TheWraposcars – TheWrap Covering Hollywood Thu, 22 Feb 2018 03:03:21 +0000 en-US hourly 1 ‘The Shape of Water,’ ‘Wonder Woman,’ ‘I, Tonya’ Top Costume Designers Guild Awards Wed, 21 Feb 2018 05:49:25 +0000 Steve Pond “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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Women Received Just 23 Percent of Non-Acting Oscar Nominations in 2018, Study Says Wed, 21 Feb 2018 05:00:07 +0000 Ross A. Lincoln A new study by the Women’s Media Center has found that women have made only slight progress at the Academy Awards, landing just 23 percent of all non-acting nominations in 2018 compared to 77 percent for men.

That’s an increase of just three percent from 2017 in the 19 major non-acting categories, including those recognizing writing, editing, producing, and directing. Overall, women received 43 non-acting nominations, while men received 148. Costume Design is the only category in which women achieved parity.

The Women’s Media Center noted that despite small gains, some progress in high-profile categories had still been made: Cinematographer Rachel Morrison became the first woman ever nominated in her category for her work on “Mudbound.” The report also cites Greta Gerwig, the fifth woman ever nominated for Best Director, and Dee Rees, the second African American woman ever nominated for writing.

But women were shut out entirely from the score, sound editing, and visual effects categories, the study notes.

Broken down by category, women made up 20 percent of directors, 17 percent of editors, 20 percent of cinematographers, 11 percent of adapted screenplay writers, 43 percent of original screenplay writers, 31 percent of feature documentarians and 38 percent of short documentarians nominated. Women also made up 27 percent of Best Picture nominees.

“We are… proud of the efforts of all women who continue to break barriers in the film industry, despite systemic cultural and institutional bias,” Julie Burton, president of the Women’s Media Center, said in a statement.

“Over the past year, many brave women have stepped forward to tell stories of pervasive sexual harassment and worse in the film industry — forcing the nation to realize how little power women have had in Hollywood and sparking new demands for change,” Burton continued. “The
absence of women in critical behind-the-scenes roles — and the fact that men represent 77 percent of all nominees – means that women in the industry are missing opportunities for recognition and power. The larger society is deprived of women’s voices, perspectives, and creativity. At a time when women are demanding more power and visibility, these low numbers should be a wakeup call for Hollywood executives. The message is ‘Times up for inequality.'”

“These are times that call for sweeping and sustainable changes — as evidenced by the findings in this report,” added Pat Mitchell, WMC co-chair and chair of the Sundance Institute. “The Women’s Media Center will continue to shine a light on the status of women in Hollywood — and on all media platforms. Ultimately, changes must come from those who hold the power, and we know that few, if any, power holders throughout history have given up power without a struggle. But we are in this for the long haul. Change is coming. Time’s up.”

Read the whole study here.

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'There's Johnny' Star Ian Nelson on Hollywood Sexism: No Denying 'Women Are Treated Differently'

Emily Ratajkowski Responds to Lingerie Pasta Backlash: 'Classic Sexism'

Natalie Portman Says She Has '100 Stories' of Hollywood Harassment and Sexism

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Saoirse Ronan Weighs Oscar Date Pros, Cons: ‘Do They Do the Loser Face With You?’ (Video) Fri, 16 Feb 2018 19:42:22 +0000 Beatrice Verhoeven

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.

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Academy to Eliminate Paper Balloting at Next Year’s Oscars Thu, 15 Feb 2018 18:33:33 +0000 Jeremy Fuster 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

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

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Syria Blocks ‘Last Men In Aleppo’ Producer and Subject from Attending Oscars Thu, 15 Feb 2018 02:30:26 +0000 Jeremy Fuster “Last Men In Aleppo” has earned an Oscar nomination for Best Documentary Feature for its exploration of The White Helmets, the Syrian rescue team that saves people buried in the rubble after bombings in Aleppo. But the film’s producer, Kareem Abeed, and White Helmets co-founder Mahmoud Al-Hattar will not be present on Oscar Sunday after the Syrian government refused to expedite the visa process to allow them to travel to Hollywood.

Interest in the Syrian crisis and The White Helmets in particular has increased in the documentary community, as a Netflix doc largely filmed by the White Helmets won last year’s Oscar for Best Documentary Short. But “Last Men In Aleppo” is noteworthy for being the first film directed and produced by Syrians to earn an Oscar nod.

But documentaries like “Last Men In Aleppo” have come under attack by supporters of Bashar al-Assad’s regime in Syria and Russia, as they have accused The White Helmets of being a front for Al-Qaeda. Because of this, al-Hattar is unable to apply for a Syrian passport, and Abeed’s interview for a visa has been scheduled for March 2, two days before the Oscars.

Even if the interview date was moved up, Abeed would face even more red tape from the U.S. State Department thanks to Donald Trump’s executive order blocking new visa applications from Syria. The film’s team is trying to petition the State Dept. to intervene, but they think aid is unlikely.

Director Feras Fayyad, who is Syrian but is currently working out of San Francisco, says he blames both Assad and Trump for the obstacles standing in his colleagues’ way, saying the Syrian government is trying to silence their message.

“Kareem is an artist, he is coming here to show the impact of the war. Films like this are the only way we can use our voices to speak out against this war,” he said. “We are doing what Americans have done for so long and that is to use art as a space and a platform for changing. And what the government is doing is building a wall to control art.”

Fayyad says that Trump and the Syrian government have both sent an “ugly message” with their policies, which he says contrasts starkly with the interactions he’s had with both Russians and Americans while presenting his film at festival like Sundance, where it won a jury prize in the World Documentary category. He says he’s met with Russians displeased with Vladimir Putin’s control over the country and their role in the Syrian conflict, while in America he’s met people in the indie film community who empathize with his team’s push for human rights.

He even says his team’s goals have a lot in common with the “Time’s Up” movement that has swept through Hollywood, saying that like activists demanding a systemic change to prevent sexual harassment, The White Helmets and his film team are fighting to speak truth to power and to give a voice to those who have been silenced.

“This Oscars is a very special Oscars because it’s a space for everyone who has had those in power try to silence them to finally talk about their struggle,” he said. “But we are being banned from sharing this moment with American women, from standing with them for justice and freedom of expression.”

“Last Men in Aleppo” is nominated alongside “Abacus: Small Enough to Jail, “Faces Places,” “Icarus,” and “Strong Island.”

Related stories from TheWrap:

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Syrian Activist in HBO Doc on Her Life Now: 'Most of My Friends Are Killed' (Video)

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Watch Swedish Director Freak Out Again Over Oscar Nomination (Exclusive Video) Wed, 14 Feb 2018 22:13:24 +0000 Steve Pond

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 Wed, 14 Feb 2018 05:56:57 +0000 Steve Pond “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

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‘Faces Places’ Director JR Explains Agnes Varda Cardboard Cutout at Oscars Luncheon (Video) Mon, 12 Feb 2018 23:34:54 +0000 Brian Welk

Lurking in the very back row next to Meryl Streep and Greta Gerwig in the Class Photo of 2018 Oscar nominees is French New Wave director Agnes Varda. But if you’re wondering why she’s standing there looking away from the camera with a perplexed expression glued to her face, it’s because it really is glued there.

With Varda unable to attend the luncheon, her “Faces Places” co-director JR brought as his companion a life-size cardboard cutout of Varda to stand next to him in the photo. At first glance, it’s just a cute moment. But JR told TheWrap’s Sharon Waxman as part of our screening series that it was actually a perfect embodiment of their project’s spirit.

“That moment of going to that lunch was almost like taking an image from the film and bringing it into reality and just moving on with it and seeing the world changing around just because of a cardboard, because of the idea that you can take photos and change enough context,” JR said. “That’s what we’ve been doing with Agnes — take photos of people, enlarge them bigger than life in their own village where people know them, but people would reinterpret them.”

“Faces Places” finds Varda and JR taking a delightful, whimsical road trip through Europe in JR’s traveling photo booth. They’d take photos of locals in small villages, print them out, blow them up and paste massive versions on the sides of buildings. It’s a film about how an image can change your perspective on a location, open up emotions and spark conversations that no one ever imagined before. They take ordinary people in quaint locations, and with some simple street art, they’ve found a way to immortalize them.

“We were two kids trying to do crazy things and see if it works,” JR said. “She’s always tuned in because she’s curious about everything. She showed me how to be curious about everything around you. It’s a real gift to be able to work with her.”

JR said he and Varda have become fast friends since beginning filming on “Faces Places.” And prior to the luncheon, they had never done a screening apart. He decided he would print the cardboard cutout, but was nervous about trying to take it to Los Angeles on a plane.

“People have been so nice, ‘let’s get you a seat, let’s get you through security!’ They didn’t know her, but the idea that she’s 90 years old and she’s never been Oscar nominated in her whole life, they were like, we need to help her, and suddenly everything has become open,” JR said.

JR himself appeared larger than life in front of TheWrap’s screening audience on Wednesday. He Skyped into the panel discussion, his face dwarfing his other panelists on the massive movie screen behind them, which likewise felt like a reminder of the film’s ideas. But of course, he kept his signature dark sunglasses on throughout the Q&A, even at one point pantomiming a bad video connection during the moment when he was about to take off his glasses for the audience to see.

“The reason I wear the sunglasses is because the work that I do, not in France but in other countries, is considered illegal. In some countries I’ve been in jail, and in others I’ve been invited into a museum,” JR explained.

But Varda might still be the best person to Skype with, as whenever JR gets on a call with her, he only ever sees the top of her head. And as a perfect capper to the evening, he dug out the life-size cardboard he brought with him to the Oscars as well as another adorable looking still of her peeking out over the frame.

Check out the video of him talking about the cardboard stand-up above.

Related stories from TheWrap:

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'Faces Places' Review: Agnès Varda Takes a Joyful Artist's Journey Into Rural France

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Short Documentary Oscar Nominees on Advantages, Intimacy of Short Form (Exclusive Video) Wed, 07 Feb 2018 23:44:42 +0000 Jeremy Fuster

With Netflix, HBO, and other digital outlets looking for top quality, half-hour documentaries, the short doc format has gained a new surge in interest from filmmakers and viewers alike. This year’s Oscar nominees in the Best Documentary Short category are grateful for it, telling the crowd at TheWrap’s Screening Series that making a documentary shorter has its advantages.

“For me, it’s really freeing actually to make something that’s pared down to fewer elements,” said Kate Davis, director of “Traffic Stop.” The documentary interviews Breaion King, a black schoolteacher in Texas who made headlines after a police dashcam video of her being violently arrested after a routine traffic stop went viral.

“It just felt more like a poem, which was right for this particular story. It’s not a big legal case. It’s not the O.J. trial. The idea was just to put you in this woman’s shoes for a moment and imagine being in her life.”

Davis was joined at The Landmark Theater in Los Angeles by her producer, David Heilbroner, as well as directors Frank Stiefel (“Heaven is a Traffic Jam on the 405”), Thomas Lennon (“Knife Skills”), Elaine McMillion Sheldon (“Heroin(e)”) and Laura Checkoway, along with producer Thomas Lee Wright (“Edith + Eddie”).

“The short form allowed us to keep everything in scene,” said Sheldon, who followed three women in Huntington, West Virginia, that have devoted themselves to fighting the town’s rampant heroin addiction problem. “We never forced the viewer to stop and watch someone talking to the camera unless they were in scene doing something.”

While last year’s nominated short docs included three films about the Syrian refugee crisis, this year’s contenders followed a diverse range of Americans tackling topics like mental health, police brutality, elder law, addiction, and in the case of Thomas Lennon’s “Knife Skills,” incarceration.

Lennon followed a restaurant in Cleveland called Edwin’s, which employs recently released inmates and teaches them the ways of French cuisine. Lennon says he found himself rooting for the restaurant and its workers to succeed, but also tried to keep some distance between him and his subjects.

“Even though I was very sympathetic…I never accepted any free food from the restaurant. I never let Brandon [Chrostowki, founder of Edwins] anywhere near any of the footage I shot,” he said.

Frank Stiefel, on the other hand, took the opposite approach with “Heaven is a Traffic Jam on the 405.” His film follows Mindy Alper, an L.A. artist who attended a class with Stiefel’s wife and who uses her art to help with her severe depression and anxiety. The film delves deep into Alper’s troubled childhood and the daily struggles she has with her treatment, so Stiefel allowed Alper to see every cut he made to make sure she was ok with what parts of her he was going to show to the world.

“There’s a point where she starts to shake and I had to make a decision whether I was going to be a filmmaker or a friend,” Stiefel said. “I told her, ‘Mindy, I have to film this, I’m sorry.’ I determined that I would show her every cut. I knew I was in a sensitive area and I didn’t want to do damage.”

Sensitive areas are what Laura Checkoway had to face when she made “Edith + Eddie,” a film she expected to be about an interracial couple that fell in love at the age of 95 and 96. Instead, she ended up filming a tragedy as the two were forcibly separated when one of Edith’s daughter claimed legal custody of her and made her leave her lifelong home in Virginia.

“A friend texted a photo of the couple that was going around online,” Checkoway said. “I just kept staring at this photo and wondered what it would be like to fall in love at that time in your life. Little did I know that it would become a look at elder law and the legal guardianship system.”

Though each film had its own unique circumstances and obstacles, all the panelists agreed that having a camera in the room changed how both they and their subjects behaved and encouraged both sides to show deeper truths.

“There’s a curious thing about having a camera and asking questions…it makes you brave,” Stiefel said. “To not ask the question that’s going to make everyone uncomfortable would be to fail. Having a camera certainly makes me braver. I know why I’m there and that I can’t evade the thing that’s giving me anxiety because not asking the question is going to be horrible.”

All the Oscar nominated films in all three short film categories can be seen in theaters this weekend. Click here for more information.

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‘Coco’ Takes Annie Award for Best Animated Feature Sun, 04 Feb 2018 05:18:06 +0000 Matt Donnelly and Steve Pond “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

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Read Motion Picture Academy’s New Process for Reporting Misconduct Sun, 28 Jan 2018 00:23:19 +0000 Matt Donnelly and Steve Pond As promised, the Academy of Motion Picture Arts and Sciences has issued a new policy for reporting misconduct within the film industry.

While doubling down on the assertion that the academy will not initiate investigations into misconduct — like the rampant wave of sexual harassment and assault accusations to follow the Harvey Weinstein scandal — there is now a process to report such behavior.

“There is no place in the Academy for people who abuse their status, power or influence,” a Saturday email to members from Academy CEO Dawn Hudson. In the email, Hudson said that the board, led by governor David Rubin, had been considering the process “since the depth of this issue first came to light.”

The email linked to a page on the Academy’s members-only website that details the process through which violations will be reported and investigated.

“Claimants” may file written accounts or call in to report alleged misconduct, after which the Academy will review and attempt to verify claims before escalating matters. In its bylaws, the group’s governors reserve the right to revoke memberships. The policy also pledges confidentiality in the process  “to the extent possible.”

Weinstein’s membership was revoked in October, nine days after the New York Times published a game-changing report containing numerous accusations of harassment and assault. Later, a New Yorker exposé accused Weinstein of rape. The disgraced mogul has consistently denied any nonconsensual sex.

