TheWrapAwards – TheWrap https://www.thewrap.com Covering Hollywood Wed, 21 Feb 2018 21:14:55 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.4 Saoirse Ronan, Gal Gadot and More Portraits From Palm Springs Film Festival (Exclusive Photos) https://www.thewrap.com/saoirse-ronan-gal-gadot-portraits-palm-springs-film-festival-exclusive-photos/ https://www.thewrap.com/saoirse-ronan-gal-gadot-portraits-palm-springs-film-festival-exclusive-photos/#respond Wed, 21 Feb 2018 20:44:24 +0000 Photographed by Corina Marie for TheWrap https://www.thewrap.com/?p=1817403 Photographed by Corina Marie for TheWrap at the Palm Springs International Film Festival.

Producer J. Miles Dale, actors Richard Jenkins and Sally Hawkins, director Guillermo del Toro, actor Octavia Spencer and composer Alexandre Desplat, “The Shape of Water.”

Actors Armie Hammer and Timothee Chalamet, “Call Me By Your Name.”

Actor Timothee Chalamet, “Call Me By Your Name.”

Actress Salma Hayek, “Beatriz at Dinner.”

 

Related stories from TheWrap:

Stars at Palm Springs Film Festival Discuss the #MeToo Movement 'Wave' (Video)

Palm Springs Film Fest: Female Power, Embracing Superheroes and Other Things We Saw

Oscars: Why 5 Films Still Have a Shot at Best Picture in the Craziest Race in Years

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https://www.thewrap.com/saoirse-ronan-gal-gadot-portraits-palm-springs-film-festival-exclusive-photos/feed/ 0 The stars turned out in force for this year's Palm Springs International Film Festival. 

Photographed by Corina Marie for TheWrap at the Palm Springs International Film Festival

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The stars turned out in force for this year's Palm Springs International Film Festival. 

Photographed by Corina Marie for TheWrap at the Palm Springs International Film Festival

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Producer J. Miles Dale, actors Richard Jenkins and Sally Hawkins, director Guillermo del Toro, actor Octavia Spencer and composer Alexandre Desplat, "The Shape of Water" 

Photographed by Corina Marie for TheWrap

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Producer J. Miles Dale, actors Richard Jenkins and Sally Hawkins, director Guillermo del Toro, actor Octavia Spencer and composer Alexandre Desplat, "The Shape of Water" 

Photographed by Corina Marie for TheWrap

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Actors Armie Hammer and Timothée Chalamet, "Call Me by Your Name" 

Photographed by Corina Marie for TheWrap

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Actors Armie Hammer and Timothée Chalamet, "Call Me by Your Name" 

Photographed by Corina Marie for TheWrap

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Actor Timothée Chalamet, "Call Me by Your Name"  

Photographed by Corina Marie for TheWrap

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Actor Timothée Chalamet, "Call Me by Your Name"  

Photographed by Corina Marie for TheWrap

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Actress Salma Hayek, "Beatriz at Dinner" 

Photographed by Corina Marie for TheWrap

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Actress Salma Hayek, "Beatriz at Dinner" 

Photographed by Corina Marie for TheWrap

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Actress Gal Gadot, "Wonder Woman" 

Photographed by Corina Marie for TheWrap

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Actress Gal Gadot, "Wonder Woman" 

Photographed by Corina Marie for TheWrap

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Actor Gary Oldman, "Darkest Hour" 

Photographed by Corina Marie for TheWrap

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Actor Gary Oldman, "Darkest Hour" 

Photographed by Corina Marie for TheWrap

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Actress Saoirse Ronan, "Lady Bird" 

Photographed by Corina Marie for TheWrap

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Actress Saoirse Ronan, "Lady Bird" 

Photographed by Corina Marie for TheWrap

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Actress Laurie Metcalf, "Lady Bird" 

Photographed by Corina Marie for TheWrap

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Actress Laurie Metcalf, "Lady Bird" 

Photographed by Corina Marie for TheWrap

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Co-writers Emily V. Gordon and Kumail Nanjiani, "The Big Sick" 

Photographed by Corina Marie for TheWrap

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Co-writers Emily V. Gordon and Kumail Nanjiani, "The Big Sick" 

Photographed by Corina Marie for TheWrap

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Actress Holly Hunter, "The Big Sick" 

Photographed by Corina Marie for TheWrap

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Actress Holly Hunter, "The Big Sick" 

Photographed by Corina Marie for TheWrap

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Actress Allison Janney, "I, Tonya"  

Photographed by Corina Marie for TheWrap

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Actress Allison Janney, "I, Tonya"  

Photographed by Corina Marie for TheWrap

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Actor Sebastian Stan, "I, Tonya" 

Photographed by Corina Marie for TheWrap

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Actor Sebastian Stan, "I, Tonya" 

Photographed by Corina Marie for TheWrap

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Actor Sam Rockwell, "Three Billboards Outside Ebbing, Missouri" 

Photographed by Corina Marie for TheWrap

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Actor Sam Rockwell, "Three Billboards Outside Ebbing, Missouri" 

Photographed by Corina Marie for TheWrap

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Actress and songwriter Mary J. Blige, "Mudbound," and songwriter Common, "Marshall" 

Photographed by Corina Marie for TheWrap

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Actress and songwriter Mary J. Blige, "Mudbound," and songwriter Common, "Marshall" 

Photographed by Corina Marie for TheWrap

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Actress and songwriter Mary J. Blige, "Mudbound" 

Photographed by Corina Marie for TheWrap

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Actress and songwriter Mary J. Blige, "Mudbound" 

Photographed by Corina Marie for TheWrap

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Songwriter Common, "Marshall" 

Photographed by Corina Marie for TheWrap

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Songwriter Common, "Marshall" 

Photographed by Corina Marie for TheWrap

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Actress Jessica Chastain and writer-director Aaron Sorkin, "Molly's Game" 

Photographed by Corina Marie for TheWrap

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Actress Jessica Chastain and writer-director Aaron Sorkin, "Molly's Game" 

Photographed by Corina Marie for TheWrap

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Actress Jessica Chastain, "Molly's Game" 

Photographed by Corina Marie for TheWrap

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Actress Jessica Chastain, "Molly's Game" 

Photographed by Corina Marie for TheWrap

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Actor Willem Dafoe, "The Florida Project" 

Photographed by Corina Marie for TheWrap

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Actor Willem Dafoe, "The Florida Project" 

Photographed by Corina Marie for TheWrap

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Director Sean Baker, "The Florida Project" 

Photographed by Corina Marie for TheWrap

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Director Sean Baker, "The Florida Project" 

Photographed by Corina Marie for TheWrap

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Actor Peter Fonda, "The Ballad of Lefty Brown" 

Photographed by Corina Marie for TheWrap

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Actor Peter Fonda, "The Ballad of Lefty Brown" 

Photographed by Corina Marie for TheWrap

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Actor Gary Oldman, "Darkest Hour" and actress Sally Hawkins, "The Shape of Water" 

Photographed by Corina Marie for TheWrap

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Actor Gary Oldman, "Darkest Hour" and actress Sally Hawkins, "The Shape of Water" 

Photographed by Corina Marie for TheWrap

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Roger Deakins Doesn’t Think He’s Overdue for an Oscar – Even After 14 Nominations https://www.thewrap.com/roger-deakins-blade-runner-2049-oscars/ https://www.thewrap.com/roger-deakins-blade-runner-2049-oscars/#respond Wed, 21 Feb 2018 20:02:47 +0000 Brian Welk https://www.thewrap.com/?p=1818381 A version of this story on Roger Deakins first ran in the Down to the Wire issue of TheWrap’s Oscar magazine. 

Roger Deakins now has more cinematography nominations without a win than anyone in Oscar history. “Blade Runner 2049” marks his 14th nod. And it’s not as though the movies he’s lost for, including “Fargo,” “The Shawshank Redemption” and the Best Picture-winning “No Country for Old Men,” have been completely snubbed by the Academy. It would seem he’s long overdue.

“You say that, but I don’t really agree,” said Deakins. “I don’t subscribe to that ‘overdue.’ Some of the greatest work is never appreciated, so from my point, it’s wonderful to be appreciated over the years.”

For one, Jordan Cronenweth never got an Oscar (he was nominated once), and he shot the original “Blade Runner.” Deakins admires that film’s memorable noir look, but he and director Denis Villeneuve aimed to have 2049 stand on its own.

“I think the only way I paid respect to Jordan’s work is I didn’t try to mimic it in any way,” Deakins said. “I did not light like Jordan lit. I’m not Jordan Cronenweth. I talked to Denis about it, but he said it was a film to stand by itself.”

The new film is a visual marvel. Deakins staged a fight scene to the neon-lit backdrop of a holographic Elvis Presley stage show that recalls his work on “Skyfall.” He turned the Vegas strip into a burnt orange hellscape. And he bounced rippling waves of light from a reflecting pond onto the walls of the villain’s lair to make a dreamily ominous fortress.

Asked how many of the effects were captured in-camera without the aid of CGI, Deakins said, “You’d be surprised both ways, really. I think that’s a lot of the fun of my job. And there’s something about doing it in camera that’s a reality you don’t get with a computer, no matter how good the work is.”

And though he worked on a far smaller budget and with more technical limitations back on one of his earliest films, an adaptation of George Orwell’s “1984,” Deakins said the challenge of finding ways to visualize these moments in-camera is the same.

“It’s just a matter of scale,” Deakins said. “I was just talking with someone else about the night time storm sequence on the sea wall at the end. I certainly hadn’t shot anything quite like that, such an extended scene with actors in the water and crashing waves at night. But you just figure it out.”

Deakins used this blend of in-camera visuals with the artificial to poignant effect during a “threesome” scene among two real characters and a holographic one. Deakins explained you would’ve never been able to replicate the exact lighting on an actresses face if one of them was filmed in front of a green screen. So his team filmed two actresses in the same light without a green screen, then rotoscoped one actress out and laid her image on top of the other to a beautifully imperfect effect.

“It’s the simplicity of doing it that way that makes it successful and believable,” Deakins said. “You have a picture of what you want, and it’s work, work, work to try and create it.”

Go here for more from the Down to the Wire issue of TheWrap Oscar Magazine.

Related stories from TheWrap:

'Sicario' Cinematographer Roger Deakins Hunts for One Perfect Angle

'Blade Runner 2049' Wins Top Prize From American Society of Cinematographers

'Blade Runner' and 'Planet of the Apes' Lead Visual Effects Nominations

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‘The Shape of Water,’ ‘Wonder Woman,’ ‘I, Tonya’ Top Costume Designers Guild Awards https://www.thewrap.com/shape-water-wonder-woman-tonya-top-costume-designers-guild-awards/ https://www.thewrap.com/shape-water-wonder-woman-tonya-top-costume-designers-guild-awards/#respond Wed, 21 Feb 2018 05:49:25 +0000 Steve Pond https://www.thewrap.com/?p=1818947 “The Shape of Water,” “Wonder Woman” and “I, Tonya” have won the top film awards at the 20th annual Costume Designers Guild Awards, which took place on Tuesday night in Beverly Hills.

“Shape of Water” designer Luis Sequeira won the CDG Award in the Excellence in Period Film category, “Wonder Woman” designer Lindy Hemming won in the Excellence in Fantasy Film category and “I, Tonya” designer Jennifer Johnson won in the Excellence in Contemporary Film category.

“The Shape of Water” is also nominated for the Oscar for costume design, but its victory must be considered an upset over fellow Oscar nominee “Phantom Thread,” which was favored both for the CDG Award and the Oscar. Sequeira’s victory came on a night when he also helped present “Shape of Water” director Guillermo del Toro with the Costume Designers Guild Distinguished Collaborator Award.

“Wonder Woman,” meanwhile, beat the Oscar-nominated “Beauty and the Beast” in its category.

Surprisingly, two of the five Oscar nominees for costume design – “Darkest Hour” and “Victoria & Abdul” – were not even nominated by the CDG.

In the 19 previous years of the Costume Designers Guild Awards, one of its winners has gone on to win the Academy Award for costume design nine times. In five of those cases, the Oscar winner has come from the CDG’s period-film category. Two other winners were from the fantasy-film category, and two from the combined period/fantasy category, which existed from 1999 through 2004.

In the three television categories, the winners were “The Handmaid’s Tale” (contemporary television), “The Crown” (period television) and “Game of Thrones” (sci-fi/fantasy television).

Pink’s “Beautiful Trauma” music video won for short -film design.

The ceremony took place at the Beverly Hilton Hotel and was hosted by Gina Rodriguez.

Honorary awards went to del Toro, costume designer Joanna Johnston (Career Achievement Award), jeweler Maggie Schpak (Distinguished Service Award) and actress Kerry Washington (Spotlight Award).

Costume designer John Mollo, whose work included the first two “Star Wars” films, was posthumously inducted into the Costume Designers Guild Hall of Fame by Mark Hamill.

The CDG Awards winners:

Excellence in Contemporary Film: “I, Tonya,” Jennifer Johnson
Excellence in Period Film: “The Shape of Water,” Luis Sequeira
Excellence in Sci-Fi/Fantasy Film: “Wonder Woman,” Lindy Hemming

Excellence in Contemporary Television: “The Handmaid’s Tale,” Ane Crabtree
Excellence in Period Television: “The Crown,” Jane Petrie
Excellence in Sci-Fi/Fantasy Television: “Game of Thrones,” Michele Clapton

Excellence in Short Film Design: P!NK: “Beautiful Trauma” music video, Kim Bowen

Career Achievement Award: Joanna Johnston
Distinguished Collaborator Award: Guillermo del Toro
Spotlight Award: Kerry Washington
Distinguished Service Award: Maggie Schpak
Costume Designers Guild Hall of Fame: John Mollo

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‘The Post’ Writer Liz Hannah Was Nervous About Meryl Streep Using Her Lines (Video) https://www.thewrap.com/the-post-liz-hannah-thewrap-screening-series/ https://www.thewrap.com/the-post-liz-hannah-thewrap-screening-series/#respond Wed, 21 Feb 2018 01:20:27 +0000 Jeremy Fuster https://www.thewrap.com/?p=1817340

At TheWrap’s Screening Series, screenwriter Liz Hannah told the crowd at the Landmark Theater that there was a time when she was starting to doubt whether screenwriting was right for her. But she was convinced by her future husband to at least finish her last project: a spec script about Washington Post owner Kay Graham and her decision to publish the Pentagon Papers.

That film turned into “The Post,” a film featuring Steven Spielberg as director with a cast led by Meryl Streep as Graham that has been nominated for Best Picture at this year’s Oscars. Hannah was on set rewriting her script alongside Oscar-winning “Spotlight” writer Josh Singer, and she told TheWrap’s awards editor Steve Pond that the experience of writing lines for Streep was both “an incredible gift and a terrifying reality.”

“She’s in front of you saying the lines you wrote and you think, ‘Oh, Meryl Streep you’re so great!’ and then she says it again and you’re like ‘I’m the worst writer that’s ever existed in the world.” she said. “You don’t want to give Meryl second-rate lines and have her need to make them good.”

Liz Hannah’s original spec was bought by producer Amy Pascal just a week before the 2016 presidential election, and was primarily focused on Graham’s personal journey as she learned to assert herself as the owner of the Post in a board room and corporate culture dominated by men. But after Donald Trump’s victory, Spielberg opted for a hastened production schedule, with the film’s focus subsequently shifting into the ode to journalism that has earned it critical praise. The finished film places more emphasis on the process of how the Pentagon Papers were provided to the Post by Daniel Ellsberg and published in the face of prosecution threats from the Nixon Administration.

“When Steven came on, it was urgent for all of us that the movie come out in 2017.” Hannah said. “We felt there was something about the characters and…the timeliness of it that if it went into development hell for however long it would lose some of that. The urgency really made us have some of our best ideas because we couldn’t second-guess anything.”

While the film is an Oscar contender because of its timely connections to Trump, Hannah says she still sees the film as the story of a woman learning to stand up for herself, which is what compelled her to write “The Post” in the first place after reading Graham’s Pulitzer Prize-winning memoir, “Personal History.”

“It is one of the best memoirs I have ever read because it is written entirely in her voice,” Hannah said. “I had read her book in my early 20s and there was something that I really connected to about this woman…she was in her 80s and she was still reflecting on her life with this insecurity and openness and vulnerability, and I was 22 and thought, ‘Well, I can relate to that, and if I can relate to this woman, and see that it’s okay to make mistakes and figure things out along the way…I thought that it was really universal.”

See Hannah’s thoughts on the links between “The Post” and attacks on the free press happening today in the clip above.

Related stories from TheWrap:

'The Post' Fact-Check: Was Katharine Graham's First Job Really Publisher of the Washington Post?

The Post Behind 'The Post': A History of Washington's Top Newspaper (Exclusive Videos)

'The Post' Movie Review: Steven Spielberg Spins a Lean and Mean Fourth Estate Yarn

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Oscars: Why 5 Films Still Have a Shot at Best Picture in the Craziest Race in Years https://www.thewrap.com/oscars-5-films-still-shot-best-picture-craziest-race-years/ https://www.thewrap.com/oscars-5-films-still-shot-best-picture-craziest-race-years/#respond Mon, 19 Feb 2018 20:24:38 +0000 Steve Pond https://www.thewrap.com/?p=1817240 The fall of Harvey Weinstein and the rise of #MeToo and #TimesUp had already made this the most unsettled Oscars season in years.

The movies have done the rest.

Even with all the major guilds handing out awards in January and February and the British Academy (BAFTA) following suit on Sunday and providing the biggest clues about how the Oscar race may turn out, we approach the February 20 start of voting with at least five conceivable Best Picture winners. That’s by far the largest group of potential winners at this point in decades, maybe ever.

(Remember, between 1944 and 2008 there were only five nominees each year, and never a year in which all five of them had a legitimate chance of winning.)

And we can’t rely on the usual statistics to tell us what’s going to happen, because whatever does win is going to go against at least one stat that Oscar watchers consider an ironclad disqualifier.

This is an unusually turbulent awards season, both for films that have won guild awards and for a couple of contenders that have been shut out.

And with three splits between Best Picture and Best Director over the last four years, it’s becoming increasingly clear that the preferential system used to pick a winner in the best-pic category — and only in that category — does have an enormous effect.

In that system, voters are asked to rank the nominees in order of preference rather than just selecting a single favorite. Each ballot goes to the voter’s No. 1 choice in the first round of counting — but as the lowest-scoring films are eliminated in subsequent rounds, those ballots are redistributed to go to whichever of the remaining contenders is ranked highest on each of the ballots.

When one film has more than 50 percent of the vote, the count ends — after rewarding the movie that’s a consensus favorite over the ones whose appeal might be more divisive.

With all of that in mind, here’s our rundown of the pluses and minuses for each of the Best Picture nominees — arranged in what I would say is the current order of likelihood, although that changes daily.

“The Shape of Water”
Good news: The film won two of the top four guild awards, the Producers Guild Award and the Directors Guild Award. Those two are the most reliable guild indicators of Oscars success: 15 of the 22 DGA winners and 14 of the 22 PGA winners since 1995 have also won Best Picture, which is higher than the success rates for WGA (12 of 22) and SAG ensemble (11 of 22) winners. This could help Guillermo del Toro’s fantasy, frontrunner at the Oscars by most reckonings, follow in the footsteps of “The English Patient,” “Titanic” and “The Artist” as best-pic winners whose only major guild wins were with the directors and producers.

Bad news: But remember, “Saving Private Ryan” won those two guilds and then lost to “Shakespeare in Love,” and “Gravity” won both of them (the PGA in a tie with “12 Years a Slave”) and then lost to “12 Years.”

Also, “The Shape of Water” didn’t get a Screen Actors Guild nomination for ensemble cast; the last time a film won Best Picture without that SAG nomination was “Braveheart” way back in 1996, the first year SAG ensemble was handed out. (We thought “La La Land” would break the streak last year, but it didn’t.)

In addition, the film was nominated for the Writers Guild Award for original screenplay, but lost to “Get Out.” While “The King’s Speech,” “The Artist,” “12 Years a Slave” and “Birdman” all won PGA, DGA or both and then won the Oscar without a Writers Guild win, none of them were eligible for the WGA. It’s been 13 years since a film won Best Picture after being eligible for but losing at the Writers Guild.

Path to victory: It’s clearly the front runner, but the big question mark for “The Shape of Water” is whether it can avoid the fate of last year’s “La La Land” and 2016’s “The Revenant,” impressive filmmaking feats that lost to more universally acceptable movies (“Moonlight” and “Spotlight). To win, it will likely need a significant lead after the No. 1 votes are counted, so that it can stave off a rally by more universally palatable movies as the counting goes on. And it will need a split between its main challengers, so that no one film picks up enough votes to unseat it.

Universal

“Get Out”
Good news: Jordan Peele won the Writers Guild Award for Best Original Screenplay — triumphing in a category that was a real showdown between three serious Best Picture contenders, “Get Out,” “Lady Bird” and “The Shape of Water.” (A fourth, “Three Billboards Outside Ebbing, Missouri,” was ineligible under guild rules.)

Bad news: It didn’t get an Oscar nomination for film editing — or, for that matter, a nom in any below-the-line category. Since 1981, the only film to win Best Picture without an editing nomination is “Birdman,” which was designed to look like one continuous shot. Even intimate films like “Spotlight” and “Moonlight” proved they were contenders with editing nods. Plus, “Get Out” only got four nominations in total, which would be the fewest for any Best Picture winner since “Cavalcade” in 1933.

Path to victory: A commercial hit that turned into a surprise critical hit and then, slowly, into a real awards contender, Peele’s horror thriller has been confounding expectations all year. It probably won’t get the most No. 1 votes, but it could strike voters as an important movie — using genre elements to deal in a fresh way with the serious issue of race relations – that deserves to be near the top of enough ballots to pull out a win.

“Dunkirk”
Good news: Almost everybody admires it. And they particularly admire Christopher Nolan, who most likely will lose Best Director to Guillermo del Toro but who is an iconic filmmaker who deserves more Oscar success than he’s had. His film is such an enormous technical accomplishment that it could get massive support from the craft branches, and it’s the type of film that could well end up near the top of the ballot even from voters who won’t put it at No. 1. Plus, it seems to be picking up momentum in the homestretch.

