) discusses the making of Wall E.

“In the life of an animator you learn not to throw everything into a scene. If you just have one scene to animate on a film, you’re going to animate the hell out of that thing, and you’re going to put lots of stuff in there, because you want to show everyone you can move stuff around. As a Directing Animator on the film, my goal is not to get in the way of the story. Animation added a lot – seeing stuff move around or not move around really brought it to life – but at the same time the context of the story was what was most important.

If you see a shot of WALL-E staring off screen left, then you see a shot of tumbleweed going by, then you cut back to WALL-E and he’s staring at it and his head slightly rotates and then goes up and down with a sound of a sigh, there’s a mood established by it. That’s mostly story. Animation-wise, you’re mostly still for one shot and in the next shot you’re just going up and down and rotating the head a little bit. There’s not much there. It was easy in that sense because I didn’t have to do very much! But to be honest, a lot of it was not doing very much, and having the courage not to do very much comes with time and confidence.

Because the camera was handheld-operated, it didn’t make everything feel still, so then we just tried not to get in the way of the storytelling with our animation. I think story should take a bigger bow than animation here, because the context they provided for the story allowed for a simplicity of animation that seemed like great animation, but only because it wasn’t doing that much.

Ultimately, everything we needed we had for both EVE and WALL-E. That was fortunate, but we spent a lot of time upfront getting that. The way we eventually came upon the arm design for WALL-E, allowing the arms to slide along the body, let us move the arms in front of the face, which gave us this unsure hand-wringing pose that was key to any scene with EVE where he’s unsure of his approach to her. That, to me, is huge, and largely unrecognised as a big thing in addition to the expressiveness of the eyes.

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Wall. E is a “tender, thoughtful and terrific looking animated film.”

WALL•E is the kind of movie that you spend months anticipating and then have nothing to say about it when you finally see it. A masterpiece on par with Pixar’s very best films, Andrew Stanton’s overdue follow-up to Finding Nemo is everything one could possibly want from a film about a robot finding love, and even more. But the problem is that its substance is all so visible and understandable that it demands, and needs, no further analysis. All of which is why the best that should be said about it is it’s wonderful, and you should see it as soon as possible.

The film follows WALL•E, a cleaning robot who is left behind to straighten up the planet after humankind left Earth on gigantic spaceships. During the intervening centuries between humanity’s departure, WALL•E develops a personality and spends his days discovering small treasures among the trash, including a well-worn copy of Hello, Dolly! When a ship arrives from space, WALL•E is naturally intrigued, but after it drops off a sleek probe named Eve, he’s in love. Following a tenuous introduction (she almost vaporizes him), the two begin to bond. When the ship returns to retrieve Eve, however, WALL•E finds himself on an epic journey not only to explore the (literal) universe beyond Earth, but to find love and help humankind reconnect with the planet they abandoned so many years ago.

Much has already been made of the film’s environmental messages and supposed anti-corporate commentary (no small irony given Pixar’s partnership with Disney, much less their massive marketing push), but its most incisive observations are in regards to humanity’s increasing — and increasingly debilitating — reliance on technology. While the film does feature some actual humans, most notably Fred Willard as corporate mouthpiece Shelby Forthright, the characters that interact with WALL•E and his fellow robots are doughy, overweight CGI blobs that represent 700-plus years of laziness. Aboard the space cruisers, humans are literally waited on hand and foot, consuming the maximum possible calorie intake through the easiest and quickest possible ways, and essentially destroying anything resembling muscle mass, much less the motivation to do much of anything for themselves.

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Check out this exclusive Wall E trailer.

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Check out this behind the scenes Wall E featurette:

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IGN’s Steven Horn and Eric Moro visited the Pixar Animation Studio in February where they interviewed the director, Andrew Stanton. Here is an excerpt from the interview.

Q: Was the intention to make Eve look like an Apple product?

Andrew Stanton: We were certainly influenced by the design. The biggest thing was, what’s the sexiest other end of the spectrum. We kept saying Wall•E is a tractor and she’s a Mercedes. So [in] the world of technology, what’s the sleekest, most seamless, where the moving parts are hidden? So we sort of riffed off of anything of that ilk. Although after we had her designed, we had Johnny Iams — who does all of the design at Apple — we invited him over and he was very seduced by it. Who knows if a weird chicken and egg thing will happen [laughs] based on that. He approved highly.

Q: What kind of reaction were you getting from the studio seeing how there is no dialogue because in the first 30 minutes of the film?

Stanton: First of all, I think that’s a misnomer. There is dialog all through it. All I am saying is that they are not necessarily saying words in a language that you know. What I wanted was integrity. It all comes down to… just as much as I believe that Luxo is a lamp and that it has a life in it and it thinks like a lamp and acts like a lamp and I don’t have to be told that. It doesn’t have to be spelled out to me; I just get it right away. I wanted the same thing with the robots. I wanted you to believe that that’s a machine and it’s been there for hundreds of years, it’s been weathered, and it has a thought process on its own. It was designed a certain way so therefore it would have a certain way that it spoke electronically. And Eve was designed a certain way and would speak a certain way electronically. I just wanted things to be sort of logic based and it was all to service the integrity of the world because I just want to believe that I am there. I want to believe it’s really happening. So that shows the look of the film, the lens choice, some of the technological advances we made so that you’ll get more of a sense of the three dimensional atmosphere. Anything we did was just to enhance the experience of believability.

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