Read the full policy, outlined in a document obtained by TheWrap:

Since the Academy expelled Weinstein, it has been under pressure to look into whether other members, including Oscar winners Roman Polanski and Kevin Spacey, should also be stripped of their membership.

Members of the board have privately conveyed misgivings about investigations into other members turning into a witch hunt of sorts. But the review process, which was promised in an initial email from Hudson last year, will allow potential violations of the code of conduct to be examined if and only if they are reported to the Academy.

Dawn Hudson’s email also promised that additional adjustments to the policies are all but inevitable. “Our work continues,” she wrote, “and will require us to be nimble and refine our procedures as times demand.”

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Jimmy Fallon Tweaks Oscar Statue, ‘Shape of Water’ and ‘Aquaman’ in ‘Thank You Notes’ (Video) Sat, 27 Jan 2018 14:34:37 +0000 Tony Maglio

Jimmy Fallon got a bit distracted during his latest “Thank You Notes” installment, but the “Tonight Show” host eventually got down to writing out his weekly gratitudes. When he did, the NBC late-night personality included the Oscar statue, “Star Wars,” “The Shape of Water,” “Fifty Shades of Grey” and “Aquaman” among his postcard shoutouts.

Wisely, Jimmy gave a few semi-veiled plugs to Super Bowl LII and the 2018 Winter Olympics in Pyeongchang, South Korea — both properties that just so happen to be on his host network. Smart.

“Thank you, Oscar statue, for looking like C-3PO after getting botox,” Fallon read at one point.

His closer: “Thank you, ‘The Shape of Water,’ for not being called ‘Fifty Shades of Aquaman.'”

Watch the video above.

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Top Film Editing Awards Go to ‘Dunkirk,’ ‘I, Tonya’ Sat, 27 Jan 2018 07:42:37 +0000 Steve Pond “Dunkirk” and “I, Tonya” won the top feature film awards at the American Cinema Editors’ Eddie Awards on Friday night at the Beverly Hilton Hotel, putting the former film in a particularly strong position in this year’s Oscar race.

“Dunkirk” editor Lee Smith won the award for the best edited dramatic feature of 2017, while Tatiana S. Riegel of “I, Tonya” won the prize for comedic feature.

Since the ACE Eddies film award was split into separate dramatic and comedy or musical categories in 2000, the winner in the dramatic category has gone on to win the Oscar for film editing 12 times in 18 years, with the comedy or musical ACE winner taking the Oscar once.

In that time, no film has won the Oscar for editing without first being nominated for the ACE Eddie.

The ACE Eddies announced winners in 10 different categories in a ceremony hosted by Tichina Arnold and featuring appearances by Denis Villeneuve, Mariska Hargitay, Edgar Wright and Gale Anne Hurd.

The Pixar film “Coco” won the award for animated film, while “Jane” won for theatrical documentaries. One of the winning editors for “Jane,” Will Znidaric, also picked up the award for non-theatrical documentary for “Five Came Back.”

Television awards went to “Black-ish” and “Curb Your Enthusiasm” for commercial and non-commercial comedies and “Fargo” and “The Handmaid’s Tale” for commercial and non-commercial dramas. The first episode of “Genius” was named the best edited TV movie or miniseries.

Writer-producer Vince Gilligan and editors Mark Goldblatt and Leon Ortiz-Gil received honorary awards at the ceremony.

The winners:

Best Edited Feature Film (Dramatic): “Dunkirk,” Lee Smith
Best Edited Feature Film (Comedy): “I, Tonya,” Tatiana S. Riegel
Best Edited Feature Film (Animated): “Coco,” Steve Bloom
Best Edited Documentary (Feature): “Jane,” Joe Beshenkovsky, Will Znidaric, Brett Morgen
Best Edited Documentary (Non-Theatrical): “Five Came Back: The Price of Victory,” Will Znidaric
Best Edited Comedy Series for Commercial Television: “Black-ish”: “Lemons,” John Peter Bernardo, Jamie Pedroza
Best Edited Comedy Series for Non-Commercial Television: “Curb Your Enthusiasm”: “The Shucker,” Jonathan Corn
Best Edited Drama Series for Commercial Television: “Fargo”: “Who Rules the Land of Denial,” Andrew Seklir
Best Edited Drama Series for Non-Commercial Television: “The Handmaid’s Tale”: “Offred,” Julian Clarke & Wendy Hallam Martin
Best Edited Miniseries or Motion Picture for Television: “Genius: Einstein”: “Chapter One,” James D. Wilcox
Best Edited Non-Scripted Series: VICE News Tonight: “Charlottesville: Race & Terror,” Tim Clancy, Cameron Dennis, John Chimples & Denny Thomas
Student Competition Winner: Mariah Zenk, Missouri State University

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Kumail Nanjiani Loses Brussels Sprouts-Oscar Bet to Edgar Wright (Photos) Thu, 25 Jan 2018 22:21:13 +0000 Jeremy Fuster Kumail Nanjiani capped off a big week by paying off a bet he made with “Baby Driver” director Edgar Wright — who made him promise that if the comedian’s lauded film “The Big Sick” got nominated for an Oscar, he would eat his most hated food: brussels sprouts.

Sure enough, Nanjiani was nominated with his wife, Emily V. Gordon, for Best Adapted Screenplay after a 2017 in which “The Big Sick” got critical acclaim for its true tale about how the couple first met. Wright took pictures of Nanjiani paying off the bet, washing it down with a nice glass of champagne. Nanjiani responded to the photos by saying he’s “never been happier to lose a bet.”

Wright himself also has reason to celebrate, as “Baby Driver” received nominations for Best Film Editing, Sound Mixing, and Sound Editing; and he says that the editors and sound designers who worked with him on the film told them before that this would happen.

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Academy Museum COO Rich Cherry to Resign Less Than a Year After Taking Job Thu, 25 Jan 2018 03:01:45 +0000 Reid Nakamura Rich Cherry, the Chief Operating Officer of the Academy of Motion Picture Arts and Science’s museum project has resigned his position.

According to an Academy spokesperson, Cherry, who has been in the position for just under a year, will remain on with the project through the end of February. No reason was given for his departure.

“The Academy is grateful to Rich Cherry for his service over the past year as our Chief Operating Officer,” the spokesperson said in a statement. “During his time with the Museum, he helped guide us effectively through a critical period of construction and institutional planning. Rich will remain with the Museum through the end of February. We wish him success as he focuses on his museum consultancy firm. The Museum has begun a search for the next COO.”

Cherry joined the project last February after previously overseeing construction on The Broad museum in downtown Los Angeles.

Housed in a 300,000-square-foot facility designed by architect Renzo Piano, the Academy Museum will house gallery space, two theaters, cutting-edge project spaces, an outdoor piazza, the rooftop terrace with sweeping views of the Hollywood Hills, an active education studio, a restaurant and store within two buildings, one a giant glass sphere.

The building’s construction has been dogged by setbacks and delays since it first broke ground. The museum was originally scheduled to open in 2017, a timeline that has since been pushed back to 2019.

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Moviegoers Pick ‘Wonder Woman’ as Biggest Oscar Snub in Atom and Fandango Polls Wed, 24 Jan 2018 01:38:44 +0000 Jeremy Fuster The Academy has chosen which films they consider worthy of Oscar nominations, but in audience polls conducted by Fandango and Atom Tickets, moviegoers voiced their displeasure that “Wonder Woman” was left out in the cold.

In Fandango‘s poll of over 1,000 moviegoers shortly after nominations were announced, 39 percent of those surveyed said that “Wonder Woman” getting shut out in all categories was the biggest snub of this year’s Oscars. Atom Tickets did their own survey of over 1,000 people on the Best Picture, Director, and lead acting categories, with Gal Gadot being considered the biggest snub for Best Actress for her work as DC’s most famous superheroine.

“Wonder Woman” was by far the biggest film of the summer, grossing over $400 million in North America and helping make 2017 the first year since 1958 where the three highest grossing domestic films had female leads. There were hopes that “Wonder Woman” might be considered for some Oscars, including Patty Jenkins for Best Director as well as several below-the-line categories like Best Costume Design. Unfortunately, that was not to be, meaning that “Suicide Squad” remains the only DCEU or Marvel Cinematic Universe film to bring home an Oscar with its Best Makeup win last year.

Other performances that some felt should have been recognized include James Franco in “The Disaster Artist” and Tom Hanks in “The Post,” both of which topped Atom and Fandango’s polls as the biggest snubs in the Best Actor category.

On the bright side, moviegoers were pleasantly surprised that “Get Out” and “Logan” were among the films honored. When polling audiences for the happiest surprise in this year’s nominees, Fandango found that 38 percent surveyed picked “Logan”‘s nod for Best Adapted Screenplay as the biggest surprise, followed by Daniel Kaluuya’s performance in “Get Out” with 20 percent.

Meanwhile, Atom found that moviegoers picked “Get Out”‘s nomination for Best Picture and Jordan Peele’s nomination for Best Director were the biggest surprises in their respective categories.

For more of our surprises and snubs, check out the gallery below.

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Oscars Box Office: Can Best Picture Contenders Turn Nominations Into Big Bucks? Wed, 24 Jan 2018 00:15:30 +0000 Jeremy Fuster For A24, Fox Searchlight, and all the studios that have a film contending for Best Picture at the Oscars this year, the race is on to try and convert the new attention their movies have received into a big box office bump.

“It’s time to strike while the iron is hot,” said comScore’s Paul Dergarabedian. “The biggest bump comes not after Oscar Sunday, but after the nominees are revealed and moviegoers head out to theaters to catch up. By the time Oscar Sunday rolls around, most films have run their course in theaters.”

The films that have most to gain are the ones that hit theaters very late in the year: Fox Searchlight’s “The Shape of Water,” Focus Features’ “Phantom Thread,” and Sony Pictures Classic’s “Call Me By Your Name.”

“The Shape of Water,” which opened wide on Christmas weekend, has done fairly well so far with $30 million grossed. Guillermo Del Toro’s fantasy romance hasn’t been in more than 850 screens during its run, but Searchlight will expand the film into over 1,200 screens this weekend to take advantage of its Oscar-leading with 13 nominations.

Searchlight’s other Best Picture contender, “Three Billboards Outside Ebbing, Missouri,” will have a tougher time adding to its $32 million total, since it has been in theaters since mid-November and isn’t expected to add many more locations beyond the 956 it screened in the last week.

Focus, meanwhile, has the biggest upside of the bunch with “Phantom Thread,” which was expected to earn a Best Actor nod for the retiring Daniel Day-Lewis, but ended up exceeding expectations with six nominations. Paul Thomas Anderson’s drama was released for a limited 70mm engagement on Christmas Day and didn’t expand nationwide until this past weekend when it made $3.3 million from 896 screens for a running total of $6 million. It will expand again this weekend into just over 1,000 screens.

“‘Phantom Thread’ was going to get a bump because it was an acting contender, but now that it’s in the running for Best Picture, it’s going to get a lot more interest even though it came out as late as you can get in the awards season calendar,” Dergarabedian said. “It’s still very early in its run so we could see it become a popular film for older audiences.”

“Call Me by Your Name” also timed its expansion schedule to the Oscar calendar, slowly making money as a hot ticket in limited release before expanding to 815 screens this weekend and making a $9.1 million total. Like “Phantom Thread,” “CMBYN” was expected to be a contender in several major categories, but its Best Picture nod ensures that it will be a must watch for Oscar completionists. Sony Pictures Classics is expected to expand the film, though an estimate is not yet available.

Outside of these three nominees, other Oscars contenders are already well into their theatrical runs. “The Post” has already done relatively well with $45 million grossed so far after expanding wide with 2,851 screens, but its bump should be minimal as its Oscar footprint is much smaller than expected. It went into Oscar season expected to be a major contender with a strong cast and allusions to today’s politics and media, but aside from its Best Picture nomination, it only got one other nod for Meryl Streep’s lead performance. Focus’ other contender, “Darkest Hour,” came out in mid-November and has made $41 million, but should also get a minor bump as it expands to approximately 1,300 screens as Gary Oldman becomes the heavy favorite to win Best Actor.

On the other hand, A24’s “Lady Bird” should continue to quietly endure all the way to Oscar Sunday. It has made over $1 million every weekend for a $39.2 million total since mid-November despite peaking at 1,557 screens a month ago. A24 may give the film another push, as Greta Gerwig, in her directorial debut, has become only the fifth woman to be nominated for Best Director. At a time when diversity in Hollywood is a major topic and women in the industry are demanding to make their voices heard, Gerwig’s film and the performances by stars Saoirse Ronan and Laurie Metcalf have gained a timeliness that should keep it going at its current pace for the weeks ahead.

Finally, there are the two films that have by far made the most money out of this year’s field, but have already had their runs: Warner Bros.’ “Dunkirk” and Universal/Blumhouse’s “Get Out.” “Dunkirk” performed quite well this past summer, earning $188 million domestically and $525 million worldwide, landing it in the top 20 highest grossing films of 2017. The WWII film received heavy support from IMAX, who provided the cameras for it, and Warner Bros. marketed it as an event film that would best be seen on the big screen. With that in mind, WB will try to get a bit more mileage out of “Dunkirk” by placing it back on 250 screens this weekend.

As for “Get Out,” the film has already run its theatrical course since it was released almost a year ago. But it has already made its case, receiving critical acclaim and arguably becoming this year’s populist pick with $175 million domestic gross against a mere $4.5 million budget, with strong opportunities for post-theatrical revenue on streaming and rentals coming as movie buffs revisit it, or perhaps finally get around to watching it. Combined, “Dunkirk” and “Get Out” account for 64 percent of the $566 million in domestic revenue made by this year’s BP nominees, up 17 percent from the $484 million made by last year’s contenders.

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Academy Ties Record for Female Oscar Nominees, But Improvement Is Only Slight Wed, 24 Jan 2018 00:12:54 +0000 Steve Pond This year’s Academy Award nominations have tied a record for the most female nominees in a single year, but women still make up less than one-fourth of the total number of Oscar nominees.

According to the Academy’s awards librarian, 40 women were nominated in competitive, non-acting categories this year, with an additional 10 nominated in the Best Actress and Best Supporting Actress categories. That ties the record of 50 set two years ago, and is four more than the 46 nominated last year.

But more than 150 men were nominated in acting and non-acting categories, which pushes female representation among the nominees to less than 25 percent.

That’s about the same percentage the Oscars achieved 10 years ago, when there were fewer female nominees (44) but also fewer overall nominees.

In only two categories, Best Costume Design and Best Documentary Short Subject, did Academy voters nominate an equal number of men and women; in no category outside of Best Actress and Best Supporting Actress did the female nominees outnumber the males.

And while Rachel Morrison became the first female nominee in the Best Cinematography category and Greta Gerwig only the fifth woman nominated for Best Director, women were completely shut out in three categories — Best Score, Best Sound Editing and Best Visual Effects — and were in the minority in 14 other categories.

One sign of progress: Where 10 years ago only three women were nominated as producers of Best Picture nominees, this year eight were. But the number of male producers who were nominated grew almost as fast: 12 in 2008, 22 this year.

Of the nine Best Picture nominees, six have both male and female producers, with only “The Post” having more women than men. The other three nominees – “Get Out,” “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri” – do not feature any nominated women producers.