Bad news: It didn’t win a single major guild award, and it didn’t get Oscar nominations for writing or acting. Films have won without a writing nomination (“Titanic”) or without an acting nomination (“Slumdog Millionaire,” “The Lord of the Rings: The Return of the King”), but the last film to do it without either of those was “Grand Hotel” in 1932. And “Grand Hotel” is the ultimate outlier, winning Best Picture despite the fact that it wasn’t even nominated in any other category. “Dunkirk” also lost at the BAFTAs to “Three Billboards,” suggesting that Nolan doesn’t quite have enough support even among the Brits who you’d expect to be among his film’s biggest fans.

Path to victory: If “Dunkirk” is in the top half of most voters’ ballots while more divisive films jump between the top and the bottom, it could be the consensus pick that pulls off a surprise win.

“Three Billboards Outside Ebbing, Missouri”
Good news: It won the Screen Actors Guild Award for Best Ensemble Cast, which presaged victory for “Spotlight,” “Argo,” “The King’s Speech” and “Crash” in recent years. It has two likely acting winners in Frances McDormand and Sam Rockwell and a key Best Film Editing nomination. And it beat “The Shape of Water” and “Dunkirk” at BAFTA, which only matches the Oscars about half the time but is seen as an indicator of the leanings of the Academy’s large British contingent.

Bad news: Martin McDonagh didn’t get a Best Director nomination. A film without a directing nod has won only four times in 89 years, and the first two of those — 1928’s “Wings” and 1932’s “Grand Hotel” — are hardly relevant to today’s voting. And toughest of all for its chances, it is one of the most dramatically love-it-or-hate-it films in the mix, which could really hurt its ability to secure additional votes as the preferential count goes on.

Path to victory: Film Twitter and anecdotal evidence has to be misleading us all about how divisive this movie is. If they’re wrong and there are far fewer haters in the Academy than on Twitter, it could cobble together a winning coalition based around the Academy’s largest branch, the actors — but to win under preferential, it would need strong support from far more than just this one branch.

A24

“Lady Bird”
Good news: It has picture, director, writing and acting nominations. Greta Gerwig made history as only the fifth woman ever nominated for Best Director, and she did so in a year in which the focus in Hollywood is on the treatment of women and the dearth of women in positions of power.

Bad news: It didn’t win anything from the four major guilds. In the time that the DGA, PGA, WGA and SAG have been handing out awards, no film has ever won Best Picture without winning the top prize from at least one of them. Like “Get Out,” it also has no editing nomination or other craft nominations, something that the last 37 Best Picture winners have had.

Path to victory: In the year of the woman, a film written and directed by a woman and telling the story of a teenage girl could become a statement, not just a coming-of-age story. Like “Get Out,” it would need to become this year’s “Spotlight” or “Moonlight,” the little film that seems to speak for the moment in a way the flashier frontrunner doesn’t – and to win it’d need to capture lots of No. 2 and No. 3 votes from films that are eliminated from contention.

“Call Me by Your Name”
Good news: James Ivory won the Writers Guild of America Award and the BAFTA for Best Adapted Screenplay.

Bad news: It didn’t get a Best Director nomination, or an editing nomination, or any other craft nomination, and it only has four nominations in total.

Path to victory: Despite its status as one of the year’s clear critical favorites, Luca Guadagnino’s romance if one of the four Best Picture nominees without a clear way to win.

20th Century Fox

“The Post”
Good news: Between its message about the importance of the press in holding government accountable and it’s depiction of a world in which men hold all the power and women are at best condescended to, the journalism drama set in 1971 is incredibly timely.

Bad news: No major guild wins. No Best Director nomination. For all his success, Steven Spielberg has only won Best Picture once, for the unassailable “Schindler’s List.”

Path to victory: Maybe Donald Trump could launch an all-out attack on the press and the film could surge to a win as a protest vote.

Focus Features

“Darkest Hour”
Good news: Star Gary Oldman has won every acting award you can win, keeping the film in front of voters. Its six nominations include four craft categories, indicating below-the-line support in the Academy.

Bad news: No major guild wins (for the film — Oldman won an individual prize from SAG). No Best Director nomination. No Best Film Editing nomination.

Path to victory: A sudden return to the days when well-crafted, old-fashioned films like “The King’s Speech” won. Other than that, the film will likely have to settle for Oldman’s all-but-assured Best Actor win.

“Phantom Thread”
Good news: It surprised most observers by landing six nominations, including Best Picture and Best Director. Those were a credit to the way the preferential system works in the nomination round, where it rewards small but passionate support. It won the Village Voice’s nationwide critics’ poll over “Lady Bird” and “Get Out” and has a growing reputation as one of the year’s most masterful pieces of filmmaking.

Bad news: But critics are not Oscar voters. It has no major guild wins. And in the final round of voting, preferential looks for consensus, not passion. For all the devotion it inspires, “Phantom Thread” isn’t likeable enough to pull off a victory.

Path to victory: Sometimes, it really is an honor just to be nominated.

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Kate Middleton Slammed for Not Wearing Black at the BAFTA Awards https://www.thewrap.com/kate-middleton-slammed-for-not-wearing-black-at-the-bafta-awards/ https://www.thewrap.com/kate-middleton-slammed-for-not-wearing-black-at-the-bafta-awards/#respond Mon, 19 Feb 2018 16:14:06 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1817081 Kate Middleton is under fire for not wearing black to the annual BAFTA Awards on Sunday, who instead wore a deep green gown.

Attendees of this year’s BAFTAs were encouraged to wear black as an unofficial dress code to support the Time’s Up initiative, similar to the Golden Globes in January. Middleton’s dress did feature a black sash underneath the gown, and she matched a black clutch to the ensemble.

“Disappointed in not wearing black to the It’s not a political thing. Its a woman thing! ,” wrote one user on Twitter.

“I know the Royals aren’t supposed to get involved with ‘protests’ or anything… but would it really have been THAT bad for Kate Middleton to wear black???” wrote another.

According to Entertainment Weekly, Middleton wore a black off-the-shoulder Alexander McQueen gown to last year’s event which would have fit perfectly with this year’s dress code.

Some fans were quick to defend the Duchess of Cambridge.

Britain’s royal family, which typically avoids making public political statements, has not commented on the matter. It is even considered “unconstitutional for the Monarch to vote in an election.” According to Newsweek, the Royal Family does “not exercise their right to vote.”

See tweets about Middleton’s dress choice below.

Related stories from TheWrap:

Prince William, Kate Middleton Reject Benedict Cumberbatch's Gay Rights Plea

Royal Baby: Kate Middleton Gives Birth to Third Heir to the British Throne

Kate Middleton Hoax DJs to Keep Jobs, But Show Canceled

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‘Blade Runner 2049,’ ‘War for the Planet of the Apes’ Sound Best to Motion Picture Sound Editors https://www.thewrap.com/blade-runner-2049-war-for-the-planet-of-the-apes-sound-editors-golden-reel-awards/ https://www.thewrap.com/blade-runner-2049-war-for-the-planet-of-the-apes-sound-editors-golden-reel-awards/#respond Mon, 19 Feb 2018 06:41:18 +0000 Steve Pond https://www.thewrap.com/?p=1816936 “Blade Runner 2049,” “War for the Planet of the Apes,” “Dunkirk” and “The Greatest Showman” were among the winners at the Motion Picture Sound Editors’ 65th Annual Golden Reel Awards, which were held on Sunday night in downtown Los Angeles.

“Blade Runner” won in the Outstanding Achievement in Sound Editing – Effects/Foley category, the Golden Reel Awards category that corresponds most closely to the Academy Awards’ Best Sound Editing category. All five of the Oscar nominees — “Blade Runner,” “Baby Driver,” “Dunkirk,” “The Shape of Water” and “Star Wars: The Last Jedi” — were Golden Reel nominees, along with “Logan,” “Thor: Ragnarok” and “War for the Planet of the Apes.”

“War for the Planet of the Apes” won the award for dialogue and ADR, “The Greatest Showman” won for sound editing in a musical and “Dunkirk” won for the sound editing of a musical score.

“Coco” won for sound editing in an animated film, “Jane” for documentary and “Loveless” for foreign-language film.

In the Golden Reel Awards’ television categories, the “Spoils of War” episode of “Game of Thrones” won two awards, while single prizes went to episodes of “Godless,” “Ozark,” “Black Mirror,” “The Get Down,” “Superstore” and “Stranger Things.”

The ceremony was held at the Bonaventure Hotel in Los Angeles. A career achievement award was given to sound designer and field recordist John P. Fasal, while director Kathryn Bigelow won the MPSE Filmmaker Award.

Here are the 2018 MPSE Golden Reel Awards winners. For the individual winners in each category, check the MPSE website.

Outstanding Achievement in Sound Editing – Effects / Foley: “Blade Runner 2049”

Outstanding Achievement in Sound Editing – Dialogue / ADR: “War for the Planet of the Apes”

Outstanding Achievement in Sound Editing – Feature Animation: “Coco”

Outstanding Achievement in Sound Editing – Feature Documentary: “Jane”

Outstanding Achievement in Sound Editing – Foreign Language Feature: “Loveless”

Outstanding Achievement in Sound Editing – Music Score: “Dunkirk”

Outstanding Achievement in Sound Editing – Musical: “The Greatest Showman”

Outstanding Achievement in Sound Editing – Live Action Under 30:00: “Superstore”: “Tornado”

Outstanding Achievement in Sound Editing – Episodic Short Form – Music / Musical: “Stranger Things”: “Chapter Eight: The Mind Flayer”

Outstanding Achievement in Sound Editing – Episodic Short Form – Dialogue/ADR: “Game of Thrones”: “The Spoils of War”

Outstanding Achievement in Sound Editing – Episodic Short Form – Effects / Foley: “Game of Thrones”: “The Spoils of War”

Outstanding Achievement in Sound Editing – Episodic Long Form – Music / Musical: “The Get Down”: “Only from Exile Can We Come Home”

Outstanding Achievement in Sound Editing – Episodic Long Form – Dialogue/ADR: “Black Mirror”: “USS Callister”

Outstanding Achievement in Sound Editing – Episodic Long Form – Effects / Foley: (TIE) “Godless”: “Homecoming” and “Ozark”: “The Toll”

Outstanding Achievement in Sound Editing – Single Presentation: “Oasis”

Outstanding Achievement in Sound Editing – Non-Theatrical Animation Long Form: “Lego DC Super Hero Girls”: “Brain Drain”

Outstanding Achievement in Sound Editing – Non-Theatrical Documentary: “Becoming Bond”

Outstanding Achievement in Sound Editing – Non-Theatrical Feature: “In Search of Fellini”

Outstanding Achievement in Sound Editing – Computer Cinematic: “Halo Wars 2”

Outstanding Achievement in Sound Editing – Computer Interactive Game Play: (TIE) “Call of Duty: WWII” and “Star Wars: Battlefront II”

Outstanding Achievement in Sound Editing – Special Venue: “Carne Y Arena”

Outstanding Achievement in Sound Editing – Animation Short Form: “Overwatch”: “Honor and Glory”

Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award): “Homegrown”

2018 MPSE Filmmaker Award: Kathryn Bigelow

2018 MPSE Career Achievement Award: John P. Fasal

Related stories from TheWrap:

'War for the Planet of the Apes,' 'Game of Thrones' Top Visual Effects Awards

'Get Out' and 'Call Me by Your Name' Win 2018 Writers Guild Awards

Top Film Editing Awards Go to 'Dunkirk,' 'I, Tonya'

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‘Three Billboards Outside Ebbing, Missouri’ Dominates BAFTA Awards (Complete List of Winners) https://www.thewrap.com/three-billboards-outside-ebbing-missouri-bafta-awards-winners-2018/ https://www.thewrap.com/three-billboards-outside-ebbing-missouri-bafta-awards-winners-2018/#respond Sun, 18 Feb 2018 18:58:00 +0000 Steve Pond https://www.thewrap.com/?p=1816685 Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri” has been named the best film of 2017 by the British Academy of Film and Television Arts (BAFTA), which handed out the EE British Academy Film Awards in London on Sunday.

The film from writer-director McDonagh, a dual Irish and British citizen, also won awards for lead actress Frances McDormand, supporting actor Sam Rockwell and McDonagh’s original screenplay, as well as a prize in the Outstanding British Film category.

The last film to be honored as both the best film and the best British film by the BAFTAs was “The King’s Speech.”

In addition to McDormand and Rockwell, acting awards went to Gary Oldman for his role as Winston Churchill in “Darkest Hour” and to Allison Janney for “I, Tonya.”

The same four actors have now swept the BAFTAs, Golden Globes, SAG Awards and Critics’ Choice Awards, and are prohibitive favorites to repeat at the Oscars.

Guillermo del Toro was named best director for “The Shape of Water,” which gives him a similar quartet of victories with wins at BAFTA, the Globes, Critics’ Choice and the Directors Guild.

“Call Me by Your Name” won for adapted screenplay.

Pixar’s “Coco” continued its winning streak and was named the year’s best animated film, while “I Am Not Your Negro” won for documentary and “The Handmaiden” won for film not in English.

“Get Out” star Daniel Kaluuya won the Rising Star award, which is voted on by the public. Other nominees included Timothee Chalamet and Tessa Thompson. The award for best British debut went to writer-director Rungano Nyoni and producer Emily Morgan for “I Am Not a Witch.”

Roger Deakins won the cinematography award for “Blade Runner 2049” one day after winning the same prize at the American Society of Cinematographers Awards, while “Baby Driver” won for its editing.

Craft awards went to “The Shape of Water” for music and production design, “Dunkirk” for sound, “Blade Runner 2049” for visual effects, “Phantom Thread” for costumes and “Darkest Hour” for makeup and hair.

“The Shape of Water” went into the ceremony leading all films with 12 nominations, followed by “Three Billboards” and “Darkest Hour” with nine.

BAFTA and the Oscars have not agreed on the year’s best film since “12 Years a Slave” in 2013, with “Boyhood,” “The Revenant” and “La La Land” winning BAFTAs since then while “Birdman,” “Spotlight” and “Moonlight” took the top prize as the Oscars.

That streak was preceded by six years in which the two bodies agreed. Overall, BAFTA has given its top prize to the eventual Oscar winner 27 times in 70 years, slightly less than half the time.

In the acting categories, BAFTA and the Oscars have agreed about three-quarters of the time, a better record than most categories. Of the 18 categories shared by both the BAFTAs and the Oscars last year, for instance, nine of the winners were the same, and nine were different.

The show took place at the Royal Albert Hall and was hosted by Joanna Lumley.

Just as they did at January’s Golden Globes ceremony, most of the women in attendance at BAFTA wore black in support of the #MeToo and #TimesUp movements decrying sexual misconduct and supporting equality for women in the film industry.

One of the few exceptions was McDormand, who explained, “I have a little trouble with compliance, but I want you to know I stand in full solidarity with my sisters in black.” Another exception was the Duchess of Cambridge, who was forbidden by royal protocol from taking a stand on political issues and wore dark green with a black sash.

BAFTA winners indicated by *WINNER:

BEST FILM
“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri” *WINNER

OUTSTANDING BRITISH FILM
“Darkest Hour”
“The Death of Stalin”
“God’s Own Country”
“Lady Macbeth”
“Paddington 2”
“Three Billboards Outside Ebbing, Missouri” *WINNER

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
“The Ghoul” Gareth Tunley (Writer/Director/Producer), Jack Healy Guttman & Tom Meeten (Producers)
“I Am Not a Witch” Rungano Nyoni (Writer/Director), Emily Morgan (Producer) *WINNER
“Jawbone” Johnny Harris (Writer/Producer), Thomas Napper (Director)
“Kingdom of Us” Lucy Cohen (Director)
“Lady Macbeth” Alice Birch (Writer), William Oldroyd (Director), Fodhla Cronin O’Reilly (Producer)

FILM NOT IN THE ENGLISH LANGUAGE
“Elle” Paul Verhoeven, Saïd Ben Saïd
“First They Killed My Father” Angelina Jolie, Rithy Panh
“The Handmaiden” Park Chan-wook, Syd Lim *WINNER
“Loveless” Andrey Zvyagintsev, Alexander Rodnyansky
“The Salesman” Asghar Farhadi, Alexandre Mallet-Guy

DOCUMENTARY
“City of Ghosts” Matthew Heineman
“I Am Not Your Negro” Raoul Peck *WINNER
“Icarus” Bryan Fogel, Dan Cogan
“An Inconvenient Sequel” Bonni Cohen, Jon Shenk
“Jane” Brett Morgen

ANIMATED FILM
“Coco” Lee Unkrich, Darla K. Anderson *WINNER
“Loving Vincent” Dorota Kobiela, Hugh Welchman, Ivan Mactaggart
“My Life as a Courgette” Claude Barras, Max Karli

DIRECTOR
Denis Villeneuve, “Blade Runner 2049”
Luca Guadagnino, “Call Me by Your Name”
Christopher Nolan, “Dunkirk”
Guillermo del Toro, “The Shape of Water” *WINNER
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”

ORIGINAL SCREENPLAY
“Get Out”
“I, Tonya”
“Lady Bird”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri” Martin McDonagh *WINNER

ADAPTED SCREENPLAY
“Call Me by Your Name” James Ivory *WINNER
“The Death of Stalin”
“Film Stars Don’t Die in Liverpool”
“Molly’s Game”
“Paddington 2”

LEADING ACTOR
Timothee Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour” *WINNER
Jamie Bell, “Film Stars Don’t Die in Liverpool”

LEADING ACTRESS
Annette Bening, “Film Stars Don’t Die in Liverpool”
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri” *WINNER
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”

SUPPORTING ACTOR
Willem Dafoe, “The Florida Project”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri” *WINNER
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Hugh Grant, “Paddington 2”

SUPPORTING ACTRESS
Allison Janney, “I, Tonya” *WINNER
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Kristin Scott Thomas, “Darkest Hour”
Octavia Spencer, “The Shape of Water”

ORIGINAL MUSIC
“Blade Runner 2049” Benjamin Wallfisch, Hans Zimmer
“Darkest Hour” Dario Marianelli
“Dunkirk” Hans Zimmer
“Phantom Thread” Jonny Greenwood
“The Shape of Water” Alexandre Desplat *WINNER

CINEMATOGRAPHY
“Blade Runner 2049” Roger Deakins *WINNER
“Darkest Hour” Bruno Delbonnel
“Dunkirk” Hoyte van Hoytema
“The Shape of Water” Dan Laustsen
“Three Billboards Outside Ebbing, Missouri” Ben Davis

EDITING
“Baby Driver” Jonathan Amos, Paul Machliss *WINNER
“Blade Runner 2049” Joe Walker
“Dunkirk” Lee Smith
“The Shape of Water” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri” Jon Gregory

PRODUCTION DESIGN
“Beauty and the Beast” Sarah Greenwood, Katie Spencer
“Blade Runner 2049” Dennis Gassner, Alessandra Querzola
“Darkest Hour” Sarah Greenwood, Katie Spencer
“Dunkirk” Nathan Crowley, Gary Fettis
“The Shape of Water” Paul Austerberry, Jeff Melvin, Shane Vieau *WINNER

COSTUME DESIGN
“Beauty and the Beast” Jacqueline Durran
“Darkest Hour” Jacqueline Durran
“I, Tonya” Jennifer Johnson
“Phantom Thread” Mark Bridges *WINNER
“The Shape of Water” Luis Sequeira

MAKE UP & HAIR
“Blade Runner 2049” Donald Mowat, Kerry Warn
“Darkest Hour” David Malinowski, Ivana Primorac, Lucy Sibbick, Kazuhiro Tsuji *WINNER
“I, Tonya” Deborah La Mia Denaver, Adruitha Lee
“Victoria & Abdul” Daniel Phillips
“Wonder” Naomi Bakstad, Robert A. Pandini, Arjen Tuiten

SOUND
“Baby Driver” Tim Cavagin, Mary H. Ellis, Julian Slater
“Blade Runner 2049” Ron Bartlett, Doug Hemphill, Mark Mangini, Mac Ruth
“Dunkirk” Richard King, Gregg Landaker, Gary A. Rizzo, Mark Weingarten *WINNER
“The Shape of Water” Christian Cooke, Glen Gauthier, Nathan Robitaille, Brad Zoern
“Star Wars: The Last Jedi” Ren Klyce, David Parker, Michael Semanick, Stuart Wilson, Matthew Wood

SPECIAL VISUAL EFFECTS
“Blade Runner 2049” Gerd Nefzer, John Nelson *WINNER
“Dunkirk” Scott Fisher, Andrew Jackson
“The Shape of Water” Dennis Berardi, Trey Harrell, Kevin Scott
“Star Wars: The Last Jedi”
“War for the Planet of the Apes”

BRITISH SHORT ANIMATION
“Have Heart” Will Anderson
“Mamoon” Ben Steer
“Poles Apart” Paloma Baeza, Ser En Low *WINNER

BRITISH SHORT FILM
“Aamir” Vika Evdokimenko, Emma Stone, Oliver Shuster
“Cowboy Dave” Colin O’Toole, Jonas Mortensen *WINNER
“A Drowning Man” Mahdi Fleifel, Signe Byrge Sørensen, Patrick Campbell
“Work” Aneil Karia, Scott O’Donnell
“Wren Boys” Harry Lighton, Sorcha Bacon, John Fitzpatrick

RISING STAR AWARD (voted on by the public)
Timothee Chalamet
Daniel Kaluuya *WINNER
Josh O’Connor
Florence Pugh
Tessa Thompson

MICHAEL BALCON AWARD FOR OUTSTANDING CONTRIBUTION TO BRITISH CINEMA: National Film and Television School

Related stories from TheWrap:

'Get Out' and 'Call Me by Your Name' Win 2018 Writers Guild Awards

'The Shape of Water' Wins Producers Guild Award, Stays Hot in Oscar Race

Guillermo del Toro Wins Directors Guild Award for 'The Shape of Water'

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‘Blade Runner 2049’ Wins Top Prize From American Society of Cinematographers https://www.thewrap.com/blade-runner-2049-wins-top-prize-american-society-cinematographers/ https://www.thewrap.com/blade-runner-2049-wins-top-prize-american-society-cinematographers/#respond Sun, 18 Feb 2018 06:24:50 +0000 Steve Pond https://www.thewrap.com/?p=1816664 Roger Deakins has been named the best cinematographer of 2017 for his work on “Blade Runner 2049,” the American Society of Cinematographers announced at the ASC Awards on Saturday night.

