Oscars Archives - TheWrap https://www.thewrap.com/category/oscars/ Your trusted source for breaking entertainment news, film reviews, TV updates and Hollywood insights. Stay informed with the latest entertainment headlines and analysis from TheWrap. Mon, 29 Jan 2024 23:07:46 +0000 en-US hourly 1 https://wordpress.org/?v=6.2.3 https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/07/thewrap-site-icon-1.png?fit=32%2C32&ssl=1 Oscars Archives - TheWrap https://www.thewrap.com/category/oscars/ 32 32 Some Oscar Nominees Got a Box Office Bump, But Not a Big One https://www.thewrap.com/some-oscar-nominees-got-a-box-office-bump-but-not-a-big-one/ https://www.thewrap.com/some-oscar-nominees-got-a-box-office-bump-but-not-a-big-one/#respond Mon, 29 Jan 2024 23:15:00 +0000 https://www.thewrap.com/?p=7480927 Searchlight's “Poor Things” led the Best Picture contenders still in theaters, earning $3 million this weekend after landing 11 noms

The post Some Oscar Nominees Got a Box Office Bump, But Not a Big One appeared first on TheWrap.

]]>
The Oscar box office bump fueled some of the Best Picture nominees still in theaters this weekend after being virtually nonexistent a year ago. But the results are still a far cry from what the specialty market saw prior to the COVID-19 pandemic.

Leading the field of nominated films was Yorgos Lanthimos’ “Poor Things,” which Searchlight Pictures expanded by 900 theaters to 2,300 locations after it was nominated for 11 Academy Awards. The erotically charged sci-fi film added $3 million, edging out the $2.95 million it grossed on New Year’s weekend to earn the best weekend gross of its run.

By comparison, Lanthimos’ last film, “The Favourite,” grossed $2.5 million in late January 2019 after it was nominated for Best Picture, though it had a smaller theater count than “Poor Things” at 1,540 locations. “The Favourite” went on to gross $34.3 million in North America, a total “Poor Things” could come close to matching with a running domestic total of $24.7 million.

The other nominee to get a notable bump was Amazon MGM’s “American Fiction,” which grossed $2.9 million after doubling its theater count to 1,702 locations. Amazon MGM has targeted the release of Cord Jefferson’s satire towards audiences in bigger cities that might take to its riff on Black narratives in media and how they are often made to appeal to white audiences.

For the rest of the field, the bump was smaller. A24’s haunting Holocaust film “The Zone of Interest,” which got a limited release last month, expanded to 313 theaters and made $1 million this weekend, as did Universal’s smash summer hit “Oppenheimer” in a limited engagement IMAX re-release. Focus Features’ “The Holdovers,” which is streaming on Peacock, returned to 1,267 theaters and grossed only about $520,000.

To be fair, comparisons to past Oscar seasons will always be inexact. How much theaters benefit from awards buzz in January and February varies depending on the types of films being nominated and the release strategy each film gets.

Obviously a film released in the summer and already on streaming, like the chart-topper “Barbie” or A24’s “Past Lives,” won’t make the charts. To do so would take a spring/summer release with a lot of mass appeal that a substantial amount of moviegoers may have missed in its initial run, like last year’s Best Picture winner “Everything Everywhere All at Once,” which added a decent $7.2 million post-nomination after making nearly $70 million in its initial theatrical run in spring 2022.

But as we noted this past week, the pandemic has drastically changed the game for the specialty market. With most movies hitting home platforms faster than before 2020, the ecosystem that allowed Best Picture winners like “The Shape of Water,” “Moonlight” and “Parasite” to steadily build word of mouth through the last quarter of the calendar year and sustain that into the first quarter of the following year is all but gone, as demonstrated by the arrival of “The Holdovers” on streaming two months after its late October limited release.

It’s then little wonder that “Poor Things” and “American Fiction” got the biggest bump as they both got their initial release in December. “Zone of Interest,” as a non-English film tackling the genocide of Jews, was always going to have its bump limited despite also being a December release. But “Poor Things” and “American Fiction” have enough levity, humor, and memorable performances to attract audiences looking for grown-up fare who had not heard of these titles prior to their Oscar nominations.

The question now is whether that bump will have any sort of staying power, or if it will quickly subside given the diminished interest in the Oscars compared to even five years ago. Comscore analyst Paul Dergarabedian believes its more likely that the numbers for “Poor Things” and “American Fiction” will fall off, but thinks there’s still a chance that the lack of major tentpole films in February may allow word-of-mouth for these awards contenders to linger.

“There are films coming out next month like ‘Argylle’ and ‘Bob Marley,’ but nothing that will be a huge tentpole until ‘Dune: Part Two’ in March,” he said. “We’ve seen specialty films that provide audiences something different leg out when major studio releases aren’t competing, and that might be the case for these Oscar nominees.”

The post Some Oscar Nominees Got a Box Office Bump, But Not a Big One appeared first on TheWrap.

]]>
https://www.thewrap.com/some-oscar-nominees-got-a-box-office-bump-but-not-a-big-one/feed/ 0
‘The Holdovers’ Writer Says All of Paul Giamatti’s ‘Best Lines’ Came Straight From His Uncle https://www.thewrap.com/the-holdovers-david-hemingson-interview/ https://www.thewrap.com/the-holdovers-david-hemingson-interview/#respond Fri, 26 Jan 2024 16:00:00 +0000 https://www.thewrap.com/?p=7479360 David Hemingson opens up about how he turned to his family for inspiration when writing the Oscar-nominated movie

The post ‘The Holdovers’ Writer Says All of Paul Giamatti’s ‘Best Lines’ Came Straight From His Uncle appeared first on TheWrap.

]]>
David Hemingson always tempers his expectations while writing. In his nearly 30 years of working in TV, he’s come to expect that whatever episode gets produced from his teleplays is going to be “two or three steps below whatever I envision in my head.”

“That’s fine,” Hemingson told TheWrap. “That’s just a natural consequence of the filming process.”

But such expectations just made his experience on his feature film writing debut, “The Holdovers,” even more mind-blowing to him, long before it nabbed him an Academy Award nomination for Best Original Screenplay.

“‘The Holdovers’ ended up being four times the film I put on the page, and I credit Alexander [Payne, director] and the entire cast for that,” Hemingson said. “They not only captured the essence of the characters as I wrote them but just added more levels to it.”

Set in a New England boarding school in 1970, “The Holdovers” stars Paul Giamatti in a major Oscar-contending performance as Paul Hunham, a curmudgeonly history teacher feared and hated by his students and kept at a distance by his fellow faculty.

When he is left taking care of the students who have to stay behind during the holidays, he forms an unlikely bond with a promising but troubled student named Angus (Dominic Sasse) and the school’s cook, Mary (Da’Vine Joy Randolph), who is mourning the loss of her son.

Given its setting and Giamatti’s nuanced performance as a snarky teacher, “The Holdovers” is sure to evoke memories of nightmare teachers in the minds of many who view it. But while the film’s snowy boarding school setting was influenced by Hemingson’s education at Watkinson School in Hartford in the 1980s, Hunham himself wasn’t inspired by a teacher, but by his uncle.

Hemingson said that with his mother working all day as a nurse, his uncle took care of him growing up. “He was a WWII vet from Washington State and read all of these classic novels that gave him a sort of 19th Century way of talking, and the war gave him a jaded view of humanity,” he explained.

“Pretty much all the best lines came from him. Lines like, ‘Sex is 1% friction and 99% goodwill,’ and, ‘Life is like a henhouse ladder: s—-y and short,’ were taken verbatim from my uncle,” Hemingson revealed.

When it came time to work on the script with Payne, Hemingson realized that he needed to brush up on his cinema in order to discuss the tone of “The Holdovers” with the veteran director, as Payne would assuredly want to use classic ’70s films like “Harold & Maude” as inspiration. So Hemingson turned to CineFile, the popular West L.A. video rental store next to the Nuart Theatre, to give him a crash course.

“I ended up watching all of Hal Ashby’s films, all of Robert Altman … just to get a sense of the tone and humanism of ’70s films that ‘The Holdovers’ commemorates,” Hemingson said. “Truffaut’s films were also a big influence, especially ‘The 400 Blows,’ which is a film about a misunderstood teen that really influenced the sense of desperation that Angus feels over the course of the movie.”

Another classic film influence was Hal Ashby’s “The Last Detail” from 1973. Starring Jack Nicholson, the movie follows two Navy lifers tasked with escorting an 18-year-old seaman to the brig on a trip from Virginia to Maine, but who turn the trip into a final ride of fun before the young man is put behind bars.

While the bittersweet ending of “Holdovers” diverges from the more depressing ending of “Last Detail,” Hemingson noted that the two films share the common thread of unlikely companions bonding while on a winter road trip.

“The ice skating scene in our film was a nod to the scene in ‘Last Detail’ where they go ice skating in New York,” he said.

Once his script was handed over to Payne and the cast, Hemingson said he was in awe of what they did with it. Randolph is the early frontrunner in the Oscars’ Best Supporting Actress race for her performance as Mary, whom Hemingson wrote after his mother but tried to leave spaces in the script for Randolph to add her own take on the character. Giamatti is also a major contender to win Best Actor, having already secured wins at the Golden Globes and Critics Choice Awards.