Overall, female membership in the Academy has increased from 25 percent in 2015 to 28 percent after two consecutive years of a record number of new member invitations. Those years have seen a 359 percent increase in invitations extended to women – though until women are put in positions of power that make them eligible for Oscar nominations, Academy voters won’t have the chance to cast ballots for them.

On the other hand, women are the central characters in at least four of the nominees (“Lady Bird,” “The Post,” “The Shape of Water” and “Three Billboards”) and are arguably as central as the male lead in “Phantom Thread” as well.

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Kobe Bryant Rape Accusation From 2003 Resurfaces After Oscar Nomination Tue, 23 Jan 2018 20:23:40 +0000 Reid Nakamura Kobe Bryant was nominated for an Oscar on Tuesday, which has led some to criticize the Academy for recognizing the former NBA star in the #MeToo era — in light of his 2003 sexual assault arrest.

“Kobe Bryant’s short film was nominated for an Academy Award! That puts him on a very short list of people who have been nominated for an Oscar AND have been publicly accused of rape,” comedian Hari Kondabolu wrote. “CONGRATS KOBE!”

“Kobe Bryant was just nominated for an Oscar. I believe that he raped a woman,” wrote Jesse Thorn of the podcast network Maximum Fun. “To avoid criminal conviction, he settled out of court, and read an apology in court saying he believed she did not feel the sex was consensual.”

In 2003, Bryant was arrested in Eagle, Colorado after a 19-year-old hotel employee said she was raped by the former player. In court documents, the accuser said Bryant invited her up to his room under the pretense of touring the hotel and then kissed and groped her despite her attempts to rebuff him, and eventually raped her.

The woman told police that Bryant physically impeded when she tried to leave the room and choked her when she tried to move away from him. “He continually had one hand around my neck and with his other hand pushed me over to the side of the two chairs um, turned me around and bent me over and lifted up my skirt,” she said.

“He lifted up my skirt, took off my underwear and, and came inside me,” she told police, saying that she repeatedly told him “no” and began crying. “Then he leaned his face toward mine and asked me if I liked it when a guy came on my face, I said no. Then he was like what did you say. Grabbed and like tightened his hold on my neck, I said no. He said he was gonna do it anyway.”

When questioned by police, Bryant first denied that anything happened with the accuser, but he reversed course after he was informed that she submitted to a physical exam. He later admitted to a sexual encounter but continued to deny the assault accusation.

Criminal charges were dropped when the accuser declined to testify, but a separate civil case was settled out of court. “Although I truly believe this encounter between us was consensual, I recognize now that she did not and does not view this incident the same way I did,” Bryant said in a statement read by his attorney.

The Oscar nominations were announced Tuesday morning, with Bryant making the list as the subject, writer and producer of “Dear Basketball,” an animated short based on a poem he wrote as he announced his retirement from the sport.

The nomination raised some eyebrows in light of Hollywood’s recent reckoning with sexual assault and harassment after the downfall of Harvey Weinstein and the rise of the #MeToo movement.

“The Disaster Artist” star and recent Golden Globes winner James Franco was absent from the list of Best Actor nominees on Tuesday, with many attributing the snub to the recent sexual misconduct allegations made against him on social media and in a Los Angeles Times report.

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Guillermo del Toro Explains What ‘The Shape of Water’ and ‘Lady Bird’ Have in Common Tue, 23 Jan 2018 20:04:59 +0000 Steve Pond The 13 nominations for his film “The Shape of Water” are great. Status as the de facto Best Picture frontrunner is flattering. But if you really want to get Guillermo del Toro excited, just let him start talking about the other directors alongside whom he was nominated on Tuesday.

“It’s a landmark year in many ways,” del Toro told TheWrap. “It’s beautiful to see a symphonic piece like what Chris Nolan has done with ‘Dunkirk’ … and a personal dark ballad like “Phantom Thread’ from Paul Thomas Anderson … and to see Greta Gerwig, who created a beautiful calibrated and deeply emotional chamber piece with ‘Lady Bird’ … and I have a huge kinship with [“Get Out” director] Jordan Peele, and a huge pride in the fact that both of us, through different alchemies, have brought genre pieces into the conversation.”

With del Toro, it all comes down to genre: horror movies, monster movies, sci-fi movies. “Genre was born side-to-side with the movies being born, with the Lumieres and Georges Méliès,” he said. “And genre has given us images from Burnau, Bergman, Kubrick – many of the primal images of cinema come from parables and from the fantastic.”

And because he was obsessed with horror films since he was a child, del Toro feels that “The Shape of Water” is a deeply personal film. “The beauty of ‘Lady Bird’ is that it’s a beautiful little biography, the chronicle of a very intimate thing,” he said. “And for me, the equivalent with monsters is ‘The Shape of Water.’

“This has been with me since my earliest years, this idea of the beauty and redemptive power of the fantastic. There is a dark poetry that I go to again and again, and you hope that it will connect with other people the way this movie has.”

For now, del Toro is not planning to begin directing anything until late this year. But he has a number of projects in the works as a producer, including two that he said he has to deliver to studios.

One, “Antlers,” is in development for Fox Searchlight with director Scott Cooper; del Toro, who is producing it with J. Miles Dale, called “a horror movie that is really very creative and sort of in the ‘Mama’ mold.” The other is “Scary Stories to Tell in the Dark,” which will be directed by André Øvredal and produced by del Toro and Sean Daniels.

“I am actively producing, and as a director I’m continuing to develop things,” he said. “But right now, my real goal is to stay in this movement with ‘The Shape of Water,’ and live it as fully as I can.”

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That Time Willem Dafoe Found Out About His Oscar Nomination From the Babysitter Tue, 23 Jan 2018 19:23:22 +0000 Steve Pond Willem Dafoe, who was nominated for Best Supporting Actor for his role in “The Florida Project” on Tuesday, has been down this road before.

He was nominated in the same category for “Platoon” in 1986, and then in the Best Actor category for “Shadow of the Vampire” in 2000.

But awards season in those days was dramatically different, Dafoe told TheWrap on Tuesday. “It’s changed so much,” he said. “There are more expectations, more events – it’s more refined, more developed.”

He laughed. “When I first got nominated for ‘Platoon,’ I didn’t even know when the Oscar nominations were being announced. My son’s babysitter called me up to tell me I was nominated.

“That’s way different from now. Last night I was so aware of the nominations that I couldn’t sleep.”

Dafoe said he knew that “The Florida Project” could be something special as soon as he started prepping for his role as the manager in a rundown motel that caters to down-on-their-luck, short-term tenants near Disney World in Florida. “It was a very good script and a very strong director who’s also a real filmmaker,” he said of director Sean Baker. “I felt like we were making contact with a very human story – it was joyous on one hand, and on the other hand it was grim because it wasn’t romanticized.”

His was the only Oscar recognition for “The Florida Project,” which at one point seemed to be in the running for Best Picture and Best Director nominations. Does that make the experience bittersweet for him?

“It does,” he said. “I’m happy to be nominated, but what can I say? I’m very proud of the film, and I think it really resonated with people. I just wish it would have gotten a little more love [from the Academy].”

And since he seems to be on an Oscar-nomination-every-15-years-or-so schedule, is Dafoe ready to gear up for awards season 2033?

“That’s OK with me,” said the 62-year-old actor. “I just hope I live long enough.”

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CNN Pulls a ‘Moonlight,’ Lists ‘Greatest Showman,’ ‘Disaster Artist’ Among Best Picture Noms Tue, 23 Jan 2018 18:00:51 +0000 Jennifer Maas There are bound to be plenty of “Moonlight” jokes during this year’s Oscar telecast, after the film was momentarily, and incorrectly, snubbed as Best Picture due to an envelope mishap last year. We just didn’t think the debacle would rear its ugly head as early as Tuesday, when the nominations were announced.

Or that it would be at the hands of CNN.

Soon after the list of contenders for the 90th Academy Awards was revealed, “Entertainment Tonight” host Nischelle Turner appeared on the network to discuss 2018’s snubs and surprises. However, her list of nominees was, for lack of a better term, “fake news.”

Turner commented on how both “The Greatest Showman” and “The Disaster Artist” were “surprises” for her, though they were surprises for all of us, seeing as they weren’t actually nominated. However, CNN had listed them on screen as contenders.

Turner later took to Twitter to rectify the mistake and CNN has since pulled the video of her commentary. The network’s digital team did list all nominees accurately.

“Some of the graphics were incorrect,” Turner wrote. “Apologies there was a rush by some to get them on the air and they made a couple errors.”

For reference, see the actual list of Best Picture nominees below.

“Call Me by Your Name”
“Darkest Hour”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

See Turner’s response, as well as reactions from confused viewers, below.

The 90th Academy Awards will air live on March 4 at 8 p.m. EST/5 p.m. PST on ABC.

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‘The Boss Baby’ Gets Oscar Nod, Twitter Shakes Head: ‘What Have You People Done?’ Tue, 23 Jan 2018 17:37:12 +0000 Ashley Boucher Every year, Oscar nominations come with the requisite “Snubs and Surprises” hot takes, but one nomination this year in particular has the internet scratching its head.

Dreamworks’ “The Boss Baby” is nominated for Best Animated Feature Film, along with “Coco,” “The Breadwinner,” “Ferdinand” and “Loving, Vincent.” The movie led by the voice performance of Alec Baldwin as a savvy corporate-minded baby, was also nominated for a Golden Globe, but still, people on Twitter are confused by its recognition by the Academy. Most are upset that it beat out the “Lego Batman Movie” for a nod.

One user noted that the “Lego Batman Movie” earned a whopping 91 percent on Rotten Tomatoes, while “The Boss Baby” only earned 51 percent. Another posted a GIF of Lego Batman saying “No!” over and over again. Even Rotten Tomatoes got in on the jeers, posting a clip from the movie in which the baby barfs all over his big brother.

“What have you people done,” another Twitter user asked, adding to the confusion.

See below for more reactions.

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Oscars 2018: Host Jimmy Kimmel Seeks Therapy for a Year of ‘Moonlight’ Trauma in New Promo (Video) Tue, 23 Jan 2018 16:05:03 +0000 Jennifer Maas

Few words are as horrifying as “Moonlight.” Well, to Jimmy Kimmel that is.

In a new promo for the 2018 Oscars — which dropped on Tuesday after this year’s nominees were announced — Kimmel is still haunted by the Best Picture debacle that occurred during the final moments of the 89th Academy Awards. You know, when Faye Dunaway and Warren Beatty accidentally announced that “La La Land” had grabbed the award, when “Moonlight” was the real winner. The moment (attributed to an envelope mishap) went down as one of the most shocking flubs in all of Oscar history.

Kimmel, who is hosting the awards show again this year, keeps reliving the moment over and over and has sought therapy to try and overcome the trauma. Whether he’s avoiding opening the mail (envelope aversion) or freaking out over his name being announced incorrectly at Starbucks (Timmy is NOT Jimmy, after all), the late-night host can’t escape the past.

Of course, his choice of therapist may be the real problem here.

Watch the new promo above. And, in case you have somehow forgotten what went down last year, (because obviously Kimmel never will), check out the awkward incident from last year’s show below.

The 90th Academy Awards will air live on March 4 at 8 p.m. EST/5 p.m. PST on ABC.

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Guillermo del Toro on How ‘The Shape of Water’ Was Almost Shot in Black and White Tue, 23 Jan 2018 16:05:02 +0000 Steve Pond This story about Guillermo del Toro and “The Shape of Water” first appeared in the Oscar Noms Preview issue of TheWrap’s Oscar magazine.

Guillermo del Toro has often worked in the rich cinematic margins, making genre films like “The Devil’s Backbone,” “Hellboy,” “Pacific Rim” and “Crimson Peak” that please sci-fi and horror fans but don’t register with awards voters. But 2006’s “Pan’s Labyrinth” was a notable exception, landing six Oscar nominations and winning three of them.

Now comes “The Shape of Water,” a luminous fairy tale that has already led all films in nominations for both the Golden Globes and the Critics’ Choice Awards.

Described by TheWrap’s Alonso Duralde as a film that “transcends mere pastiche to craft a work that feels like the product of our collective filmgoing subconscious,” the film stars Sally Hawkins as a mute cleaning lady who lives above a grand old movie theater and works in a government lab at the height of the Cold War, and del Toro stalwart Doug Jones as the mysterious aquatic creature who is held prisoner in that lab.

Guillermo del Toro photographed by Irvin Rivera for TheWrap

Let me guess: When you first saw “Creature From the Black Lagoon,” you were rooting for the creature, right?
Yes. One hundred percent. I was 6, and I was hoping that the creature would get together with the girl and live happily ever after. Wake up every morning, go to the lagoon to work and come back home at night. But the suburban life was not to be. At the end of the first movie, it doesn’t end well for the creature.

When you’re making “The Shape of Water,” then, were you thinking of the 6-year-old boy who wanted to see the creature get the girl?
Not really. I’m thinking about things that are much more adult and complex. You have the emotional movie that you carry with you as a child, but also the movie you’re executing as an adult. But at the end of the day, when the creature walks onto the set, I am that 6-year-old.

Why the fascination with this kind of creature?
There’s a beauty and grace to it. And for what I suppose are very Freudian reasons, I’ve always dreamt of water. To this day, I dream that I can breathe underwater. Some people dream of flying. I dream of swimming underwater.

You never dream of flying?
I’ve dreamt of flying probably three times in my life. But every year at least once or twice I’ve dreamed of being underwater. And it’s always very natural. I sink, and I realize I’m breathing, and I go, “Oh, it’s been a while since I’ve been down here.”

What do you have to do to get audiences to accept what is basically a romance between a woman and a non-human sea creature?
First of all, we designed the creature as what it is. It’s a river god, an elemental river god. It needs to have majesty and beauty without losing its nature.

The second thing is the way you introduce it, the way you hinge every moment so that the audience can transition slowly. We start with a hand against the glass, which is a shock moment. We are afraid to approach it. Then it comes out of the water and blinks, and in that moment the audience identifies with him. Maybe he’s not that dangerous. Then he’s dangerous again, but when he grabs the egg, you see under the hand it’s cute. Each moment is crucial.

Including a moment fairly late in the film, when we’ve come to accept and root for the creature, but he does something completely horrific. You’re essentially saying to the audience, “You may love him now, but remember that he’s still who he was when you were afraid of him.”
Yes. That’s the idea. The thing that rubs me wrong in the “Beauty and the Beast” stories is the transformation. Because I think that it’s much more a matter of acceptance and understanding of each other’s strangeness that leads to real love stories. Not the demand for a transformation.

You financed the first round of creature design yourself. Why?
Because I wanted the freedom to go anywhere. I wanted to go to a studio with the design and the idea for the movie, and basically say, “You guys tell me how much you want me to do it for, and I’ll do it for that number. There will be no negotiation.”

I went to Fox Searchlight, and they said, “Under $20 million for color, under $17 for black and white.”

Guillermo del Toro
Photographed by Irvin Rivera for The Wrap

It’s hard to imagine this movie being in black and white.
That was honestly a battle I was expecting to lose. I was of two minds. On one hand I thought black and white would look luscious, but on the other hand I thought it would look postmodern, like I was being reflective rather than immersed. It’s good, because it got me three million more.

