Steve Pond is TheWrap’s Executive Editor, Awards and has been writing and overseeing awards coverage on the site since 2009. He spent decades writing about film, television, music and the entertainment industry for the Los Angeles Times, Washington Post, Rolling Stone, Premiere, New York Times, Playboy and many other publications. He is the author of the L.A. Times bestseller “The Big Show,” a behind-the-scenes look at the Academy Awards based on 15 years of unprecedented access to that show.
Experience:
Resides In:
Los Angeles
Education:
Steve received a Bachelor of Arts degree in Journalism from California State University, Long Beach.
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Watch Out, Oscars – ‘1917’ Is Here, and It’s the Real Deal
Sam Mendes’ World War I epic looked like a strong Oscar contender as it wowed voters and press in a series of screenings in Los Angeles and New York
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Pharrell Williams Wrote a Song About a Music Legend He’d Never Even Met for ‘The Black Godfather’
TheWrap Oscar magazine: “All these people that he opened doors for talked about his immense power, his business acumen and the energy he brought to a room,” Williams says of Clarence Avant
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Why ‘Harriet’ Star Cynthia Erivo Insisted on Writing a Song for the Film Too
TheWrap Oscar magazine: “I was probably a pain to most people because I was so specific about what I wanted to hear and what I wanted to do,” says the British actor, singer and songwriter
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How ‘Frozen II’ Songwriters Stopped Thinking About ‘Let It Go’ to Write Songs for the Sequel
TheWrap Oscar magazine: “There’s drinking involved,” says Kristen Anderson-Lopez of the way she and her husband Robert dealt with the pressure of following that smash hit
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Diane Warren, ‘The Susan Lucci of the Oscars,’ Is Back in the Race Again
TheWrap Oscar magazine: And initially, she says, she really didn’t want Chrissy Metz to perform her new song “I’m Standing With You” from “Breakthrough”
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‘A Beautiful Day in the Neighborhood’ Film Review: Tom Hanks’ Mr. Rogers Film Is a Sweet Miracle
Director Marielle Heller finds a state of real grace in her valentine to kindness
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Why Jackson Browne Overcame His Reluctance to Write Movie Songs for ‘5B’
TheWrap Oscar magazine: “I found it easier than I thought,” Browne admits of the song he co-wrote for the documentary about the early says of the AIDS epidemic
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‘The Lighthouse,’ ‘Uncut Gems’ Lead Nominees at Independent Spirit Awards
The Safdie brothers’ “Uncut Gems” is the only film to be nominated in both the Best Feature and Best Director categories; acting nominees include Adam Sandler, Jennifer Lopez and Renee Zellweger
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How Mary Steenburgen Used Her ‘Actor Superpowers’ to Write a Song for ‘Wild Rose’
TheWrap Oscar magazine: “I can’t play guitar, but I can get ahold of scripts,” says the actress who has turned to songwriting in the last decade
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Clint Eastwood’s ‘Richard Jewell’ Auditions for the Oscars at AFI Fest Premiere
The world premiere of Eastwood’s drama about the 1996 Olympic bombing in Atlanta won raves in some circles, but the film could face significant obstacles with awards voters
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How the Chinese Animation Industry Stepped Up With Oscar Entry ‘Ne Zha’
TheWrap Oscar magazine: “Since we chose this profession, we cannot allow the animation industry to fail in China,” says director Yu Yang
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How Moroccan Drama ‘Adam’ Exposes the Unequal Treatment of Women in Life and Death
TheWrap Oscar magazine: Director Maryam Touzani says the story of a young woman pregnant out of wedlock is based on a true story “that marked me very deeply — I kept her inside me for 15 years”
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Why ‘Monos’ Director Created ‘Ideological Vacuum’ for His War Drama – and Doesn’t Say Where It’s Set
TheWrap Oscar magazine: “The wars that are fought now — Syria, Iraq, Afghanistan — are fought mainly in the shadows,” director Alejandro Landes says
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Awards Season Screeners Are Here, Finally – And So Are Clint Eastwood and World War I
With a week to go before Thanksgiving, the screener stream is not likely to let up
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‘Out Stealing Horses’: How Stellan Skarsgard and Hans Petter Moland Adapted an Impossible Book
TheWrap Oscar magazine: “If you try to make a film out of a book and concentrate on what actually happens in the book, then you’re lost when it’s something as poetic as this,” Skarsgard says of the Norwegian Oscar entry