“The subtle strength with which Da’Vine approached her portrayal of Mary … the looks that she gave, the quiet moments that are just sublime, they are just driven by her performance,” Hemingson said. “And Giamatti just floors me. There are scenes where I’m looking at his eyes and I can see five thoughts moving through his head just by looking at him, and he’s got a glass eye!”

The post ‘The Holdovers’ Writer Says All of Paul Giamatti’s ‘Best Lines’ Came Straight From His Uncle appeared first on TheWrap.

]]>
https://www.thewrap.com/the-holdovers-david-hemingson-interview/feed/ 0
Rodrigo Prieto ‘Startled’ By Greta Gerwig Snub, But Thrilled for His ‘Barbie’ and ‘Killers of the Flower Moon’ Stars https://www.thewrap.com/rodrigo-prieto-greta-gerwig-snub-barbie/ https://www.thewrap.com/rodrigo-prieto-greta-gerwig-snub-barbie/#respond Thu, 25 Jan 2024 00:55:06 +0000 https://www.thewrap.com/?p=7477468 After earning his fourth Oscar nomination, the cinematographer talks about his work with actors like Lily Gladstone and Ryan Gosling

The post Rodrigo Prieto ‘Startled’ By Greta Gerwig Snub, But Thrilled for His ‘Barbie’ and ‘Killers of the Flower Moon’ Stars appeared first on TheWrap.

]]>
Rodrigo Prieto had a lot of mixed emotions running through him on Oscar nomination day. As the cinematographer of “Barbie” and “Killers of the Flower Moon,” the latter of which earned him his fourth nomination, he was thrilled to see so many of his colleagues get nominated, especially four of the actors whose performances he captured with his camera.

But like so many others, he was “startled” to see Greta Gerwig miss out on a Best Director nomination for “Barbie.”

“Greta made a groundbreaking piece of cinema, one that is going to be remembered for years and years to come,” Prieto told TheWrap. “Of course, art is always subjective and these awards races bring competitiveness, but all the other nominations that ‘Barbie’ earned were because of her vision. This was her film.”

On the brighter side, Prieto said he was thrilled to see “Killers of the Flower Moon” stars Lily Gladstone and Robert De Niro get nominated in the acting categories, as well as “Barbie” supporting stars Ryan Gosling and America Ferrara.

When asked about his memories working with Gladstone, Prieto recalled how the actor heavily influenced one of her most heartrending scenes as Mollie Kyle when she discovers that the last member of her family has been murdered.

“In the script, we had the scene taking place in the living room, but Marty asked Lily, ‘Where do you think Mollie would be in this situation?’ She said, ‘I think she’d be hiding in the basement.'”

Scorsese took Gladstone’s suggestion, requiring Prieto and the crew to move the camera and lighting equipment to the stairway leading to the basement. The result was one of the most harrowing moments of the film, as Mollie lets out a mournful wail as she realizes her entire family is now gone.

“It’s such a gut punch of a scene, and it came entirely from Lily’s idea,” Prieto said. “We shot it from the top of the stairwell, with her at the bottom of the frame to show just how much of an emotional low she was at now.”

Prieto had plenty of other praise for the other nominees from “Killers” and “Barbie.” He said he was floored by how inventive Ryan Gosling was in his performance as Ken, which left the crew often laughing during shooting.

“I just couldn’t believe how Ryan could get all these ideas out of the script that I could never imagine when I read it,” he said. “The way he delivered lines like how his job is ‘just beach’ floored me every time. He is such an imaginative actor and a joy to work with.”

And while Ferrara and De Niro couldn’t be any further apart in their performances, as the fatigued Mattel employee Gloria and the evil cattle magnate William Hale, Prieto said both actors captivated him as he sat on the other side of the camera.

“Bob just disappeared when I shot him, speaking in fluent Osage and finding all this nuance in this evil, murderous man William Hale,” Prieto said. “I’ve seen so many people talk about how they were moved by America’s monologue as Gloria, on how difficult it is to be a woman, and I can tell you that it was even more amazing to actually be in front of her as she was giving it.”

The run to Oscar Sunday for Prieto, who has previously been nominated for his DP work on “Brokeback Mountain,” and Scorsese’s “Silence” and “The Irishman,” marks a break in what has been a relentless pace of shooting. He shot “Killers” and “Barbie” back-to-back and is currently overseeing VFX work on his directorial debut, an adaptation of the classic Mexican novel “Pedro Paramo.”

“It’s been an incredibly busy year and it can be difficult maintaining a work/life balance,” he said. “But it helps that I love this job so much, especially getting to work with such incredible artists like Greta, Margot, Marty, Lily and so many others.”

“Killers of the Flower Moon” is now streaming on Apple TV+ and will return to theaters this weekend. “Barbie” is streaming now on Max. The 96th Academy Awards will be broadcast on ABC on March 10.

The post Rodrigo Prieto ‘Startled’ By Greta Gerwig Snub, But Thrilled for His ‘Barbie’ and ‘Killers of the Flower Moon’ Stars appeared first on TheWrap.

]]>
https://www.thewrap.com/rodrigo-prieto-greta-gerwig-snub-barbie/feed/ 0
Grannies From Doc Short Nominee ‘Nai Nai & Wài Pó’ Feel ‘So Seen and Loved’ | Video https://www.thewrap.com/sean-wang-nai-nai-wai-po-oscars-documentary-short/ https://www.thewrap.com/sean-wang-nai-nai-wai-po-oscars-documentary-short/#respond Wed, 24 Jan 2024 19:12:26 +0000 https://www.thewrap.com/?p=7478140 Sean Wang's loving ode to his grandmothers was a finalist in TheWrap's ShortList 2023. Now it has an Oscar nomination

The post Grannies From Doc Short Nominee ‘Nai Nai & Wài Pó’ Feel ‘So Seen and Loved’ | Video appeared first on TheWrap.

]]>
On Tuesday, Sean Wang’s “Nai Nai & Wài Pó” received an Oscar nomination for Best Documentary Short. The film is a loving look at Wang’s two grandmothers, who are best friends and live together. It was also a finalist in TheWrap’s 2023 ShortList Film Festival, and winner of the audience award.

Wang shot the film in the Bay Area in spring of 2021, when hate crimes against Asians were on the rise. “For the first time since leaving home, I was spending months under the same roof as my two grandmothers and I would see them and hang out with them and their sort of quotidian rhythms of life,” Wang told TheWrap Editor-in-Chief Sharon Waxman at Sundance this month, where Wang’s feature debut, “Didi,” was playing.

He enjoyed watching them “wash fruit or read the newspaper. And also they would dance with me and it would be very silly. And fun. And those sorts of really pure emotions of happiness and joy and humor and slapstick were contrasted by a lot of anti-Asian hate crimes that were happening in our country at the time, especially in the Bay Area, where I’m from. And so it was this weird feeling of being super angry and then going to see them, and they show me nothing but love and joy.”

“Nai Nai & Wài Pó” isn’t the first title to come out of TheWrap’s ShortList fest and go on to score an Oscar nomination — or even a win. The first was “The Phone Call” in 2014, followed by “Bear Story in 2015,” which both won the Oscar. Then came “Sister” in 2019. (There was also the César-winning “Maman(s)” and shorts that went became features (“Thunder Road,” “The Last Black Man in San Francisco“) and a TV series (“SMILF“). 

After the Oscar nominations were announced on Tuesday, Wang said in a statement, “Despite being a combined 182 years old, Nǎi Nai & Wài Pó have infectious youthful spirits, and together we made a film that humanizes and honors them. Thank you to the Academy for acknowledging our film and helping these one-of-a-kind women in my life feel seen.”

Those two one-of-a-kind women, Nǎi Nai (Yi Yan Fuei) and Wài Pó (Chang Li Hua), also weighed in: “When our grandson asked if he could make a film about us, we thought he was crazy. We said ‘who would want to watch a movie about us?’ And now, the fact that the film has brought joy to so many, it’s a happiness we could have never imagined. We feel so seen and loved. Now we have to find something to wear.”

Below, Wang’s video of him and his family learning the film had been nominated.

Find the full list of 2024 Oscar nominees here.

The post Grannies From Doc Short Nominee ‘Nai Nai & Wài Pó’ Feel ‘So Seen and Loved’ | Video appeared first on TheWrap.

]]>
https://www.thewrap.com/sean-wang-nai-nai-wai-po-oscars-documentary-short/feed/ 0
Beyond ‘Barbenheimer’, This Year’s Best Picture Nominees Didn’t Leave a Big Box Office Footprint | Analysis https://www.thewrap.com/oscars-best-picture-nominees-box-office-barbie-oppenheimer/ https://www.thewrap.com/oscars-best-picture-nominees-box-office-barbie-oppenheimer/#respond Wed, 24 Jan 2024 17:00:00 +0000 https://www.thewrap.com/?p=7477794 90% of all grosses for this year's Oscar-nominated films came from Greta Gerwig and Christopher Nolan's summer hits

The post Beyond ‘Barbenheimer’, This Year’s Best Picture Nominees Didn’t Leave a Big Box Office Footprint | Analysis appeared first on TheWrap.