The honor marks Deakins’ fourth competitive ASC Award, in addition to one lifetime-achievement award from the group. Though he is widely acclaimed as the greatest living cinematographer and has been nominated for the Oscar 14 times, Deakins has never won an Academy Award.

The five ASC nominees in the theatrical category — Deakins, Bruno Delbonnel for “Darkest Hour,” Dan Laustsen for “The Shape of Water,” Hoyte van Hoytema for “Dunkirk” and Rachel Morrison for “Mudbound” — matched the five nominees for this year’s Academy Award for cinematography, with Morrison the first woman ever nominated for both awards.

But the win does not necessarily mean that Deakins is now an Oscar front runner. In the first 31 years of the ASC Awards, the theatrical winner went on to win the Oscar only 13 times, although three of those wins (“Gravity,” “Birdman” and “The Revenant,” all to Emmanuel Lubezki) were in the last four years.

More often than not, though, ASC members disagree with the Academy. That explains why Lubezki won two ASC Awards before he won his first Oscar, and why Deakins won his first three ASC Awards but then lost at the Oscars.

The ASC Spotlight Award, which goes to a foreign or indie film without wide distribution, was won by Mart Taniel for the black-and-white Estonian film “November.”

Television awards went to Adriano Goldman for the “Smoke and Mirrors” episode of “The Crown,” Mathias Herndl for the first episode of the Nat Geo miniseries “Genius” and Boris Mojsovski for the “Thief” episode of “12 Monkeys.”

The ceremony took place in the Ray Dolby Ballroom at Hollywood & Highland. Honorary awards were given to director Angelina Jolie, cinematographers Russell Carpenter, Alan Caso, Russell Boyd and Stephen Lighthill and Kino Flo Lighting Systems founder Frieder Hochheim.

The ASC Awards winners:

Theatrical Release: Roger Deakins, “Blade Runner 2049”

Spotlight Award: Mart Taniel, “November”

Motion Picture, Miniseries, or Pilot Made for Television: Mathias Herndl, “Genius,” “Chapter 1”

Episode of a Series for Non-Commercial Television: Adriano Goldman, “The Crown,” “Smoke and Mirrors”

Episode of a Series for Commercial Television: Boris Mojsovski, “12 Monkeys,” “Thief”

Lifetime Achievement Award: Russell Carpenter
Board of Governors Award: Angelina Jolie
Career Achievement in Television Award: Alan Caso
International Award: Russell Boyd
Presidents Award: Stephen Lighthill
Bud Stone Award of Distinction: Frieder Hochheim

Andrew Lesnie Heritage Award Winners:
Undergraduate: Logan Fulton, “Widow”
Graduate: Favienne Howsepian, “Snowplow”
Haskell Wexler Student Documentary Award: Connor Ellmann, “Forever Home”

Related stories from TheWrap:

SAG and PGA Awards Give Boosts to 'Three Billboards' and 'Shape of Water,' But How Big?

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Saoirse Ronan Weighs Oscar Date Pros, Cons: ‘Do They Do the Loser Face With You?’ (Video) https://www.thewrap.com/saoirse-ronan-weighs-oscar-date-pros-cons-do-they-do-the-loser-face-with-you-video/ https://www.thewrap.com/saoirse-ronan-weighs-oscar-date-pros-cons-do-they-do-the-loser-face-with-you-video/#respond Fri, 16 Feb 2018 19:42:22 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1815673

Ahead of the Oscars next month, Best Actress nominee Saoirse Ronan weighs how many dates you should have before you invite your partner to the awards show.

“It’s a big leap, it depends how the dates are going, I guess?” Ronan said wryly during what turned into a hilarious BBC Radio 1 appearance. She said that if the vibe is good, she could take someone on their third date, but if you’re still feeling things out, she would recommend waiting until date 10.

It’s also important to invite the right person to the biggest awards show given that you have to walk the red carpet, spend the majority of the evening with them — and do the loser face in front of them should you not win in your category.

“And then I’ve got to do my Loser Face in front of this person I don’t know that well, and do they do the loser face with you?” Ronan said. “How are they going to comfort you when you lose and will you want them to? That’s why you bring your mom.”

Ronan is nominated in the Best Actress category for her starring role in Greta Gerwig’s “Lady Bird.” She won the award at the 2018 Golden Globes.

“Lady Bird” is nominated for four other Academy Awards, including Best Director, Best Picture, Best Original Screenplay and Best Supporting Actress for Laurie Metcalf.

The 90th Academy Awards will take place on March 4.

Watch the video above.

Related stories from TheWrap:

Here's the 'Lady Bird' Trailer Where Everyone Screams Their Words Instead (Video)

'Lady Bird,' 'Call Me by Your Name,' 'Will & Grace' Among GLAAD Media Awards Nominees

Awards Box Office: With Golden Globes Momentum, 'Lady Bird' Can't Be Stopped

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‘The Shape of Water’ Director Guillermo del Toro Shares the Secret to Perfect Casting (Exclusive Video) https://www.thewrap.com/the-shape-of-water-director-guillermo-del-toro-shares-the-secret-to-perfect-casting-exclusive-video/ https://www.thewrap.com/the-shape-of-water-director-guillermo-del-toro-shares-the-secret-to-perfect-casting-exclusive-video/#respond Fri, 16 Feb 2018 18:30:09 +0000 Steve Pond https://www.thewrap.com/?p=1815501

For director Guillermo del Toro, the key to a movie is the actors, and the key to the actors is their eyes.

“When I cast a movie, I cast eyes,” the Oscar-nominated director of “The Shape of Water” says in an exclusive video clip premiering at TheWrap.

“The eyes of Sally [Hawkins]. The eyes of Octavia [Spencer]. The eyes of Michael [Shannon]. Completely different eyes, and they suit the character.”

“The Shape of Water” leads all films with 13 Oscar nominations, including three for del Toro himself: Best Picture, which he shares with producer J. Miles Dale; Best Director; and Best Original Screenplay, which he shares with Vanessa Taylor.

“He’s an alchemist,” says Oscar-nominated costar Octavia Spencer in the clip. “He makes everyday things seem so otherwordly.”

Adds Best Actress nominee Sally Hawkins, “He himself vibrates with emotion and the passion of it, and you can’t not respond to that.”

Related stories from TheWrap:

Guillermo del Toro Says 'The Shape of Water' Has Some Advice for You on Valentine's Day (Video)

Guillermo del Toro Has Seen That 'Shape of Water' Dildo – It's Not Accurate

Guillermo del Toro on How 'The Shape of Water' Was Almost Shot in Black and White

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Oscar Parties 2018: The Top Invites, Events and Nominee Gatherings https://www.thewrap.com/oscar-parties-2018-top-invites-events-nominee-gatherings/ https://www.thewrap.com/oscar-parties-2018-top-invites-events-nominee-gatherings/#respond Fri, 16 Feb 2018 01:36:02 +0000 Mikey Glazer https://www.thewrap.com/?p=1814888 This preview focuses on private, invite-only events aimed at a professional industry audience of stakeholders in the Academy Awards.

As soon as Oscar voting closes on Tuesday, Feb. 27 at 5 p.m. PST, the Academy’s prohibition on “non-screening events” ends. Party season begins again. Here’s a first look at the top gatherings of nominees and creative ensembles before and after Jimmy Kimmel hosts the big show on Sunday, March 4.

Wednesday, February 21

Women, Whisky and Wisdom – Celebrating Women Oscar Nominees
Teddy’s at The Roosevelt

Women, Whisky and Wisdom February 21

Logline: Whisky tastings, toasts, and a woman’s road to Oscar.

Featuring: Female Oscar nominees will join TheWrap’s Editor-in-Chief Sharon Waxman for an insider’s debrief of their journeys to the industry’s highest nomination. Speakers will highlight mentors who guided and supported them along the way.

Let’s Go For Drinks: Let’s. We’ll also be tasting premium 30-year old whiskies. BenRiach Whisky and WrapWomen partner up on the night.

What’s Next? If fine spirits amongst a warm spirited crowd of supportive industry women sounds like you, then make plans for the BE Conference in Austin next month, mentoring the next generation of empowered women.

The Oscar Concert with the Los Angeles Philharmonic
Walt Disney Concert Hall

Logline: The great Michael Giacchino (an Oscar-winning Academy Governor) led a team making fresh arrangements of this year’s nominated scores. The L.A. Phil will perform them live with film clips.

Tickets: Unlike everything else from here down, this is open to the public. Tickets start at $43.

Vanity Fair, Barneys New York, and Sony Pictures Classics’ Cocktail Party
Chateau Marmont

Logline: Cocktail with one of the season’s buzziest films, “Call Me by Your Name,” while servicing one of the mag’s many advertising clients touching Oscar week.

Global Green’s 15th Anniversary Oscar Party
Neuehouse Hollywood

Logline: The CEO of the Leonardo DiCaprio Foundation will be honored but the Oscar-winning environmentalist himself is not expected. Stepping into the spotlight instead: Sophia Bush, Elisabeth Röhm, Sharon Lawrence and Ed O’Neill.

Thursday, March 1

Cadillac Celebrates the 90th Academy Awards
Chateau Marmont

Logline: Michael Patrick’s soiree always draws a mix of familiar faces (Zoe Saldana, Christoph Waltz, Naomi Watts, Joel McHale) and some news ones (Angela Sarafyan, Jay Ellis) at one of the most social industry gatherings of the week.

Connection: As the Academy’s official wheels, Cadillac will be shuttling nominees and presenters across town all week to many of the events listed below.

Gersh Oscar Party
Chateau Marmont Penthouse

Logline: The agency and Tequila Don Julio 1942 will raise a glass to the agency’s nominees Allison Janney, Sam Rockwell and Richard Jenkins.

Lookout: I don’t envy the elegant face of the Chateau, Anya Varda, and her team that night. March is coming in like a lion.

Vanity Fair and Lancôme Paris Toast Women in Hollywood
Soho House

Logline: Oscar week doubles as a debut for Graydon Carter’s successor, new top editor Radhika Jones. The high-end cosmetics brand will make a donation to Time’s Up on behalf of the guests, who include Ava DuVernay.

Universal, Focus Features and DreamWorks Animation Oscar Nominee Celebration Dinner
Spago

Gary Oldman and Leo DiCaprio buddied up at the Chateau at a party for “Darkest Hour” earlier this awards season. (Focus Features)

Logline: There’a pile of nominees and nominations here with Focus having a banner year (“Darkest Hour,” “Phantom Thread,” and “Victoria & Abdul”).  A year ago, Universal was not scheduling Oscar week plans for “Get Out,” but after Jordan Peele’s commercial and critical hit took off, that all changed.

Friday, March 2

British Consul General Michael Howells’ Film is Great Reception
British Consul General’s Residence in Hancock Park

Logline: Don’t tell the ultra-nationalist xenophobes. The foreigners are already here.

There are U.K.-born nominees in 17 of the 24 Oscar categories and representation in five of the top races: Best Picture (“The Darkest Hour,” “The Phantom Thread,” “Three Billboards Outside Ebbing, Missouri”), Best Actress (Sally Hawkins), Supporting Actress (Lesley Manvill), Best Actor (Daniel Kaluuya, Daniel Day Lewis, Gary Oldman), and Director (Christopher Nolan).

Feature: Host Michael Howells gave one of the best speeches of this awards season at BAFTA’s Golden Globes weekend Tea Party. Take note and shut up when he addresses his backyard.

Pours: Even the bar is British. Sponsors include Silent Pool Gin, Aberlour Whisky, Chapel Down (English Sparkling Wine), Seedlip (non-alcoholic spirit) and Fever Tree tonics.

Emma Stone hosts Women in Film’s Celebration of the 2018 Female Oscar Nominees
Crustacean, Beverly Hills

Power Women: Emma Stone and Patty Jenkins in a Party Report file photo from the AFI Life Achievement Award. (Michael Kovac/Getty Images)

Logline: The reigning Best Actress winner (and in the famous flub, also announced as the Best Picture winner) joins Women in Film president Cathy Schulman and the community of female nominees from both sides of the camera.

The industry’s reckoning of institutionalized gender inequality and systemic sexual assault engulfed Hollywood, and Schulman’s been sounding the alarm for years. How WiF addresses the state of the industry on its biggest weekend will set the tone for what happens as as we turn the page to a new “industry year.”

WME
Friday evening, Private Residence

Who’s Who: Kobe Bryant, the champ of this year’s Oscars gatherings, should be there. Add nominees Denzel Washington, Octavia Spencer, Laurie Metcalf, Guillermo del Toro, Dee Rees, Christopher Nolan, Luca Guadagnino, Hans Zimmer, James Mangold and Michael Green to the list and call it a top crowd.

Bonus: The agency will also raise a glass to nominated projects “Call Me by Your Name,” “Mudbound” and “The Square,” all of which hail from Endeavor Content.

Saturday, March 3

Film Independent Spirit Awards
A Tent on the Beach: 1550 Pacific Coast Highway Lot 1 North Santa Monica

(Mikey Glazer)

Logline: The industry’s booziest daytime bash of the year. Everyone heeds Film Independent President Josh Welsh’s mantra to “leave the thank-you notes at home,” adding to a celebratory day that begins in the lounges outside the main tent as early as 11 a.m.

Sony Pictures Classics Annual Oscar Nominees Dinner
Nordstrom Local on Melrose Place in West Hollywood

January 2017 at Sundance: Luca Guadagnino, Michael Stuhlbarg, Timothée Chalamet, Armie Hammer, Walter Fasano (TheWrap)

Why they will be smiling: This is the finish line. The “Call Me by Your Name” troika — Timothée Chalamet, Armie Hammer, and director Luca Guadagnino — end the 14-month promotional tour that started back at Sundance 2017.

Other Nominees: SPC will also toast its two foreign language nominees, “A Fantastic Woman” (from Chile) and “Loveless” (from Russia).

MPTF’s Annual “Night Before”
Fox Studios

Logline: The MPTF is where the gatekeepers and power brokers in the industry convene on the night before the Oscars. This is an invite worth fighting for. Make a big donation and step in to Jeffrey Katzenberg’s circle.

Sign of the times: YouTube joins the list of blue-chip corporate sponsors.

Oscars Viewing Parties on Sunday, March 4

*Top Invite* – 2018 Elton John AIDS Foundation Academy Awards Viewing Party
Custom built complext in West Hollywood Park

Logline: The most choice invite if you’re not seated in the first 15 rows of the Kodak Theatre itself.

Do: drink top-shelf champagne and feast on cuisine from a Michelin three-star restaurant in Spain with a great cross section of Hollywood.

Don’t: Don’t try to take any pictures of Sir Elton or stand too close to his head table. You may be excused for asking frequent guest Robert Kraft what happened in the Super Bowl. By 8:45 or so, trophy winners start pouring in as the telecast on screen comes to you.

Charity Component: Contributing to the EJAF mission, presenting sponsor BVLGARI is donating a 13 carat white gold diamond necklace, the “BVLGARI DIVISSIMA” to the live auction.

Wow Booking: Greta Van Fleet. This is a return to prime form for the EJAF, welcoming a big up-and-coming band heralded as a savior of guitar rock, not a nostalgia act. Because all 42 of the headlining dates on their first U.S. tour sold out in advance and they’re headed to Coachella, the four Michigan boys are a choice dessert on the evening.

Byron Allen’s Second Annual Entertainment Studios Gala
Beverly Wilshire

Logline: Katy Perry and Jamie Foxx will perform at the benefit for Children’s Hospital Los Angeles. Last year’s inaugural event raised $1 million, and “Byron hopes to raise even more again this year,” a rep for Entertainment Studios tells the Party Report.

IMDb Live Viewing Party
Neuehouse in Hollywood

Logline: This is part party, part live broadcast. Dave Karger, Kevin Smith and other IMDb talent will provide live commentary on the show that will stream across IMDb platforms.

Guests: About 300 industry types.

Notables: Last year, Issa Rae and Aisha Tyler were among the crowd about a mile away from the actual show.

Mercedes-Benz Viewing Party
Four Seasons, Beverly Hills

Logline: The Four Seasons is an Oscars week base camp, so this is sort of like watching the golf tournament from the clubhouse. Last year was a mixed bag of names from Housewives (Kandi Burruss) to 1980s basketball star Ralph Sampson, to ESPN’s man in L.A., Stan Verrett.

Nordstrom Local Oscar Viewing Party for the Fashion Industry
Nordstrom Local on Melrose Place in West Hollywood

Logline: With New York’s fashion week two weeks in the rearview mirror, the style set can kick back here before hitting the after parties.

Oscars After-Parties

The Academy’s Governors Ball
Dolby Ballroom above the Dolby Theatre at Hollywood and Highland

Logline: They have a lot of “make-up” homework to do after last year’s Governors Ball drowned in the surreal wake of the Oscars envelope flub.

Vanity Fair Oscar Party
Wallis Annenberg Center in Beverly Hills

Radhika Jones (Larry Busacca/Getty Images)

Logline: It’s the first outing for new Editor-in-Chief Radhika Jones (above). She steps into the bridge of a ship that Graydon Carter built and is already making waves. On Feb. 15, a round of layoffs included Jane Sarkin and Beth Kseniak, two founding mothers of VF Oscar night that has been the “toughest invite in town” over the past 24 years.

On the brighter (or sadder?) side of “recently separated” news, single Jennifer Aniston should be there. Forget the Brad Pitt sequel rumors. Please, let her show up with Angelina Jolie.

Details on other late night soirees to come.

Please send invites, updates, and details to the party and event contributor Mikey Glazer here.

Related stories from TheWrap:

Academy to Eliminate Paper Balloting at Next Year's Oscars

Syria Blocks 'Last Men In Aleppo' Producer and Subject from Attending Oscars

'Faces Places' Director JR Explains Agnes Varda Cardboard Cutout at Oscars Luncheon (Video)

Kobe Bryant, Diversity Talk Dominate Oscar Nominees Luncheon

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Academy to Eliminate Paper Balloting at Next Year’s Oscars https://www.thewrap.com/academy-eliminate-paper-balloting-next-years-oscars/ https://www.thewrap.com/academy-eliminate-paper-balloting-next-years-oscars/#respond Thu, 15 Feb 2018 18:33:33 +0000 Jeremy Fuster https://www.thewrap.com/?p=1814571 This year’s Oscars will be the last year that members of the Academy of Motion Picture Arts and Sciences will be able to cast their votes by paper, a spokesperson for the Academy has informed TheWrap.

Since 2012, the Academy has been transitioning to an online balloting process for the Oscars, but has left paper ballots available as an option for members who request it. But after the final Oscar voting period next week, the voting process will be digital only. To help ease members into this process, the Academy will introduce the online-only balloting system this spring during elections for its board of governors. The Oscars will become the third major award to transition completely to online voting, as the Emmys made the jump in 2015 while the Grammys switched last year.

Final voting for the Oscars takes place Feb. 20-27, with the winners being announced at the 90th Annual Academy Awards on March 4 at the Dolby Theater in Hollywood. Jimmy Kimmel is returning as host, with the ceremony being aired live on ABC.

Related stories from TheWrap:

Syria Blocks 'Last Men In Aleppo' Producer and Subject from Attending Oscars

'Faces Places' Director JR Explains Agnes Varda Cardboard Cutout at Oscars Luncheon (Video)

Oscars 2018: Host Jimmy Kimmel Seeks Therapy for a Year of 'Moonlight' Trauma in New Promo (Video)

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Watch Swedish Director Freak Out Again Over Oscar Nomination (Exclusive Video) https://www.thewrap.com/watch-swedish-director-freak-out-again-over-oscar-nominations-exclusive-video/ https://www.thewrap.com/watch-swedish-director-freak-out-again-over-oscar-nominations-exclusive-video/#respond Wed, 14 Feb 2018 22:13:24 +0000 Steve Pond https://www.thewrap.com/?p=1813369

Is a sad YouTube video more fun to watch than a happy one?

Maybe, but Swedish director Ruben Ostlund doesn’t care — because his film “The Square” was nominated for an Academy Award for Best Foreign Language Film in January. That makes for a giddier reaction video than the hysterical “Swedish Director Freaks Out” one he posted three years ago when his last film, “Force Majeure,” made the shortlist but didn’t get a nomination.

The new video, which is debuting exclusively at TheWrap, includes footage of Ostlund and his wife watching the nominations announcement from a hotel in Park City, Utah, during the Sundance Film Festival. But it also incorporates footage of producer Erik Hemmendorff in Stockholm, production designer Josefin Asberg in Goteborg, Sweden and actors Elisabeth Moss in Toronto, Claes Bang in Berlin and Christoffer Laesso in Copenhagen.

“There have been so many people asking if we were going to do a video, we almost felt that we had to,” said Ostlund. “So we tried to do a variation of it by inviting more people from the crew and the cast.

“The beautiful thing about Oscar nominations is that so many people on the team get so happy. So it was nice to spread out a little bit of the Oscar light on all of the people who have worked on the film.”

Of course, Ostlund’s films specialize in exposing the many uncomfortable and embarrassing situations of daily life, so the new video wouldn’t be complete without some snafus. Just as the Best Foreign Language Film category is announced on nominations morning, the director picks up his computer and the picture freezes — so he and his wife have no idea the film has been nominated until he starts getting texts from friends.

“I don’t know if I disconnected the wifi or what,” he said. “But it was kind of stressful at that moment.