It’s amazing that the movie was made for less than $20 million.
After rebate. Which means that I didn’t get my salary as producer or co-writer or director, except for guild minimum. That bought me a couple of days extra, a couple of cranes, it bought me a couple of costumes.

At that budget, there must have been things you would have liked to have done but you didn’t have the money.
Yeah, but I did “Pacific Rim” for $195 million. Which is moving the zero to the right one space. And honestly, I think I was feeling that way with $195 million. The thing is, your ambitions should always exceed the budget. If you are not exceeding the budget in your own visions, you are doing something wrong.

Having your main character, Elisa, live over an ornate revival house gives the film an amazing setting, but I imagine it’s also useful in setting up a sense of unreality in this world.
Yes. That’s exactly what it does. For the creature to exist in this arena, you need to push the arena maybe a notch and a half above reality.

Why do that with a movie theater setting?
It sets up what’s in her head. We see the opening of the movie and we see that she dreams of water, cooks her food in water, masturbates in water, shines her shoes and goes to work, and lives above a theater. She lives above a place that is projecting light and sound 24/7, so she always has lines of dialogue and the music of the movies in her head. And then she crosses the corridor and her neighbor is always watching musicals. And then you see her alone and she does a little tap dance. That tells you who she is.

To back up for a minute, the sight of her casually masturbating in the tub is not something we’d normally see from the heroine in what is in essence a fairy tale.
No, but it’s something we normally would do, right? So why not see the things we do? And there is no fetishized gauze filter, it’s not backlit with smoke. It’s a gloriously quotidian moment. Very encompassing and naturalistic.

Guillermo del Toro
Photographed by Irvin Rivera for The Wrap

And very unlike your typical fairy tale.
No. I don’t think you’ve ever seen a movie like this before. With “Pan’s Labyrinth,” there were 20 reasons why it shouldn’t work and 20 reasons why it should work. With “The Shape of Water,” there are 50 reasons why it shouldn’t work, and maybe one reason why it should.

It’s an incredibly complicated movie tonally. I’m talking about the actors, the camera style, the production design, the wardrobe — all of this informs the tonality of a film. Your decisions in directing cut across the genres that you are doing. And this is not a single-genre movie. It’s not a sci-fi movie. It’s a musical, a melodrama, a spy thriller, a comedy, you know?

It is crazy to say I’m gonna be able to balance the actors’ performances tonally so the movie can transition from one genre to another. You find yourself directing five movies that need to mesh.

How do you learn to do that?
Well, I’ve done mixes that shouldn’t go together in the past. “Cronos” was a middle-class Mexican vampire melodrama in comedy tone. “Devil’s Backbone” was a Gothic ghost story set in a deserted orphanage in the middle of the civil war in Spain. Those are things that don’t mesh. I remember pitching it to Almodóvar and him saying, “That’s three movies.”

And “Pan’s Labyrinth” is a fairy tale set in post-war fascist Spain. Most of my crew on that movie thought we were doing a terrible movie. They would see the realism of the fascist uniforms and the things that they recognized from history, and then in walks a faun. It’s very disorienting, because it’s two things that in theory shouldn’t go together.

Instead of two things that shouldn’t go together, this movie is six things that shouldn’t go together. So your instincts operate in the same way.

With “Pan’s Labyrinth,” even if a viewer goes in resistant to genre, you allow for an explanation that will make the film work: The fantasy elements are in the mind of the little girl who has created them to cope with the real horrors around her. But “The Shape of Water” doesn’t give you an out like that to take it out of genre — you either resist it or you say, “OK, I believe it.”
That’s why the movie needs to be stylistically, in every way, that notch and a half above reality. I think you’re in or you’re out the moment she masturbates, quite frankly. And if you are not leaving then, you should be leaving when the creature shows up. And if you stay, you stay.

And for me, the reality is, you go by your gut. That gut is right sometimes, wrong sometimes, but with experience it gets to be a finer instrument.  I’ve been at this for a quarter of a century — and if you spend 25 years driving a bus, you crash a little less.

There are clearly moments in the film where you’re making points about the inequities in the America of the early 1960s.
Because it’s both much easier and much stronger to articulate a story through a fairy tale or a parable. Every religion understands that when you talk about a grain of mustard or tell a story of two brothers, you are using it as an analogy. To describe something that could be rejected very easily if you spoke about it in real-world terms. You teach more with a story.

Are there ways in which you think this film speaks not to America in 1962 but to America today?
I think the movie may be set in 1962, but the movie speaks about now. About the intolerance and the fear we are asked to believe is intrinsic to identifying the “other.” But I think that when you identify the other, you should be curious, you should be interested, you should be understanding.

To me, I think the most beautiful thing in the world is that we’re different. We are not all the same. And at the end of the day, we have so many common points and the fascination comes from what we don’t share.

When you started out, was this the kind of career you envisioned?
No, I never thought I would leave Mexico. I thought I would only do Mexican films, but then my father was kidnapped in ’98 and I had to leave.

First, I owed a quarter of a million dollars from [his 1993 debut] “Cronos,” personally. So I needed to work at Universal Studios developing a project. Then I paid that debt to my father, and then he got kidnapped and I lost basically anything I had, and I had to go and work.

I did “Devil’s Backbone” in Spain, and then I thought I was only going to do movies in Spain. But I came to the U.S. to do “Blade II,” and I didn’t have any other movies in Spain so I came back to do “Hellboy.” To paraphrase John Lennon, a career is what happens when you’re making other plans.

But at a certain point, you get to where you can steer your own career.
To a point. Under $20 [million], for sure. Above $50, not at all. I think right now I can get a movie made for $20, $30, even $40, $45, pretty much the way I want it. But if it’s $50, $55 and over, it’s more difficult.

And if it’s $100 million and over, you are catering to fiscal responsibility that demands you gross three times your cost. That is a very brutal responsibility. I’ve had it, but the summer is a contact sport. You have other movies that are not going to play nice. It’s hockey. They’re gonna want to bust your teeth, break your kneecap, you know? It’s a highly competitive time. And if you go over $100 million you’re basically a summer movie whether you’re released in the summer or not.

But now you’re not planning to make another movie for a while.
I won’t even prep anything until September. I found myself in a place that is very rare. I’ve never been here. I’m satisfied. I’m happy. I want to enjoy this movie, and I want to see it connect with an audience time and again. I’m at peace.

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Jordan Peele in ‘Opposite of Sunken Place’ and More Oscar Nomination Reactions Tue, 23 Jan 2018 15:58:00 +0000 Jeremy Fuster and Umberto Gonzalez For those fortunate enough to hear their names be called, Oscars Nomination Day is a whirlwind of excited phone calls from friends and family, press interviews, and making plans to attend Hollywood’s biggest night. But amidst the chaos, this year’s nominees took some time to express their gratitude and joy at being honored by the Academy as one of the best in their craft this past year.

The best reaction came from “Get Out” director Jordan Peele, who responded to his socially-conscious horror film getting a Best Picture nomination with a simple question:

Peele also shared that he spoke with his “Get Out” leading man Daniel Kaluuya, who was also nominated for an Oscar in the Best Actor category.

Of course, the best reactions weren’t always from the people who got nominated. Chris Miller, who was snubbed for a Best Animated Feature nomination five years ago for his work on “The Lego Movie,” had a simple reaction when “The Lego Batman Movie” failed to get nominated as well.

Meanwhile, Martin McDonagh, director of the Golden Globe and SAG Award-winning “Three Billboards Outside Ebbing, Missouri,” thanked and congratulated all the people who collaborated with him on the dark comedy, and also got nominated.

“I’m thrilled that our film has received seven nominations from the Academy,” he wrote, “and that the beautiful work of our editor Jon Gregory, our composer Carter Burwell, my gentle brothers-in-arms Woody Harrelson and Sam Rockwell, and our fearless leader Frances McDormand, have all been recognised so wonderfully. I can’t wait to celebrate with them all come March 4th.”

Read more Oscar reactions below:

Willem Dafoe

“I’m very happy to be recognized by the Academy for my role in Sean Baker’s ‘The Florida Project.’ I am very proud of this movie that authentically expresses the human’s spirit’s natural impulse to extend itself to others even in difficult circumstances.”

Meryl Streep

“I am honored beyond measure by this nomination for a film I love, a film that stands in defense of press freedom, and inclusion of women’s voices in the movement of history- Proud of the film, and all her filmmakers. Thank you from a full heart.”

Octavia Spencer

“My heart is bursting with pure elation for the cast and crew of The Shape Of Water. Guillermo has given us all a dream job and to be recognized by the Academy is so deeply moving.  I am jumping for joy from Park City for all of the nominees this morning! Congratulations everyone.”

Gary Oldman

“Firstly, I want to congratulate my fellow nominees, both in the acting categories and across the board. To be in such company is deeply, genuinely, humbling.  To have the chance to play an iconic leader like Winston Churchill at this point in my career, was the opportunity of a lifetime and I am so happy that my colleagues and partners on this wonderful film have also been honored with nominations. I am overjoyed to be nominated, and proud to be part of this wonderful thing known as movie making!”

Aaron Sorkin

“This nomination represents the great work of hundreds of people–from STX and our producers to Jessica Chastain and the entire cast and crew. I couldn’t ask for a greater gang of people with whom to share this incredible honor.”

James Mangold

“While LOGAN was always going to be perceived as the last chapter in a successful “super hero” franchise, and a final performance in this role by my brilliant friend Hugh Jackman, Scott Frank, Michael Green and I always viewed the task of writing it as, first and foremost, an opportunity to make a dramatic character piece, one that just so happened to feature beloved comic book characters. We are so grateful for the nomination.”

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Yes, Kobe Bryant Is Now an Oscar Nominee Tue, 23 Jan 2018 15:52:55 +0000 Meriah Doty Kobe Bryant is in the running to get an Oscar this year as the subject, writer and producer of an animated short that has taken his awards-heavy career into a different field — because “Dear Basketball,” the animated short he made with veteran Disney animator Glen Keane, has been nominated for an Academy Award in the category of Best Animated Short.

The Academy announced nominations on Tuesday morning, with “Dear Basketball” — in which Keane’s line drawings animated the poem that Bryant wrote to announce his retirement from the NBA — served as the highest-profile entry in its category.

51-time Oscar nominee John Williams, who earned a nod on Tuesday for “Star Wars: The Last Jedi,” scored the animated short.

Kobe’s competition for the Oscar is: “Garden Party” (Victor Caire and Gabriel Grapperon), “Lou” (Dave Mullins and Dana Murray), “Negative Space” (Max Porter and Ru Kuwahata) and “Revolting Rhymes” (Jakob Schuh and Jan Lachauer).

The five nominated films in the category were chosen from an initial list of 63 eligible shorts, six shy of the record of 69 set last year, that were later whittled down to a list of 10. Volunteer members from the Academy’s Short Films and Feature Animation Branch viewed and scored all the eligible films, with the 10 highest-scoring films making up the shortlist.

Screenings of the shortlisted films were held for members of the branch in Los Angeles, New York, San Francisco and London, with every member who has seen all 10 eligible to vote.

“Dear Basketball” first premiered at the Tribeca Film Festival.

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Oscars 2018 Analysis: Voters Send Clear Message on Diversity in Race and Gender Tue, 23 Jan 2018 15:03:17 +0000 Steve Pond The moment of truth at Oscar nominations came at about 5:45 a.m. Pacific Standard Time, when Andy Serkis and Tiffany Haddish read off the nominees chosen by the Academy’s stubborn, opinionated Directors Branch, which loves to confuse people who think they know the Oscars.

And in a year that finds Hollywood grappling with the opportunities long denied to women and to minorities, the directors included both a woman, Greta Gerwig (“Lady Bird”), and a black man, Jordan Peele (“Get Out”), in its list of five nominees.

She was only the fifth woman nominated for directing in the 90-year history of the Oscars; he was only the fifth black man. It wasn’t the first time the Directors Branch had nominated a woman and a black man in the same year — the 2009 nominees included Kathryn Bigelow, who won, and “Precious” filmmaker Lee Daniels — but in the current climate, it felt huge, just as it had when the Directors Guild had nominated both Gerwig and Peele on January 11.

In the year that saw the rise of #TimesUp and could have tilted toward a replay of #OscarsSoWhite, the choice made by the Academy’s directors was a huge statement at a time when, like it or not, the Oscar nominations needed to make a statement.

This year was never going to be just a matter of tallying up the nominations and figuring out front runners. On the heels of the Academy’s concerted campaign to become more diverse and in the aftermath of the movement that swept Hollywood and the country in the wake of accusations against Harvey Weinstein and then many others, the big question was what message the 7,000-plus Academy voters were going to send about gender and race, diversity and inclusion.

It’s not fair to saddle a batch of movie awards with that kind of import — but at a time of crisis, it’s unavoidable. So the success of “Get Out” and “Mudbound” were going to deliver a verdict on how accepting the Academy is of black filmmakers (never mind that resistance to the latter film likely had more to do with anti-Netflix bias than racial issues).

And with Kathryn Bigelow’s “Detroit,” Sofia Coppola’s “The Beguiled” and Angelina Jolie’s “First They Killed My Father” slipping out of the awards conversation, the Academy’s response to the #TimesUp movement was going to hinge on how much voters liked “Lady Bird.”

And a year after the surprise Best Picture win for “Moonlight,” the Academy’s continued acceptance of LGBT themes was going to depend on whether or not voters included “Call Me by Your Name” in the Best Picture field.

That’s too much baggage to put on those three movies, to be sure. But symbolism mattered enormously this year, and the Academy sent an inclusive message not only with the directing nominations, but by putting Octavia Spencer, Mary J. Blige, Denzel Washington and Daniel Kaluuya in the acting races, getting a 20 percent nonwhite representation in categories that could have looked much whiter than that.

Given the field of movies they had to work with, that was probably enough to avoid embarrassment. Other notable nominations: the cinematography nod for Rachel Morrison for “Mudbound,” making her the first woman ever nominated in the category; the Best Foreign Language Film recognition of “On Body and Soul” from Hungary’s Ildikó Enyedi, the only female director with a film on the shortlist; and the documentary-feature nod for “Strong Island” director Yance Ford, a transgender man.

Of course, the other side of the Oscar nominations are all about counting up the nominations and figuring out the frontrunners — and on that count, “The Shape of Water” did everything it needed to do and then some.

Guillermo del Toro’s rapturous fantasy land by far the most nominations, 13, to eight for the runner-up, Christopher Nolan’s “Dunkirk.” It landed slots in all of the categories thought to be essential for a true Best Picture contender: director, screenplay, cinematography and film editing.

And more to the point, the films that are thought to be its main competitors all fell short in some of those areas. “Lady Bird” landed five nominations and “Get Out” got four, but they were bypassed in cinematography and, crucially, in film editing.

Even more damaging, “Three Billboards Outside Ebbing, Missouri” writer-director Martin McDonagh was left out in the director race. If Peele or Gerwig had been overlooked in that category, you could see the omission becoming the launching pad for a campaign that could push the film itself into the winner’s circle, the same way that the Directors Branch’s failure to nominate Ben Affleck for “Argo” helped engender sympathy and might have actually helped his film win Best Picture.

