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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Oscar Race Defies the Experts: With 6 Days to Go, Nobody Knows a Damn Thing
The Writers Guild Awards results compounded the confusion: This may well be the tightest, weirdest, most confounding Best Picture competition ever
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Motion Picture Sound Editors Give Top Awards to ‘A Quiet Place,’ ‘Bohemian Rhapsody,’ ‘Spider-Man’
The MPSE’s Golden Reel Awards gave television honors to “The Marvelous Mrs. Maisel,” “Westworld,” “The Americans” and “Atlanta,” among others
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‘Can You Ever Forgive Me?’ and ‘Eighth Grade’ Win Writers Guild Awards for Film
“The Americans” and “The Marvelous Mrs. Maisel” win awards for drama and comedy series; “Barry” wins the award for new series
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‘Bohemian Rhapsody’ Wins Cinema Audio Society Award for Sound Mixing
Television winners include “The Marvelous Mrs. Maisel,” Mozart in the Jungle” and “The Assassination of Gianni Versace”
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‘Vice,’ ‘Marvelous Mrs. Maisel’ Win Top Awards from Make-Up Artists and Hair Stylists Guild
Other winners include “A Star Is Born,” “Crazy Rich Asians,” “Mary Poppins Returns” and “American Horror Story: Apocalypse”
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How the Oscars Bungled This Year’s Show So Badly, and Where the Academy Goes From Here
The Academy’s foolish plan was based on one giant, flawed assumption: that there’s a sensitive way to create a second-class group of categories
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Caleb Deschanel Got an Oscar Nod for Shooting ‘Never Look Away’ Even Though He Can’t Speak German
TheWrap Oscar magazine: “If you don’t know the language, you pay more attention to the actors’ facial expressions, their eyes, their movements, the rhythm of their speech,” says the six-time nominee
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Why ‘Roma’ Star Marina de Tavira Had to Forget Her Acting Training for Alonso Cuarón’s Drama
TheWrap Oscar magazine: “For a trained actor, it’s hard not to want to analyze the character’s journey,” says the Oscar-nominated actress of Cuarón’s no-script rules
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The Academy Stands Firm on Off-Air Oscars Plan – Here’s How It Will Work
Four awards will be handed out during commercial breaks instead of live
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‘Cold War’ Director Pawel Pawlikowski Is a First-Time Nominee Who Already Has an Oscar at Home
TheWrap Oscar magazine: “I hope it’s a good sign that the Academy, which the whole world is interested in, is becoming more interested in the whole world,” director says
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How ‘If Beale Street Could Talk’ Composer Nicholas Britell Found the Sound of Love
TheWrap Oscar magazine: “I’m actually trying to make pieces that maybe feel the way you think the characters are feeling,” says the Oscar-nominated composer
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‘Oscar Mania Is a Post-Harvey Weinstein Thing,’ First-Time Nominee Paul Schrader Says
TheWrap Oscar magazine: “I remember I went to the Oscars for ‘Taxi Driver’ and … I got up and left in the middle,’” the “First Reformed” writer-director says
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The Key to Winning the Best Picture Oscar: Stitching Together a Compromise
TheWrap Oscar magazine: The preferential system is designed to find a consensus favorite in the Best Picture category, but is consensus even possible in this wild, ugly year?
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Oscar-Nominated Documentary Directors on the Importance of Truth in ‘Broken’ Times
TheWrap Oscar magazine: “We consider ourselves journalists as well as filmmakers — and right now, journalism in America is in a perilous situation,” “RBG” director Julie Cohen says
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‘The Image Book’ Film Review: Once Again, Jean-Luc Godard Messes With Viewers’ Heads
The 87-year-old director’s newest film is an essay in sound and picture and an assault on the idea of cinema and, sometimes, on the viewer