“But it was also quite funny because 20 seconds after they announced Foreign Language Film, someone was ringing the doorbell. It was two people I work with at WME — they had come to Park City and they had been waiting in the hotel corridor with a champagne bottle. If we hadn’t gotten nominated, they would have been forced to go back home with the champagne bottle.”

Ostlund’s production company, Plattform Produktion, also had one other film in the Oscar race, the wry short documentary “Ten Meter Tower,” which made the 10-film shortlist in the category. And in a juxtaposition that the director appreciates, the short-doc category was announced immediately after foreign-language film – and “Ten Meter Tower” did not get a nomination, a disappointment that is also captured on the video.

“They were really hopeful,” he said of the “Ten Meter Tower” filmmakers, and it was such an irony that it was a category that was just after foreign-language film.

“And when they didn’t get nominated, I thought, ‘OK, we’ve got our European ending.'”

But what if “The Square” hadn’t gotten nominated? In the original “Swedish Director Freaks Out” video, Ostlund cries hysterically from behind a closed door in what appears to be a reference to the “worst man-cry ever” scene from “Force Majeure.” How could he ever top that?

“Exactly,” Ostlund said, laughing. “If that happened, we would probably have not done a video.”

Related stories from TheWrap:

'The Square' Trailer: Watch Art World Go to Hell in Palme d'Or Winner (Video)

Golden Globes: Foreign Language Film Winner Casually Drops Old 'Warn a Brother' Joke During Speech '

Oscars Gender Gap: Docs, Foreign Language Films Still Way More Likely to Have Female Directors

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‘War for the Planet of the Apes,’ ‘Game of Thrones’ Top Visual Effects Awards https://www.thewrap.com/war-for-the-planet-of-the-apes-game-of-thrones-top-visual-effects-awards/ https://www.thewrap.com/war-for-the-planet-of-the-apes-game-of-thrones-top-visual-effects-awards/#respond Wed, 14 Feb 2018 05:56:57 +0000 Steve Pond https://www.thewrap.com/?p=1812573 “War for the Planet of the Apes” was the big winner at the Visual Effects Society’s 16th Annual VES Awards on Tuesday night in Beverly Hills. The film won four awards, including a victory in the category that most closely corresponds to the Oscars VFX race, Outstanding Visual Effects in a Photoreal Feature.

In that category, “Planet of the Apes” was nominated alongside the same four films it will go up against at the Oscars: “Blade Runner 2049,” “Guardians of the Galaxy Vol. 2,” “Kong: Skull Island” and “Star Wars: The Last Jedi.”

The Matt Reeves feature also won for the best character in a photoreal feature (Caesar, the ape played by Andy Serkis), as well as effects simulation and compositing.

Pixar’s animated film “Coco” also won four awards, sweeping the animation categories. “Blade Runner 2049” won two awards, while “Dunkirk” won one.

In the television categories, “Game of Thrones” dominated with five awards to one for “Black Sails.”

Other awards went to “Assassin’s Creed Origins,” “Avatar: Flight of Passage” and the Samsung “Do What You Can’t” and “Ostrich” commercials, which won in all three of the ad categories.

In its first 15 years, the VES honored the film that would go on to win the VFX Oscar 10 times. But two of the times in which the awards differed came with 2011’s “Rise of the Planet of the Apes” and 2014’s “Dawn of the Planet of the Apes,” both of which won the VES Award but lost the Oscar. (“Hugo” and “Interstellar” won those years.)

Weta Digital’s senior digital effects supervisor, Joe Letteri, who headed the team of VFX artists who won for “Planet of the Apes,” was also given the VES’ highest honor, the George Méliès Award, at the ceremony. The VES Lifetime Achievement Award went to director Jon Favreau.

Patton Oswalt hosted the awards, which took place at the Beverly Hilton Hotel.

The VES Awards winners:

Outstanding Visual Effects in a Photoreal Feature: “War for the Planet of the Apes”
Joe Letteri, Ryan Stafford, Daniel Barrett, Dan Lemmon, Joel Whist

Outstanding Supporting Visual Effects in a Photoreal Feature: “Dunkirk”
Andrew Jackson, Mike Chambers, Andrew Lockley, Alison Wortman, Scott Fisher

Outstanding Visual Effects in an Animated Feature: “Coco”
Lee Unkrich, Darla K. Anderson, David Ryu, Michael K. O’Brien

Outstanding Visual Effects in a Photoreal Episode: “Game of Thrones: Beyond the Wall”
Joe Bauer, Steve Kullback, Chris Baird, David Ramos, Sam Conway

Outstanding Supporting Visual Effects in a Photoreal Episode: “Black Sails”: XXIX
Erik Henry, Terron Pratt, Yafei Wu, David Wahlberg, Paul Dimmer

Outstanding Visual Effects in a Real-Time Project: “Assassin’s Creed Origins”
Raphael Lacoste, Patrick Limoges, Jean-Sebastien Guay, Ulrich Haar

Outstanding Visual Effects in a Commercial: Samsung: “Do What You Can’t,” “Ostrich”
Diarmid Harrison-Murray, Tomek Zietkiewicz, Amir Bazazi, Martino Madeddu

Outstanding Visual Effects in a Special Venue Project: “Avatar: Flight of Passage”
Richard Baneham, Amy Jupiter, David Lester, Thrain Shadbolt

Outstanding Animated Character in a Photoreal Feature: “War for the Planet of the Apes”: Caesar
Dennis Yoo, Ludovic Chailloleau, Douglas McHale, Tim Forbes

Outstanding Animated Character in an Animated Feature: “Coco”: Hèctor
Emron Grover, Jonathan Hoffman, Michael Honsel, Guilherme Sauerbronn Jacinto

Outstanding Animated Character in an Episode or Real-Time Project: “Game of Thrones: The Spoils of War”: Drogon Loot Train Attack
Murray Stevenson, Jason Snyman, Jenn Taylor, Florian Friedmann

Outstanding Animated Character in a Commercial: Samsung: “Do What You Can’t,” “Ostrich”
David Bryan, Maximilian Mallmann, Tim Van Hussen, Brendan Fagan

Outstanding Created Environment in a Photoreal Feature: “Blade Runner 2049”: Los Angeles
Chris McLaughlin, Rhys Salcombe, Seungjin Woo, Francesco Dell’Anna

Outstanding Created Environment in an Animated Feature: “Coco”: City of the Dead
Michael Frederickson, Jamie Hecker, Jonathan Pytko, Dave Strick

Outstanding Created Environment in an Episode, Commercial, or Real-Time Project: “Game of Thrones: Beyond the Wall”: Frozen Lake
Daniel Villalba, Antonio Lado, José Luis Barreiro, Isaac de la Pompa

Outstanding Virtual Cinematography in a Photoreal Project: “Guardians of the Galaxy Vol. 2”: Groot Dance/Opening Fight
James Baker, Steven Lo, Alvise Avati, Robert Stipp

Outstanding Model in a Photoreal or Animated Project: “Blade Runner 2049”: LAPD Headquarters
Alex Funke, Steven Saunders, Joaquin Loyzaga, Chris Menges

Outstanding Effects Simulations in a Photoreal Feature: “War for the Planet of the Apes”
David Caeiro Cebrián, Johnathan Nixon, Chet Leavai, Gary Boyle

Outstanding Effects Simulations in an Animated Feature: “Coco”
Kristopher Campbell, Stephen Gustafson, Dave Hale, Keith Klohn

Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project: “Game of Thrones: The Dragon and the Wolf”: Wall Destruction
Thomas Hullin, Dominik Kirouac, Sylvain Nouveau, Nathan Arbuckle

Outstanding Compositing in a Photoreal Feature: “War for the Planet of the Apes”
Christoph Salzmann, Robin Hollander, Ben Morgan, Ben Warner

Outstanding Compositing in a Photoreal Episode: “Game of Thrones: The Spoils of War”: Loot Train Attack
Dom Hellier, Thijs Noij, Edwin Holdsworth, Giacomo Matteucci

Outstanding Compositing in a Photoreal Commercial: Samsung: “Do What You Can’t,” “Ostrich”
Michael Gregory, Andrew Roberts, Gustavo Bellon, Rashabh Ramesh Butani

Outstanding Visual Effects in a Student Project: “Hybrids”
Florian Brauch, Romain Thirion, Matthieu Pujol, Kim Tailhades

Related stories from TheWrap:

Was Cara Delevingne Slimmed Down With VFX for 'Suicide Squad'? (Video)

'Get Out' and 'Call Me by Your Name' Win 2018 Writers Guild Awards

Guillermo del Toro Wins Directors Guild Award for 'The Shape of Water'

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‘American Music Awards’ Switch to Tuesday, Avoiding NFL Football https://www.thewrap.com/2018-american-music-awards-amas-tuesday-nfl-football/ https://www.thewrap.com/2018-american-music-awards-amas-tuesday-nfl-football/#respond Tue, 13 Feb 2018 17:00:25 +0000 Tony Maglio https://www.thewrap.com/?p=1811953 The 2018 “American Music Awards” are moving to a Tuesday: Dick Clark Productions and ABC have set an Oct. 9 date, wisely avoiding NFL competition in the process.

Last year’s AMAs took place on Sunday, Nov. 19 — so the month has now changed along with the day of the week. While the special draws a sizable audience for ABC, its been getting killed in TV ratings by football in recent years.

So after running for 15 straight years on a Sunday, a Tuesday it is.

The American Music Awards are fan-voted honors that recognize artists across multiple musical genres, including Pop/Rock, Alternative Rock, Country, Rap/Hip-Hop, Soul/R&B, Adult Contemporary, Contemporary Inspirational, Latin, EDM and Soundtrack, alongside awards for New Artist of the Year, Collaboration of the Year, Tour of the Year, Video of the Year, Favorite Song and Artist of the Year.

The “2018 American Music Awards” is produced by Dick Clark Productions. Allen Shapiro and Mike Mahan are executive producers. Larry Klein, Barry Adelman and Mark Bracco are producers.

The AMAs will air live on Tuesday, Oct. 9 at 8 p.m ET on ABC.

Related stories from TheWrap:

Top Female Record Execs Slam Grammys Academy as 'Out of Touch'

Grammy Boss Neil Portnow Launches Task Force to Focus on 'Female Advancement'

Grammy President Apologizes After Telling Women to 'Step Up' to Fix Music Industry Gender Imbalance

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‘Get Out’ and ‘Call Me by Your Name’ Win 2018 Writers Guild Awards https://www.thewrap.com/writers-guild-awards-2018-get-out-call-me-by-your-name/ https://www.thewrap.com/writers-guild-awards-2018-get-out-call-me-by-your-name/#respond Mon, 12 Feb 2018 01:01:23 +0000 Steve Pond https://www.thewrap.com/?p=1810566 Jordan Peele’s “Get Out” has been named the best original screenplay of 2017 by the the Writers Guild of America, West and the Writers Guild of America, East, which handed out the 2018 Writers Guild Awards at simultaneous ceremonies in Los Angeles and New York.

James Ivory won the adapted-screenplay award for “Call Me by Your Name.”

Since 2000, 13 of the 18 original-screenplay winners have gone on to win the Academy Award in that category, as have 12 of the adapted-screenplay winners. One of the WGA winners goes on to win the Oscar for Best Picture slightly more than half the time.

While “Call Me by Your Name” was a clear favorite in the adapted-screenplay category, and will be a prohibitive frontrunner at the Oscars, the original-screenplay category is considered a very close race between “Get Out,” “Lady Bird” and “The Shape of Water,” and one in which the WGA results could have real repercussions in the Best Picture race.

While the Directors Guild and Producers guild wins for “The Shape of Water” still make it a favorite to win, the Writers Guild victory for Peele and “Get Out” position it as a real contender in the same way that WGA wins did for “Moonlight,” “Spotlight” and “Crash,” among others.

“Veep” won the award for comedy series, while “The Handmaid’s Tale” won awards for drama series and the award for best new series. “Big Little Lies” won for long-form television adaptation and “Flint” won for longform original.

The “Chicanery” episode of “Better Call Saul” won the award for a TV drama episode, while the “Rosario’s Quinceanera” episode of “Will and Grace” won for TV comedy episode.

The Comedy/Variety/Talk Series award, in a super-sized category with eight nominees, went to “Last Night Tonight With John Oliver.” “The Kennedy Center Honors” won for comedy/variety specials, and “Saturday Night Live” won for comedy/variety sketch series.

“Jane” won the award for documentary film.

Because the WGA limits its awards to scripts produced under the jurisdiction of the guild’s Minimum Basic Agreement, or an agreement by an affiliated international guild, scripts that have received Oscar nominations or wins are occasionally ineligible for Writers Guild Awards.

This year, original-screenplay Oscar nominee “Three Billboards Outside Ebbing, Missouri” was ineligible and was replaced by “I, Tonya” in the guild’s nominations. Nominations in the WGA’s adapted-screenplay category were an exact match with the Oscar nominees.

The Writers Guild is the last of the four major Hollywood guilds to announce its awards, and the results mean that four different films have won the guild’s five top awards. Previously, “Three Billboards Outside Ebbing, Missouri” won the Screen Actors Guild’s ensemble award, while Guillermo del Toro’s “The Shape of Water” won the top Directors Guild and Producers Guild awards.

Honorary awards at the WGA, West ceremony went to James L. Brooks (the Laurel Award for Screenwriting Achievement), screenwriter and activist Dustin Lance Black (the Valentine Davies Award for Civil and Human Rights Efforts), “The Post” writers Liz Hannah and Josh Singer (the Paul Selvin Award), TV writer/producer Alison Cross (the Paddy Chayefsky Laurel Award for Television Writing) and comic book and animation writer Len Wein (the Animation Writers Caucus Animation Writing Award).

The WGA, East honored Tina Fey and Robert Carlock (the Herb Sargent Award for Comedy Excellence), Geoffrey C. Ward (the Ian McLellan Hunter Award for Career Achievement), Hamilton Nolan (the Richard B. Jablow Award for Devoted Service to the Guild) and Nicole Landau (the Michael Collyer Memorial Fellowship in Screenwriting).

The Writers Guild Awards nominees, with winners indicated by *WINNER:

SCREENPLAY NOMINEES

ORIGINAL SCREENPLAY
“The Big Sick,” Written by Emily V. Gordon & Kumail Nanjiani
“Get Out,” Written by Jordan Peele *WINNER
“I, Tonya,” Written by Steven Rogers
“Lady Bird,” Written by Greta Gerwig
“The Shape of Water,” Screenplay by Guillermo del Toro & Vanessa Taylor; Story by Guillermo del Toro

ADAPTED SCREENPLAY
“Call Me by Your Name,” Screenplay by James Ivory; Based on the Novel by André Aciman *WINNER
“The Disaster Artist,” Screenplay by Scott Neustadter & Michael H. Weber; Based on the Book “The Disaster Artist: My Life Inside ‘The Room,’ the Greatest Bad Movie Ever Made” by Greg Sestero and Tom Bissell
“Logan,” Screenplay by Scott Frank & James Mangold and Michael Green; Story by James Mangold; Based on Characters from the X-Men Comic Books and Theatrical Motion Pictures
“Molly’s Game,” Screenplay by Aaron Sorkin; Based on the Book by Molly Bloom
“Mudbound,” Screenplay by Virgil Williams and Dee Rees; Based on the Novel by Hillary Jordan

DOCUMENTARY SCREENPLAY
“Betting on Zero,” Written by Theodore Braun; Gunpowder & Sky
“Jane,” Written by Brett Morgen; National Geographic *WINNER
“No Stone Unturned,” Written by Alex Gibney; Abramorama
“Oklahoma City,” Written by Barak Goodman; American Experience Films

TELEVISION NOMINEES

DRAMA SERIES
“The Americans,” Written by Peter Ackerman, Hilary Bettis, Joshua Brand, Joel Fields, Stephen Schiff, Joe Weisberg, Tracey Scott Wilson
“Better Call Saul,” Written by Ann Cherkis, Vince Gilligan, Jonathan Glatzer, Peter Gould, Gennifer Hutchison, Heather Marion, Thomas Schnauz, Gordon Smith
“Game of Thrones,” Written by David Benioff, Bryan Cogman, Dave Hill, D.B. Weiss
“The Handmaid’s Tale,” Written by Ilene Chaiken, Nina Fiore, Dorothy Fortenberry, Leila Gerstein, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder, Wendy Straker Hauser, Eric Tuchman *WINNER
“Stranger Things,” Written by Paul Dichter, Justin Doble, The Duffer Brothers, Jessie Nickson-Lopez, Kate Trefry

COMEDY SERIES
“Curb Your Enthusiasm,” Written by Larry David, Jon Hayman, Justin Hurwitz, Jeff Schaffer
“GLOW,” Written by Kristoffer Diaz, Liz Flahive, Tara Herrmann, Nick Jones, Jenji Kohan, Carly Mensch, Emma Rathbone, Sascha Rothchild, Rachel Shukert
“Master of None,” Written by Aniz Adam Ansari, Aziz Ansari, Andrew Blitz, Matt Hubbard, Zoe Jarman, Cord Jefferson, Joe Mande, Matt Murray, Sarah Peters, Sarah Schneider, Michael Schur, Leila Strachan, Gene Stupnitsky, Lakshmi Sundaram, Lena Waithe, Jason Woliner, Alan Yang
“Silicon Valley,” Written by Alec Berg, Shawn Boxe, Adam Countee, Jonathan Dotan, Mike Judge, Carrie Kemper, Andrew Law, Rachele Lynn, Dan O’Keefe, Meghan Pleticha, Chris Provenzano, Clay Tarver, Graham Wagner, Aaron Zelman
“Veep,” Written by Gabrielle Allan, Rachel Axler, Ted Cohen, Jennifer Crittenden, Alex Gregory, Steve Hely, Peter Huyck, Erik Kenward, Billy Kimball, David Mandel, Ian Maxtone-Graham, Dan Mintz, Lew Morton, Georgia Pritchett, Will Smith *WINNER

NEW SERIES
“American Vandal,” Written by Seth Cohen, Lauren Herstik, Dan Lagana, Kevin McManus, Matthew McManus, Jessica Meyer, Dan Perrault, Amy Pocha, Mike Rosolio, Tony Yacenda
“The Deuce,” Written by Megan Abbott, Marc Henry Johnson, Lisa Lutz, George Pelecanos, Richard Price, Will Ralston, David Simon, Chris Yakaitis
“GLOW,” Written by Kristoffer Diaz, Liz Flahive, Tara Herrmann, Nick Jones, Jenji Kohan, Carly Mensch, Emma Rathbone, Sascha Rothchild, Rachel Shukert
“The Handmaid’s Tale,” Written by Ilene Chaiken, Nina Fiore, Dorothy Fortenberry, Leila Gerstein, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder, Wendy Straker Hauser, Eric Tuchman *WINNER
“Ozark,” Written by Whit Anderson, Bill Dubuque, Ryan Farley, Alyson Feltes, Paul Kolsby, Chris Mundy, Mark Williams, Ning Zhou, Martin Zimmerman

LONG FORM ORIGINAL
“American Horror Story: Cult,” Written by Brad Falchuk, John J. Gray, Joshua Green, Todd Kubrak, Crystal Liu, Tim Minear, Ryan Murphy, Adam Penn, James Wong
“Feud: Bette and Joan,” Written by Jaffe Cohen, Tim Minear, Ryan Murphy, Gina Welch, Michael Zam
“Flint,” Written by Barbara Stepansky *WINNER
“Godless,” Written by Scott Frank
“Manhunt: Unabomber,” Written by Jim Clemente, Tony Gittelson, Max Hurwitz, Steven Katz, Nick Schenk, Andrew Sodroski, Nick Towne

LONG FORM ADAPTED
“Big Little Lies,” Teleplay by David E. Kelley, Based on the Novel by Liane Moriarty *WINNER
“Fargo,” Written by Monica Beletsky, Bob DeLaurentis, Noah Hawley, Ben Nedivi, Matt Wolpert, Based on the film “Fargo”
“The Immortal Life of Henrietta Lacks,” Teleplay by Peter Landesman and Alexander Woo and George C. Wolfe, Based on the book written by Rebecca Skloot
“The Wizard of Lies,” Teleplay by Sam Levinson and John Burnham Schwartz and Samuel Baum, Based on the Book Written by Diane B. Henriques and “Truth and Consequences” by Laurie Sandell

SHORT FORM NEW MEDIA ORIGINAL
No nominations

SHORT FORM NEW MEDIA ADAPTED
“John Hancock” (“Marvel’s Agents of S.H.I.E.L.D.: Slingshot”), Written by James C. Oliver & Sharla Oliver
“Chapter 2” (“The Walking Dead: Red Machete”), Written by Nick Bernardone
“Justicia” (“Marvel’s Agents of S.H.I.E.L.D.: Slingshot”), Written by Mark Leitner
“Starboy” (“Zac & Mia”), Teleplay by Allen Clary and Andrew Rothschild, Based on the novel “Zac & Mia” by A.J. Betts *WINNER

ANIMATION
“Brunchsquatch” (“Bob’s Burgers”), Written by Lizzie Molyneux & Wendy Molyneux
“A Father’s Watch” (“The Simpsons”), Written by Simon Rich
“Ruthie” (“BoJack Horseman”), Written by Joanna Calo
“The Serfsons” (“The Simpsons”), Written by Brian Kelley
“Time’s Arrow” “(BoJack Horseman”), Written by Kate Purdy *WINNER

EPISODIC DRAMA
“The Book of Nora” (“The Leftovers”), Teleplay by Tom Perrotta & Damon Lindelof, Story by Tom Spezialy & Damon Lindelof
“Chicanery” (“Better Call Saul”), Written by Gordon Smith *WINNER
“The Heart Attack is the Best Way” (“Good Behavior”), Written by Chad Hodge
“Homecoming” (“The OA”), Written by Brit Marling & Zal Batmanglij
“Slip” (“Better Call Saul”), Written by Heather Marion
“The Soviet Division” (“The Americans”), Written by Joe Weisberg & Joel Fields