]]>
In many ways, the box office profile for the 2024 Best Picture Oscar nominee field looks much like last year’s nominated field: A pair of cultural phenomenon hits taking up the lion’s share of grosses while the majority of contenders are specialty and international titles that gross tens rather than hundreds of millions in limited release.

While last year’s box office heavyweights were blockbuster sequels — “Top Gun: Maverick” and “Avatar: The Way of Water” — this year’s were the summer titans simply known in pop culture as “Barbenheimer”: Greta Gerwig’s “Barbie,” which grossed $1.44 billion worldwide, and Christopher Nolan’s “Oppenheimer,” which grossed a biopic record $952 million.

Combined, those two films account for just under 90% of all global grosses for Best Picture nominated films this past year, with “Barbie” taking a 54.2% share and “Oppenheimer” taking a 35.7% share. In a very distant third is Martin Scorsese’s “Killers of the Flower Moon” with $156 million grossed worldwide for a 5.3% share among the nominees.

The six other films that got full theatrical releases with reported box office numbers — “Past Lives,” “Poor Things,” “Anatomy of a Fall,” “American Fiction,” “The Holdovers“ and “The Zone of Interest” — have combined for $115 million at the global box office, less than the $162 million “Barbie” made in just its domestic opening weekend. (The 10th film in the bunch, Bradley Cooper’s “Maestro,” is a Netflix film that did not make box office numbers from its limited theatrical engagement available.)

It’s another example of how the franchise-driven nature of the wide release box office and the cinematic tastes of Academy voters rarely align. So it’s a big deal when those voters give the nod to a lighthearted, zeitgeist-defining film like “Barbie” or when audiences gravitate towards an awards-friendly drama based around grim subject matter like “Oppenheimer.”

In fact, if “Oppenheimer” fulfills its frontrunner status and wins Best Picture on March 10, it will become the first film in 20 years to win that top prize and gross more than $500 million at the global box office. The last film to do that was also the last Best Picture winner to be the top-grossing film of its year: 2003’s “The Lord of the Rings: The Return of the King.”

As for the specialty films and mature dramas that make up the majority of the Best Picture field, the same box-office hurdles that plagued 2022 contenders like “The Banshees of Inisherin” and “The Fabelmans” are still at play.

Past Lives
“Past Lives” (Jon Pack/Sundance Institute)

With the pandemic hastening the release of films to VOD and streaming platforms, most specialty titles that get nominated won’t have a significant chunk of their theatrical run remaining by the time they get a Best Picture nod unless they are released in December. In the case of films like “Past Lives,” which came out in May and grossed just $10.8 million in limited release in North America, the bump from a nomination now comes from increased streaming viewership and on-demand sales.

Comscore analyst Paul Dergarabedian thinks that post-theatrical bumps are where December releases like “Poor Things” ($20.4 million domestic) and “American Fiction” ($8 million domestic) will have to turn to, even as the distributors of those films look to capitalize on Oscar buzz. Searchlight has already announced plans to expand “Poor Things” to its widest theater count at 1,800 locations this week to take advantage of its 11 Oscar nominations.

“Films like ‘American Fiction’ might have been able to leg out for weeks and weeks leading up to Oscar Sunday before the pandemic, but in this new market where most if not all the nominated films are on streaming and VOD by January and audiences are getting accustomed to that, a big box office Oscar bump is low on these films’ wish list,” Dergarabedian said.

This past weekend, “American Fiction” made $1.8 million from 850 theaters while “Poor Things” expanded from 580 to 1,400 theaters and made $2.1 million. With no major wide releases hitting theaters this weekend, there won’t be any fresh competition for these newly-minted nominees to worry about as they try to turn their awards status into ticket sales.

The post Beyond ‘Barbenheimer’, This Year’s Best Picture Nominees Didn’t Leave a Big Box Office Footprint | Analysis appeared first on TheWrap.

]]>
https://www.thewrap.com/oscars-best-picture-nominees-box-office-barbie-oppenheimer/feed/ 0
Oscars Snubs 2024: 11 Acclaimed Movies the Academy Ignored https://www.thewrap.com/oscars-2024-snubs-movies-with-no-nominations/ https://www.thewrap.com/oscars-2024-snubs-movies-with-no-nominations/#respond Tue, 23 Jan 2024 18:41:14 +0000 https://www.thewrap.com/?p=7477338 Heralded films by Ben Affleck, Ava DuVernay, Michael Mann and Emerald Fennell are among those passed over this year

The post Oscars Snubs 2024: 11 Acclaimed Movies the Academy Ignored appeared first on TheWrap.

]]>
Oscar nomination morning is always a distinct mix of heartwarming and heartbreaking, but the reveal of the nominations for the 2024 Oscars seemed to leave out a surprising number of 2023 films that had popped up in several awards conversations before, whether it be BAFTA, SAG, Golden Globes or the various other guild and critics’ awards.

TheWrap evaluates the 11 most egregious snubs in what was considered a banner year for high-quality cinema, all of whom might have nestled into several nominations in a less-cutthroat year.

Air

air-matt-damon
Amazon Studios

Ben Affleck’s Cinderella story about Nike’s landmark deal with Michael Jordan was an early spring hit, with Oscar buzz to match, especially for the performances of Matt Damon and Viola Davis, as well as the smart screenplay by newbie Alex Convery. But sadly, all that goodwill ended up being an air ball.

All of Us Strangers

all-of-us-strangers-andrew-scott-paul-mescal
Searchlight Pictures

Andrew Haigh’s tender, shattering heart-tugger has been buzzed about since it’s early film festival screenings. And star Andrew Scott (soon to be seen in Netflix’s long-awaited “Ripley“) has charmed the hell out of the world on the awards circuit, with many predicting his first Oscar nomination. But like his mournful Londoner in the film, it all proved to be more spectral than actual reality.

Are You There God? It’s Me Margaret

Are You There God? It's Me, Margaret
Lionsgate

Rachel McAdams had a showing at this year’s L.A. Film Critics in supporting actress and her performance was beloved by critics and audiences alike. And the film itself seemed to be remembered quite fondly by year’s end. But alas, God did not answer the film’s Oscar prayers.

Asteroid City

Focus Features

An early summer sleeper, Wes Anderson’s nostalgic, Cold War-era fantasia was thought to at least be a shoo-in for the design categories if nothing else. (But some good news: Anderson is nominated in live-action short category for “The Wonderful Story of Henry Sugar,” which could net him his first Oscar despite several tries.)

Ferrari

Neon

Oscar prognosticators got a gust of hope that Michael Mann’s Enzo Ferrari sort-of biopic got a revving-up when Penélope Cruz suddenly entered the SAG acting race. Or that the impressive tech elements, such as sound or editing, could easily break through. But “Ferrari” ended up stalling at the gate.

The Iron Claw

poster for A24's "The Iron Claw"
A24

The highest of hopes were pinned on this wrestling family dynasty drama about the real-life, tragedy-stricken Von Erichs. Zac Efron transformed mightily and turned in his best work to date, and the supporting cast included red-hot upstarts like Jeremy Allen White and Harris Dickinson. And writer-director Sean Durkin always makes worthwhile pictures for thoughtful audiences, however, this film failed to go to the mat.

Origin

Neon

Despite a healthy grassroots push from Frances Fisher and other Hollywood supporters (who helped get Andrea Riseborough that surprise nom last year), Ava DuVernay’s searching drama failed to get those crucial first-place ballot votes, which many were hoping could at least nab recognition for star Aunjanue Ellis-Taylor or a surprise Best Picture slot.

Passages

Franz Rogowski, Adèle Exarchopoulos in "Passages"
SBS Productions

Ira Sachs’ sexually frank, emotionally sound indie seemed like it could be his breakthrough into Oscar territory earlier last year when it was picking up plaudits, especially for leading actor Franz Rogowski, who even managed a Best Actor win at this year’s New York Film Critics Circle. But like his roguish Lothario in the film, the movie was left to pedal off into the distance.

Saltburn

Barry Keoghan and Archie Madekwe in Saltburn
Amazon/MGM

The Twitterverse movie of the year, Emerald Fennell’s savage satire of the upper classes was really starting to bust down the awards conversation doors, showing up in Golden Globe, BAFTA and Critics Choice nominations, and stars Barry Keoghan, Jacob Elordi and especially Rosamund Pike were gaining traction with every week. One guesses Oscar voters were not quite ready for tainted bathwater or grave-humping.

Showing Up

Michelle Williams and Hong Chau in "Showing Up" (A24)
A24

It had two terrific actors (Michelle Williams and Hong Chau) coming off Oscar nominations from the previous year, and a bouquet of praise for writer-director Kelly Reichardt, long seen as overdue to be in the Oscars conversation due to her sensitive, gorgeously rendered slices of life. But like the late Stephen Sondheim once wrote, “Art isn’t easy.” And the depiction of creating such art onscreen was probably less enticing to voters than it seemed.

The Taste of Things

IFC

Granted, the film has still not yet received a wide release, but given the confidence France had in pushing this film as their International Feature Film candidate (over the multi-nominated “Anatomy of a Fall,” no less), and the irresistible food-forward subject matter and Oscar-friendly Juliette Binoche in the mix, you’d think Oscar would crave a “Taste” of this delectable concoction instead of left sitting on the plate.

