The insiders’ view

This Oscar race has become one of the most exciting contests we’ve seen in years. Other than the supporting acting races, which seem pretty solidly locked up by Mo’Nique and Christoph Waltz, there’s not a sure thing in sight. Will it be “Avatar” or “The Hurt Locker”? Bullock or Streep”? A “Slumdog” season this isn’t. So, curious for some insights into how the academy voters are leaning, we cajoled three members into anonymously revealing their actual votes. We talked to an actor, a director and a producer -- all men, in their late 40s to mid-50s -- about what they loved and why. You might be surprised at some of their choices.

-- Glenn Whipp and Pete Hammond

THE ACTOR >>>

“Inglourious Basterds”

It’s a real tough call with a lot of strong movies, each having different strengths. But I loved “Basterds.” By the end, when Tarantino goes the full-tilt boogie and the theater’s burning down -- there’s so many elements of excitement and drama in that -- it’s a huge thing.

James Cameron

Again, tough call. “Avatar” is a spectacle of brilliance, the way he’s able to blend those two worlds and the way you accept the animated along with the real world stuff. Genius. And I love any story where the capitalists finally get their due.

Jeff Bridges

The performance was as good as it gets. But then, with Jeff, it always is.

Carey Mulligan

It’s a real tough category because they’re all so good. But Carey Mulligan, what a debut. Spectacular. She has a long career ahead of her.

Christoph Waltz

Right after I saw him in “Inglourious Basterds,” I turned to my wife and said, “That’s who I’ll be voting for.” He’s a truly great actor.

Mo’Nique

She has been winning everything and with good reason. It’s such a powerful performance.

“An Education”

A great movie, full of heart, not afraid to go to some dark, truthful places when it needed to do so.

“The Messenger”

Just a great idea, using casualty notification officers to explore the costs of war and the courage of those who serve.

THE PRODUCER >>>

“Inglourious Basterds”

Original, fresh, provocative, distinctive. I just thought it was an original movie in every way, shape and form. I really loved it. It was a great experience. I am a big fan of Quentin Tarantino, and I think it was his best work. I liked other films. To be honest with you, I struggled between “Hurt Locker” and “Basterds.”

Quentin Tarantino

This was a tough one for me because I also really admire what Jason Reitman did with “Up in the Air” here. I am a fan of Quentin’s to begin with, and I loved it. It’s the same reasons I voted for it for best picture. He just handled it great in terms of casting, in terms of his instincts, in terms of humor -- laced with humor when it needed to be -- and originality. It was tough. I have a feeling Kathryn Bigelow may win, and she is deserving of it too, but in the end I went with Quentin.

Jeremy Renner

This was another tough category. I actually voted for Jeremy Renner. Look, Jeff Bridges is great. I love Jeff Bridges, but the movie didn’t move me emotionally the way I thought it should have. I didn’t like “Crazy Heart” particularly. I didn’t think it was very well directed, but that’s not Jeff. He’s always great and consistently good, but I just thought with Jeremy Renner, there was not a false beat in that performance, and I loved what he did in that role. I believed everything about it.

Gabourey Sidibe

Didn’t care for “Julie & Julia” at all. I put Gabby down because “Precious” moved me emotionally the way few other films did this year. That movie was riveting. Whether Gabby wins or not is questionable. I think the “Meryl” of it all will probably factor in, and there’s also obviously Sandra Bullock, but she was on the lighter side for me. But when it comes to the kind of dramatic acting chops that pulled off “Precious,” I voted for Gabby.

Christoph Waltz

That opening scene is one of the most intense scenes on film. Looking up through the floorboard and that conversation with that farmer is amazing. The use of all the languages, everything, just an elegant performance. It’s odd to use the word “elegant” in describing a Nazi, but that’s the one.

Mo’Nique

I went to Vegas and put money on her. It was shocking, that performance, even just beyond this year, it’s one of the greatest performances ever delivered on screen in history. That was amazing. I didn’t know she had that range to get that kind of emotion out of a character. It’s as raw and real as it gets.

“Up in the Air”

I love the movie; I love the writing, the witty stuff, the humor, the pathos of it, the emotion of it. It’s about something. It had substance to it. It resonated with me.

“Inglourious Basterds”

It’s fresh, original, provocative, distinctive. It stands on its own. You can’t really compare it to other movies actually, because it’s so original. I am a big fan of “Hurt Locker,” and as good as Mark Boal’s writing is, I think it was elevated by the direction of Bigelow. It’s very filmic, cinematic, but just in terms of what is on the page, my choice leans more to “Basterds,” but “Hurt Locker” is the runner-up.

THE DIRECTOR >>>

“Avatar”

People respect the fact that “Avatar” has changed cinema forever. It’s not a movie to be ignored. I know there’s people who say it’s an old story retold, but you could say the exact same thing about “The Hurt Locker.”

Kathryn Bigelow

I’m not convinced it’s the best directing job of the year, but I think it’s simply too important a stride for the academy to ignore giving it to a woman. It’s essential. And not only is she going to win it, she’s going to win it for such a male film. Almost every other movie this year directed by a woman is a female-driven movie.

Jeff Bridges

I cannot think of anybody who will get a longer standing ovation. I haven’t spoken to a single person who is not voting for Jeff. That body of work is just remarkable.

Carey Mulligan

I find it shocking that Sandra Bullock appears to be the front-runner for what I think is a one-note performance. Carey Mulligan captured teenaged angst and coming of age as well as it has ever been done in the history of film.

Christoph Waltz

None of the other actors in the category come remotely close. If he loses, you’ll hear a gasp. He’s a lock.

Vera Farmiga

If there’s an upset at the Oscars, it will be in this category. Vera Farmiga gave such a complex performance. She was the high point of the film. Mo’Nique -- it’s another monster depicted on screen, but I don’t think it was filmed with any particular originality outside of that great last scene. But I really sense that there’s fatigue going on with her. She’s not being seen as being particularly classy.

“An Education”

I was tempted to vote for “In the Loop,” but that was largely a series of nonstop insults, and I couldn’t follow the story. “An Education” had a great twist, great character development and a story that I thought was engrossing.

“Up”

It was a beautiful story, and that four-minute marriage sequence was as good as anything we’ve had in cinema this year.

calendar@latimes.com