EPISODIC COMEDY
“The Burglary” (“Grace and Frankie”), Written by Brendan McCarthy & David Budin
“Intervention” (“The Carmichael Show”), Written by Willie Hunter
“Judge” (“Veep”), Written by Ted Cohen
“Rosario’s Quinceanera” (“Will & Grace”), Written by Tracy Poust & Jon Kinnally *WINNER
“The Verdict” (“Trial & Error”), Written by Jeff Astrof

COMEDY/VARIETY TALK SERIES
“Conan,” Head Writer: Matt O’Brien, Writers: Jose Arroyo, Dan Cronin, Andres du Bouchet, Jessie Gaskell, Michael Gordon, Brian Kiley, Laurie Kilmartin, Leah Krinsky, Rob Kutner, Todd Levin, Levi MacDougall, Conan O’Brien, Andy Richter, Frank Smiley, Mike Sweeney
“Full Frontal with Samantha Bee,” Writers: Samantha Bee, Ashley Nicole Black, Pat Cassels, Eric Drysdale, Mathan Erhardt, Travon Free, Joe Grossman, Miles Kahn, Jo Miller, Jason Reich, Melinda Taub
“Jimmy Kimmel Live,” Writers: Jimmy Kimmel, Tony Barbieri, Jonathan Bines, Joelle Boucai, Gonzalo Cordova, Devin Field, Gary Greenberg, Josh Halloway, Sal Iacono, Eric Immerman, Jesse Joyce, Bess Kalb, Jeff Loveness, Molly McNearney, CeCe Pleasants, Danny Ricker, Joe Strazzullo
“Last Week Tonight with John Oliver,” Writers: Tim Carvell, Josh Gondelman, Dan Gurewitch, Geoff Haggerty, Jeff Maurer, John Oliver, Scott Sherman, Will Tracy, Jill Twiss, Juli Weiner, Ben Silva, Seena Vali
“Late Night with Seth Meyers,” Writers: Jermaine Affonso, Alex Baze, Bryan Donaldson, Sal Gentile, Matt Goldich, Dina Gusovsky, Jenny Hagel, Allison Hord, Mike Karnell, John Lutz, Seth Meyers, Ian Morgan, Seth Reiss, Amber Ruffin, Mike Scollins, Mike Shoemaker, Ben Warheit *WINNER
“Real Time with Bill Maher,” Writers: Scott Carter, Adam Felber, Matt Gunn, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Bill Maher, Billy Martin, Bob Oschack, Danny Vermont
“The Daily Show with Trevor Noah,” Writers: Dan Amira, David Angelo, Steve Bodow, Kashana Cauley, Devin Delliquanti, Zach DiLanzo, Hallie Haglund, David Kibuuka, Matt Koff, Adam Lowitt, Dan McCoy, Lauren Sarver Means, Trevor Noah, Joseph Opio, Zhubin Parang, Owen Parsons, Daniel Radosh, Michelle Wolf
“The Jim Jefferies Show,” Head Writer: Jason Reich, Writers: Jim Jefferies, Subhah Agarwal, Kevin Avery, Curtis Cook, Lucas Kavner, Matt Kirshen, Chris McKinley, Bryan Olsen, Laura Willcox, JJ Whitehead, Scott Y. Zabielski

COMEDY/VARIETY SKETCH SERIES
“Nathan For You,” Writers: Leo Allen, Nathan Fielder, Carrie Kemper, Michael Koman, Adam Locke-Norton, Eric Notarnicola
“Portlandia,” Writers: Fred Armisen, Carrie Brownstein, Karen Kilgariff, Jonathan Krisel, Graham Wagner
“Saturday Night Live,” Head Writers: Chris Kelly, Sarah Schneider, Bryan Tucker, Writers: James Anderson, Kristen Bartlett, Jeremy Beiler, Neal Brennan, Zack Bornstein, Joanna Bradley, Megan Callahan, Michael Che, Anna Drezen, Fran Gillespie, Sudi Green, Steve Higgins, Colin Jost, Erik Kenward, Rob Klein, Nick Kocher, Michael Koman, Dave McCary, Brian McElhaney, Dennis McNicholas, Drew Michael, Lorne Michaels, Josh Patten, Katie Rich, Pete Schultz, Streeter Seidell, Will Stephen, Kent Sublette, Julio Torres *WINNER
“The President Show,” Writers: Emily Altman, Anthony Atamanuik, Emmy Blotnick, Neil Casey, Mike Drucker, Noah Garfinkel, John Gemberling, Peter Grosz, Mitra Jouhari, John Knefel, Alison Leiby, Christine Nangle, John Reynolds, Jason Ross, Rae Sanni, Evan Waite
“Weekend Update Summer Edition,” Writers: Megan Callahan, Michael Che, Mikey Day, Steve Higgins, Colin Jost, Dennis McNicholas, Josh Patten, Katie Rich, Pete Schultz, Streeter Seidell, Kent Sublette, Brian Tucker

COMEDY/VARIETY SPECIALS
“39th Annual Kennedy Center Honors,” Written by Dave Boone *WINNER
“89th Annual Academy Awards,” Written by Billy Kimball, Jon Macks; Special Material Written by Jack Allison, Tony Barbieri, Jonathan Bines, Joelle Boucai, Gonzalo Cordova, Gary Greenberg, Josh Halloway, Sal Iacono, Eric Immerman, Bess Kalb, Jimmy Kimmel, Jeff Loveness, Molly McNearney, Danny Ricker, Joe Strazzullo
“AFI Life Achievement Award: A Tribute to Diane Keaton,” Written by Bob Gazzale, Jon Macks
“Michael Bolton’s Big, Sexy, Valentine’s Day Special,” Written by Scott Aukerman, Dave Ferguson, Mike Hanford, Tim Kalpakis, Joe Saunders, Akiva Schaffer; Additional Material Written by Zach Kanin, Claudia O’Doherty, Tim Robinson
“Nathan For You: A Celebration,” Written by Leo Allen, Nathan Fielder, Carrie Kemper, Michael Koman, Adam Locke-Norton, Eric Notarnicola

QUIZ AND AUDIENCE PARTICIPATION
“Hollywood Game Night,” Head Writer: Grant Taylor; Writers: Michael Agbabian, Alex Chauvin, Ann Slichter, Dwight D. Smith *WINNER
“Jeopardy!,” Written by Matthew Caruso, John Duarte, Harry Friedman, Mark Gaberman, Deborah Griffin, Michele Loud, Robert McClenaghan, Jim Rhine, Steve D. Tamerius, Billy Wisse

DAYTIME DRAMA
“General Hospital,” Head Writers: Shelly Altman, Jean Passanante; Writers: Anna Theresa Cascio, Suzanne Flynn, Charlotte Gibson, Lucky Gold, Kate Hall, Elizabeth Korte, Daniel James O’Connor, Dave Rupel, Katherine Schock, Scott Sickles, Christopher Van Etten, Christopher Whitesell *WINNER
“Days of Our Lives,” Writers: Ron Carlivati, Sheri Anderson, Lorraine Broderick, David Cherrill, Lisa Connor, Carolyn Culliton, Richard Culliton, Rick Draughon, Cydney Kelley, David Kreizman, David A. Levinson, Rebecca McCarty, Ryan Quan, Dave Ryan, Elizabeth Snyder, Tyler Topits

CHILDREN’S EPISODIC AND SPECIALS
“American Girl – Summer Camp, Friends for Life” (“American Girl”), Teleplay by Alison McDonald, Story by Alison McDonald and Caron Tschampion
“An American Girl Story – Ivy & Julie 1976: A Happy Balance” (“American Girl”), Written by May Chan *WINNER
“Just Add 1965” (“Just Add Magic”), Written by Lauren Thompson; Amazon
“Meet Julia” (Sesame Street), Written by Christine Ferraro
“The Magical Wand Chase: A Sesame Street Special,” Written by Raye Lankford, Jessica Carleton, Ken Scarborough

CHILDREN’S LONG FORM
No nominations

DOCUMENTARY SCRIPT – CURRENT EVENTS
“Confronting ISIS” (“Frontline”), Written by Martin Smith *WINNER
“Poverty, Politics and Profit” (“Frontline”), Written by Rick Young
“Unseen Enemy,” Written by Janet Tobias

DOCUMENTARY SCRIPT – OTHER THAN CURRENT EVENTS
“Divided States of America” Part One (“Frontline”), Written by Michael Kirk & Mike Wiser
“Rachel Carson” (“American Experience”), Written and Directed by Michelle Ferrari
“The Great War” Part II (“American Experience”), Written by Stephen Ives *WINNER
“The Great War” Part III (“American Experience”), Written by Rob Rapley
“The Vietnam War,” Episode Six: “Things Fall Apart,” Written by Geoffrey C. Ward

NEWS SCRIPT – REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“Obama Wiretap Allegations” (“World News Tonight with David Muir”), Mark Berman, Barbara Rick, Tom Llamas
“September 29, 2017” (“World News Now”), Written by Matt Nelko, Jack Sheahan, Debbie Humes, Carla Brittain, Constance Johnson, Lloyd deVries, Craig Morancie
“White Helmets” (“60 Minutes”), Written by Scott Pelley, Nicole Young, Katie Kerbstat *WINNER

NEWS SCRIPT – ANALYSIS, FEATURE, OR COMMENTARY
“Chief of Chobani” (“60 Minutes”), Written by Steve Kroft, Oriana Zill de Granados; CBS News *WINNER
“Fighting Famine” (“60 Minutes”), Written by Scott Pelley, Nicole Young; CBS News

DIGITAL NEWS
“At the Capitol With Those for Whom Last Night Mattered the Most,” Written by Emma Roller; SplinterNews.com
“Becoming Ugly,” Written by Madeleine Davies; Jezebel.com
“The Super Predators,” Written by Melissa Jeltsen, Dana Liebelson; Huffingtonpost.com *WINNER
“Why Did Politicon Make Me Want To Die?,” Written by Libby Watson; SplinterNews.com

RADIO/AUDIO NOMINEES

RADIO/AUDIO DOCUMENTARY
“2016 Year in Review,” Written by Gail Lee; CBS News Radio
“Castro, Cuba & Communism,” Written by Thomas A. Sabella; CBS News Radio
“CBS Radio 90th Anniversary,” Written by Dianne E. James, Gail Lee; CBS News Radio *WINNER
“Remembering Princess Diana 20 Years Later,” Written by Andrew Evans; ABC News Radio

RADIO/AUDIO NEWS SCRIPT – REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“Hugh Hefner: A Social Revolutionary in Silk Pajamas,” Written by Gail Lee; CBS News Radio
“World News This Week November 18, 2016,” Written by Joan B. Harris; ABC News Radio
“World News This Week: June 9, 2017,” Written by Tara Gimbel Tanis; ABC News Radio *WINNER

RADIO/AUDIO NEWS SCRIPT – ANALYSIS, FEATURE, OR COMMENTARY
“Chuck Berry,” Written by Jerry Edling; KNX
“Dishin’ Digital on WCBS-AM,” Written by Robert Hawley; WCBS *WINNER
“Holiday Stories,” Written by Gail Lee; CBS News Radio
“One Nation, Overdosed: An Investigative Report,” Written by Tara Gimbel Tanis; ABC News Radio

PROMOTIONAL WRITING NOMINEES

ON-AIR PROMOTION (RADIO OR TELEVISION)
“CBS Comedy,” Written by Dan Greenberger *WINNER
“The Good Fight,” Written by Brian Retchless

TELEVISION GRAPHIC ART AND ANIMATION
No nominations

VIDEOGAME NOMINEES

OUTSTANDING ACHIEVEMENT IN VIDEOGAME WRITING
“Dishonored: Death of the Outsider,” External Writers Anna Megill, Hazel Monforton; Lead Narrative Designer Sachka Duval
“Futurama: Worlds of Tomorrow,” Written by Cas Ruffin, Patric M. Verrone
“Horizon Zero Dawn,” Narrative Director John Gonzalez; Lead Writer Benjamin McCaw; Writing by Ben Schroder, Anne Toole; Additional Writing by Dee Warrick, Meg Jayanth *WINNER
“Madden NFL 18: Longshot,” Written by Michael Young, Adrian Todd Zuniga; Story by Michael Young

Related stories from TheWrap:

Guillermo del Toro Says 'The Shape of Water' Teaches Empathy for 'the Other' (Video)

2018 Sundance Film Festival Awards: The Complete Winners List

Top Film Editing Awards Go to 'Dunkirk,' 'I, Tonya'

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‘Call Me by Your Name’ Wins Scripter Award for Adapted Screenplay https://www.thewrap.com/scripter-award-call-me-by-your-name-adapted-screenplay/ https://www.thewrap.com/scripter-award-call-me-by-your-name-adapted-screenplay/#respond Sun, 11 Feb 2018 05:59:48 +0000 Steve Pond https://www.thewrap.com/?p=1810416 “Call Me by Your Name” has been named the year’s best screen adaptation at the 2018 USC Libraries Scripter Award ceremony, winning an honor that goes both to the writer of the screenplay and the author of the original work from which the script was adapted.

Scripter Awards went to André Aciman, who wrote the original novel on which the film is based, and James Ivory, who wrote the screenplay.

The Scripter winner has gone on to win the Oscar for Best Adapted Screenplay for the last seven years in a row, and nine times in the last 10 years. All five of the Oscar nominees in the category — “Call Me by Your Name,” “The Disaster Artist,” “Logan,” “Molly’s Game” and “Mudbound” — were also nominated for the Scripter Award, along with “The Lost City of Z” and “Wonder Woman.”

The film is also the favorite in the adapted-screenplay category at the Writers Guild Awards, which will be handed out on Sunday.

The Scripter Award for a television adaptation, a category that was created in 2016, went to screenwriter Bruce Miller and author Margaret Atwood for “The Handmaid’s Tale.”

Other TV nominees were the miniseries “Alias Grace,” the TV movie “The Immortal Life of Henrietta Lacks” and episodes of “Big Little Lies,” “Genius” and “Mindhunter.”

The selections were made by a committee of screenwriters, critics, authors, producers and academics, chaired by the former president of the Writers Guild of America, West, Howard Rodman.

The black-tie 30th anniversary Scripter Award ceremony took place in the Edward L. Doheny Jr. Memorial Library on the USC campus, and was also a fundraiser for the USC Libraries.

Francis Ford Coppola, who went to film school  at USC’s crosstown rival UCLA, received the Scripter Literary Achievement Award.

The Scripter Award winners and nominees:

FILM
“Call Me by Your Name”: author André Aciman and screenwriter James Ivory *WINNER
“The Disaster Artist”: screenwriters Scott Neustadter and Michael H. Weber and authors Greg Sestero and Tom Bissell for their nonfiction book “The Disaster Artist: My Life Inside ‘The Room,’ the Greatest Bad Movie Ever Made”
“Logan”: screenwriters Scott Frank, Michael Green and James Mangold, and authors Roy Thomas, Len Wein and John Romita, Sr.
“The Lost City of Z”: screenwriter James Gray and author David Grann
“Molly’s Game”: screenwriter Aaron Sorkin and author Molly Bloom
“Mudbound”: screenwriters Dee Rees and Virgil Williams and author Hillary Jordan
“Wonder Woman”: screenwriter Allan Heinberg and author William Moulton Marston

TELEVISION
“Alias Grace”: screenwriter Sarah Polley and author Margaret Atwood
“Big Little Lies”: screenwriter David E. Kelley for the episode “You Get What You Need” and author Liane Moriarty
“Genius”: screenwriters Noah Pink and Ken Biller for the episode “Einstein: Chapter One” and author Walter Isaacson for his book “Einstein: His Life and Word”
“The Handmaid’s Tale”: screenwriter Bruce Miller for the episode “Offred” and author Margaret Atwood *WINNER
“The Immortal Life of Henrietta Lacks”: screenwriters Peter Landesman, George C. Wolfe, and Alexander Woo and author Rebecca Skloot
“Mindhunter”: screenwriters Joe Penhall and Jennifer Haley for “Episode 10” and authors John Douglas and Mark Olshaker for their nonfiction book “Mindhunter: Inside the FBI’s Elite Serial Crime Unit”

Related stories from TheWrap:

Writers Guild Announces 'Zero Tolerance Policy' on Sexual Harassment

Jimmy Kimmel's Oscars Writers Room Has More Men Than Women: 'There Are Going to Be Some Surgeries'

'Curb Your Enthusiasm,' 'The Handmaid's Tale,' 'Better Call Saul' Among Writers Guild TV Nominees

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SAG Awards Sets Sunday Date for 2019, but Won’t Compete With NFL Championship Game https://www.thewrap.com/sag-awards-sets-sunday-date-for-2019-but-wont-compete-with-nfl-championship-game/ https://www.thewrap.com/sag-awards-sets-sunday-date-for-2019-but-wont-compete-with-nfl-championship-game/#respond Thu, 08 Feb 2018 16:55:45 +0000 Meriah Doty https://www.thewrap.com/?p=1808688 Next year you can enjoy your Screen Actors Guild Awards without the distraction of a pro football championship game cluttering up your Twitter feed.

That’s because next year’s gala is happening on Sunday, Jan. 27, 2019 — the week off between the NFL conference championships and the Super Bowl. (Earlier this year the show was held during the NFC title game on Sunday, Jan. 21).

Next year’s Super Bowl will be on Sunday, Feb. 3, 2019, and the conference championships are usually two weeks ahead of that date — showing no conflict with the 2019 SAG Awards. However, the Pro Bowl (all-star game) does happen on Jan. 27, 2019, the same day as the actors’ awards gala — but the game starts at noon, so there won’t be any overlap with the evening event in Hollywood.

SAG will celebrate the previous year’s outstanding film and television performances for its 25th anniversary show, simulcast live on TNT and TBS at 8 p.m. (ET)/5 p.m. (PT) on the big night.

SAG Awards are chosen entirely by performers’ peers in SAG-AFTRA, which this year numbered 121,544 eligible voters. The Inaugural Screen Actors Guild Awards® debuted on Feb. 25, 1995. Angela Lansbury opened the ceremony, ending with the first “I Am an Actor” declaration, which has become the ceremony’s signature opening. The first-ever Actor® statuette was presented to Martin Landau for his supporting role in the film “Ed Wood.” Other first-ever SAG Award winners include Jason Alexander, Kathy Baker, Jodie Foster, Dennis Franz, Tom Hanks, Helen Hunt, Raul Julia (presented posthumously), Dianne Wiest, Joanne Woodward and the “NYPD Blue” and “Seinfeld” ensembles.

The show will be produced by Avalon Harbor Entertainment. Inc.

Related stories from TheWrap:

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Awards Box Office: 'Shape of Water' Gets Big Bump From 13 Oscar Nominations

'Dear Basketball' Oscar Nominee Glen Keane to Direct Netflix's Animated Movie 'Over the Moon'

Kobe Bryant, Diversity Talk Dominate Oscar Nominees Luncheon

Did You Spot Matt Lauer in These 2 Oscar Movies?

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Willem Dafoe to Receive Honorary Golden Bear at Berlin International Film Festival https://www.thewrap.com/willem-dafoe-to-receive-honorary-golden-bear-at-berlin-international-film-festival/ https://www.thewrap.com/willem-dafoe-to-receive-honorary-golden-bear-at-berlin-international-film-festival/#respond Tue, 06 Feb 2018 15:41:23 +0000 Beatrice Verhoeven https://www.thewrap.com/?p=1806805 The Berlin International Film Festival will present Willem Dafoe with an Honorary Golden Bear in recognition of the actor’s life work, the festival announced Tuesday.

Following the presentation on Feb. 20, the festival will screen Daniel Nettheim’s 2001 film “The Hunter” starring the actor.

Dafoe has over 100 film credits to his name, including “The Loveless,” “Roadhouse 66,” “To Live and Die in L.A.,” “Platoon,” “The Last Temptation of Christ,” “Cry-Baby,” “Mississippi Burning,” “American Psycho,” “Spider-Man,” “Finding Nemo,” “The Aviator,” “Inside Man,” “Mr. Bean’s Holiday,” “The Fault in Our Stars,” “The Grand Budapest Hotel,” “John Wick” and most recently “Murder on the Orient Express.”

He is also currently nominated for an Oscar in the category of Best Actor in a Supporting Role for his role in “The Florida Project.” He has received two other Oscar nominations in his career: in 1987 for “Platoon,” and in 2001 for “Shadow of the Vampire.”

“Willem Dafoe is a close friend of the festival and has often been a guest at the Berlinale in the past in the scope of film screenings and even as a member of the International Jury in 2007,” said Festival Director Dieter Kosslick. “I am really looking forward now to welcoming him to the 2018 edition of the festival as a guest of honour and recognising his lifetime achievement with the Honorary Golden Bear.”

Dafoe was also one of the founding members of the New York theatre ensemble “The Wooster Group.” He’s also worked on stage at The Public Theatre and on two international productions with Robert Wilson. He most recently performed in the theatre piece, “The Minister’s Black Veil,” based on Nathanial Hawthorne’s short story.

Related stories from TheWrap:

Willem Dafoe Plays Apple-Loving Shinigami in New 'Death Note' Trailer (Video)

Willem Dafoe to Appear in 'Aquaman'

Nicolas Cage, Willem Dafoe Thriller 'Dog Eat Dog' Picked Up by RLJ Entertainment

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Kobe Bryant, Diversity Talk Dominate Oscar Nominees Luncheon https://www.thewrap.com/kobe-bryant-diversity-talk-dominate-oscar-nominees-luncheon/ https://www.thewrap.com/kobe-bryant-diversity-talk-dominate-oscar-nominees-luncheon/#respond Tue, 06 Feb 2018 02:26:35 +0000 Steve Pond https://www.thewrap.com/?p=1806620 Two things conspired to give a shot of adrenaline to Monday’s Oscar Nominees Luncheon, which is normally one of the most reliable and sedate rituals of awards season.

One was the turmoil that has wracked Hollywood since the Harvey Weinstein accusations surfaced in October, which cannot go unnoticed at any awards gathering this year.

And the second was the presence of former Los Angeles Lakers star and L.A. icon Kobe Bryant, who was on the roster of nominees for his and Glen Keane’s animated short “Dear Basketball.”