The post Oscars Snubs 2024: 11 Acclaimed Movies the Academy Ignored appeared first on TheWrap.

]]>
https://www.thewrap.com/oscars-2024-snubs-movies-with-no-nominations/feed/ 0
Oscars 2024: Justine Triet Cries, Colman Domingo ‘Bursting With Joy’ and Other Nominee Reactions https://www.thewrap.com/justine-triet-colman-domingo-martin-scorsese-oscar-nominations-2024-reactions/ https://www.thewrap.com/justine-triet-colman-domingo-martin-scorsese-oscar-nominations-2024-reactions/#respond Tue, 23 Jan 2024 17:47:57 +0000 https://www.thewrap.com/?p=7477376 “I’m thrilled and over the moon with excitement," says Best Actress nominee Annette Bening

The post Oscars 2024: Justine Triet Cries, Colman Domingo ‘Bursting With Joy’ and Other Nominee Reactions appeared first on TheWrap.

]]>

“Anatomy of a Fall” director Justine Triet was watching television in Paris on Tuesday afternoon when she learned that her film “Anatomy of a Fall” — a sly, mysterious French drama about marriage — received five Oscar nominations. That includes Best Picture, Best Director, Best Actress (Sandra Hüller), Best Original Screenplay and Best Film Editing.

“We were so, so stressed before the announcement,” Triet told TheWrap on a Zoom call from her producer’s office. “And then when we saw the nomination for the script, we were so happy, but then it kept continuing with the other nominations in other categories. I was crying.”

Triet is just the eighth woman ever nominated for Best Director. When we shared this fact with her, she responded, “What!? Somebody else told me that it’s very rare for women. I didn’t know this. Wow. This is crazy. I’m trying to enjoy every minute of this and it really means a lot, but that’s crazy.”

But three out of the 10 nominees for Best Picture were directed by woman (“Anatomy of a Fall,” “Barbie,” Past Lives”) and that is a record.

“I am a huge fan of Greta Gerwig, a huge fan, for what she’s doing as a director and as an actress,” Triet said. “And I was very impressed by Celine Song [the director of “Past Lives”]. I’m very proud to be with this gang in that category.”

One of the morning’s biggest surprises was America Ferrera’s Best Supporting Actress nod for “Barbie.” When TheWrap spoke with her, she was, understandably, elated.

“I grew up watching the Academy Awards and looking for proof that I could one day be there,” said Ferrera. “And I found that in, you know, any woman of color or a person outside of the dominant stereotype of movie star. So it really makes an incredible impact when people see people who reflect them in these cultural moments that are about celebrating value.

She added, “To be in that room representing millions of people who maybe feel like it’s more possible for them to to be valued and celebrated in our culture — it means everything to me.”

Supporting Actor nominee Ryan Gosling did not hide his disappointment that the film’s director and star were overlooked because “there is no Ken without Barbie, and there is no Barbie movie without Greta Gerwig and Margot Robbie, the two people most responsible for this history-making, globally-celebrated film.

“No recognition would be possible for anyone on the film without their talent, grit and genius.

“To say that I’m disappointed that they are not nominated in their respective categories would be an understatement.

“Against all odds with nothing but a couple of soulless, scantily clad, and thankfully crotchless dolls, they made us laugh, they broke our hearts, they pushed the culture and they made history. Their work should be recognized along with the other very deserving nominees.”

This year’s Oscar race was led by Christopher Nolan’s “Oppenheimer” with 13 nominations.

Read the full list of nominees here.

Here are more reactions from this year’s nominees.

BEST PICTURE
David Hinojosa, Christine Vachon, Pamela Koffler, Producers, “Past Lives”
“We are so honored that The Academy recognized Past Lives, the bold and original first film of Celine Song, an important new voice in filmmaking. This nomination validates the hard work of many crafts people and artists in New York, our home, and Seoul. We are grateful to our partners at A24 in their continued support of courageous filmmaking teams.”

Marie-Ange Luciani and David Thion, “Anatomy of a Fall”
Our journey from the Croisette to this moment has been nothing short of astonishing. Watching audiences around the world discover and champion this film has been an adventure we’ll never forget. Thank you to our department heads, cast, crew and everyone who came out to the theaters around the world; you made today possible. To our fearless leader Justine Triet, her incredible partner in craft and life, Arthur Harari, and NEON – we share this with you. We are truly honored and moved by this recognition. Next stop, Dolby Theater!”

Mark Johnson, “The Holdovers”
“I am truly humbled to find our movie The Holdovers honored with so many nominations in one of the strongest years for movies in some time. Alexander Payne’s singular vision compelled us all to forge a complicated movie that embraces what we all have in common with one another and sends the audience out into the light of both forgiveness and compassion. We cannot thank the Academy enough for taking to heart a movie that reminds us of what it is to be both painfully and gloriously human.”

BEST DIRECTOR
Martin Scorsese, “Killers of the Flower Moon”

“It’s deeply gratifying to receive this recognition from the Academy, for myself and for so many of my collaborators on Killers of the Flower Moon. It was a remarkable experience to make this picture, to work together with the Osage community to tell the story of a genuine American tragedy, hidden in the shadows of official culture for far too long. I only wish that Robbie Robertson had lived to see his work recognized—our many years of friendship and Robbie’s growing consciousness of his own Native heritage played a crucial role in my desire to get this film onscreen.”

BEST ACTRESS
Annette Bening, “Nyad”
“I’m thrilled and over the moon with excitement to be nominated for an Academy Award alongside my partner in the film, NYAD, Jodie Foster.  Onward!!!!”

Lily Gladstone, “Killers of the Flower Moon”
“I am so deeply grateful to the Academy for this unparalleled honor. It has been a great blessing in and of itself to be a working actor at all, and to get to tell a story like “Killers of the Flower Moon” is beyond what I could have ever hoped for. I both share and owe this moment to the incomparable Martin Scorsese, who honored the voices and wishes of the Osage Nation with such fortitude, and to my gracious and legendary co-stars Robert De Niro, Jesse Plemons, Tantoo Cardinal, and especially Leonardo DiCaprio. His immense, exceptional talent and heart made this possible, I am forever a proud and grateful friend. I also want to acknowledge the rest of the amazing cast and crew that I was lucky enough to work with, including so many talented Osage and Indigenous artists, advocates, activists, leaders and storytellers. Indigenous excellence shaped this magnificent film, both in front of and behind the camera, at all levels of production. It’s all the more sweet to get to share this honor with the legendary Six Nations Cayuga and Mohawk musician Robbie Robertson, Osage Nation composer Scott George, Marty, Bob, Thelma Schoonmaker, Jacqueline West, Rodrigo Prieto, Jack Fisk and all who were a part of bringing this difficult and necessary story to fruition on such a masterful scale. A heartfelt congratulations to Annette, Sandra, Carey and Emma — you are all astounding and inspire me endlessly…I struggle to believe I’m in your company. To each of these humans, I say Iitaamiiksistsikomiit; I hope you all enjoy this beautiful day.”

Carey Mulligan, “Maestro” 
“We poured so much love and joy into Maestro. I’m brimming with gratitude today and huge pride for the rest of the Maestro team! Thank you to Bradley for handing me this gift of a role and an experience. I fiddled with Felicia’s lighter all morning, keeping the point of all of this close to my heart. I’m so grateful to the Academy- we are going to have the best time ever dressing up and paying tribute to this extraordinary couple.”

BEST ACTOR
Colman Domingo, “Rustin”
“To be amplified for my work for portraying this American Hero is everything to me. When my name is called, so is Bayard Rustin’s. What an extraordinary honor. My heart is bursting with joy.”

Bradley Cooper, “Maestro” (Cooper is also nominated for Best Picture and Best Original Screenplay)
“We are all so grateful to be recognized along all of these incredible works of art this year. And the performances from every actor who I so admire. Thank you to Jamie, Alex & Nina Bernstein for allowing their parents’ story to be out there in the world and thank you to the Academy.  We are very honored to be included.”

Paul Giamatti, “The Holdovers”
“I’m genuinely flabbergasted by this morning’s news. It’s such an incredible honor to be acknowledged by the Academy like this. And such an amazing thrill to be a part of such a wonderful Hollywood tradition. I’m so happy for this beautiful film, for the entire cast and incredible crew, for the great folks at Focus, for our producer Mark Johnson, writer David Hemingson, and my Holdovers family, Da’Vine and Dominic. Alexander Payne has been an incredible friend and collaborator, and I will be forever grateful to him for giving me the kind of role every actor hopes to play. My love and thanks to everyone!”

Ryan Gosling, “Barbie”
“I am extremely honored to be nominated by my colleagues alongside such remarkable artists in a year of so many great films. And I never thought I’d being saying this, but I’m also incredibly honored and proud that it’s for portraying a plastic doll named Ken.

But there is no Ken without Barbie, and there is no Barbie movie without Greta Gerwig and Margot Robbie, the two people most responsible for this history-making, globally-celebrated film.

No recognition would be possible for anyone on the film without their talent, grit and genius.

To say that I’m disappointed that they are not nominated in their respective categories would be an understatement.

Against all odds with nothing but a couple of soulless, scantily clad, and thankfully crotchless dolls, they made us laugh, they broke our hearts, they pushed the culture and they made history. Their work should be recognized along with the other very deserving nominees.