But McDonagh and his tough, divisive black comedy are hardly ripe for a sympathy vote — which means that even though his film won the SAG ensemble award on Sunday, its chances of winning Best Picture have now taken a serious hit.

So all signs now point to “The Shape of Water,” albeit in the same way that all signs were pointing to “La La Land” last year. A race that has been interesting and unsettled since it kicked off in September is going to remain that way a while longer.

Meanwhile, an awards show that will inevitably become a flashpoint for various controversies took a big step toward staving off at least some of those potential controversies — and it did so with a decent number of nominees of color, with Rachel Morrison and Yance Ford and Ildikó Enyedi, and with the choices of the often-confounding Directors Branch.

It might be pathetic that only five women and five black men have been nominated for Oscars for directing, but that’s one more than last year on both counts. It feels, in a small but real way, like progress.

And at this stage in our history and this point in our country and our culture, we take victories wherever we can find them — even in early-morning wake-up calls from Hollywood.

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Oscar Nominations 2018: The Complete List Tue, 23 Jan 2018 13:37:51 +0000 Beatrice Verhoeven The nominations for the 2018 Oscars were announced on Tuesday morning by Tiffany Haddish and Andy Serkis.

“The Shape of Water,” “Three Billboards Outside Ebbing, Missouri,” “Dunkirk” and “Darkest Hour” led the nominations in the 24 categories. Greta Gerwig became the fifth woman ever nominated for Best Director for her film “Lady Bird.”

Best Picture nominees include “Call Me by Your Name,” “Darkest Hour,” “Dunkirk,” “Get Out,” “Lady Bird,” “Phantom Thread,” “The Post,” “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri.”

James Franco was shut out in the Best Actor category for his role in “The Disaster Artist” amid a swirl of sexual misconduct accusations. He won a Golden Globe award for his role as D-movie director Tommy Wiseau.

The 90th Academy Awards will take place on March 4, with Jimmy Kimmel set to host the annual show for the second consecutive year.

See the list of nominees below. 

Best Picture

– “Call Me by Your Name”

– “Darkest Hour”

– “Dunkirk”

– “Get Out”

– “Lady Bird”

– “Phantom Thread”

– “The Post”

– “The Shape of Water”

– “Three Billboards Outside Ebbing, Missouri”

Best Director

– “Dunkirk,” Christopher Nolan

– “Get Out,” Jordan Peele

– “Lady Bird,” Greta Gerwig

– “Phantom Thread,” Paul Thomas Anderson

– “The Shape of Water,” Guillermo del Toro

Best Actor

– Timothee Chalamet, “Call Me by Your Name”

– Daniel Day Lewis, “Phantom Thread”

– Daniel Kaluuya, “Get Out”

– Gary Oldman, “Darkest Hour”

– Denzel Washington, “Roman J. Israel, Esq.”

Best Actress

– Sally Hawkins, “The Shape of Water”

– Frances McDormand, “Three Billboards Outside Ebbing, Missouri”

– Margot Robbie, “I, Tonya”

– Saoirse Ronan, “Lady Bird”

– Meryl Streep, “The Post”

Best Supporting Actor

– Willem Dafoe, “The Florida Project”

– Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”

– Richard Jenkins, “The Shape of Water”

– Christopher Plummer, “All the Money in the World”

– Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Best Supporting Actress

– Mary J Blige, “Mudbound”

– Allison Janney, “I, Tonya”

– Lesley Manville, “Phantom Thread”

– Laurie Metcalf, “Lady Bird”

– Octavia Spencer, “The Shape of Water”

Best Original Screenplay

– “The Big Sick”

– “Get Out”

– “Lady Bird”

– “The Shape of Water”

– “Three Billboards Outside Ebbing, Missouri”

Best Adaptated Screenplay

– “Call Me by Your Name”

– “The Disaster Artist”

– “Logan”

– “Molly’s Game”

– “Mudbound”

Production Design

– “Beauty and the Beast”

– “Blade Runner 2049”

– “Darkest Hour”

– “Dunkirk”

– “The Shape of Water”


– “Blade Runner 2049”

– “Darkest Hour”

– “Mudbound”

– “Dunkirk”

– “The Shape of Water”

Costume Design

– “Beauty and the Beast”

– “Darkest Hour”

– “Phantom Thread”

– “The Shape of Water”

– “Victoria and Abdul”

Sound Editing

– “Baby Driver”

– “Blade Runner 2049

– “Dunkirk”

– “The Shape of Water”

– “Star Wars: The Last Jedi”

Achievement in Sound Mixing

– “Baby Driver”

– “Blade Runner 2049”

– “Dunkirk”

– “The Shape of Water”

– “Star Wars: The Last Jedi”

Best Animated Short Film

– “Dear Basketball”

– “Garden Party”

– “Negative Space”

– “Lou”

– “Revolting Rhymes”

Best Live Action Short

– “The Eleven O’Clock”

– “My Nephew Emmett”

– “The Silent Child”

– “Watu Wote: All of Us”

– “Dekalb Elementary”

Original Score

– “Dunkirk”

– “Phantom Thread”

– “The Shape of Water”

– “Star Wars: The Last Jedi”

– “Three Billboards Outside Ebbing, Missouri”

Achievement in Visual Effects

– “Blade Runner 2049”

– “Guardians of the Galaxy Vol. 2”

– “Kong: Skull Island”

– “Star Wars: The Last Jedi”

–“War for the Planet of the Apes”

Film Editing

– “Baby Driver”

– “Dunkirk”

– “I, Tonya”

– “The Shape of Water”

– “Three Billboards Outside Ebbing, Missouri”

Makeup and Hairstyling

– “Darkest Hour”

– “Victoria and Abdul”

– “Wonder”


Foreign Language

– “A Fantastic Woman,” Chile

– “The Insult,” Lebanon

– “Loveless,” Russia

– “On Body and Soul,” Hungary

– “The Square,” Sweden

Best Documentary Short Subject

– “Edith + Eddie”

– “Heroin(e)”

– “Knife Skills”

– “Traffic Stop”

– “Heaven Is a Traffic Jam on the 405”

Best Documentary Feature

– “Faces Places”

– “Icarus”

– “Last Men in Aleppo”

– “Abacus: Small enough to Jail”

– “Strong Island”

Original Song

– “Mighty River,” “Mudbound”

– “Mystery of Love,” “Call Me by Your Name”

– “Remember Me,” “Coco”

– “Stand Up for Something,” “Marshall”

– “This Is Me,” “The Greatest Showman”

Best Animated Feature Film

– “The Boss Baby”

– “The Breadwinner”

– “Coco”

– “Ferdinand”

– “Loving, Vincent”


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John Williams Earns 51st Oscar Nomination for ‘Star Wars: The Last Jedi’ Score Tue, 23 Jan 2018 13:33:44 +0000 Beatrice Verhoeven John Williams scored his 51st Oscars nomination on Tuesday morning for “Star Wars: The Last Jedi.”

The famous composer has won five Academy Awards so far. Movies he received nominations for included “Star Wars,” “Saving Private Ryan” and “Harry Potter and the Sorcerer’s Stone.”

Two years ago, he was nominated for his original score for “Star Wars: The Force Awakens.”

This year, Williams’ score faces off against Hans Zimmer’s for “Dunkirk,” Jonny Greenwood’s for “Phantom Thread,” Alexandre Desplat’s for “The Shape of Water” and Carter Burwell’s for “Three Billboards Outside Ebbing Missouri.”

Walt Disney holds the Academy record for the most individual nominations with 59. Among actors, Meryl Streep is the leader with 19 (she’s won three times).

Williams was born and raised in New York, but moved to Los Angeles in 1948, where he studied composition. After returning to New York to study piano with Madame Rosina Lhevinne at the Juilliard School, he went back to Los Angeles where he began his career in the film industry.

Williams also composed music for many important cultural events, such as the theme for the rededication of the Statue of Liberty in 1986, as well as themes for four Olympic Games.

In 2003, he received the Olympic Order, the International Olympic Committee’s highest honor, for his contributions to the Olympic movement. Williams was inducted into the American Academy of Arts & Sciences in 2009.

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Oscars 2018: Watch the Nominations Announcement (Livestream) Tue, 23 Jan 2018 13:02:37 +0000 Jeremy Fuster

On Tuesday, film buffs will find out which films and filmmakers will be nominated for this year’s Academy Awards as the list of contenders is announced from Hollywood.

Actors Tiffany Haddish and Andy Serkis will announce the nominees for all 24 categories at 8:22 AM EST, 5:22 AM PST. As with this past weekend’s Screen Actors Guild Awards, women in Hollywood will take center stage as stars like Gal Gadot, Priyanka Chopra, Rebel Wilson, and Michelle Yeoh also make appearances. Technical award categories will be announced first, starting with Best Production Design. Then, at 8:38 AM ET, the top categories including Best Actor, Actress, Director, and Picture will be announced.

You can watch the nominations live on ABC’s “Good Morning America,” or on,, or right here by clicking on the YouTube stream above.

Top contenders at this year’s awards include Martin McDonagh’s darkly comedic tale of justice “Three Billboards Outside Ebbing, Missouri” and Greta Gerwig’s mother-daughter coming of age yarn “Lady Bird,” both of which won big at the Golden Globes.

Genre films will also have a large presence, as Guillermo Del Toro’s monster romance “The Shape of Water” is expected to land many nominations, while Jordan Peele’s provocative horror debut “Get Out” will hope to turn its status as one of the most talked about films of the year into a Best Picture nomination. Other contenders include Steven Spielberg’s “The Post” and Christopher Nolan’s “Dunkirk.”

Jimmy Kimmel will return to host the 90th Academy Awards on Sunday, March 4. Check out the predictions from TheWrap’s awards editor Steve Pond in the gallery below.

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Oscar Nomination Predictions 2018: Who’ll Have the Shape of Oscar? Mon, 22 Jan 2018 16:00:09 +0000 Steve Pond In one of the most unsettled Oscars seasons in memory, the toughest category to figure out may be Best Picture.

But first, we have to figure out what’s going to get nominated — and while five or six films and more than a dozen actors seem secure in their chances of scoring nods, there are plenty of question marks up and down the Oscar ballot.

In all likelihood, Guillermo del Toro’s “The Shape of Water” will lead all films in nominations — I have it nabbing 12 nominations, which would put it two shy of the record shared by “All About Eve,” “Titanic” and “La La Land.” That seems a little high, but the runners-up — “Dunkirk” with eight, “Three Billboards Outside Ebbing, Missouri” with seven and “Lady Bird,” “Get Out” and “Call Me by Your Name” with five — feel about right.

Here are my best guesses in all 24 categories, with potential nominees listed in order of likelihood:

Five films seem very safe in the Oscars’ top category, and two more relatively safe: “Lady Bird,” “The Shape of Water,” “Get Out,” “Three Billboards Outside Ebbing, Missouri” and “Dunkirk” as the top five, with “Call Me by Your Name” and “The Post” just behind (though the lack of guild support for Steven Spielberg’s drama is troubling). With the Academy’s system capable of producing anywhere from five to 10 Best Picture nominees, I have a feeling this year could only yield those seven, though history suggests that eight or nine films often make the cut.

If so, the final one or two will likely be drawn from “Phantom Thread,” which just might have enough fanatic devotees to benefit from the preferential system; “I, Tonya” and “Molly’s Game,” which have done very well in guild voting; “The Florida Project,” which once seemed to be a likely nominee and could still squeeze in; “Darkest Hour,” which also seemed likely as well; and “The Big Sick” and “Mudbound,” which received key SAG ensemble nominations.

Predicted nominees: “The Shape of Water,” “Lady Bird,” “Get Out,” “Three Billboards Outside Ebbing, Missouri,” “Dunkirk,” “Call Me by Your Name,” “The Post”
If nine films are nominated (which experience says might happen): “I, Tonya,” “The Florida Project”
If somehow 10 films get in (which they won’t): “The Big Sick”

The Directors Guild nominated Guillermo del Toro (“The Shape of Water”), Greta Gerwig (“Lady Bird”), Martin McDonagh (“Three Billboards Outside Ebbing, Missouri”), Christopher Nolan (“Dunkirk”) and Jordan Peele (“Get Out”).

Most years, the Academy goes for four of the five DGA nominees, which might mean dropping Peele, Gerwig or McDonagh in favor of Sean Baker (“The Florida Project”), Luca Guadagnino (“Call Me by Your Name”) or Steven Spielberg (“The Post”).

Certainly, the Academy’s Directors Branch has confounded expectations before, and in the last two years the branch has grown by more than 25 percent — largely with the admission of international voters who may be harder to predict. Heck, they could even make up for snubbing Ridley Scott for “The Martian” by nominating him for his 11th-hour save of “All the Money in the World,” though that’s a complete long shot. But here’s guessing that for once, they stick with the DGA slate.

Predicted nominees: Guillermo del Toro, “The Shape of Water”; Christopher Nolan, “Dunkirk”; Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”; Greta Gerwig, “Lady Bird”; Jordan Peele, “Get Out”

There’s one big question in this category: Will James Franco get a nomination? The “Disaster Artist” director and star seemed on track for one until a number of women surfaced to accuse him of sexual misconduct in the wake of his Golden Globes win. The most damning of those accusations came only one day before Oscars voting ended — so while the accusations undoubtedly cost him some votes, he probably already had enough to get in.

Gary Oldman and Timothée Chalamet are locks for “Darkest Hour” and “Call Me by Your Name,” and “Phantom Thread” star Daniel Day-Lewis probably is as well — so if Franco gets in, the last slot will go to Tom Hanks (“The Post”), Daniel Kaluuya (“Get Out”), Jake Gyllenhaal (“Stronger”) or Denzel Washington (“Roman J. Israel, Esq.”). Hanks is Oscar royalty, but he hasn’t been nominated since 2000, and Kaluuya’s film has real heat.

Predicted nominees: Gary Oldman, “Darkest Hour”; Timothée Chalamet, “Call Me by Your Name”; Daniel Day-Lewis,”Phantom Thread”; Daniel Kaluuya, “Get Out”; James Franco, “The Disaster Artist”

In one of the Oscars’ most competitive categories, Frances McDormand, Saoirse Ronan and Sally Hawkins feel like locks for “Three Billboards,” “Lady Bird” and “The Shape of Water,” respectively. “I, Tonya” star Margot Robbie, who initially seemed to be on the bubble, now seems secure — which means that while Meryl Streep (“The Post”) holds the record for the most Oscar nominations for acting, she’s fighting for the fifth spot with a variety of other contenders, including Jessica Chastain (“Molly’s Game”), Judi Dench (“Victoria & Abdul”) and Michelle Williams (“All the Money in the World”).

The guilds liked “Molly’s Game” more than “The Post,” so I’m going to go out on a limb and guess that Chastain will pull an upset and edge out Streep.