The state of the industry surfaced in all the speeches, Bryant posed for by far the most selfies, and in between the Academy celebrated a usual Nominees Luncheon, with 170 of this year’s 200 nominees congregating in the International Ballroom of the Beverly Hilton Hotel to pose for a “class photo,” accept their certificates of nomination, listen to speeches from the Academy president and the producers of the Oscar show and mingle with their fellow nominees.

As always, the overall vibe was collegial and casual. But this is no ordinary awards season, which means that like almost every other gathering these past few months, the Nominees Luncheon had to face the issues — notably sexual misconduct and the underrepresentation of women in positions of authority — that have shaken Hollywood to its core in the last few months.

“The Academy is at the crossroads of tradition and change,” Academy President John Bailey said in his opening remarks. “We are witnessing the venerable Motion Picture Academy reinventing itself before our very eyes … redefined in a new era of greater awareness and responsibility in balancing gender, race, ethnicity and religion.

“I may be a 75-year-old white male,” he added, “but I’m as gratified as any of you that the fossilized bedrock of many of Hollywood’s worst abuses [is] being jackhammered into oblivion.”

Mentioning show host Jimmy Kimmel, he said, “We now so need not only his humor, but his moral compass in these trying times.” Then Oscar show co-producer Jennifer Todd opened her own remarks by saying of herself and Michael De Luca, “It is our honor to produce the show in a year the nominees are finally starting to reflect the time we live in.”

Fifty of this year’s 200 nominees are female, which ties a record for the most women ever nominated but isn’t a significantly better ratio than usual. But with four African-American acting nominees, the first female cinematography nominee ever, the first openly transgender nominee and Greta Gerwig and Jordan Peele becoming only the fifth woman and the fifth black man to be nominated for Best Director, the class of 2017 is admirably diverse by Oscar standards.

Most of that class was present on Monday for an event that was the brainchild of former Academy President Richard Kahn, launched in 1982 both to give the Academy an extra shot of publicity in the downtime between nominations and the show and to offer a celebratory event at which, unlike the Oscars, no one will go home a loser.

The seating chart enforces an egalitarian approach to the Oscars: Nominees are randomly spread out around the room, with no one sitting with anybody from their movie or anybody from their category. So Guillermo del Toro shared a table with “Dunkirk” cinematographer Hoyte van Hoytema, Christopher Nolan with Sam Rockwell, songwriter Taura Stinson with Meryl Streep, Paul Thomas Anderson with Gary Oldman, Timothée Chalamet with “The Square” director Ruben Ostlund.

Academy governor Laura Dern read off all the nominees’ names as they came to a broad riser to pose for the annual class photo, and the actress couldn’t help but give some extra oomph to every nominee from the 2017 movie she appeared in, “Star Wars: The Last Jedi.”

But she saved a different intro for one nominee. “Ladies and gentlemen, I’m a Los Angeles native,” she said about two-thirds of the way through her roll call. “Kobe Bryant, Best Animated Short, ‘Dear Basketball.'”

While Dern had missed a real opportunity to act like an NBA announcer and throw a “from Lower Merion High School!” into that introduction, Bryant nonetheless got the afternoon’s biggest round of applause as he walked to the riser — where an Academy staffer wisely sat him in a chair in the front row, so he wouldn’t tower over his fellow nominees or block those behind him.

Afterward, Bryant was the biggest star in the place as the nominees mingled. “You’re such a genius,” said “The Shape of Water” actress Sally Hawkins to him, as a line of fans awaited their turn. Not far away, “The Greatest Showman” songwriter Benj Pasek said he’d told Kobe that he’d played soccer in a Pennsylvania youth league where Bryant’s father coached.

“He said, ‘You should email me,'” said Pasek. “I thought, ‘You’re going to give me your email address?”

“The Disaster Artist” screenwriter Michael H. Weber, meanwhile, was thrilled that he’d encountered director Paul Thomas Anderson, who was toting a book by luncheon guest Daniel Ellsberg. Weber had told Anderson that his film “Boogie Nights” was the first movie he and partner Scott Neustadter had talked about when they were hired to write “The Disaster Artist,” and Anderson replied that he not only liked Weber’s film, but that he and his family regularly quoted it at home.

“I’m done,” said Weber, shaking his head. “I can die happy now.”

As the event wound down, nominees collected their official certificates of nomination. Near the exit, “The Big Sick” star and co-writer Kumail Nanjiani sat with his wife and co-writer, Emily V. Gordon, waiting to hear that their car had arrived.

“The Emmys doesn’t have anything like this,” said the “Silicon Valley” star. “There, we just show up, lose and go home.”

He looked at the certificate in his hand. “$75 is a good price for this, right?” he said. “It’s priced to move.”

Related stories from TheWrap:

SAG and PGA Awards Give Boosts to 'Three Billboards' and 'Shape of Water,' But How Big?

Guillermo del Toro Wins Directors Guild Award for 'The Shape of Water'

Oscars: 'The Shape of Water' Swims Ahead With 13 Nominations

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‘Coco’ Takes Annie Award for Best Animated Feature https://www.thewrap.com/coco-takes-annie-award-best-animated-feature/ https://www.thewrap.com/coco-takes-annie-award-best-animated-feature/#respond Sun, 04 Feb 2018 05:18:06 +0000 Matt Donnelly and Steve Pond https://www.thewrap.com/?p=1804272 “Coco” has been named the top animated feature of 2017 at the 45th Annual Annie Awards, which were presented on Saturday night at Royce Hall on the UCLA campus.

“Coco” had led all films in nominations with 13, and it dominated by winning 11 Annies. The only times the Pixar hit lost were in the character animation and storyboarding categories, where the film had two of the five nominations and one “Coco” nominee lost to another “Coco” nominee.

The results were a big turnaround for “Coco” director Lee Unkrich, who was last at the Annie Awards in 2011, when the show was routinely dominated by DreamWorks Animation and his “Toy Story 3” was shut out while “How to Train Your Dragon” won 10 awards.

The voting system was subsequently overhauled, and on Saturday “Coco” won in every feature-film category except the two in which it was not eligible: Outstanding Achievement in Character Animation in a Live-Action Production, in which “War for the Planet of the Apes” won, and Best Animated Feature – Independent, which went to Cartoon Saloon and GKIDS’ “The Breadwinner.”

That film, which had been second in nominations to “Coco” with 10, was executive produced by Angelina Jolie, who was in attendance at the ceremony.

In the 16 years since the Academy created the Best Animated Feature category, the Annie Awards winner has gone on to win the animation Oscar 11 times.

In the TV categories, “Rick and Morty” took best general animated program. “We Bare Bears” and “The Octonauts” won in the two children’s TV categories.

“Dear Basketball,” the Oscar-nominated short film from Glen Keane and Kobe Bryant, won the Annie for Best Animated Short Subject.

Also at the ceremony, British animator James Baxter, “SpongeBob SquarePants” creator Stephen Hillenburg and Canadian animation duo Wendy Tilby and Amanda Fobis received Windsor McCay Awards for career contributions to animation. The Ub Iwerks Award for technical advancement went to TVPaint and the Special Achievement Award went to Studio MDHR Entertainment for the game “Cuphead.”

The June Foray Award, named for the voice actress who died at the age of 99 in July, went to animation historian Didier Ghez, while the Certificate of Merit was given to David Nimitz, who was Foray’s longtime friend and caretaker.

The Annie Awards are presented by the Los Angeles branch of the International Animated Film Association, ASIFA-Hollywood.

The winners:

Best Animated Feature:
“Coco” – Pixar Animation Studios

Best Animated Feature – Independent:
“The Breadwinner” – Cartoon Saloon/Aircraft Pictures/Melusine Productions

Best Animated Special Production:
“Revolting Rhymes” – Magic Light Pictures

Best Animated Short Subject:
“Dear Basketball” – Glen Keane Productions, Kobe Studios, Believe Entertainment Group

Best Animated Television/Broadcast Commercial:
“June” – Broad Reach Pictures/Chromosphere/Lyft

Best Animated Television/Broadcast Production for Preschool Children:
“Octonauts” / Episode: Operation Deep Freeze – Vampire Squid Productions Limited, a Silvergate Media company, in association with Brown Bag Films

Best Animated Television/Broadcast Production For Children:
“We Bare Bears” / Episode: Panda’s Art – Cartoon Network Animation Studios

Best General Audience Animated Television/Broadcast Production:
“Rick and Morty” / Episode: 303 -“Pickle Rick” – Williams Street Productions

Best Student Film:
“Poles Apart” – Director: Paloma Baeza; Producer: Ser En Low, All Student Crew

Animated Effects in an Animated Production:
“Coco” – Effects Artist: Shaun Galinak; Jason Johnston; Carl Kaphan; Effects Lead: Dave Hale; Keith Daniel Klohn

Character Animation in an Animated Television / Broadcast Production:
“Trollhunters” / Episode: 205 – “Homecoming” – Character Animator: Bruno Chiou; Yi-Fan Cho (Character: Blinky, Dictatious, Aaarrrgghh!!); Lead Animator: Kevin Jong; Chun-Jung Chu (Character: Blinky, Dictatious, Aaarrrgghh!!)

Character Animation in an Animated Feature Production:
“Coco” – Animator: John Chun Chiu Lee (Character: All characters)

Character Animation in a Live Action Production:
“War for the Planet of the Apes” – Animation Supervisor: Daniel Barrett; Sidney Kombo Kintombo; Emile Ghorayeb; Lead Motion Editor: Luisma Lavin Peredo; Lead Facial Modeller: Alessandro Bonora

Character Animation in a Video Game:
“Cuphead” – Lead Animator: Hanna Abi-Hanna (Characters: The Devil, Grim Matchstick, Beppi The Clown, Werner Werman)

Character Design in an Animated Television / Broadcast Production:
“Samurai Jack” / Episode: XCVI – Character Design: Craig Kellman (Character: Various)

Character Design in an Animated Feature Production:
“Coco” – Character Art Director: Daniel Arriaga (Character: All characters); Additional Character Art Direction: Daniela Strijleva (Character: All characters); Character Design/Sculptor: Greg Dykstra (Character: All characters); Character Modeller: Alonso Martinez (Character: All characters); Character Designer: Zaruhi Galstyan (Character: All characters)

Directing in an Animated Television / Broadcast Production:
“Disney Mickey Mouse” / Episode: The Scariest Story Ever: A Mickey Mouse Halloween Spooktacular! – Director: Dave Wasson; Director: Eddie Trigueros; Director: Alonso Ramirez-Ramos

Directing in an Animated Feature Production:
“Coco” – Director: Lee Unkrich Pixar; Co-Director: Adrian Molina

Music in an Animated Television / Broadcast Production:
“Disney Mickey Mouse” / Episode: The Scariest Story Ever: A Mickey Mouse Halloween Spooktacular! – Composer: Christopher Willis

Music in an Animated Feature Production:
“Coco” – Composer: Michael Giacchino; Composer/Lyricist: Kristin Anderson-Lopez; Composer/Lyricist: Robert Lopez; Composer: Germaine Franco; Lyricist: Adrian Molina

Production Design in an Animated Television / Broadcast Production:
“Samurai Jack” / Episode: XCIII – Production Design: Scott Wills

Production Design in an Animated Feature Production:
“Coco” – Production Design: Harley Jessup; Danielle Feinberg; Bryn Imagire; Nathaniel McLaughlin; Ernesto Nemesio; Tom Cardone; Arden Chan

Storyboarding in an Animated Television / Broadcast Production:
“Disney Mickey Mouse” / Episode: Bee Inspired – Storyboard Artist: Eddie Trigueros

Storyboarding in an Animated Feature Production:
“Coco” – Storyboard Artist: Dean Kelly

Voice Acting in an Animated Television / Broadcast Production:
“SpongeBob SquarePants” – Tom Kenny as SpongeBob SquarePants

Voice Acting in an Animated Feature Production:
“Coco” – Anthony Gonzalez as Miguel

Writing in an Animated Television / Broadcast Production:
“Rick and Morty” / Episode: 307 – “The Ricklantis Mixup” – Writer: Ryan Ridley; Dan Guterman

Writing in an Animated Feature Production:
“Coco” – Writer: Adrian Molina; Matthew Aldrich

Editorial in an Animated Television / Broadcast Production:ed
“Samurai Jack” / Episode: XCIII, XCIV, XCIX – Paul Douglas

Editorial in an Animated Feature Production:
“Coco” – Steve Bloom; Lee Unkrich; Greg Snyder; Tim Fox

Related stories from TheWrap:

'Loving Vincent' Review: Van Gogh Biopic Made Entirely of Animated Oil Paintings

'Isle of Dogs' First Trailer: Wes Anderson Unleashes Animated Tale of Quirky Dogs in Japan (Video)

'The Breadwinner' Toronto Review: Vibrant Animated Movie May Force Oscar Attention

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Guillermo del Toro Wins Directors Guild Award for ‘The Shape of Water’ https://www.thewrap.com/guillermo-del-toro-directors-guild-award-shape-of-water/ https://www.thewrap.com/guillermo-del-toro-directors-guild-award-shape-of-water/#respond Sun, 04 Feb 2018 03:45:46 +0000 Steve Pond https://www.thewrap.com/?p=1804567 Guillermo del Toro has been named the best feature-film director of 2017 for “The Shape of Water” by the Directors Guild of America, making the visionary filmmaker the prohibitive favorite to win Best Director at the Oscars.

Historically, the Directors Guild’s feature-film award is the most reliable of all Oscar predictors: Only seven times in the last 69 years has the DGA winner failed to win the directing Oscar.

“The Shape of Water” now becomes the 22nd movie to win the top feature-film award from both the Producers Guild and the Directors Guild. Of the first 21 to accomplish that feat, 16 went on to win the Oscar for best picture — but “Apollo 13,” “Saving Private Ryan,” “Brokeback Mountain,” “Gravity” and “La La Land” all won the PGA and DGA but fell short at the Oscars.

The win for del Toro also marks the fourth time in the last five years that the award has gone to one of the three Mexican-born directors who are close friends and have become known as the Three Amigos: Alfonso Cuaron won for “Gravity” in 2014, while Alejandro G. Inarritu won for “Birdman” in 2015 and “The Revenant” in 2016.

Jordan Peele was named the year’s best first-time director for his acclaimed horror thriller “Get Out.”

Matthew Heineman won the award for documentary filmmaking for “City of Ghosts,” in a category that also included Oscar nominees “Icarus” and “Abacus: Small Enough to Jail” and TV docs “The Vietnam War” and “Wormwood.”

The TV series awards both went to female directors: Reed Morano took the TV drama award for “The Handmaid’s Tale,” where her competition included three different episodes of “Game of Thrones,” while Beth McCarthy-Miller received the TV comedy award for “Veep.” Jean-Marc Vallée was given yet another honor for directing the miniseries “Big Little Lies.”

Glenn Weiss won the Directors Guild’s variety/talk/news/sports special award for the 89th Academy Awards, which ended with the snafu of Warren Beatty and Faye Dunaway receiving the wrong envelope and announcing the wrong Best Picture winner. Don Roy King won the variety/talk/news/sports series award for “Saturday Night Live,” his fourth DGA Award for “SNL.”

Niki Caro won the children’s television award for “Anne With an E,” while Brian Smith won the reality-TV award for “Master Chef.”

Judd Apatow hosted the ceremony, which took place in the International Ballroom at the Beverly Hilton Hotel.

The Directors Guild Award winners:

Feature Film: “The Shape of Water,” Guillermo del Toro
First-Time Feature Film: “Get Out,” Jordan Peele
Documentary: “City of Ghosts,” Matthew Heineman
Dramatic Series: “The Handmaid’s Tale”: “Offred,” Reed Morano
Comedy Series: “Veep”: “Chicklet,” Beth McCarthy-Miller
Movies for Television and Mini-Series: “Big Little Lies,” Jean-Marc Valee
Variety/Talk/News/Sports – Regular: “Saturday Night Live,” Don Roy King
Variety/Talk/News/Sports – Specials: “The 89th Annual Academy Awards,” Glenn Weiss
Reality Programs: “Master Chef,” Brian Smith
Children’s Programs: “Anne With an E,” Niki Caro
Commercials: Martin de Thural: “Festival,” StubHub; “Machines,” StubHub; “Mad World,” WealthSimple

Honorary Life Member Award: Michael Apted
Frank Capra Achievement Award: Dwight Williams
Franklin J. Schaffner Achievement Award: Jim Tanker

Related stories from TheWrap:

'I'll Never Let Any Woman Direct Me': 11 Female Directors Recount Sexism and Discrimination (Guest Blog)

Greta Gerwig and Jordan Peele Bring Diversity to Directors Guild Nominations

Number of Top Women Directors Climbs From Atrociously Low to Woefully Unacceptable

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Harvey Weinstein ‘Formally’ Out at BAFTA https://www.thewrap.com/harvey-weinstein-bafta-terminated/ https://www.thewrap.com/harvey-weinstein-bafta-terminated/#respond Fri, 02 Feb 2018 18:21:16 +0000 Umberto Gonzalez https://www.thewrap.com/?p=1803609 After suspending disgraced mogul Harvey Weinstein four months ago, the British Academy of Film and Television Arts has formally terminated his membership.

“Following the suspension of Harvey Weinstein’s BAFTA membership in October 2017, BAFTA has formally terminated his membership, effective immediately. The termination is the result of a process laid out in BAFTA’s constitution,” said BAFTA in a statement.

In October, The British Academy of Film and Television Arts suspended Weinstein following the wave of sexual misconduct accusations levied against him.

“Whilst BAFTA has previously been a beneficiary of Mr. Weinstein’s support for its charitable work, it considers the reported alleged behaviour completely unacceptable and incompatible with BAFTA’s values,” BAFTA said in a press release. “This has led to Mr. Weinstein’s suspension, and it will be followed by a formal process as laid out in BAFTA’s constitution.”

The statement added, “We hope this announcement sends a clear message that such behaviour has absolutely no place in our industry. BAFTA will continue to work with the film, games and television industries to improve access to rewarding and fulfilling careers in safe, professional working environments.”

The decision follows a series of accusations in the New York Times and The New Yorker detailing three decades of alleged sexual misconduct, including accusations that he propositioned actresses and harassed female employees.

Related stories from TheWrap:

Harvey Weinstein Didn't Commit Sex Trafficking if He Didn't Pay, Court Papers Say

Rose McGowan Hurls F-Bombs at Harvey Weinstein After He Calls Her Accusations a 'Bold Lie'

Anne Heche Suggests Harvey Weinstein Fired Her From Miramax Film After She Refused Sexual Contact

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James Corden’s Parents Did a Better Job Hosting the Grammys Than James Corden (Video) https://www.thewrap.com/james-cordens-parents-grammys-video/ https://www.thewrap.com/james-cordens-parents-grammys-video/#respond Fri, 02 Feb 2018 16:13:52 +0000 Jennifer Maas https://www.thewrap.com/?p=1803389

James Corden’s hosting gig at the 2018 Grammy Awards on Sunday received mixed reviews — as is customary for everyone who has dared to emcee an event of this size. But there was no mistaking the top-notch job the “Late Late Show” host’s parents did while backstage and on the red carpet.

While you saw some of Malcolm and Margaret Corden during the Grammys broadcast, James Corden’s adorable parents who crossed the pond for the special occasion, on screen for a few skits during Music’s Biggest Night, what you didn’t see was even funnier.

James Corden showed off his parents’ enviable hosting skills in a segment during his late-night show on Thursday. In the clip, the couple interacts with a wide range of celebrities, from Chrissy Teigen and John Legend to DJ Khaled to Bono to Cardi B.

Check out the duo’s rapping, beat-boxing, flirting and drinking in the clip above.

Related stories from TheWrap:

Helen Mirren Forces James Corden to Bow Down in Dirty 'Drop the Mic' (Video)

How James Corden Got Hillary Clinton to Do That 'Fire and Fury' Bit at the Grammys (Video)

That Time James Corden Spanked Donald Trump Live on Stage (Video)

James Corden Spoofs Melania Trump's Lonely White House Life in 'Little Mermaid' Parody (Video)

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Women Execs in Music Industry Call for Grammys Boss Neil Portnow to Resign https://www.thewrap.com/women-execs-in-music-industry-call-for-neil-portnows-resignation/ https://www.thewrap.com/women-execs-in-music-industry-call-for-neil-portnows-resignation/#respond Fri, 02 Feb 2018 01:21:39 +0000 Ashley Boucher https://www.thewrap.com/?p=1803223 A group of female music executives have released an open letter calling for the resignation of Recording Academy president/CEO Neil Portnow, just minutes after he announced a task force to focus on “female advancement.”

The letter, obtained by Variety, condemned Portnow for his comments during the post-Grammys press conference on Sunday that women in the music industry need to “step up” if they want to be part of the industry.

Those comments, the letter reads, were “spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women.”

“Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements,” the letter continued. “Your most recent remarks do not constitute recognition of women’s achievements, but rather a call for men to take action to ‘welcome’ women. We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”

The women pointed out that they step up “every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.”

The Letter points out several statistics demonstrating the lack of women represented in the Grammy Awards, including numbers from a recent USC study revealing that 90.3 percent of Grammy nominees over the past six years have been men, and only 9.7 percent have been women.

“We are here not to merely reprimand you, but to shed light on why there is such an outcry over your comments and remind you of the challenges that women face in our country and, specifically, in the music industry,” the letter continued. “Your comments are another slap in the face to women, whether intended or not; whether taken out of context, or not. Needless to say, if you are not part of the solution, then you must accept that YOU are part of the problem.”

“Time’s up, Neil,” the letter finished.

Among the signatories were Marcie Allen of MAC Presents, Gillian Bar of Carroll Guido & Groffman, LLP, Renee Brodeur of Tmwrk, Rosemary Carroll of Carroll, Guido & Groffman, LLP.

Portnow apologized for his comments in a letter sent out Thursday afternoon, and said his comments were “not reflective of my beliefs.”

Portnow did not immediately respond to a request for comment from TheWrap. TheWrap also reached out to signatories Foster, Sacks, Tsuchii, and Lewis.