Having said that, I am so happy for America Ferrera and the other incredible artists who contributed their talents to making this such a groundbreaking film.”


Jeffrey Wright, “American Fiction”
“My thanks to The Academy for this recognition not only of my work, Cord’s, Sterling’s and Laura’s but the work of everyone who poured their talent into our film. We did this together. We loved making “American Fiction.” We thought it might be special. To be included among the other nominees this year is a beautiful acknowledgment of our efforts to make it so. And thank you to MRC, T-Street and Orion/Amazon/MGM for walking the walk with us, so that our film could be made, seen and touch others the way it touched us. ‘Let them love all of you.’”

BEST SUPPORTING ACTOR
Robert De Niro, “Killers of the Flower Moon
“It was a privilege and a joy to work with Marty Scorsese, Leo DiCaprio, Lily Gladstone and the full cast and crew of Killers of the Flower Moon.  It was also a mission for us.  We committed to honestly and sensitively representing the history and spirit of the Osage People.  To Principal Chief Geoffrey Standing Bear and the entire Osage Nation, thank you for trusting us with your story.”

Robert Downey Jr., “Oppenheimer
“Waking up to all of these nominations for Christopher Nolan and his many talented collaborators is an absolute delight. It’s been the honor of a lifetime to be part of the cinematic masterpiece that is Oppenheimer, and it’s a privilege to be an Academy member nominated alongside such esteemed company.”

Mark Ruffalo, “Poor Things”
“I have the unbelievable privilege of making movies as a job. To be recognized by The Academy among the best is an honor that exceeds all one’s expectations as an actor. Thank you to our brilliant filmmaker, Yorgos and thank you to the audiences who gave this film a chance. Congratulations to my Poor Things family for all the love today. Thank you from the bottom of my heart.”

ANIMATED FEATURE
Joaquim Dos Santos, Kemp Powers, Justin K. Thompson, “Spider-Man: Across the Spider-Verse”
“Coming in as new directors for Spider-Man: Across the Spider-Verse, we were entrusted with continuing to tell Miles’ story in our own style and worked diligently alongside the many artists and production crew to bring something truly unique and original to the Spider-Verse. We are elated for our work on this film to be acknowledged by the Academy and are thankful to our entire crew for going on this adventure with us.”

Peter Sohn, director, and Denise Ream, producer, “Elemental”
“Thank you to the Academy for this incredible honor. It’s been the greatest joy, watching as people around the world have connected so deeply with the story of Elemental. This film is special to us because while Elemental was always a love story at its core; it is also a story about the bonds of family and the unconditional love between parent and child. So, while we share this nomination with the entire cast and crew at Pixar, we also share it with our parents for the sacrifices they and all parents have made to allow their children to follow their dreams. We are forever grateful.”

Nick Bruno and Troy Quane, “Nimona” 
“We couldn’t be more thrilled to receive this Oscar nomination for Nimona! They say it takes a village, but in the case of the tumultuous journey of getting Nimona to the screen, it took many villages over eight years. This nomination is such a wonderful celebration of the hard work, passion, and belief so many people had in making this film a reality, and an incredible acknowledgment of typically underserved communities in animation, especially the LGBTQ+ community. For seeing the power in this story of acceptance and the need to be seen for your true self, we want to thank the Academy for recognizing that this film was truly a labor of love.”

ORIGINAL SCREENPLAY

Samy Burch and Alex Mechanik, May December” 
“We are shocked and deeply moved, thank you to the Academy! This means so much coming from the writer’s branch which surely contains every one of our heroes. We are forever indebted to Todd Haynes for his mastery and singular vision. Thank you to Natalie Portman, Julianne Moore, and Charles Melton who brought these characters to life with such nuance and vulnerability. Thank you also to our wonderful producers Jessica Elbaum, Will Ferrell, Sophie Mas, Chrstine Vachon & Pam Koffler, the entire cast and crew, and Netflix who has championed the film with such love and care. We’re gonna go celebrate with a thick, sweet, dry slice of coconut cake.”

Celine Song, “Past Lives”
“Thank you so much to the Academy for this tremendous recognition — it’s such an unbelievable honor. I am overwhelmed with emotion and gratitude. And for my first film…crazy. Some of the experience working on a debut film is secretly questioning if you belong, if people will support your vision. It has been equal parts scary and rewarding to make this film and release it into the world. It is with immense gratitude to those who championed my vision that I now get to be among these giants of screenwriting. Congratulations to my amazing producers – Christine, David and Pam –  and A24 for nurturing this film and working tirelessly for it. And thank you to our incredible cast – Greta, Teo and John, our film would not exist without you. There’s an Eastern concept in our film called In-Yun, which is the miraculous connection and love we have with each other just by being in the same place at the same time. It’s the result of thousands of lives we’ve shared before this one. Our entire filmmaking team felt this deeply while making Past Lives. Today’s news makes me feel like many of our filmmaking peers felt the same way. Thank you.” 

David Hemingson, “The Holdovers”
“I am thrilled and honored to be nominated for the Academy Award for Best Original Screenplay alongside so many amazing films. I’m overjoyed for my good friends and fellow Holdovers, Paul Giamatti, Da’vine Joy Randolph and Kevin Tent. All love and glory to our director, the brilliant Alexander Payne, who made this dream a reality and without whom none of this would have happened. Dominic Sessa: you are a young genius with perfect hair, and I love you. Thanks to Mark Johnson, Focus Features and Miramax, and massive thanks to the Academy for warmly embracing our story of three broken people, stranded on a snowy island, who find love and form a family.”

DOCUMENTARY FEATURE

Maite Alberdi, director of “The Eternal Memory”
“I am thrilled and so moved to receive this nomination, Thank you to the Academy, to my fellow documentary filmmakers, and to Sheila, Liza, Nina, and our partners at MTV Documentary Films for their belief in The Eternal Memory. It is an honor to represent Chile, and Latin America in this category, and I share this nomination with the whole team that worked on this film.

Augusto Góngora, the protagonist of The Eternal Memory was also a documentary filmmaker, and he gave me a great lesson about motivations. During Pinochet’s dictatorship he made clandestine newscasts, documenting the pain and fragility of a country. When I invited him to participate in my film he said: “Many people opened the doors of their homes to me to show their fragility, so, why wouldn’t I show my own in mine? A film must always exist in spite of everything.”

In this story we learn there is an emotional, personal and collective memory that is permanent.  This is where love resides and sustains us all our lives – this is The Eternal Memory.”

Christopher Sharp and Moses Bwayo, directors of “Bobi Wine: The People’s President”
“We are absolutely delighted that the Academy has recognized Bobi Wine: The People’s President. Bobi and Barbie have been under house arrest as recently as this week, making this nomination a timely reminder of the continued fight for democracy, around the world. This film and this nomination has the power to influence the future of Uganda and its 44 million people living under the current regime. Thank you to everyone who has supported and continues to support our film.” 

Kaouther Ben Hania, director of “Four Daughters”
“Thank you so much to The Academy for this tremendous honor. Olfa and her daughters’ story resonated with me because it was so complex and fascinating but ultimately needed to be told, and it’s a privilege to share their story. To be recognized by the Academy for the second time, and especially by my documentary filmmaker colleagues, is truly incredible, and the entire team is so excited and so grateful.”

Nisha Pahuja, “To Kill a Tiger”
“I am beyond thrilled that To Kill a Tiger  has been nominated for an Academy award. This is an extraordinary honour for the creative team behind this 8 year journey and it’s a testament to the tireless group of women working outside the normal ecosystem to ensure this story is seen and does what it needs to in the world. We’re here, at this moment because a farmer in India, his wife and their 13-year old daughter had the courage to demand her human rights. We are grateful to the National Film Board of Canada, our Executive Producers and everyone on the team for their support. It is our hope and intent that this film will encourage other survivors to seek justice and that men stand with us in our fight for gender equality.”

COSTUME DESIGN

Ellen Mirojnick, “Oppenehimer”
“I’m ecstatic to receive my first Oscar nomination, it is a dream come true! Having the privilege to work alongside Chris Nolan and the entire Oppenheimer team has been one of the greatest thrills of my career. I am over the moon. Thank you, thank you.”

Holly Waddington, “Poor Things”
“Thank you to Yorgos Lanthimos for taking me on this wild journey. It’s been the opportunity of a lifetime. I had the great privilege of working with such a wonderfully talented cast and creative team!”

Jaqueline West, “Killers of the Flower Moon”
“I am thrilled to be amongst such incredible talent nominated today for the Academy Awards. I’d like to first thank Martin Scorsese for entrusting me to work on such a powerful and momentous film. I’d like to also send my deepest gratitude to the Osage Nation who allowed us to tell their story, including my friend Julie O’Keefe, who gave me the perspective necessary to represent this history.”

EDITING

Kevin Tent, “The Holdovers”
“There is truly nothing better than being nominated by one’s peers.  I am incredibly grateful and thrilled beyond belief.  Working with Alexander Payne is hands down the best. Our ongoing collaboration truly means the world to me. I know I speak for the whole Holdovers family when I say we couldn’t be prouder of our film, how it’s been received, and now embraced by the Academy.” 