Predicted nominees: Frances McDormand, “Three Billboards Outside Ebbing, Missouri”; Saoirse Ronan, “Lady Bird”; Sally Hawkins, “The Shape of Water”; Margot Robbie, “I, Tonya”; Jessica Chastain, “Molly’s Game”

Sam Rockwell (“Three Billboards”) and Willem Dafoe (“The Florida Project”) for sure. Rockwell’s co-star Woody Harrelson has been coming on strong lately. “Call Me by Your Name” sports a pair of strong contenders in Armie Hammer and Michael Stuhlbarg. Richard Jenkins provides the audience’s way into “The Shape of Water.” And Christopher Plummer could be rewarded for jumping into the Kevin Spacey role in “All the Money in the World.”

Predicted nominees: Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”; Willem Dafoe, “The Florida Project”; Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”; Richard Jenkins, “The Shape of Water”; Armie Hammer, “Call Me by Your Name”

The three actresses who play difficult moms — Allison Janney in “I, Tonya,” Laurie Metcalf in “Lady Bird” and Holly Hunter in “The Big Sick,” in level of increasing likability — should all get nominations. Then there’s Mary J. Blige in “Mudbound,” Hong Chau in “Downsizing,” Octavia Spencer in “The Shape of Water,” Lesley Manville in “Phantom Thread” and even Tiffany Haddish in “Girls Trip.” Chau could sneak in as the only part of Alexander Payne’s movie that has clicked with voters, but the film’s overall reception could hurt her.

Predicted nominees: Allison Janney, “I, Tonya”; Laurie Metcalf, “Lady Bird”; Holly Hunter, “The Big Sick”; Mary J. Blige, “Mudbound”; Octavia Spencer, “The Shape of Water”

The thinner of the Oscars’ two screenplay categories will certainly contain “Call Me by Your Name” and will likely have “Molly’s Game,” “The Disaster Artist” and “Mudbound” as well, unless voters balk at the last film’s Netflix provenance. After that, it’s anybody’s guess, with “Film Stars Don’t Die in Liverpool,” “Wonder,” “The Beguiled,” “Victoria & Abdul” and WGA nominee “Logan” among the films that have a chance. We give a slight edge to “Wonder,” which came in late but was loved by most of those who saw it.

Predicted nominees: “Call Me by Your Name,” “Molly’s Game,” “The Disaster Artist,” “Mudbound,” “Wonder”

Can “The Shape of Water” or “Dunkirk” get in, and by doing so increase their chances of winning Best Picture? Or will “The Big Sick” and “I, Tonya” push them out? In a fiercely competitive category where “Get Out,” “Lady Bird” and “Three Billboards” seem assured of nominations and “The Post” and “Coco” also sit on the bubble, I have a feeling there’s too much affection for “The Shape of Water” to leave it out, and too much admiration for the verbal fireworks of “I, Tonya.”

Predicted nominees: “Three Billboards Outside Ebbing, Missouri,” “Lady Bird,” “Get Out,” “I, Tonya,” “The Shape of Water”

Yes, Roger Deakins will get his 14th nomination for “Blade Runner 2049” — and this time around, he might even win his first Oscar and erase that inexplicable smudge on the Academy’s record.

“Dunkirk” and “The Shape of Water” seem assured nominations as well. And in a field of contenders that includes “The Post,” “Call Me by Your Name,” “Darkest Hour” and “Mudbound,” the last of those films would give the Academy its first-ever female cinematography nominee, Rachel Morrison.

Predicted nominees: “Blade Runner 2049,” “Dunkirk,” “The Shape of Water,” “Call Me by Your Name,” “Mudbound”

This could be the category that tells us whether “Lady Bird” or “Get Out” could win Best Picture — because for the past 36 years, every best-pic winner except “Birdman” (which was designed to look like a continuous shot) was nominated here. “Lady Bird” is the longer shot in a category that usually saves a couple of slots for big, muscular movies.

Predicted nominees: “Dunkirk,” “The Shape of Water,” “Get Out,” “Baby Driver,” “Three Billboards Outside Ebbing, Missouri”

We expect voters to go for the elaborately constructed worlds of “The Shape of Water” and “Blade Runner 2049” and then turn to the lavish period pieces that often dominate the category, “Darkest Hour” and “Murder on the Orient Express” perhaps edging out “Victoria & Abdul,” “The Greatest Showman” and “Wonderstruck.” And as long as voters don’t think the live-action “Beauty and the Beast” was simply a copy of the animated film, it should be safe. But watch out for “Phantom Thread,” too.

Predicted nominees: “The Shape of Water,” “Blade Runner 2049,” “Beauty and the Beast,” “Darkest Hour,” “Murder on the Orient Express”

Oscars voters won’t resist “Phantom Thread,” in which Daniel Day-Lewis plays a costume designer. “Beauty and the Beast” is just too gorgeously frilly to bypass (not to mention all those costumes that help turn people into household objects). And the skating outfits are a key to “I, Tonya.” Then it’s a matter of whether voters want to go elaborate (“The Greatest Showman,” “Murder on the Orient Express,” “Wonderstruck”) or functional (“The Post,” “Dunkirk,” “Darkest Hour”). We’ll take one of each.

Predicted nominees: “Phantom Thread,” “Beauty and the Beast,” “I, Tonya,” “Darkest Hour,” “The Greatest Showman”

It’ll be hard for voters to resist the makeup that will help Gary Oldman and Margot Robbie land acting nominations, so “Darkest Hour” and “I, Tonya” should make the cut. Then voters could either opt for the elaborate sci-fi makeup of “Guardians of the Galaxy Vol. 2” or “Ghost in the Shell,” or the character makeup of “Wonder.” Since “Guardians” already got a nomination with its first film, maybe they’ll go in a different direction.

Predicted nominees: “Darkest Hour,” “I, Tonya,” “Wonder”

Alexandre Desplat and Hans Zimmer should pick up their eighth and 11th nominations, respectively, for “The Shape of Water” and “Dunkirk.” But those guys pale next to John Williams, who should land his 51st for “The Post” and might even get his 52nd for “Star Wars: The Last Jedi” to boot. But Williams is more likely to stick with one nod and leave space for Dario Marianelli’s “Darkest Hour” score and for one of the year’s most adventurous works, Jonny Greenwood’s music for “Phantom Thread.” Thomas Newman is also in the running for “Victoria & Abdul.”

Predicted nominees: “The Shape of Water,” “Dunkirk,” “The Post,” “Darkest Hour,” “Phantom Thread”

In a packed race, the likeliest nominees are probably two theatrical songs, “This Is Me” from “The Greatest Showman” and “Remember Me” from “Coco.” But Diane Warren and Common’s “Stand Up for Something” from “Marshall” is close behind, as are Alan Menken’s new “Beauty and the Beast” song “Evermore,” Elvis Costello’s “You Shouldn’t Look at Me That Way,” Sufjan Stevens’ two songs from “Call Me by Your Name,” Mary J. Blige’s “Mighty River,” Questlove’s “It Ain’t Fair,” Sara Bareilles’ “If I Dare,” Taylor Swift’s and Ryan Tedder and T Bone Burnett’s “Truth to Power,” among many others.

A real wild-card possibility: Music Branch bigwig Alan Bergman’s “Just Getting Started” from the documentary “If You’re Not in the Obit, Eat Breakfast.”

Predicted nominees: “Remember Me” from “Coco”; “This Is Me” from “The Greatest Showman”; “Stand Up for Something” from “Marshall”; “You Shouldn’t Look at Me That Way” from “Film Stars Don’t Die in Liverpool”; “Mystery of Love” from “Call Me by Your Name”

In the 11 years since the Oscars expanded the Best Sound Editing and Best Sound Mixing categories to five nominees each, four out of the five nominees in the two categories have almost always matched, and at least one has been different. Sound Editing tends to reward the biggest films with the most artificially created sound effects, so “The Shape of Water” might fall out here in favor of “War for the Planet of the Apes” or “Wonder Woman.”

Predicted nominees: “Dunkirk,” “Blade Runner 2049,” “Baby Driver,” “Star Wars: The Last Jedi,” “Wonder Woman”

In Sound Mixing, meanwhile, voters typically drop in one or two musicals or impressively mounted Best Picture nominees. “The Shape of Water” will likely land a spot here over “The Greatest Showman,” “The Post” or “Coco.” Otherwise the landscape remains similar to Sound Editing.

Predicted nominees: “Dunkirk,” “The Shape of Water,” “Blade Runner 2049,” “Star Wars: The Last Jedi,” “Baby Driver”

Unlike, say, the makeup category, VFX voters tend not to nominate terrible movies with great effects, the odd “Transformers” nod notwithstanding. That could be bad news for the spectacularly awful “Valerian and the City of a Thousand Planets,” regardless of how jaw-dropping its effects are. Voters will also go for subtler effects in the service of a better story, which could help “Dunkirk” and “The Shape of Water.”

If they don’t want to make “Star Wars: The Last Jedi” the eighth “Star Wars” movie to be nominated in the category, “Guardians of the Galaxy Vol. 2” or the Korean oddity “Okja” could slip in — but it seems unlikely they’re tired of “Star Wars” just yet.

Predicted nominees: “War for the Planet of the Apes,” “Blade Runner 2049,” “Dunkirk,” “The Shape of Water,” “Star Wars: The Last Jedi”

Once you get past Pixar’s “Coco,” it was not a particularly strong year for major-studio animated features. That should open the category to the Irish indie “The Breadwinner” and the animated oil paintings of “Loving Vincent.”

But the last two slots could go to another foreign indie like “The Girl Without Hands” or “Mary and the Witch’s Flower,” rather than to DreamWorks Animation’s “The Boss Baby,” Illumination’s “Despicable Me 3” or Fox’s “Ferdinand.” Or one of the two Lego movies could get in, as something of an apology for not even nominating “The Lego Movie” three years ago.

Predicted nominees: “Coco,” “The Breadwinner,” “Loving Vincent,” “Ferdinand,” “The Lego Batman Movie”

This category might be the most confounding of all, because we have no idea who’s voted. A change in the rules opened the second-round voting to far more members, particularly internationally, which could dramatically change the sensibility and expand the number of voters.

“The Square” and “Loveless” are still the most acclaimed, “The Insult” and “In the Fade” perhaps the most crowd-pleasing, “Foxtrot” the most challenging, “A Fantastic Woman” the timeliest and “Felicite,” “The Wound” and “On Body and Soul” the most intriguing.

But without having a real sense of who’s going to be voting to narrow the shortlist down to the final five, we’re guessing about what they’ll respond to, with “The Wound” narrowly edging out “The Insult” in our reckoning.

Predicted nominees: “The Square,” “Loveless,” “A Fantastic Woman,” “In the Fade,” “The Wound”

On a strong shortlist of 15 films, Brett Morgen’s “Jane” and Agnes Varda and JR’s “Faces Places” have stood out from the beginning. But “Strong Island” is the most awarded nonfiction film of the year, while “Icarus” was at least partly responsible for the recent banning of Russia from the Winter Olympics.

For the last slot, while it would be great to think that the Academy might honor Steve James (“Abacus”) or Frederick Wiseman (“Ex Libris”), it may well come down to Syria or the L.A. riots, “City of Ghosts” v. “LA 92.”

Predicted nominees: “Jane,” “Faces Places,” “Strong Island,” “Icarus,” “LA 92”

Over the years, voters in this category have shown a marked preference for 30-to-40-minute films about serious social and cultural problems. That’s perfect for films like the sadly timely “Heroin(e)” and the devasting “Kayayo,” but it could hurt a wry film like “Ten Meter Tower.”

In a strong group, other films that tick the right boxes include “116 Cameras” (a new way of looking at the Holocaust), “Edith+Eddie” (a character study that will leave most viewers infuriated at the elder-care system) and “Heaven is a Traffic Jam on the 405” (a less depressing character study of an artist). But “Traffic Stop” could well land a nomination, too.

Predicted nominees: “Heroin(e),” “Kayayo: The Living Shopping Baskets,” “116 Cameras,” “Edith+Eddie,” “Heaven Is a Traffic Jam on the 405”

Pixar is almost always nominated, and “Lou” is an amusing but affecting work from that company. The hand-drawn “Dear Basketball” adds a genuinely touching visual component to Kobe Bryant’s farewell poem, with music by no less than John Williams. “In a Heartbeat” is a student Oscar winner that should advance on the strength of its prot-LGBT message, if not its animation. Among the others, the wit of “Life Smartphone” and the visual beauty of “Fox and the Whale” make them contenders, but the Roald Dahl adaptation “Revolting Rhymes” and the stop-motion “Negative Space” might have the upper hand.

Predicted nominees: “Dear Basketball,” “Lou,” “In a Heartbeat,” “Negative Space,” “Revolting Rhymes”

In the past, this category was often dominated by European shorts, often with darkly humorous twist endings. This year’s shortlisted films are largely international as well, but there’s not much humor here outside of the Australian film “The Eleven O’Clock.” These are films about terrorism (“Watu Wote,” “Witnesses”), school violence (“DeKalb Elementary”), racial violence (“My Nephew Emmett”), immigration (“Icebox,” “Facing Mecca”) and more.

“Rise of a Star,” a ballet film featuring Catherine Deneuve, might also stand out as something of a chance of pace, as could the Jack London adaptation “Lost Face,” but essentially voters can choose the story that hits the hardest — which makes it a hard category to predict, with the abundance of hard-hitting stories to choose from.

Predicted nominees: “DeKalb Elementary,” “Facing Mecca,” “Watu Wote/All of Us,” “Icebox,” “The Eleven O’Clock”

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Jimmy Kimmel: If Oscars Screw-Up Happens Again 'Everyone That Works at ABC Should Be Fired'

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SAG and PGA Awards Give Boosts to ‘Three Billboards’ and ‘Shape of Water,’ But How Big? Mon, 22 Jan 2018 03:24:48 +0000 Steve Pond After a weekend that brought the first two major guild awards of the 2017-2018 awards season, big prizes have gone to “Three Billboards Outside Ebbing, Missouri,” “The Shape of Water,” Frances McDormand, Gary Oldman, Allison Janney and Sam Rockwell.

But does it mean anything? Oscar nominations won’t be announced until Tuesday, and it’s hard to get a real read on the season until those have come in.

But the Producers Guild Awards, which took place on Saturday, and the Screen Actors Guild Awards, which followed on Sunday, have been reliable Oscar predictors in the past, so let’s sum up what we learned on this awards weekend:

McDormand, Oldman, Janney and Rockwell are clear frontrunners in the Oscar acting races.

And here’s what we didn’t learn:

Who’s going to win Best Picture.

That’s because if you’re looking for clues as to what might win Oscars, the Producers Guild Awards have faltered in the last two years, while the SAG Awards are far more valuable as an indicator in the individual categories than in the ensemble category.

In the SAG Awards’ 23-year history, individual winners have gone on to take home Academy Awards more than two-thirds of the time. But winners in the Outstanding Performance by a Cast in a Motion Picture category have won the Oscar for Best Picture less than half the time.

That means that McDormand, Oldman, Janney and Rockwell only boosted their position as favorites in their categories. Meanwhile, “Three Billboards Outside Ebbing, Missouri” got a nice award that won’t make it much likelier to win Best Picture, where it may be too divisive to prevail in a category that includes several other strong contenders, including “Lady Bird” and Producers Guild winner “The Shape of Water.”