See the full letter sent to Portnow below.

Dear Mr. Neil Portnow,

The statement you made this week about women in music needing to “step up” was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements. Your most recent remarks do not constitute recognition of women’s achievements, but rather a call for men to take action to “welcome” women. We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.

We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.

Today we are stepping up and stepping in to demand your resignation.

The stringent requirements for members of NARAS to vote reflect the distorted, unequal balance of executives and creators in our industry. There is simply not enough opportunity and influence granted or accessible to women, people of color and those who identify as LGBTQ. We can continue to be puzzled as to why the Grammys do not fairly represent the world in which we live, or we can demand change so that all music creators and executives can flourish no matter their gender, color of their skin, background or sexual preference.

Let’s take a look some facts, most of which are courtesy of a recent report on Inclusion in Popular Music from USC Annenberg School for Communication and Journalism division :

In 2017, 83.2% of artists were men and 16.8% were women, a 6 year low for female artists. A total of 899 individuals were nominated for a Grammy Award between 2013 and 2018. A staggering 90.7% of these nominees were male and 9.3% were female. 10% of nominees for Record of the Year across a 6 year sample were female. Over the last six years, zero women have been nominated as producer of the year. Of the 600 top songs in 2017, of the 2,767 songwriters credited, 87.7% were male and 12.3% were female.

The top nine male songwriters claim almost 1/5th (19.2%) of the songs in the 6 year sample.

The gender ratio of male producers to female producers is 49 to 1. Only 2 of 651 producers were females from an underrepresented racial/ethnic group. 42% of artists were from underrepresented racial/ethnic groups. The top male writer has 36 credits, the top female writer has 15 credits. Of the newly released Billboard Power 100, 18% were women. In publishing history, there has been only 1 female CEO and 1 male of color CEO. They currently hold these positions. The position of President of a Label, is currently only held by one woman of color. WOMEN COMPRISE 51% OF THE POPULATION.

We are here not to merely reprimand you, but to shed light on why there is such an outcry over your comments and remind you of the challenges that women face in our country and, specifically, in the music industry. Your comments are another slap in the face to women, whether intended or not; whether taken out of context, or not. Needless to say, if you are not part of the solution, then you must accept that YOU are part of the problem. Time’s up, Neil.

Respectfully,

Marcie Allen, MAC Presents
Gillian Bar, Carroll Guido & Groffman, LLP
Renee Brodeur, Tmwrk
Rosemary Carroll, Carroll, Guido & Groffman, LLP
Kristen Foster, PMK-BNC
Jennifer Justice, Superfly Presents
Renee Karalian, Carroll, Guido & Groffman, LLP
Cara Lewis, Cara Lewis Group
Corrie Christopher Martin, Paradigm Talent Agency
Natalia Nastaskin, UTA
Elizabeth Paw, Carroll, Guido & Groffman, LLP
Carla Sacks, Sacks & Co.
Ty Stiklorius, Friends at Work
Lou Taylor, Tri Star Sports and Entertainment Group
Beka Tischker, Wide Eyed Entertainment
Marlene Tsuchii, CAA
Caron Veazey, Manager- Pharrell Williams
Katie Vinten, Warner Chappell
Marsha Vlasic, Artist Group International
Gita Williams, Saint Heron
Nicole Wyskoarko, Carroll, Guido & Groffman, LLP

Here’s Portnow’s apology for his comments:

After hearing from many friends and colleagues, I understand the hurt that my poor choice of words following last Sunday’s GRAMMY telecast has caused. I also now realize that it’s about more than just my words. Because those words, while not reflective of my beliefs, echo the real experience of too many women. I’d like to help make that right.

The Recording Academy is establishing an independent task force to review every aspect of what we do as an organization and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community. We will also place ourselves under a microscope and tackle whatever truths are revealed.

I appreciate that the issue of gender bias needs to be addressed in our industry, and share in the urgency to attack it head on. We as an organization, and I as its leader, pledge our commitment to doing that. We will share more information about the steps we are taking in the coming weeks.

Sincerely,
Neil Portnow
President/CEO of the Recording Academy

Related stories from TheWrap:

Grammy Boss Neil Portnow Launches Task Force to Focus on 'Female Advancement'

Recording Academy President Neil Portnow Ponders What He'll Talk About During Grammy Airtime

Grammy President Apologizes After Telling Women to 'Step Up' to Fix Music Industry Gender Imbalance

Inside Grammy Awards' Hip-Hop Takeover: Why Country and Rock Albums Got Snubbed

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Grammy Boss Neil Portnow Launches Task Force to Focus on ‘Female Advancement’ https://www.thewrap.com/grammy-boss-neil-portnow-launches-task-force-focusing-on-female-advancement/ https://www.thewrap.com/grammy-boss-neil-portnow-launches-task-force-focusing-on-female-advancement/#respond Fri, 02 Feb 2018 00:26:42 +0000 Tim Kenneally https://www.thewrap.com/?p=1803189 Recording Academy president/CEO Neil Portnow, who drew criticism for saying that female artists need to “step up” to fix the gender imbalance in the music industry, will now launch a task force aimed at improving chances of “female advancement in the music community.”

In a statement issued Thursday, Portnow acknowledged his “poor choice of words” that were “not reflective of my beliefs.”

“The Recording Academy is establishing an independent task force to review every aspect of what we do as an organization and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community,” the statement reads. “We will also place ourselves under a microscope and tackle whatever truths are revealed.”

Portnow continued, “I appreciate that the issue of gender bias needs to be addressed in our industry, and share in the urgency to attack it head on. We as an organization, and I as its leader, pledge our commitment to doing that. We will share more information about the steps we are taking in the coming weeks.”

Read the full statement below.

After hearing from many friends and colleagues, I understand the hurt that my poor choice of words following last Sunday’s GRAMMY telecast has caused. I also now realize that it’s about more than just my words. Because those words, while not reflective of my beliefs, echo the real experience of too many women. I’d like to help make that right.

The Recording Academy is establishing an independent task force to review every aspect of what we do as an organization and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community. We will also place ourselves under a microscope and tackle whatever truths are revealed.

I appreciate that the issue of gender bias needs to be addressed in our industry, and share in the urgency to attack it head on. We as an organization, and I as its leader, pledge our commitment to doing that. We will share more information about the steps we are taking in the coming weeks.

Sincerely,
Neil Portnow
President/CEO of the Recording Academy

Related stories from TheWrap:

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Moby Calls Out Grammys Artists: 'Musicians, You Have a Voice, An Audience, And You're Wasting it'

Grammys Settle for 19.8 Million Viewers, Down 24 Percent From Last Year

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How James Corden Got Hillary Clinton to Do That ‘Fire and Fury’ Bit at the Grammys (Video) https://www.thewrap.com/hillary-clinton-grammy-fire-and-fury-corden-video/ https://www.thewrap.com/hillary-clinton-grammy-fire-and-fury-corden-video/#respond Tue, 30 Jan 2018 14:49:22 +0000 Tony Maglio https://www.thewrap.com/?p=1800192

Hillary Clinton stole the Grammys with her surprise “Fire and Fury” moment — but it almost didn’t even happen, James Corden said a day later.

“We had the idea to do that about 11 days ago,” the awards show host said Monday on his regular “Late Late Show” gig. “But we could only do it if Hillary Clinton is the last person to read. Without that, we don’t know what to do.”

“So we emailed her people and we had not heard anything, but we had to get on and shoot it,” Corden continued. “So we basically — we just lied to everyone.”

“We told Cher, ‘Oh, Hillary’s doing it,'” he recalled. “DJ Khaled, Snoop, Cardi B, John Legend — they all said ‘Yes’ because they thought that Hillary was doing it. And we had no idea whether Hillary would do it or not. We’d show all the parts without her even being there.”

“Thankfully, she said ‘Yes,’ because that is not a call I want to make to Cher,” Corden concluded.

Watch his story-sharing video above, and the actual viral Grammys one below.

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Joy Villa Explains Her 'Choose Life' Grammys Gown Featuring Handpainted Fetus (Exclusive)

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Moby Calls Out Grammys Artists: ‘Musicians, You Have a Voice, An Audience, And You’re Wasting it’ https://www.thewrap.com/moby-calls-out-grammys-artists/ https://www.thewrap.com/moby-calls-out-grammys-artists/#respond Mon, 29 Jan 2018 22:45:41 +0000 Phil Hornshaw https://www.thewrap.com/?p=1799244 Techno artist and animal rights activist Moby wasn’t at the Grammys Sunday, but he was watching — and he didn’t think the artists at the awards ceremony were doing a very good job selling important messages.

Moby called out the artists taking part in the 60th Annual Grammy Awards on his Instagram feed, posting a blank white image that contained only the text, “Dear Musicians” on it. In the caption on the photo, Moby wrote, “Dear musicians, I’m watching the Grammys and only @trevornoah has had the courage to say anything relevant or political. The unrelenting shameless self promotion is fucking grim. Musicians: you have a voice, an audience, and you’re wasting it. So shameful.”

Many of the artists at the Grammys wore white roses to show their solidarity with women who have faced sexual harassment and sexual assault, especially in the workplace. The white roses followed similar pushes at other award shows this month. Stars wore black at the Golden Globes in support of the #TIMESUP movement, that supports women fighting sexual assault and harassment in the workplace. Many also wore #TIMESUP pins at the Screen Actors Guild Awards.

Later in the show, the Grammys pivoted to some more important, political fare, and Moby amended his comment.

“Update: as the night progressed a few people did use their platform to speak about meaningful things and not just indulge in shameless self promotion,” he wrote.

Those meaningful things probably included a moving speech from Janelle Monae before she introduced a performance by Kesha. Monae specifically addressed the huge number of women recently coming forward to accuse powerful men in the entertainment industry and beyond of sexual assault and harassment.

“Tonight, I am proud to stand in solidarity as not just an artist but a young woman with my fellow sisters in this room who make up the music industry,” Monae said. “Artists, writers, assistants, publicists, CEOs, producers, engineers, and women from all sectors of the business. We are also daughters, wives, mothers, sisters, and human beings. We come in peace, but we mean business. And to those who would dare try and silence us, we offer you two words: Time’s up.”

Kesha’s performance of her song “Praying,” was also a huge political moment. The song was Kesha’s first release of new music for nearly four years, after her legal battle with former producer Dr. Luke, who Kesha alleged had drugged and sexually assaulted her. She was joined in performing the song by Cyndi Lauper, Julia Michaels, Camila Cabello, Andra Day, and Bebe Rexha and the Resistance Revival Chorus.

Related stories from TheWrap:

Twitter Rips Grammys 'Tears in Heaven' Cover Sung During Tribute to Las Vegas Shooting Victims

Grammys: Janelle Monae and Kesha's Time's Up Moment Inspires Tears

Bebe Rexha Had a Wardrobe Malfunction at the Grammys and Almost No One Noticed

Carrie Fisher Wins First Grammy – Just Over a Year After Her Death

Joy Villa Makes Anti-Abortion Statement With Her Dress at the Grammys (Photo)

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Did You Spot Matt Lauer in These 2 Oscar Movies? https://www.thewrap.com/matt-lauer-oscar-movies-lady-bird-i-tonya/ https://www.thewrap.com/matt-lauer-oscar-movies-lady-bird-i-tonya/#respond Mon, 29 Jan 2018 22:44:11 +0000 Meriah Doty https://www.thewrap.com/?p=1799796 Two of this year’s Oscar-nominated films feature an unlikely figure: fallen morning show host, Matt Lauer.

Yes. You heard that right.

Of course, both movies were filmed, edited and started screening at the film festival circuit before Lauer was fired from NBC’s “Today” show in late November, following accusations of sexual misconduct from multiple women.

Both films are period pieces and feature archival footage of Lauer on air.

The first is Greta Gerwig’s “Lady Bird,” which scooped up five Academy Award nominations last week, including for Best Picture. Also one of the best-reviewed Rotten Tomatoes movies of all time, a blink-and-you’ll-miss-it scene includes a quick shot of Lauer reporting from the Iraq War. It happens toward the end of the film, which takes place between 2002 and 2003 as Saoirse Ronan’s titular character battles her hard-headed mother, played by Laurie Metcalf, with hopes of getting into the East Coast liberal arts college of her dreams — performances that earned both actresses Oscar nods as well.

The second Lauer appearance in an Oscar nominated movie this year happens in “I, Tonya,” starring Margot Robbie as Olympic ice skater Tonya Harding. The biographical film, which takes place mostly in the 1990s and traces Harding’s meteoric rise and fall in her sport, features a snippet of Lauer’s on-air coverage of the scandal — when the attack on Nancy Kerrigan and Harding’s alleged involvement was at the epicenter of media coverage. Incidentally, it picked up three Oscar nods — Robbie for Lead Actress, Allison Janney for Supporting Actress and Best Achievement in Film Editing.

Lauer’s appearance, though perhaps a momentary distraction, doesn’t detract from the enjoyment of these lauded films, both featuring female protagonists.

But his face does stand out as the #MeToo and Times Up movements continue to gain momentum.

Related stories from TheWrap:

Tonya Harding Probably Would've Voted for Trump – If She Could Vote

Tonya Harding Publicist Quits, Says Former Ice Skater Asked Him to Fine Reporters

Nancy Kerrigan on Why She Hasn't Seen 'I, Tonya': 'I Was the Victim, That's My Role in This Whole Thing'

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Grammys Settle for 19.8 Million Viewers, Down 24 Percent From Last Year https://www.thewrap.com/grammys-2018-19-8-million-viewers-ratings/ https://www.thewrap.com/grammys-2018-19-8-million-viewers-ratings/#respond Mon, 29 Jan 2018 20:44:24 +0000 Jennifer Maas https://www.thewrap.com/?p=1799597 The 60th Annual Grammy Awards will not be taking home the prize for the show’s Best Ever Telecast. Actually, it’s not even a close race. The James Corden-hosted CBS special brought in 19.8 million viewers on Sunday, a significant hit since his first hosting gig last year, not to mention the smallest audience since 19 million watched in 2009.

Sunday’s three-and-a-half hour awards show managed a 5.9 rating in the advertiser-coveted 18-49 demographic, according to time zone adjusted numbers provided by the network Monday. That marks an all-time low for the Grammys.

The 2017 telecast drew a 7.8 and 26.1 million viewers, meaning this year’s show is down 12 percent in the demo and 24 percent in total viewers.

Music’s Biggest Night earned a 12.7 household rating/21 share in overnight numbers, per the 56 metered-markets measured by Nielsen. That’s down from both the 2017 telecast (16/26) and the 2016 show (16.1/25) in the preliminary metric.

LL Cool J hosted the show for five consecutive years, from 2012 to 2016, and posted its highest ever viewership in his first year.

The 2012 broadcast, which happened the day after Whitney Houston’s death, drew 39.9 million total viewers with a 14.1 rating and 32 share.

Related stories from TheWrap:

Ratings: Grammys Win the Night for CBS, Beat Down a Slew of Reruns

Grammys Dip 21 Percent in Early TV Ratings

'Bachelor' Creator Mike Fleiss Finds Dip in Ratings for Rachel Lindsay's Season 'Incredibly Disturbing'

Ratings: 'MVP – Most Valuable Performer,' Reruns Drop CBS From 1st to 4th

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Joy Villa Explains Her ‘Choose Life’ Grammys Gown Featuring Handpainted Fetus (Exclusive) https://www.thewrap.com/joy-villa-choose-life-grammys-look-handpainted-sonogram/ https://www.thewrap.com/joy-villa-choose-life-grammys-look-handpainted-sonogram/#respond Mon, 29 Jan 2018 18:57:22 +0000 Jon Levine https://www.thewrap.com/?p=1799521 Pop singer Joy Villa said she wanted to deliver a strong antiabortion message at the 60th Grammy Awards on Sunday by wearing a dress decorated with the handpainted image of a human fetus.

Villa said she wore the dress to raise awareness about adoption as a viable alternative to abortion. “I am proudly #ProLife, without any judgment to those to choose otherwise,” she told TheWrap. “I believe in loving the child and the mother.”

The image was a sonogram of her own daughter that Villa painted in 2007 when she was eight months pregnant, said the singer, adding that she put the child up for adoption after carrying the pregnancy to term.

“I worked with AmericanAdoptions to adopt out my baby to a wonderful and loving family. I’m incredibly blessed to have given life and I hope to encourage any woman in this similarly difficult and painful situation to choose adoption. It’s not easy, but it’s one of the most fulfilling things I’ve ever done. I put her life over mine,” she said.

“I encourage women to think for themselves and gain all the facts before making their own personal decision,” she added. “Having options like adoption can empower women to do what they feel is right. For me, it was choosing life.”

Villa said the Pronovias dress came from The Bridal Garden, a New York City nonprofit and that the proceeds of the sale would be donated to a Brooklyn charter school supporting underprivileged minority youth. In addition to the dress, the singer also sported a handbag emblazoned with the politically charged slogan “choose life.”

It’s not the first time Villa has used couture to promote GOP talking points. At the Grammys last year, she wore a pro-Trump “Make American Great Again” dress, which caused a minor stir.

Before she went political, Villa was typically known for edgy and revealing outfits like this 2015 number made entirely of orange construction fencing, or a 2016 dress made mostly out of fabric spikes.

The political stunt comes as Villa released a new album, “Home Sweet Home,” which debuted at No. 7 for new releases on Amazon in the pop category.

Related stories from TheWrap:

Joy Villa Makes Anti-Abortion Statement With Her Dress at the Grammys (Photo)

Joy Villa on Sexual Assault Accusation Against Corey Lewandowski: 'This Is a Crime'

Joy Villa Wears a 'Make America Great Again' Dress to the Grammys (Photo)

Veteran Lifestyle PR Exec Joyce Sevilla Launches Firm

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Watch U2 Get Bleeped at Grammys as Band Takes Shot at Trump (Video) https://www.thewrap.com/u2-bleep-trump-shithole-countries-grammys-2018-censor/ https://www.thewrap.com/u2-bleep-trump-shithole-countries-grammys-2018-censor/#respond Mon, 29 Jan 2018 16:34:20 +0000 Ashley Boucher https://www.thewrap.com/?p=1799459

The 2018 Grammy Awards on Sunday night only got political during a few moments, but there’s one you might have missed.

During U2’s emotional performance of “Get Out Of Your Own Way” in front of the Statue of Liberty Sunday night (though it was taped earlier), Bono said, “Blessed are the shithole countries, for they gave us the American dream,” in a reference to Donald Trump’s apparent use of the offensive phrase. You can hear it around the 3:32 mark in the video above.

CBS’ broadcast bleeped the comment out, but other outlets have played the uncensored version.

U2’s performance came after Grammy nominee Camila Cabello gave an impassioned speech about DACA and the Dreamers, which immediately followed an emotional performance by Kesha of her song “Praying,” joined by Cabello, Cyndi Lauper, Andra Day, Julia Michaels and Bebe Rexha.

Watch U2’s performance above.

Related stories from TheWrap:

White House Spokesman Blasts 'Out of Touch' Grammys for Hillary Clinton Cameo

Grammys Dip 21 Percent in Early TV Ratings

Ed Sheeran Celebrated Grammys Wins in Purrfectly Adorable Way

#GrammysSoMale: Only One Woman Accepts Solo Award During Broadcast

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Grammys Dip 21 Percent in Early TV Ratings https://www.thewrap.com/grammys-down-21-percent-early-tv-ratings/ https://www.thewrap.com/grammys-down-21-percent-early-tv-ratings/#respond Mon, 29 Jan 2018 15:26:12 +0000 Jennifer Maas https://www.thewrap.com/?p=1799334 James Corden’s second crack at hosting the Grammy Awards was nothing compared to his first.

Sunday’s CBS special earned a 12.7 household rating/21 share in overnight numbers, per the 56 metered-markets measured by Nielsen. That’s down from a 16 rating/26 share for the 2017 telecast.

In 2016, Music’s Biggest Night put up a 16.1/25 in the preliminary metric.

LL Cool J hosted the show for five consecutive years, from 2012 to 2016, and posted its highest ever viewership in his first year.

The 2012 broadcast, which happened the day after Whitney Houston’s death, drew 39.9 million total viewers with a 14.1 rating and 32 share.

Final Grammys figures were released later in the day. You can check those out here.

Related stories from TheWrap:

Ed Sheeran Celebrated Grammys Wins in Purrfectly Adorable Way

#GrammysSoMale: Only One Woman Accepts Solo Award During Broadcast

All 20 Grammys Musical Performances Ranked, From Kendrick to Kesha and Beyond (Photos)

Nikki Haley: 'Fire and Fury' Joke 'Ruined the Grammys'

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Ed Sheeran Celebrated Grammys Wins in Purrfectly Adorable Way https://www.thewrap.com/ed-sheeran-celebrated-grammys-wins-in-purrfectly-adorable-way/ https://www.thewrap.com/ed-sheeran-celebrated-grammys-wins-in-purrfectly-adorable-way/#respond Mon, 29 Jan 2018 14:47:33 +0000 Daniel Kohn https://www.thewrap.com/?p=1799302 Ed Sheeran was a no-show at the Grammys Sunday despite winning for Best Solo Pop Performance for “Shape of You.”

But the red-haired singer still found a way to celebrate his victory at home in England — far from New York City’s Madison Square Garden.

In an Instagram post, Sheeran shared a photo of his white-and-orange cat sprawled out on the floor, while saying that he was asleep during the ceremony.

“Woke up to the news I won two grammys last night. Thank you ! This little fluff-ball is doing a bit of a celebratory dance, lots of love to everyone xx,” he wrote.

Sheeran, somewhat controversially, beat out a field that included four female artists — Kelly Clarkson, Kesha, Lady Gaga, and Pink — to win this particular Grammy.

He won a second Grammy for Best Pop Vocal Album for “÷.”