Yorgos Mavropsaridis, “Poor Things”
“Thank you to my director Yorgos Lanthimos for taking me along this fantastic adventure! My best wishes for Yorgos and Emma and all our entire great team!”

PRODUCTION DESIGN

Shona Heath, “Poor Things”
“Out of this world! What a feat of genius of Yorgos Lanthimos to put this film together with the help of Element and Searchlight and Bella (Emma Stone) leading the way. It’s been a roller coaster and we are all still hanging on!!”

James Price, “Poor Things”
“Congratulations to our team. From the art department, set dec, props, construction, model makers, sculptors, greens, and beyond. Without each and every one of your huge contributions, Poor Things would never have been realized.”

ORIGINAL SCORE

Jerskin Fendrix, “Poor Things”
“I’m honored to be nominated alongside my friends from Poor Things. Making this film has been such an extraordinary artistic journey, and being given the freedom to write music without any creative inhibition, to fully interpret and fall in love with Bella’s world, and to work with such talented and kind people has been a true privilege. My gratitude to Yorgos for asking me to write the music for Poor Things is impossible to put into words.”

Ludwig Göransson, Oppenheimer
“What a thrill to wake up and see so much of Oppenheimer’s cast and crew recognized by our peers in the Academy. I’m very proud to have been on this journey with them, under the sincere and devoted leadership of Christopher Nolan and Emma Thomas, to realize this triumph of a script. The support and creative freedom we felt from Universal allowed us to be exceptionally focused on the task at hand, and for that I’m profoundly thankful. And to the extraordinary musicians who believed in this score and poured so much of themselves into the process: Thank you. I share this honor with all of you.”

Robbie Robertson, “Killers of the Flower Moon” (from his final interview before his death in August 2023)
“I feel that the score is unexpected in many ways and authentic to the heart of the story. For me, it’s a kind of perfection to be able to go all the way around this big circle. Starting at Six Nations when music comes along in my life, when that button gets pushed that says, “This is the direction that you’re going to go in, it’s already laid out,” and then to my history with Martin Scorsese all the movies leading up to Killers of the Flower Moon. The fact that we’re getting to do a Western and a movie about Indians in our own way, you couldn’t have written this. We’re in awe ourselves that our brotherhood has outlasted everything. We’ve been there. We’ve been through it. I am so proud of both our friendship and our work. They have been a gift in my life.”

Jared Levine, Robertson’s longtime manager and close friend
“Robbie would have been thrilled to receive this acknowledgment. He felt that “Killers of the Flower Moon” was the pinnacle of his creative partnership with Marty. My only wish is that they could have shared this time, and recognition together.”

ORIGINAL SONG

Jon Batiste, “It Never Went Away” from “American Symphony”
“Thank you to the Academy for recognizing “It Never Went Away.” Making music is an act of survival. There was a stretch of time during which my wife Suleika was in the hospital and we weren’t sure she’d make it. This song began as a lullaby, so she could have a restful aura in the hospital room. 

Congratulations to my co-writer, Dan Wilson, and thank you to Netflix, Mercury Studios, Higher Ground and our brilliant director, Matthew Heineman, for sharing our story with the world. We are grateful to be surrounded by love.”

Billie Eilish and Finneas, “What Was I Made For?” from “Barbie”
“We are so incredibly honored to receive a nomination for “What Was I Made For?” As lifelong fans of film, music in film and the Academy Awards, this means everything to us. We are so grateful to the Academy, its members, and to be recognized alongside so many songwriters that we respect and admire. Our deepest gratitude and thanks go out to the incomparable Greta Gerwig and Noah Baumbach for their genius vision and execution, the entire Barbie cast and crew, Lucky Chap Entertainment and the Warner Bros. Pictures team. Thank you to Mark Ronson and Andrew Wyatt for weaving our song into the fabric and heart of this film so well. And a special shout out to Margot Robbie for her incredible foresight as a producer and brilliant performance that resonated with us so profoundly when writing this song. We are truly honored. Thank you.”

Mark Ronson and Andrew Wyatt, “I’m Just Ken” from “Barbie”
“We’re excited and grateful beyond words. This really is the highest honour to be recognized by our peers and heroes from the Academy. And in a year of so many extraordinary songs – including those from our incredible fellow Barbie contributors. It’s a testament to Greta Gerwig’s power to inspire and bring out the very best in everyone around her. Thank you so much.”

INTERNATIONAL FEATURE FILM

Matteo Garrone, “Io Capitano”
“This is a great honor.  We are so grateful and happy that the adventure of Io Capitano continues.  Our hope is that the film and the story about a journey through the eyes of a young person dreaming of a better life will continue to reach audiences all over the world.”

Wim Wenders, “Perfect Days
“It’s such a great honor for me to represent Japan in the Oscars, the country of my great cinematic master, Yasujiro Ozu. “Perfect Days” was carried by his spirit, so I couldn’t be happier to see it nominated.”

J.A. Bayona, “Society of the Snow”
“We are so grateful to the Academy for recognizing Society of the Snow with two wonderful nominations today. We are happy to be able to tell this story that, through the power of cinema, aims to show how, in the worst moments, we can give the best of ourselves. I share the Best International Film nomination with the entire Spanish film industry, our Uruguayan, Argentinean and Chilean crew and all the human group behind the society of the snow. Like the Andes odyssey, it has been a collective effort. I share the joy with all of them. Vamo’ arriba!”

DOCUMENTARY SHORT

Sheila Nevins, director of “The ABCs of Book Banning”
“I am honored to have the support of the Academy for The ABCs of Book Banning, which focuses on an urgent issue that threatens our democracy. We are not only confronting book banning in the United States, we see book banning around the world, and it is part of the frightening under-belly of suppression and hate. Since the completion of the film, the number of books banned in the U.S. has tripled from 2,000 to 6,000 books. Access to truthful information is under threat. This not only affects one of us but all of us in all countries. Around our world up to forty percent of books are banned. This is where we are headed. And that’s why I am motivated that The ABCs of Book Banning in all languages will bring attention on a global scale. The nomination today makes a significant statement. It has the potential to empower those working for change. And we need action now.”

John Hoffman and Christine Turner, directors/producers of “The Barber of Little Rock
“This amazing recognition from our filmmaking peers exceeds our wildest expectations. The real power of this beautiful nomination is the bright light it shines on Arlo Washington and the Little Rock community he’s dedicated his life to lifting up.”

Kris Bowers and Ben Proudfoot, co-directors of “The Last Repair Shop”
“We are enormously grateful to the Academy’s Documentary Branch for lifting up this story and we are deeply honored to lead the charge to bring The Last Repair Shop to the 96th Oscars. This film is about magnifying love and the people whose love makes the world go around. The fixers. The helpers. Those who lift us up with song. It is our duty to support and encourage and applaud them. Love, music, healing; these are the things that make the world go around and we found that story in an inconspicuous corner of LA’s public school district. This nomination is a win for the repair shop, for Los Angeles, and for all music loving people who believe in the will to repair. In many places in the world, young people have zero access to musical instruments. This nomination can help send a powerful message. You can’t stop the music.”

Sean Wang, director of “Nǎi Nai and Wài Pó
“In the spring of 2021, as hate crimes targeting elderly Asian people dominated headlines, I turned a camera on my grandmas who are inseparable best friends. Despite being a combined 182 years old, Nǎi Nai & Wài Pó have infectious youthful spirits, and together we made a film that humanizes and honors them. Thank you to the Academy for acknowledging our film and helping these one-of-a-kind women in my life feel seen.”

Joanna Natasegara, executive producer of “Nǎi Nai and Wài Pó
“I couldn’t be more thrilled for Sean and the team. Celebrating the joy, resilience and love of a film like Nǎi Nai and Wài Pó in this moment in time seems to be just what the world needs.”

LIVE ACTION SHORT

Misan Harriman, David Oyelowo, Nicky Bentham, “The After”
“Words cannot describe how incredibly happy we are! David, Nicky and I would like to thank the Academy for recognising this film. We also want to thank our team who all played their part in this labour of love and finally Netflix for giving us the opportunity and platform to reach so many people through the magic of film. Through this film we hope to share the message that it’s ok not to be ok.”

CINEMATOGRAPHY

Matthew Libatique, “Maestro”
“This is an honor that will never get old. Thank you to all my fellow cinematographers in the Academy for bestowing this high honor. Thank you to the intrepid crew of Maestro and most of all thank you to Bradley Cooper for bringing me aboard this beautiful journey.” 

Edward Lachman, “El Conde”
“I am so appreciative that my crew, Pablo Larraín, Fabula Productions, and Netflix have been honored with this recognition for all of our work.”

VISUAL EFFECTS

VFX Supervisor Guy Williams, “Guardians of the Galaxy Vol. 3”
“I am incredibly proud of the work our team at Wētā FX contributed to on Guardians of the Galaxy, Vol. 3. It was an honour to play a part in bringing the final chapter of the Guardians’ story to life, and to have that work recognised by the Academy with a nomination is the cherry on top. In the words of Peter Quill himself, we hope it looked cool.”

Alex Wuttke, “Mission: Impossible – Dead Reckoning”
“On behalf of the whole Mission visual effects team, we’re honored and thrilled to be nominated for our work. It genuinely wouldn’t have been possible without the work and support of the entire crew.”