The honor was significant for Janney, who originally appeared to be in a tight race with Laurie Metcalf from “Lady Bird.” Since the Golden Globes, though, Janney has won a series of awards for her performance in “I, Tonya,” dispelling any doubts that her combative mother character may be too harsh and unlikable to win. (Metcalf’s combative mom has a few sympathetic notes, but Janney’s is defiantly awful from start to finish.)

Rockwell’s win was similar, because his brutish and dimwitted police officer in “Three Billboards” has become a flashpoint for criticism of the film. But he has managed to win the same string of awards over Willem Dafoe, who was once the presumed frontrunner for his understated performance in “The Florida Project.”

The two lead awards merely reinforced that McDormand and Oldman are on the road to Oscar. McDormand is in a fiercely competitive category that also includes remarkable performances from Saoirse Ronan in “Lady Bird” and Sally Hawkins in “The Shape of Water,” but the “Three Billboards” actress is such a force of nature that it’s hard to imagine her losing after scoring another win at SAG.

Then again, McDormand did conclude her acceptance speech by saying, “There’s a lot of young ones coming up, and they need doorstops, too,” which could conceivably give a little momentum to the 23-year old Ronan or the 27-year-old Margot Robbie, though it will more likely just make voters love McDormand more for being gracious.

As for Oldman, he’s been the overwhelming favorite for his performance as Winston Churchill in “Darkest Hour” from the moment the film first screened in the fall — and with little sign of a Timothee Chalamet (“Call Me by Your Name”) surge, he’s still the overwhelming favorite. That surprisingly emotional acceptance speech didn’t hurt, either.

One warning, though: In the last 10 years, all four SAG winners have gone on to win Oscars only four times; more often, the Academy will choose three SAG winners and find their own champ in the fourth category. But there’s not an obvious spot for a SAG/Oscar split.

The results came less than 24 hours after the Producers Guild of America selected “The Shape of Water” as the year’s best-produced film, which meant that no film can achieve a sweep of the four major guilds, SAG and the Producers, Writers and Directors Guilds. (The sweep became impossible the moment “Shape of Water” won PGA, because it wasn’t nominated for SAG ensemble.)

The Directors Guild is next up, on Feb. 4, followed by the Writers Guild a week later. By then, will we have a clearer picture of the Best Picture race?

Don’t count on it.

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How Many Votes Does It Take to Get an Oscar Nomination in 2018? Mon, 22 Jan 2018 00:00:27 +0000 Steve Pond We now know how many Academy members are eligible to vote for the upcoming Oscars: 7,258.

And because the Academy’s newly-compiled branch count tells us the number of voters, we can also figure out how many votes it’ll take to get a nomination in most of the 24 categories — which ranges from a high of 363 (Best Picture) to a low of 22 (Best Costume Design).

The Academy’s preferential system of counting nomination votes, coupled with rules that limit voting in most categories to the members of the appropriate AMPAS branch, means that you can land a nomination with less than 100 votes everywhere except Best Picture and the four acting categories.

Acting will take 203 votes, Best Picture 363.

Mind you, we’re talking about first-place votes here. Under the Oscars preferential system, a voter typically lists his or her top five choices in order of preference — but the vote only goes to the film ranked first on each ballot, unless that film has already secured a nomination or been eliminated from contention.

In that case, the ballot will count for the voter’s second choice, or for the highest-ranked film on the ballot that’s still in the running.

Nomination voting began on Friday, January 5, and closed one week later, on January 12. Nominations will be announced on Tuesday, January 23.

Here’s the breakdown of what it’ll take to land a nomination in each category:

Best Picture
The Academy’s entire voting membership, 7,258, is eligible to cast ballots in this category. If they all do so, that means 660 No. 1 votes will guarantee you a nomination after the initial ballot count.

But to satisfy the unique Best Picture rules that provide anywhere from 5 to 10 nominees, the accountants from PwC then redistribute ballots whose first choice received significantly more than 660 votes, and also ones whose first choice received fewer than 73 votes.

After that redistribution, any film with more than five percent of the vote — which is to say, any film with at least 363 votes — will become a nominee.

Best Director
There are 512 voters in the Directors Branch, which means that 86 votes will guarantee a nomination.

Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress
With 1,218 voters in by far the Academy’s largest branch, it’ll take 203 votes to get you a Oscars nomination in one of the acting categories.

Best Animated Feature
The Short Films and Feature Animation Branch has 565 members, which would normally mean that 95 votes would guarantee a nomination. But voting in this category is open to all Academy members in and outside the branch, as long as they see “a minimum percentage of submitted eligible films as defined by then-current procedures.” (In recent years, that has meant they’d need to see 17 or 18 of the 26 eligible films in theaters.)

The old method of giving each film a numerical score has been jettisoned; now, members simply vote for their five favorites in order of preference.

Best Cinematography
The branch has 246 current members. That means 42 first-place votes lands a nomination.

Best Costume Design
With 117 members, costume designers make up the smallest Academy branch that votes for its own award. (The Casting Directors Branch is smaller, but there’s no casting award at the Oscars — the branch’s members can only vote to nominate Best Picture.) So a costume-design nomination can be secured with only 22 votes, fewer than any other category.

Best Documentary Feature
After a first round of voting narrows the field to a 15-film shortlist, the 320 members pick their five favorites. If they all cast ballots, it’ll take 54 votes to be nominated.

Best Documentary Short
The same 320 members of the doc branch are eligible to vote once the doc-short contenders have been narrowed to a 10-film shortlist by special committees. It’s highly unlikely that everyone in the branch will watch the eligible shorts and vote — but if they were to do that, the magic number would again be 54.

Best Film Editing
With 298 members of the Film Editors Branch, you need 50 votes to secure a nod.

Best Foreign-Language Film
We have no idea what the magic number is this year. In fact, nobody does.

That’s because the process used to narrow the field from the nine shortlisted films to the five nominees has changed significantly, and even the Academy doesn’t know how many members will participate. Where in the past the Phase 2 committees in Los Angeles, New York and London were small, hand-picked groups, this year all members in San Francisco, New York and London have been invited to see screenings of the shortlisted films and participate in the vote.

And more importantly, international members who live outside of London can view the nine films on the Academy’s secure members’ website and also vote to nominate in the one Oscars category devoted to films made outside the U.S.

With more than 1,500 international members, the number of participants could be a few dozen or it could be several hundred, with the magic number varying wildly depending on how many people take the time to watch the films.

Best Makeup and Hairstyling
The fact that the category only has three nominees helps counterbalance the fact that the branch has only 183 members. Voting is restricted to members who attend a special presentation of clips, or members who have seen all seven shortlisted films. If every member of the branch participates in one of those ways, it would take 46 votes to secure a nomination.

Best Original Score, Best Original Song
The Music Branch consists of 305 members, which puts the magic number for a nomination at 51.

Best Production Design
The branch has 308 members, so 52 votes will get you a nomination.

Best Sound Editing, Best Sound Mixing
With 487 members in the Sound Branch, the nomination threshold is 82 votes.

Best Visual Effects
There are 450 members of the branch, which would mean a magic number of 75 if the VFX branch calculated nominations the way most of the other branches do. But it doesn’t.

An executive committee first narrows the field down to 20 films, and then to a shortlist of 10. Clips from those films of no more than 10 minutes in length are then screened for members of the branch, followed by brief discussions with the VFX artists responsible for the work.

Members who attend this Oscars “bakeoff” then cast ballots to select the five nominees – but instead of the preferential system, the branch uses reweighted range voting, which uses ranked scores and lessens the impact of ballots from voters whose first choice has already secured a nomination. It’s too complicated to assign a simple “magic number.”

Best Original Screenplay, Best Adapted Screenplay
The Writers Branch has 422 members, meaning it requires 71 votes to guarantee a writing nomination.

Best Animated Short, Best Live-Action Short
The Short Films and Feature Animation Branch has 565 members, all of whom are eligible to score the qualifying films to determine two 10-film shortlists. If they’ve seen all the shortlisted films, they can vote for the final five nominees.

In the unlikely event that the entire branch participates, that would mean a magic number of 95 votes. But in reality, it’s likely far lower.

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‘Heroin(e)’ Director Investigates How Small Towns Battle With Opioids: ‘It Was Pills, It Was Heroin’ Thu, 11 Jan 2018 20:01:08 +0000 Jon Levine “Heroin(e)” director Elaine McMillion Sheldon opened up on Wednesday evening about the deep and devastating impact the opioid epidemic is having to small American towns.

During a discussion at New York’s Landmark 57 West theater, Sheldon said the problems have long since escalated from addicts popping pills.

“It’s getting worse, it’s not heroin anymore. It was pills, it was heroin, now it’s Fentanyl, now it’s Carfentanyl — that’s elephant tranquilizer,” she said. “Four out of five heroin users started with a prescription, they started with a pill.”

Sheldon, who spent 35 days documenting the opioid epidemic in Huntington, West Virginia, said that while she found no shortage of hopeful stories, the experience didn’t fill her with confidence.

“I didn’t see any great solutions or amazing work, I hate to say,” she said.

Sheldon was joined by fellow director, Derek Peck, who was also on hand to discuss his short “Ram Dass, Going Home.” The work looks at legendary psychedelic guru Ram Dass, now living out his old age in Hawaii.

“He had been such an influential and seminal figure in the ’60s and ’70s,” Peck said. “I was very interested in exploring themes about life and being and death itself. He really embodied the full range in popular American life.”

The two films are among the 10 finalists for this year’s documentary short Oscar competition and while together they could not be more different, they shared some core thematic similarities such as drugs and death.

The discussion with the two directors was led by TheWrap Managing Editor Thom Geier.

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Will James Franco Accusations Hurt His Chances for Oscar, SAG and Spirit Awards? Thu, 11 Jan 2018 18:17:11 +0000 Steve Pond James Franco has been nominated for a Screen Actors Guild Award and a Film Independent Spirit Award for his performance as D-movie director Tommy Wiseau in “The Disaster Artist,” and he’s considered a strong candidate for an Oscar nomination as well.

Now what?

Since Franco won the Golden Globe on Sunday for his performance, five women have come forward with accusations of sexual misconduct and inappropriate behavior, which he has denied. But the timing of the three awards shows matters in terms of the potential fallout. A rundown:

Screen Actors Guild Awards
On December 13, Franco was nominated for Outstanding Performance by a Male Actor in a Leading Role for “The Disaster Artist,” which he also directed. Final voting, which is open to more than 100,000 SAG-AFTRA members who are current on their dues, began on December 19 and runs through January 19, with the 24th SAG Awards taking place on January 21.

That means that more than three weeks of the four-and-a-half-week voting period had already taken place before the first accusations against Franco were made public, and that 24 days of the 31-day voting window had already elapsed before the five women spoke out in the Los Angeles Times.

The accusations may well hurt his chances with those who have yet to cast ballots, but a win at SAG was always a real long shot for Franco, who is up against Gary Oldman (“Darkest Hour”) and Timothée Chalamet (“Call Me by Your Name”) and doesn’t have the advantage of competing in a comedy-specific category as he did at the Golden Globes.

So while his chances of a win have gotten smaller, they weren’t very big to begin with.

Academy Awards
The Oscars’ outlook for Franco (and for the real-life Wiseau, who is no doubt aching to get a ticket to the Dolby Theatre) is trickier. The voting window for nominations only lasts a single week, from January 5 through January 12; according to one of the longtime balloting leaders at the Academy’s accounting firm, PwC, a large number of voters typically cast their ballots right away, and then votes trickle in until another large batch of last-minute ballots are cast.

The members of the Actors Branch who voted early would have done so without knowing about the accusations against Franco, which didn’t really gain traction until the morning after the Globes, January 8. And the most damning claims, the ones contained in the L.A. Times story, didn’t break until only two days were left in the eight-day voting period.

Because the Oscars’ preferential system of nominations voting rewards passionate support over consensus choices, Franco could already have picked up enough votes to obtain a nomination even if late voters shun him.

But with Oldman, Chalamet and Daniel Day-Lewis (“Phantom Thread”) the only sure things, Franco is in a tight race with the likes of Tom Hanks (“The Post”), Daniel Kaluuya (“Get Out”), Denzel Washington (“Roman J. Israel, Esq.”) and Jake Gyllenhaal (“Stronger”) for the last two slots, and an 11th-hour controversy could possibly tip the scales.

But the allegations are unlikely to have much impact in the Best Adapted Screenplay category, where “The Disaster Artist” writers Scott Neustadter and Michael H. Weber are considered strong candidates for a nomination.

Film Independent Spirit Awards
Franco would have been one of the favorites to win the Spirit Award for Best Male Lead, along with Chalamet and Kaluuya. (Harris Dickinson and Robert Pattinson are also nominated this year.) But in this case, it’s far too early to say what kind of impact the accusations might have, because voting doesn’t begin until February 3. (It then runs through Feb. 16.)

His fate at these awards, which are voted on by a mixture of industry figures and fans who pay yearly dues to join Film Independent, are entirely dependent on what happens with the Franco story over the next three and a half weeks.

Related stories from TheWrap:

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Cinema Audio Society Likes the Sound of ‘Baby Driver,’ ‘Dunkirk,’ ‘Wonder Woman’ Wed, 10 Jan 2018 15:00:58 +0000 Steve Pond “Baby Driver,” “Dunkirk,” “The Shape of Water,” “Star Wars: The Last Jedi” and “Wonder Woman” have been nominated for the 54th Annual CAS Awards for Outstanding Achievement in Sound Mixing, the Cinema Audio Society announced on Wednesday.

In recent years, more than two-thirds of CAS nominees have gone on to receive Oscar nominations in the Best Sound Mixing category.

The five nominated films are all strong contenders for the sound-mixing Oscar, though they face competition from “Blade Runner 2049,” “The Greatest Showman,” “War for the Planet of the Apes” and others.

The animated-film nominees are “Cars 3,” “Coco,” “Despicable Me 3,” “Ferdinand” and “The Lego Batman Movie,” while documentary nominations went to “An Inconvenient Sequel,” “Jane” and three music-themed movies: “Eric Clapton: Life in 12 Bars,” “Gaga: Five Feet Two” and “Long Strange Trip.”

Television nominees included “Big Little Lies,” “Black Mirror,” “Twin Peaks,” “Game of Thrones,” “The Crown,” “The Handmaid’s Tale,” “Ballers,” “Silicon Valley” and “Veep.”

The other organization that honors sound, the Motion Picture Sound Editors, does not announce the nominees for its Golden Reel Awards until January 22, the day before Oscar nominations.

The 54th Annual CAS Awards will take place on February 24 at the OMNI Los Angeles Hotel. At that ceremony, the Cinema Audio Society Filmmaker Award will go to “Darkest Hour” director Joe Wright, the CAS Career Achievement Award will be given to Anna Behlmer and the Edward J. Greene Award for the Advancement of Sound will go to Tomlinson Holman.