Related stories from TheWrap:

Grammys Analysis: Damn, Kendrick, They Did It to You Again

Grammys: Watch Hillary Clinton, Cardi B and Snoop Dogg Read the Trump Tell-All 'Fire and Fury' (Video)

Grammys 2018: Watch Camila Cabello Deliver an Impassioned Speech Embracing Dreamers (Video)

Grammys: The Complete List of Winners

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#GrammysSoMale: Only One Woman Accepts Solo Award During Broadcast https://www.thewrap.com/grammys-called-out-for-male-dominated-awards/ https://www.thewrap.com/grammys-called-out-for-male-dominated-awards/#respond Mon, 29 Jan 2018 06:19:15 +0000 Tim Molloy https://www.thewrap.com/?p=1799197 Sunday’s Grammy Awards talked a good game about gender equality: Janelle Monae brought down the house with a passionate speech calling for “safe work environments, equal pay and access for all women,” then introduced Kesha, singing a song that felt like an anthem for the #TimesUp movement. Lady Gaga shouted out #TimesUp in her early performance, and countless attendees wore white roses to show their support.

But when it came to awards, only one woman was seen accepting a solo award during Sunday’s broadcast: Alessia Cara, who was named Best New Artist. Rihanna, meanwhile, shared the award for Best Rap/Sung Performance, and accepted with Kendrick Lamar for “Loyalty.” She was featured on the song.

Part of the reason for the gender imbalance among the winners was the gender imbalance among the nominees: The only female nominee in the Album of the Year category was Lorde. No woman was nominated for Record of the Year. Bruno Mars dominated in the major categories.

The situation isn’t an anomaly. A University of Southern California study released Friday — just in time for the awards — found that more than 90 percent of Grammy nominees from 2013-18 were male.

Here’s a page from that study:

Several people on social media were particularly frustrated Sunday by the Best Pop Solo Performance category, in which Ed Sheeran beat four female artists — Kelly Clarkson, Kesha, Lady Gaga and Pink — then didn’t show up to accept his award.

Of course, the Grammys only show the major categories on TV, to keep a long ceremony from going even longer. But men also dominated overall. Here’s the complete list of winners.

Related stories from TheWrap:

All 20 Grammys Musical Performances Ranked, From Kendrick to Kesha and Beyond (Photos)

Grammys Analysis: Damn, Kendrick, They Did It to You Again

Grammys: Watch Hillary Clinton, Cardi B and Snoop Dogg Read the Trump Tell-All 'Fire and Fury' (Video)

Grammys 2018: Watch Camila Cabello Deliver an Impassioned Speech Embracing Dreamers (Video)

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All 20 Grammys Musical Performances Ranked, From Kendrick to Kesha and Beyond (Photos) https://www.thewrap.com/every-grammys-musical-performance-ranked-kendrick-kesha-beyond/ https://www.thewrap.com/every-grammys-musical-performance-ranked-kendrick-kesha-beyond/#respond Mon, 29 Jan 2018 06:02:41 +0000 Phil Owen https://www.thewrap.com/?p=1798774 The 2018 Grammys were a powerful event full of powerful performance, but it also had some extreme lows. Scroll through to see who we thought gave the best and worst performances of the evening.

20. Eric Church, Maren Morris and the Brothers Osborne turned what should have been an incredibly touching moment — in which they paid tribute to those killed at concerts in England and Las Vegas — into the joke of the evening with an excruciating rendition of Eric Clapton’s “Tears in Heaven.”

19. Sting and Shaggy represented a cycle that seemingly occurred over and over again throughout the Grammys: a couple of great performances would make the show feel like it was really moving, and then an incredibly boring performance would ruin the flow. Sting and Shaggy were perfect representatives of the wrong part of that cycle.

17. Sam Smith’s performance of “Pray” was just, like — we don’t even know. In a vacuum it was probably fine. In the context of this show it was extremely lackluster.

16. By the time Chris Stapleton and Emmylou Harris took the stage to play “Wild Flower” late in the show, we were simply not in the mood.

14. We have no technical complaints with Pink’s performance of “Wild Hearts Can’t Be Broken,” but it just felt like something was missing. Like it lacked the power we usually expect from Pink.

12. Elton John and Miley Cyrus performing  a duet of “Tiny Dancer” represented the right kind of change of pace in between powerful anthems and energetic dance numbers: just a regular fun, unexhausting rendition of a song we all like, by artists we all like.

10. SZA was a blast as always. Better than good, but not quite reaching the heights of those who are higher on this list. We bet she’ll move up next year, though.

9. On the tail end of an inspiring speech from Camila Cabello about Dreamers, which concluded with her reading the poem inscribed on the Statue of Liberty, U2 performed “Get Out of Your Own Way” on an outdoor stage with Lady Liberty in the background. It was as impeccable as every U2 performance is, and the context Cabello provided added some meaningful heft to the whole thing.

6. Lady Gaga’s performance of “Million Reasons” was the first of many heartfelt performances Sunday night, and it shouldn’t be forgotten just because 73 hours of Grammy performances came after it.

3. Childish Gambino gave a performance that was so strong it’s tough for us to articulate it without sounding idiotic. It’s just one of those you really needed to have seen to understand its power.

2. Kendrick Lamar’s Grammy ceremony opener was one for the ages that even a brief, pompous appearance by Bono and the Edge couldn’t mar. “Damn.” didn’t win Album of the year but some small consolation is that he blew away nearly everyone else who took the stage Sunday night with this performance.

And Kesha? Wow.

1. What can we even say about Kesha’s emotional performance of her survivor anthem “Prayer”? We can’t do it justice, so we’ll just say this: about 30 seconds into the performance we knew that none of the other artists would be able to create a moment like this one.

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https://www.thewrap.com/every-grammys-musical-performance-ranked-kendrick-kesha-beyond/feed/ 0 The 2018 Grammys were a powerful event full of powerful performance, but it also had some extreme lows. Scroll through to see who we thought gave the best and worst performances of the evening.

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The 2018 Grammys were a powerful event full of powerful performance, but it also had some extreme lows. Scroll through to see who we thought gave the best and worst performances of the evening.

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20. Eric Church, Maren Morris and the Brothers Osborne turned what should have been an incredibly touching moment -- in which they paid tribute to those killed at concerts in England and Las Vegas -- into the joke of the evening with an excruciating rendition of Eric Clapton's "Tears in Heaven."

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20. Eric Church, Maren Morris and the Brothers Osborne turned what should have been an incredibly touching moment -- in which they paid tribute to those killed at concerts in England and Las Vegas -- into the joke of the evening with an excruciating rendition of Eric Clapton's "Tears in Heaven."

]]>
19. Sting and Shaggy represented a cycle that seemingly occurred over and over again throughout the Grammys: a couple of great performances would make the show feel like it was really moving, and then an incredibly boring performance would ruin the flow. Sting and Shaggy were perfect representatives of the wrong part of that cycle.

]]>
19. Sting and Shaggy represented a cycle that seemingly occurred over and over again throughout the Grammys: a couple of great performances would make the show feel like it was really moving, and then an incredibly boring performance would ruin the flow. Sting and Shaggy were perfect representatives of the wrong part of that cycle.

]]>
18. Ben Platt paid tribute to Leonard Bernstein, and it was wholly out of place.

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18. Ben Platt paid tribute to Leonard Bernstein, and it was wholly out of place.

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17. Sam Smith's performance of "Pray" was just, like -- we don't even know. In a vacuum it was probably fine. In the context of this show it was extremely lackluster.

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17. Sam Smith's performance of "Pray" was just, like -- we don't even know. In a vacuum it was probably fine. In the context of this show it was extremely lackluster.

]]>
16. By the time Chris Stapleton and Emmylou Harris took the stage to play "Wild Flower" late in the show, we were simply not in the mood.

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16. By the time Chris Stapleton and Emmylou Harris took the stage to play "Wild Flower" late in the show, we were simply not in the mood.

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15. Little Big Town gave probably the least memorable performance of the evening. We're not even sure this really happened.

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15. Little Big Town gave probably the least memorable performance of the evening. We're not even sure this really happened.

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14. We have no technical complaints with Pink's performance of "Wild Hearts Can't Be Broken," but it just felt like something was missing. It lacked the power we usually expect from Pink. 

]]>
14. We have no technical complaints with Pink's performance of "Wild Hearts Can't Be Broken," but it just felt like something was missing. It lacked the power we usually expect from Pink. 

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13. I'm not sure how Patti LuPone performing "Don't Cry for Me Argentina" fit into the show, but it's Patti LuPone so we'll allow it.

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13. I'm not sure how Patti LuPone performing "Don't Cry for Me Argentina" fit into the show, but it's Patti LuPone so we'll allow it.

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12. Elton John and Miley Cyrus performing  a duet of "Tiny Dancer" represented the right kind of change of pace in between powerful anthems and energetic dance numbers: just a regular fun, unexhausting rendition of a song we all like, by artists we all like.

]]>
12. Elton John and Miley Cyrus performing  a duet of "Tiny Dancer" represented the right kind of change of pace in between powerful anthems and energetic dance numbers: just a regular fun, unexhausting rendition of a song we all like, by artists we all like.

]]>
11. Jon Batiste and Gary Clark Jr, likewise, gave a breezy tribute to Chuck Berry and Fats Domino that was just an all around pleasant time.

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11. Jon Batiste and Gary Clark Jr, likewise, gave a breezy tribute to Chuck Berry and Fats Domino that was just an all around pleasant time.

]]>
10. SZA was a blast as always. Better than good, but not quite reaching the heights of those who are higher on this list. We bet she'll move up next year, though.

]]>
10. SZA was a blast as always. Better than good, but not quite reaching the heights of those who are higher on this list. We bet she'll move up next year, though.

]]>
9. On the tail end of an inspiring speech from Camila Cabello about Dreamers, which concluded with her reading the poem inscribed on the Statue of Liberty, U2 performed "Get Out of Your Own Way" on an outdoor stage with Lady Liberty in the background. It was as impeccable as every U2 performance is, and the context Cabello provided added some meaningful heft to the whole thing.

]]>
9. On the tail end of an inspiring speech from Camila Cabello about Dreamers, which concluded with her reading the poem inscribed on the Statue of Liberty, U2 performed "Get Out of Your Own Way" on an outdoor stage with Lady Liberty in the background. It was as impeccable as every U2 performance is, and the context Cabello provided added some meaningful heft to the whole thing.

]]>
8. Daddy Yankee and Luis Fonsi performed "Despacito" without Justin Bieber... and it was kinda better that way? 

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8. Daddy Yankee and Luis Fonsi performed "Despacito" without Justin Bieber... and it was kinda better that way? 

]]>
7. Rihanna, DJ Khaled and Bryson Tiller performed "Wild Thoughts" in what was one of the more delightfully fun showcases of the evening.

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7. Rihanna, DJ Khaled and Bryson Tiller performed "Wild Thoughts" in what was one of the more delightfully fun showcases of the evening.

]]>
6. Lady Gaga's performance of "Million Reasons" was the first of many heartfelt performances Sunday night, and it shouldn't be forgotten just because 73 hours of Grammy performances came after it.

]]>
6. Lady Gaga's performance of "Million Reasons" was the first of many heartfelt performances Sunday night, and it shouldn't be forgotten just because 73 hours of Grammy performances came after it.

]]>
5. Cardi B and Bruno Mars crushed the performance of their almost too-good-to-be-true New Jack Swing revival track, and at any other Grammys, it would have been the night's standout. Much respect for the dope rhymes and period-authentic, knee-destroying gymnastics.

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5. Cardi B and Bruno Mars crushed the performance of their almost too-good-to-be-true New Jack Swing revival track, and at any other Grammys, it would have been the night's standout. Much respect for the dope rhymes and period-authentic, knee-destroying gymnastics.

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4. Logic, Alessia Cara and Khalid delivered the climax of the Grammys after the In Memoriam with Logic's anti-suicide anthem "1-800-273-8255." That the performance came after the In Memoriam concluded with Chester Bennington, who committed suicide last year, inspired chills.

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4. Logic, Alessia Cara and Khalid delivered the climax of the Grammys after the In Memoriam with Logic's anti-suicide anthem "1-800-273-8255." That the performance came after the In Memoriam concluded with Chester Bennington, who committed suicide last year, inspired chills.

]]>
3. Childish Gambino gave a performance that was so strong it's tough for us to articulate it without sounding idiotic. It's just one of those you really needed to have seen to understand its power.

]]>
3. Childish Gambino gave a performance that was so strong it's tough for us to articulate it without sounding idiotic. It's just one of those you really needed to have seen to understand its power.

]]>
2. Kendrick Lamar's Grammy ceremony opener was one for the ages that even a brief, pompous appearance by Bono and the Edge couldn't mar. "Damn." didn't win Album of the year but some small consolation is that he blew away nearly everyone else who took the stage Sunday night with this performance.

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2. Kendrick Lamar's Grammy ceremony opener was one for the ages that even a brief, pompous appearance by Bono and the Edge couldn't mar. "Damn." didn't win Album of the year but some small consolation is that he blew away nearly everyone else who took the stage Sunday night with this performance.

]]>
1. What can we even say about Kesha's emotional performance of her survivor anthem "Praying"? We can't do it justice, so we'll just say this: about 30 seconds into the performance we knew that none of the other artists would be able to create a moment like this one.

]]>
1. What can we even say about Kesha's emotional performance of her survivor anthem "Praying"? We can't do it justice, so we'll just say this: about 30 seconds into the performance we knew that none of the other artists would be able to create a moment like this one.

]]>
Nikki Haley: ‘Fire and Fury’ Joke ‘Ruined the Grammys’ https://www.thewrap.com/nikki-haley-says-fire-and-fury-joke-killed-the-grammys/ https://www.thewrap.com/nikki-haley-says-fire-and-fury-joke-killed-the-grammys/#respond Mon, 29 Jan 2018 05:11:36 +0000 Tim Molloy https://www.thewrap.com/?p=1799173 It’s probably no surprise that Nikki Haley, the subject of an accusation fueled by “Fire and Fury” author Michael Wolff, really didn’t like the part of the Grammys where people ranging from Snoop Dogg to Hillary Clinton read excerpts of the book about the Trump Administration.

“I have always loved the Grammys but to have artists read the Fire and Fury book killed it. Don’t ruin great music with trash. Some of us love music without the politics thrown in it,” Haley, the UN ambassador, tweeted Sunday night. She later added that the skit “ruined the Grammys.”

During Sunday’s Grammys, host James Corden used the spoken-word award segment to have DJ Khaled, John Legend, Cher, Cardi B, Snoop and Clinton read passages from the book. Clinton read an excerpt in which Wolff details Trump’s enjoyment of McDonald’s hamburgers, which Wolff asserts is partially because of his longtime fear of being poisoned.

Haley has been spending more time talking about “Fire and Fury” lately than she would like. On Friday, she dismissed Wolff’s hints that she’s having an affair with Donald Trump as “disgusting” and “highly offensive.”

While Wolff has admitted he can’t prove any affair, he said last week on “Real Time With Bill Maher” that readers should pay close attention to a section near the end of the book that hints at an affair between her and Trump.

“It is absolutely not true,” Haley said Friday on POLITICO’s Women Rule podcast. “It is highly offensive, and it is disgusting. It amazes me what people will do and the lies they will say for money and power… I have literally been on Air Force One once and there were several people in the room when I was there. He says that I’ve been talking a lot with the president in the Oval about my political future. I’ve never talked once to the president about my future and I am never alone with him.”

On “Real Time With Bill Maher”, Wolff said a passage near the end of his book hints at the affair.

 “Now that I’ve told you, when you hit that paragraph you’re going to say bingo,” Wolff told Maher. Careful readers zeroed in on passages where he Haley “had become a particular focus of Trump’s attention, and he of hers” and that Trump “had been spending a notable amount of private time with Haley on Air Force One and was seen to be grooming her for a political future.”
Related stories from TheWrap:

Michael Wolff's 'Fire and Fury' Book About Trump White House to Be Adapted for TV

There's Another Book Called 'Fire and Fury' and Its Author Is Way Psyched

'Fire and Fury' Publisher Won't Back Down, Says 'No Apology Is Warranted' to Trump

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Grammys Analysis: Damn, Kendrick, They Did It to You Again https://www.thewrap.com/grammys-analysis-damn-kendrick-they-did-it-to-you-again/ https://www.thewrap.com/grammys-analysis-damn-kendrick-they-did-it-to-you-again/#respond Mon, 29 Jan 2018 04:49:01 +0000 Steve Pond https://www.thewrap.com/?p=1799157 The Recording Academy had Kendrick Lamar right where it wanted him: He opened the 60th Grammy Awards show with a passionate, moving performance, and also swept all four awards in the rap categories and another in the music video field.

And then, in the final 40 minutes of the marathon show, came the crucial Record of the Year and Album of the Year categories. That meant it was time for Lamar to start losing again.

Throughout Lamar’s short but landmark career, Grammy voters have loved to award him in the rap categories but have always stopped short of giving him prizes in the more prestigious general categories. He lost Album of the Year to Daft Punk in 2014 and Taylor Swift in 2016, lost Best New Artist to Macklemore & Ryan Lewis in 2014, lost Song of the Year to Ed Sheeran in 2016…

And, sure enough, this time around his song “HUMBLE.” lost Record of the Year, an award that has yet to go to a true hip-hop record, to Bruno Mars’ “24K Magic.” And then his album “DAMN.” lost Album of the Year to Mars as well. That had to sting a little more than usual, since it was handed out by U2’s Bono and the Edge, who three-and-a-half hours earlier had accompanied Lamar on that show-opening number.

In a year in which Grammy voters embraced hip-hop music more than ever before in their nominations, finally recognizing the extent to which the music has dominated the pop landscape in recent years, they simply couldn’t go all the way and give any of the top awards to a rapper.

So Mars, an electric performer who makes state-of-the-art R&B dance music and has long been a Grammy favorite, swept the Album of the Year, Record of the Year and Song of the Year categories. And while the Grammy nominations had been bolder than ever, the winners were completely in the voters’ usual comfort zone — which is to say, music that might recognize the influence of hip-hop, but keeps it at an arm’s length while it traffics in more familiar (and to the voters, more palatable) musical territory.

Maybe this one didn’t feel as cringe-inducing as Lamar’s “To Pimp a Butterfly” losing to Taylor Swift’s “1989,” or last year’s award going to Adele over Beyonce (for which Adele felt compelled to apologize onstage). But make no mistake, it was more of the same from the Recording Academy.

Of course, the telecast was far more about performances than wins, as it is every year: This is a show where it doesn’t even come as a surprise when you realize that there’s 45 minutes left in the telecast and there are only two awards left to be handed out.

So you’ll have to look it up to see that Tony Bennett beat Bob Dylan for traditional pop vocal performance or Leonard Cohen won Best Rock (!) Performance over the Foo Fighters and Chris Cornell, but it’ll be easy to go to YouTube and relive the performances from Lamar or Mars and Cardi B or Kesha (who kind of stole the show with her #TimesUp anthem), or see Hillary Clinton reading from “Fire and Fury.”

Those were only some of the many things that happened on Sunday at the Grammys, a show that is always impossible to encapsulate. Spread across nearly 100 categories, almost all of which were handed out before the telecast began, you can find an array of varied and worthy winners: Jason Isbell, Aimee Mann, John Williams, Randy Newman, Kraftwerk, the Weeknd, Chris Stapleton, John McLaughlin, Alabama Shakes, Daniil Trifonov, Barbara Hannigan, Dave Chappelle …

You can find Ed Sheeran, who was surprisingly left out of all the top categories, but then won the only two awards for which he was nominated — though he didn’t show up to collect those awards, maybe with reason.

And you can find the Rolling Stones, who won the Best Traditional Blues Album for “Blue and Lonesome.” And hey, it might not be the best blues album of the year, but it’s the one from the most famous band — and rather ridiculously, only the third competitive Grammy that band has ever won. (The first two were for the 1994 album “Voodoo Lounge,” which was perhaps not the Stones’ finest moment, either.)

So what can you do? It’s the Grammys, which throws some great winners and some questionable winners into the mix with one big performance after another.

That’s the way it’s always been — and for those who saw this year’s nominations and recognized the politicized environment in which the show would take place, it was tempting to think that the voters could have sent an extra message with their choices.

To quote the man of the night, except for that final 40 minutes: “DAMN.”

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Grammys: Watch Hillary Clinton, Cardi B and Snoop Dogg Read the Trump Tell-All ‘Fire and Fury’ (Video) https://www.thewrap.com/grammys-hillary-clinton-trump-fire-and-fury/ https://www.thewrap.com/grammys-hillary-clinton-trump-fire-and-fury/#respond Mon, 29 Jan 2018 03:41:35 +0000 Phil Hornshaw https://www.thewrap.com/?p=1799036

Grammys host James Corden used the spoken word award during the Grammys to dunk on Donald Trump — with help from DJ Khaled, John Legend, Cher, Snoop Dogg, Cardi B, and — finally –Hillary Clinton.

The best spoken word album Grammy often goes to authors for the audio book versions of their works. In a pre-recorded segment for “The Late Late Show With James Corden,” Corden auditioned a number of stars for an audio version of Michael Wolff’s book, “Fire and Fury: Inside the Trump White House.” Artists took turns reading excerpts of the book, but Corden turned down all of them.

The segment ended with a twist: a surprise appearance by 2016 Democratic presidential candidate Hillary Clinton. She read an excerpt from the book in which Wolff details Trump’s enjoyment of McDonald’s hamburgers, which Wolff claims is partially because of his longtime fear of being poisoned.

“That’s it, that’s the one, we’ve got it,” Corden said as Clinton finished her audition.

“You think so? The Grammy’s in the bag?” she answered.

Though the video was a joke, Clinton actually has won the Best Spoken Word Grammy in the past. She took home the award in 1997 for the audio book version of “It Takes a Village.”

The real winner of this year’s Best Spoken Word Album Grammy was Carrie Fisher. The actress, author, memoirist and screenwriter won the award posthumously for the audio book version of her memoir “The Princess Diarist.” The book is about her experience in filming the original “Star Wars.” It was Fisher’s first Grammy, but not the first time she was recognized by the Grammys: She was also nominated for the best spoken word album for the audio book version of her 2008 memoir “Wishful Drinking.”

Fisher died in 2016.

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