Simone Coco, “Mission: Impossible – Dead Reckoning”
“I am overwhelmed with emotion at this incredible honor. To be nominated for best VFX at the prestigious Oscars is a dream come true and I would like to thank everyone who helped make this become a reality, to all the productions, artists and technology crew at ILM. Congratulations to all the nominees and best of luck!”

Neil Corbould, “Mission: Impossible – Dead Reckoning”
“It is an amazing honor to be nominated for an Oscar and I extremely proud that it is for Mission Impossible Dead Reckoning Part 1. The Mission Impossible movies set the standard for special and visual effects and I am so happy to have been apart of it. A massive thank you goes out to Academy and also to Tom Cruise and Chris McQuarrie for giving me the opportunity to work on such a great franchise.”

Jay Cooper, ILM Visual Effects Supervisor, “The Creator”
“From the very start, we knew making this film would require a leap of faith.The Creator was a passion project for all involved and the craft and artistry that went into it from our fearless leader, Gareth Edwards to production designer James Clyne, our DPs Greig Fraser and Oren Soffer, and of course our amazing global visual effects team really shows. I’m thrilled that our team’s work has been recognized with this nomination and I’d like to thank the visual effects branch of The Academy for this incredible honor. I couldn’t be more proud.”

Ian Comley, ILM Visual Effects Supervisor, “The Creator”
“It’s an opportunity to highlight the amazing work by the entire ILM / VFX Team, and to celebrate the trust and close filmmaking collaboration we had with Director Gareth Edwards, who guided beautiful photography, inspiring designs and visual effects into the stunning world realised on screen. Thank you.”

Andrew Roberts, On Set Visual Effects Supervisor, “The Creator”
“Thank you to The Academy for this tremendous honor. I’m so grateful to our visionary director Gareth Edwards and the outstanding team of visual effects artists at ILM for breathing life into this film. This nomination represents the skill and passion of so many talented artists.”

Neil Corbould, Supervising Special Effects Supervisor, “The Creator”
“Thank you to the academy for the nomination for visual effects for The Creator. A massive thank you also goes to our director Gareth Edwards for putting his trust in me and my team for helping him get his vision on to the screen. What a fantastic day!”

SOUND

Johnnie Burn, sound designer, “The Zone of Interest”
This is such an extraordinary moment in my life, to be honoured by the Academy. Three years ago Jonathan Glazer said to me we are going to make a film about the holocaust but we are only ever going to hear the atrocities, and never go inside the camp. To be honest I panicked at the responsibility and thought he was mad. I am so grateful to Jonathan, Jim Wilson, Ewa Puszczyńska, A24, Film4 and Access for their faith in the sound, and I really couldn’t have done this without Simon Carroll, Brendan Feeney, and Max Behrens and all at Wave Studios, but mostly I am so very happy that more people will get to see the movie and its powerful message.

Tarn Willers, sound mixer, “The Zone of Interest” 
I am thrilled to receive this nomination! I’m delighted and at the same time humbled that our work has been recognised in such a way. This nomination of course extends to Mateusz Stasiak, Jimi Ogden and Fillip Sulima, my team whose work and creative ideas made this possible. And thank you to Jonathan Glazer, Jim Wilson, Ewa Puszczyńska, A24, Film4 and Access for their dedication to this important film.

James Mather, “Mission: Impossible – Dead Reckoning”
“A huge thanks to our peers at the Academy for this nomination. It’s a strong year and we feel especially honored to be amongst these artists.”

Chris Burdon, “Mission: Impossible – Dead Reckoning”
“So thrilled for the whole sound team to get this amazing recognition. We are very fortunate to work with film makers who really appreciate the importance of sound.”

Mark Taylor, “Mission: Impossible – Dead Reckoning”
“Wow! What an honor to be recognized by our peers and receive this amazing nomination! :)”

Chris Munro, “Mission: Impossible – Dead Reckoning”
“Thanks to Tom and McQ for their leadership. It is great honour to be representing the amazing teamwork gaining this much appreciated recognition from our peers.”

Tom Ozanich & Dean Zupancic, “Maestro” and “The Creator”
“We are so honored and grateful to the Academy for these incredible nominations.  We are so proud to be a part of both of these top tier teams.  These two films are very different from each other but were both labors of love so this is an overwhelming joy!”

Additional reporting by Andi Ortiz

The post Oscars 2024: Justine Triet Cries, Colman Domingo ‘Bursting With Joy’ and Other Nominee Reactions appeared first on TheWrap.

]]>
https://www.thewrap.com/justine-triet-colman-domingo-martin-scorsese-oscar-nominations-2024-reactions/feed/ 0
Justine Triet Is 8th Woman Nominated for Best Director Oscar https://www.thewrap.com/justine-triet-anatomy-of-a-fall-best-director-oscar-nomination/ https://www.thewrap.com/justine-triet-anatomy-of-a-fall-best-director-oscar-nomination/#respond Tue, 23 Jan 2024 14:36:57 +0000 https://www.thewrap.com/?p=7476788 The "Anatomy of a Fall" writer-director landed a nom, but "Barbie" helmer Greta Gerwig was shut out of the category

The post Justine Triet Is 8th Woman Nominated for Best Director Oscar appeared first on TheWrap.

]]>
Most Oscar prognosticators had their money on Greta Gerwig landing her second Best Director Oscar nomination. She did direct “Barbie,” after all — the biggest movie of the year and one of the best reviewed. But in the end, it was not to be.

Instead (and it really does feel like the Academy does an “either or” with women in this category), Justine Triet scored a nod for “Anatomy of a Fall,” a widely praised film that also received nods for Best Picture, best actress, original screenplay and editing nods. The movie, starring Best Actress nominee Sandra Hüller, also won the Palme d’Or at the Cannes film festival in May.

Triet is the eighth woman to be nominated in the directing category, following Lina Wertmüller (“Seven Beauties,” 1975), Sofia Coppola (“Lost in Translation,” 2003), Kathryn Bigelow (who won for “The Hurt Locker” in 2008), Greta Gerwig (“Ladybird,” 2018), Emerald Fennell (“Promising Young Woman,” 2021), Chloé Zhao (who won for “Nomadland” in 2021), and Jane Campion, who was nominated for “The Piano” in 1994 and “The Power of the Dog” in 2022, the latter of which she won.

Campion is the only woman to be nominated twice for Best Director. Only once in the 97-year history of the Academy have two women been nominated in the director category in the same year: Zhao and Fennell in 2021.

Triet is the first French woman to receive a Best Director nod and the first French filmmaker since Damien Chazelle (who is French-American) won for 2016’s “La La Land.” Of the 10 total Best Director nominees from France (starting with Jean Renoir in 1945), the last three won: In addition to Chazelle, Michel Hazanavicius took the statuette in 2012 for “The Artist” and in 2002, Roman Polanski won for “The Pianist.”

Aside from Gerwig, there were several other prominent women directors who didn’t make the final cut on Tuesday: Ava DuVernay (“Origin”), Sofia Coppola (“Priscilla”), Celine Song (“Past Lives”) and Emerald Fennell (“Saltburn”).

Read the full list of 2024 Academy Award nominees here.

The post Justine Triet Is 8th Woman Nominated for Best Director Oscar appeared first on TheWrap.

]]>
https://www.thewrap.com/justine-triet-anatomy-of-a-fall-best-director-oscar-nomination/feed/ 0
Lily Gladstone Makes History as the First Native American Nominated for an Acting Oscar https://www.thewrap.com/oscars-lily-gladstone-first-native-american-acting-nomination/ https://www.thewrap.com/oscars-lily-gladstone-first-native-american-acting-nomination/#respond Tue, 23 Jan 2024 14:15:46 +0000 https://www.thewrap.com/?p=7476702 The "Killers of the Flower Moon" Best Actress nominee is only the second Native American ever nominated for an Academy Award

The post Lily Gladstone Makes History as the First Native American Nominated for an Acting Oscar appeared first on TheWrap.

]]>
Lily Gladstone made made history on Tuesday when she received a Best Actress Oscar nomination for “Killers of the Flower Moon” and became the first Native American to be nominated for an Academy Award for acting. In the film, she plays Mollie Burkhart, an Osage woman married to a shifty white man (Leonardo DiCaprio) who is involved in the murders of her family and community.

Gladstone, who grew up on the Blackfeet Reservation in Browning, Montana, is of Blackfeet and Nez Perce heritage on her father’s side and white European on her mother’s. When she won the best actress in a drama Golden Globe earlier this month for “Killers,” she delivered part of her acceptance speech in Blackfeet language, saying, according to a CBS News report, “Hello my friends, my name is Eagle Woman, I’m from the Blackfeet Nation.”

Gladstone is the first Native American to be recognized in the acting categories and only the second Native American to be nominated in any category. The first was Buffy Sainte-Marie, who won for the original song “Up Where We Belong” from “An Officer and a Gentleman” in 1983. She, along with Taika Waititi, who took home Best Adapted Screenplay in 2020 for “Jojo Rabbit,” are the only indigenous winners.