The Cinema Audio Society nominations:


“Baby Driver”
Production Mixer – Mary H. Ellis, CAS
Re-recording Mixer – Julian Slater, CAS
Re-recording Mixer – Tim Cavagin
Scoring Mixer – Gareth Cousins, CAS
ADR Mixer – Mark Appleby
Foley Mixer – Glen Gathard

Production Mixer – Mark Weingarten, CAS
Re-recording Mixer – Gregg Landaker
Re-recording Mixer – Gary Rizzo, CAS
Scoring Mixer – Alan Meyerson, CAS
ADR Mixer – Thomas J. O’Connell
Foley Mixer – Scott Curtis

“Star Wars: The Last Jedi”
Production Mixer – Stuart Wilson, CAS
Re-recording Mixer – David Parker
Re-recording Mixer – Michael Semanick
Re-recording Mixer – Ren Klyce
Scoring Mixer – Shawn Murphy
ADR Mixer – Doc Kane, CAS
Foley Mixer – Frank Rinella

“The Shape of Water”
Production Mixer – Glen Gauthier
Re-recording Mixer – Christian T. Cooke, CAS
Re-recording Mixer – Brad Zoern, CAS
Scoring Mixer – Peter Cobbin
ADR Mixer – Chris Navarro, CAS
Foley Mixer – Peter Persaud, CAS

“Wonder Woman”
Production Mixer – Chris Munro, CAS
Re-recording Mixer – Chris Burdon
Re-recording Mixer – Gilbert Lake, CAS
Scoring Mixer – Alan Meyerson, CAS
ADR Mixer – Nick Kray
Foley Mixer – Glen Gathard


“Cars 3”
Original Dialogue Mixer – Doc Kane, CAS
Re-recording Mixer – Tom Meyers
Re-recording Mixer – Michael Semanick
Re-recording Mixer – Nathan Nance
Scoring Mixer – David Boucher
Foley Mixer – Blake Collins

Original Dialogue Mixer – Vince Caro
Re-recording Mixer – Christopher Boyes
Re-recording Mixer – Michael Semanick
Scoring Mixer – Joel Iwataki
Foley Mixer – Blake Collins

“Despicable Me 3”
Original Dialogue Mixer – Carlos Sotolongo
Re-recording Mixer – Randy Thom, CAS
Re-recording Mixer – Tim Nielson
Re-recording Mixer – Brandon Proctor
Scoring Mixer – Greg Hayes
Foley Mixer – Scott Curtis

Original Dialogue Mixer – Bill Higley, CAS
Re-recording Mixer – Randy Thom, CAS
Re-recording Mixer – Lora Hirschberg
Re-recording Mixer – Leff Lefferts
Scoring Mixer – Shawn Murphy
Foley Mixer – Scott Curtis

“The Lego Batman Movie”
Original Dialogue Mixer – Jason Oliver
Re-recording Mixer – Michael Semanick
Re-recording Mixer – Gregg Landaker
Re-recording Mixer – Wayne Pashley
Scoring Mixer – Stephen Lipson
Foley Mixer – Lisa Simpson


“An Inconvenient Sequel: Truth to Power”
Production Mixer – Gabriel Monts
Re-recording Mixer – Kent Sparling
Re-recording Mixer – Gary Rizzo, CAS
Re-recording Mixer – Zach Martin
Scoring Mixer – Jeff Beal
Foley Mixer – Jason Butler

“Eric Clapton: Life in 12 Bars”
Re-recording Mixer – Tim Cavagin
Re-recording Mixer – William Miller
ADR Mixer – Adam Mendez, CAS

“Gaga: Five Feet Two”
Re-recording Mixer – Jonathan Wales, CAS
Re-recording Mixer – Jason Dotts

Production Mixer – Lee Smith
Re-recording Mixer – David E. Fluhr, CAS
Re-recording Mixer – Warren Shaw
Scoring Mixer – Derek Lee
ADR Mixer – Chris Navarro, CAS
Foley Mixer – Ryan Maguire

“Long Strange Trip”
Production Mixer – David Silberberg
Re-recording Mixer – Bob Chefalas
Re-recording Mixer – Jacob Ribicoff


“Big Little Lies”: Episode 7 “You Get What You Need”
Production Mixer – Brendan Beebe, CAS
Re-recording Mixer – Gavin Fernandes, CAS
Re-recording Mixer – Louis Gignac

“Black Mirror”: “USS Callister”
Production Mixer – John Rodda, CAS
Re-recording Mixer – Tim Cavagin
Re-recording Mixer – Dafydd Archard
Re-recording Mixer – Will Miller
ADR Mixer – Nick Baldock
Foley Mixer – Sophia Hardman

“Fargo”: Year 3 Episode 4 “The Narrow Escape Problem”
Production Mixer – Michael Playfair, CAS
Re-recording Mixer – Kirk Lynds, CAS
Re-recording Mixer – Martin Lee
Scoring Mixer – Michael Perfitt

“Sherlock: The Lying Detective”
Production Mixer -John Mooney, CAS
Re-recording Mixer – Howard Bargroff
Scoring Mixer – Nick Wollage
ADR Mixer – Peter Gleaves, CAS
Foley Mixer – Jamie Talbutt

“Twin Peaks” – Part 8 “Gotta Light?”
Production Mixer – Douglas Axtell
Re-recording Mixer -Dean Hurley
Re-recording Mixer – Ron Eng


“Better Call Saul”: “Lantern”
Production Mixer – Phillip W. Palmer, CAS
Re-recording Mixer – Larry B. Benjamin, CAS
Re-recording Mixer – Kevin Valentine
ADR Mixer – Matt Hovland
Foley Mixer – David Michael Torres, CAS

“Game of Thrones”: “Beyond the Wall”
Production Mixer – Ronan Hill, CAS
Production Mixer – Richard Dyer, CAS
Re-recording Mixer – Onnalee Blank, CAS
Re-recording Mixer – Mathew Waters, CAS
Foley Mixer – Brett Voss, CAS

“Stranger Things”: Chapter 8 “The Mind Flayer”
Production Mixer – Michael P. Clark, CAS
Re-recording Mixer – Joe Barnett
Re-recording Mixer – Adam Jenkins
ADR Mixer – Bill Higley, CAS
Foley Mixer – Anthony Zeller, CAS

“The Crown”: “Misadventure”
Production Mixer – Chris Ashworth
Re-recording Mixer – Lee Walpole
Re-recording Mixer – Stuart Hilliker
Re-recording Mixer – Martin Jensen
ADR Mixer – Rory de Carteret
Foley Mixer – Philip Clements

“The Handmaid’s Tale”: Episode #1 “Offred”
Production Mixer – John J. Thomson, CAS
Re-recording Mixer – Lou Solakofski
Re-recording Mixer – Joe Morrow
Foley Mixer – Don White


“Ballers”: “Yay Area”
Production Mixer – Scott Harber, CAS
Re-recording Mixer – Richard Weingart, CAS
Re-recording Mixer – Michael Colomby, CAS
Re-recording Mixer – Mitch Dorf

“black-ish”: “Juneteenth, The Musical”
Production Mixer – Tom N. Stasinis, CAS
Re-recording Mixer – Peter J. Nusbaum, CAS
Re-recording Mixer – Whitney Purple

“Modern Family”: “Lake Life”
Production Mixer – Stephen A. Tibbo, CAS
Re-recording Mixer – Dean Okrand, CAS
Re-recording Mixer – Brian R. Harman, CAS

“Silicon Valley”: Episode 9 “Hooli-Con”
Production Mixer – Benjamin A. Patrick, CAS
Re-recording Mixer – Elmo Ponsdomenech
Re-recording Mixer – Todd Beckett

“Veep”: “Omaha”
Production Mixer – William MacPherson, CAS
Re-recording Mixer – John W. Cook II, CAS
Re-recording Mixer – Bill Freesh, CAS


“American Experience”: “The Great War – Part 3”
Production Mixer – John Jenkins
Re-Recording Mixer – Ken Hahn

“Anthony Bourdain: Parts Unknown” (Oman)
Re-Recording Mixer – Benny Mouthon, CAS

“Deadliest Catch: Last Damn Arctic Storm”
Re-Recording Mixer – John Warrin

“Rolling Stone: Stories from the Edge”
Production Mixer – David Hocs
Production Mixer – Tom Tierney
Re-Recording Mixer – Tom Fleischman, CAS

“Who Killed Tupac?” Episode 101: “Murder in Vegas”
Production Mixer – Steve Birchmeier
Re-Recording Mixer – John Reese

Lectrosonics:Duet Digital Wireless Monitor System
Sonosax: SX-R4+
Sound Devices: Mix Pre- 10T Recorder
Zaxcom: ZMT3-Phantom

Dolby: Dolby Atmos Content Creation Tools
FabFilter: Pro Q2 Equalizer
Exponential Audio: R4 Reverb
iZotope, Inc.: RX 6 Advanced
Todd-AO: Absentia DX

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BAFTA Nominations: Brits Give More Love to ‘The Shape of Water’ Tue, 09 Jan 2018 07:52:00 +0000 Steve Pond A little more than 24 hours after winning Golden Globe Awards for directing and music, Guillermo del Toro’s “The Shape of Water” has become the most nominated film from the British Academy of Film and Television Arts (BAFTA), which announced its 2018 nominees on Tuesday morning in London.

The film will compete with “Call by Your Name,” “Darkest Hour,” “Dunkirk” and “Three Billboards Outside Ebbing, Missouri” in the Best Film category at the EE British Academy Film Awards, which will take place on Feb. 18 at Royal Albert Hall in London.

“The Shape of Water” received 12 nominations, three more than runners-up “Darkest Hour” and “Three Billboards.” “Blade Runner 2049” and “Dunkirk” received eight each, while “I, Tonya” received five, and “Call Me by Your Name” and “Phantom Thread” received four each.

Greta Gerwig’s “Lady Bird” did not land a nomination in the best film, best director or best original screenplay categories, a disappointing showing for the film that on Sunday night was named the year’s best comedy by Golden Globe voters.

In the acting categories, the 6,500 BAFTA voters opted for a full slate of Oscar contenders, including Saoirse Ronan and Laurie Metcalf (“Lady Bird”), Sally Hawkins and Octavia Spencer (“The Shape of Water”), Gary Oldman (“Darkest Hour”), Allison Janney and Margot Robbie (“I, Tonya”) and Frances McDormand, Sam Rockwell and Woody Harrelson (“Three Billboards”). But they also threw in some offbeat choices — including, in the supporting-actor category, Hugh Grant for “Paddington 2.”

Since the Oscars expanded the number of Best Picture nominees in 2009, 36 of the 40 BAFTA Best Film nominees have gone on to receive Oscar nominations, and five of the eight winners have also won the Oscar for Best Picture.

But the three exceptions came in the last three years, with “Boyhood,” “The Revenant” and “La La Land” winning at BAFTA while “Birdman,” “Spotlight” and “Moonlight” won at the Oscars.

Last year, in the 17 categories that overlap between BAFTA and the Academy, about 62 percent of the BAFTA nominees went on to receive Oscar nominations.

Joanna Lumley will host the show, with Stephen Fry stepping down after 12 years as BAFTA host. Cirque du Soleil, which will be in residence at Royal Albert Hall during the time that the BAFTAs are taking place, will perform a special piece created for the ceremony.

The nominees:

“Call Me by Your Name”
“Darkest Hour”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

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

“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)
“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)
“Elle” Paul Verhoeven, Saïd Ben Saïd
“First They Killed My Father” Angelina Jolie, Rithy Panh
“The Handmaiden” Park Chan-wook, Syd Lim
“Loveless” Andrey Zvyagintsev, Alexander Rodnyansky
“The Salesman” Asghar Farhadi, Alexandre Mallet-Guy
“City of Ghosts” Matthew Heineman
“I Am Not Your Negro” Raoul Peck
“Icarus”  Bryan Fogel, Dan Cogan
“An Inconvenient Sequel” Bonni Cohen, Jon Shenk
“Jane” Brett Morgen
“Coco” Lee Unkrich, Darla K. Anderson
“Loving Vincent” Dorota Kobiela, Hugh Welchman, Ivan Mactaggart
“My Life as a Courgette” Claude Barras, Max Karli

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

“Get Out”
“I, Tonya”
“Lady Bird”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

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

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

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

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

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

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

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

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

“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

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

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

“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
“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

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

“Have Heart” Will Anderson
“Mamoon” Ben Steer
“Poles Apart” Paloma Baeza, Ser En Low

“Aamir” Vika Evdokimenko, Emma Stone, Oliver Shuster
“Cowboy Dave” Colin O’Toole, Jonas Mortensen
“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; nominees previously announced)
Timothee Chalamet
Daniel Kaluuya
Josh O’Connor
Florence Pugh
Tessa Thompson

Related stories from TheWrap:

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From 'Get Out' to 'The Post,' the Guilds Create Winners and Losers as Oscars Voting Begins

That Time Gary Oldman Called the Golden Globes 'Meaningless' in 2014

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Jimmy Kimmel’s Oscars Writers Room Has More Men Than Women: ‘There Are Going to Be Some Surgeries’ Mon, 08 Jan 2018 17:56:11 +0000 Reid Nakamura Jimmy Kimmel joked about the gender imbalance in his writers room for the 2018 Oscars at the Television Critics Association press tour on Monday.

“We do have more male writers than others, but because I am inclusive, there are going to be some surgeries that take place,” Kimmel said.

After taking a moment to count the writers, Kimmel said that the room will be made up of four women and seven men, not including himself. His wife, Molly McNearney, is serving as head writer for the special.

“Is that okay?” he asked of the imbalance. “We’ll let America decide.”

The issue of gender parity is especially top-of-mind this awards season, as Hollywood has faced a reckoning in recent months about the way the business and the men in it treat women. Seth Meyers addressed the recent spate of sexual misconduct revelations head-on at the Golden Globes on Sunday, and Kimmel said he would likely take on the same issue in March.

“I’m sure that it’ll be part of the subject matter,” he concluded. “Unless there’s a nuclear weapon heading to Sacramento that night, then we’ll probably go right to that.”

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Jimmy Kimmel: If Oscars Screw-Up Happens Again ‘Everyone That Works at ABC Should Be Fired’ Mon, 08 Jan 2018 17:41:59 +0000 Ashley Boucher Last year’s Academy Awards screw-up seen around the world wasn’t Jimmy Kimmel’s fault. Still, he feels responsible.

The awards ceremony made history when the wrong film was named Best Picture, but Kimmel is game to host the show again — even if another epic flaw takes place on live TV.

“If it happens again, literally everyone that works at ABC should be fired,” the late night host said Monday at the Television Critics Association panel in Pasadena, Calif. “Because if it happens one time, that’s I think understandable, but if it happens a second time, no one is competent enough to be running a television show or network,” he joked.

“I don’t think it’s going to happen again,” Kimmel continued, referring to “La La Land” getting named Best Picture instead of the real winner, “Moonlight.” “If it did, I have to admit, it would tickle me deeply.”

“I don’t think of it as the Titantic-caliber disaster that most people do when they reflect on it,” Kimmel said, adding that “Ninety-nine percent of the show went pretty well.” 

You can catch Kimmel hosting the Oscars on ABC on March 4.

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Jimmy Kimmel Blasts 'Jackhole' Ajit Pai and FCC for Repealing Net Neutrality (Video)

Jimmy Kimmel Disses Twitter Enemy Roy Moore After Senate Defeat: 'God Decided – It's Over' (Video)

Jimmy Kimmel Brings Son Billy Out for Emotional Monologue Endorsing CHIP (Video)

Jimmy Kimmel Compares Michael Flynn Scandal to Iconic 'Star Wars' Scene (Video)

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