Gladstone is also the fourth indigenous person to be nominated for Best Actress, after Merle Oberon (who is part Maori) for “Dark Angel” in 1935; Maori actress Keisha Castle-Hughes for “Whale Rider” in 2004; and Mixtec and Trique actress Yalitza Aparicio for “Roma” in 2019.

In the supporting actor category, indigenous Canadians Chief Dan George and Graham Greene received nominations for, respectively, “Little Big Man” in 1971 and “Dances with Wolves” in 1991.

Read the full list of 2024 Academy Award nominees here.

The post Lily Gladstone Makes History as the First Native American Nominated for an Acting Oscar appeared first on TheWrap.

]]>
https://www.thewrap.com/oscars-lily-gladstone-first-native-american-acting-nomination/feed/ 0
Oscar Nominations 2024: The Complete List https://www.thewrap.com/oscar-nominations-2024-oppenheimer-holdovers-barbie-killers-flower-moon/ https://www.thewrap.com/oscar-nominations-2024-oppenheimer-holdovers-barbie-killers-flower-moon/#comments Tue, 23 Jan 2024 13:58:30 +0000 https://www.thewrap.com/?p=7476491 "Oppenheimer" leads with 13, followed closely by "Poor Things" with 11 and "Killers of the Flower Moon" with 10

The post Oscar Nominations 2024: The Complete List appeared first on TheWrap.

]]>
“Oppenheimer” led the 2024 Academy Award nominations on Tuesday with 13 nods for director Christopher Nolan’s film about the making of the nuclear bomb. It was followed by the fantastical drama “Poor Things” with 11 nominations, and the epic story of Native American murders, “Killers of the Flower Moon” with 10. But “Killers of the Flower Moon,” directed by Martin Scorsese, suffered two major snubs: lead actor Leonardo DiCaprio and the screenplay by Scorsese and co-writer Eric Roth.

Among the other notable snubs on Tuesday morning were “Barbie” director Greta Gerwig and star Margot Robbie (though Robbie was nominated as a lead producer for Best Picture, while Gerwig showed up in the adapted screenplay category), Willem Dafoe (“Poor Things”), and all actors from “May December,” notably Natalie Portman, Julianne Moore and Charles Melton.

Lack of recognition for “American Symphony” in the documentary feature category was also unexpected. Matthew Heineman’s well reviewed film about Jon Batiste preparing a musical opus while his wife, writer Suleika Jaouad, was in the hospital for cancer treatment was considered a shoo-in by many people, as was “Still: A Michael J. Fox Movie,” also shut out.

But perhaps more surprising were how many acclaimed or buzzy 2023 films received zero nominations. They include “All of Us Strangers,” “Asteroid City,” “Saltburn,” “The Taste of Things,” “Passages,” and “Showing Up.”

A few notable footnotes occurred, including Justin Triet becoming the eighth woman ever to break into the directing category, John Williams is again the oldest nominee in history at age 91 for scoring the newest “Indiana Jones” film, while Martin Scorsese is the oldest-ever directing nominee at 81 for “Killers of the Flower Moon.”

And on the topic of “Killers,” Lily Gladstone became the first-ever acting nominee for a Native American in Oscar history, while late composer and Scorsese friend Robbie Robertson earned his first Academy Award nomination posthumously. The musician passed away last August at age 80.

The 95th Oscars will take place on March 10, 2024 at the Dolby Theater and will be hosted by Jimmy Kimmel. The event will be telecast live on ABC.

Below, the complete list of nominees for the 2024 Oscars, in all 23 categories.

Best Picture

“American Fiction”
“Anatomy of a Fall”
“Barbie”
“The Holdovers”
“Killers of the Flower Moon”
“Maestro”
“Oppenheimer”
“Past Lives”
“Poor Things”
“The Zone of Interest”

Performance by an Actor in a Leading Role

Bradley Cooper, “Maestro”
Colman Domingo, “Rustin”
Paul Giamatti, “The Holdovers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”

Performance by an Actor in a Supporting Role

Sterling K. Brown, “American Fiction”
Robert De Niro, “Killers of the Flower Moon”
Robert Downey Jr., “Oppenheimer”
Ryan Gosling, “Barbie”
Mark Ruffalo, “Poor Things”

Performance by an Actress in a Leading Role

Annette Bening, “Nyad”
Lily Gladstone, “Killers of the Flower Moon”
Sandra Hüller, “Anatomy of a Fall”
Carey Mulligan, “Maestro”
Emma Stone, “Poor Things”

Performance by an Actress in a Supporting Role

Emily Blunt, “Oppenheimer”
Danielle Brooks, “The Color Purple”
America Ferrera, “Barbie”
Jodie Foster, “Nyad”
Da’Vine Joy Randolph, “The Holdovers”

Best Animated Feature Film

“The Boy and the Heron” (Hayao Miyazaki and Toshio Suzuki)
“Elemental” (Peter Sohn and Denise Ream)
“Nimona” (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
“Robot Dreams” (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
“Spider-Man: Across the Spider-Verse” (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)

Achievement in Cinematography

“El Conde” (Edward Lachman)
“Killers of the Flower Moon” (Rodrigo Prieto)
“Maestro” (Matthew Libatique)
“Oppenheimer” (Hoyte van Hoytema)
“Poor Things” (Robbie Ryan)

Achievement in Costume Design

“Barbie” (Jacqueline Durran)
“Killers of the Flower Moon” (Jacqueline West)
“Napoleon” (Janty Yates and Dave Crossman)
“Oppenheimer” (Ellen Mirojnick)
“Poor Things” (Holly Waddington)

Achievement in Directing

Justine Triet, “Anatomy of a Fall”
Jonathan Glazer, “The Zone of Interest”
Yorgos Lanthimos, “Poor Things”
Christopher Nolan, “Oppenheimer”
Martin Scorsese, “Killers of the Flower Moon”

Best Documentary Feature

“Bobi Wine: The People’s President”
“The Eternal Memory”
“Four Daughters”
“To Kill a Tiger”
“20 Days in Mariupol”

Best Documentary Short Subject

“The ABCs of Book Banning”
“The Barber of Little Rock”
“Island in Between”
“The Last Repair Shop”
“Nai Nai & Wài Pó”

Achievement in Film Editing

“Anatomy of a Fall” (Laurent Sénéchal)
“The Holdovers” (Kevin Tent)
“Killers of the Flower Moon” (Thelma Schoonmaker)
“Oppenheimer” (Jennifer Lame)
“Poor Things” (Yorgos Mavropsaridis)

Best International Feature Film

Germany: “The Teachers’ Lounge”
Italy: “Io Capitano”
Japan: “Perfect Days”
Spain: “Society of the Snow”
United Kingdom: “The Zone of Interest”

Achievement in Makeup and Hairstyling

“Golda”
“Maestro”
“Oppenheimer”
“Poor Things”
“Society of the Snow”

Achievement in Music Written for Motion Pictures (Original Score)

“American Fiction” (Laura Karpman)
“Indiana Jones and the Dial of Destiny” (John Williams)
“Killers of the Flower Moon” (Robbie Robertson)
“Oppenheimer” (Ludwig Göransson)
“Poor Things” (Jerskin Fendrix)

Achievement in Music Written for Motion Pictures (Original Song)

“The Fire Inside” from “Flamin’ Hot” (Music and Lyric by Diane Warren)
“I’m Just Ken” from “Barbie” (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from “American Symphony” (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from “Killers of the Flower Moon” (Music and Lyric by Scott George)
“What Was I Made For?” from “Barbie” (Music and Lyric by Billie Eilish and Finneas O’Connell)

Achievement in Production Design

“Barbie” (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
“Killers of the Flower Moon” (Production Design: Jack Fisk; Set Decoration: Adam Willis)
“Napoleon” (Production Design: Arthur Max; Set Decoration: Elli Griff)
“Oppenheimer” (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
“Poor Things” (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)

Best Animated Short Film

“Letter to a Pig
”Ninety-Five Senses”
“Our Uniform”
“Pachyderme”
“War Is Over! Inspired by the Music of John & Yoko”

Best Live-Action Short Film

“The After”
“Invincible”
“Knight of Fortune”
“Red, White and Blue”
“The Wonderful Story of Henry Sugar”

Achievement in Sound

“The Creator”
“Maestro”
“Mission: Impossible – Dead Reckoning Part One”
“Oppenheimer”
“The Zone of Interest”

Achievement in Visual Effects

“The Creator”
“Godzilla Minus One”
“Guardians of the Galaxy Vol. 3”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”

Adapted Screenplay

“American Fiction” (Written for the screen by Cord Jefferson)
“Barbie” (Written by Greta Gerwig & Noah Baumbach)
“Oppenheimer” (Written for the screen by Christopher Nolan)
“Poor Things” (Screenplay by Tony McNamara)
“The Zone of Interest” (Written by Jonathan Glazer)

Original Screenplay

“Anatomy of a Fall” (Screenplay by Justine Triet and Arthur Harari)
“The Holdovers” (Written by David Hemingson)
“Maestro” (Written by Bradley Cooper & Josh Singer)
“May December” (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
“Past Lives” (Written by Celine Song)

The post Oscar Nominations 2024: The Complete List appeared first on TheWrap.

]]>
https://www.thewrap.com/oscar-nominations-2024-oppenheimer-holdovers-barbie-killers-flower-moon/feed/ 1