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EntertainmentThe Wrap‘Apocalypse ’45’ Film Review: World War II Documentary Is an Elegy to Those Who Were Lost
The United States celebrated the end of World War II with Victory in Japan Day on Aug. 14, 1945, exactly 75 years before the release of “Apocalypse ’45,” Erik Nelson’s examination of the war in the Pacific in the words and film footage of the men who were there.But as that foreboding title suggests, you wouldn’t use a word like “celebrated” to refer to “Apocalypse ’45.” The documentary is a tribute to the men who fought, but it’s also an elegy for those who were lost, and it doesn’t evade questions about the reverberations that linger from the use of the two atomic bombs that helped end the war.In some ways, it is a film about victory, illustrated with vivid, restored footage that was shot during the war but has largely sat unseen in the National Archives since then. But more than that, it is a film about loss and sacrifice, which you hear in the voices of the two dozen former soldiers, ranging in age from their early 90s to 101, who tell the story.It’s hard to say that any WWII film can feel fresh after decades of documentation, but “Apocalypse ’45” finds a way to trade in the typical war-doc toolkit for something more personal and more striking.Also Read: Is 'Greyhound' Based on a True Story?The film, which is being released in some theaters (and virtual theaters) on the Aug. 14 anniversary, will also air on the Discovery Channel on Labor Day weekend, which is closer to the Sep. 2 date on which Japan actually signed the papers to surrender unconditionally. (That surrender was announced on Aug. 15 in Japan, which was Aug. 14 in the U.S.)Director Nelson documented World War II aerial fighting over Germany in an earlier film, “The Cold Blue,” which drew upon footage that director William Wyler had shot for his 1944 documentary “Memphis Belle: A Story of a Flying Fortress.” And Nelson uses footage from another celebrated director in “Apocalypse ’45,” utilizing unseen film that John Ford shot at Pearl Harbor in the aftermath of the Japanese attack that led the U.S. to enter WWII.But the Ford footage, which vividly shows the sad aftermath of that attack, is only a prelude to the real story told in this film. After the Pearl Harbor setup, the movie quickly jumps to 1945 — when, a title card informs us, “The Japanese knew the war was lost, but they were determined to fight to their last man, woman or child.”That fight is the heart of “Apocalypse ’45,” which details a string of battles in the Pacific: battles for Manila, for Iwo Jima and for Okinawa, all of which were preludes to an expected assault on mainland Japan. At first, the film moves quickly, but it slows down when U.S. forces begin their extended and costly assault on the small but heavily fortified island of Iwo Jima. “All we wanted to do,” one veteran says, “was [to] leave there alive.”Also Read: Seth MacFarlane to Adapt 'The Winds of War' Into Limited Series for UCPThe battle for Okinawa, which began soon after Iwo Jima was secured, was even longer and bloodier — an 82-day assault on an island occupied by a prepared and entrenched Japanese military. This stretch of the film makes use of hugely dramatic footage of kamikaze attacks on the American ships gathered offshore, and of American soldiers using flamethrowers to wipe out all the tunnels and bunkers in which the Japanese soldiers were hiding inland.“You can’t describe death, nor can you forget it,” another veteran says. “When you mention it, I can smell it.”By the time the battle for Okinawa ended in June, 1945, Germany had been defeated in Europe and the Soviet Union had pledged to enter the war against Japan. Once again, the Japanese knew that defeat was inevitable, but their leaders wouldn’t agree to an unconditional surrender. So the U.S. stepped up its air war over Japanese soil: “Anything that moved, we strafed it,” one former fighter pilot says. And because the fighter planes had cameras mounted by their guns in the wings, the footage of these attacks on Japan is some of the most powerful in the film.Before the U.S. successfully tested atomic bombs and decided to drop them on Japan, it was planning for a full-scale military invasion of the main island of Japan — and based on the fighting in Okinawa, it assumed that the invasion would only be successful after years of fighting. One startling detail from the film: Anticipating enormous casualties, the military ordered a huge increase in the production of the Purple Heart medals that go to wounded soldiers — and when the decision was made to drop the nuclear bombs rather than invade the mainland, those Purple Hearts were put into a stockpile that has supplied every war since then.Also Read: 'A Hidden Life' Film Review: Terrence Malick Gets His Mojo Back With World War II DramaSome of the soldiers who tell their stories in “Apocalypse ’45” describe the bombing of Hiroshima and Nagasaki as a humanitarian move that prevented the huge number of deaths that would have occurred in a U.S. ground invasion, but it’s hard to look at the stark footage shot by a U.S. Army medical camera crew in those cities and think there was anything merciful about it. The shots of destroyed buildings are harrowing, but the footage of burn victims and others injured in the bombings is horrific.“It’s been said many times by many people that war is hell,” a veteran says. “It really is hell. But I never visualized hell being that bad.”In the film’s closing moments, the film hammers home the point that WWII was a time of cooperation rather than partisanship, and it does so with perhaps more vigor than it deserves. (In this context, it’s sort of distracting to bring in today’s politics.) But the end of “Apocalypse ’45” also lets us finally see the men who’ve been telling the story for the past 100 minutes, and their faces, tinged with pride but also sadness, are as powerful as all the painstakingly restored history we’ve been watching.Read original story ‘Apocalypse ’45’ Film Review: World War II Documentary Is an Elegy to Those Who Were Lost At TheWrap
EntertainmentThe WrapToronto Film Festival Lineup to Include Films Directed by Regina King, Halle Berry
The feature directorial debuts of Halle Berry and Regina King will be part of the lineup at the 2020 Toronto International Film Festival, organizers announced on Thursday.Berry’s film, “Bruised,” features the actor and director as a mixed martial arts star fighting for custody of her young daughter. King’s “One Night in Miami” is based on a play that fictionalizes a night in 1964 in which boxer Cassius Clay (soon to be Muhammad Ali), singer Sam Cooke, football player Jim Brown and activist Malcolm X met in a Florida hotel room.Nearly half of the 50 selected features, 23, have a female director or co-director.Other films among the 50 titles announced by TIFF include Chloé Zhao’s “Nomadland,” a drama from “The Rider” director that stars Frances McDormand; Francis Lee’s “Ammonite,” a female romance set in 1840s England and starring Saoirse Ronan, Kate Winslet and Fiona Shaw; Reinaldo Marcus Green’s “Good Joe Bell,” starring Mark Wahlberg and Connie Britton and written by “Brokeback Mountain” screenwriters Larry McMurtry and Diana Ossana; Ricky Staub’s “Concrete Cowboy,” with Idris Elba and Jharrel Jerome; Florian Zeller’s “The Father,” with Anthony Hopkins and Olivia Colman; Glendyn Ivin’s “Penguin Bloom,” with Naomi Watts and Jackie Weaver; Ben Sharrock’s “Limbo,” about a Syrian musician waiting in Scotland for a decision on his asylum request; Sonia Kennebeck’s “Enemies of the State,” about a family whose hacker son is targeted by the U.S. government.Nonfiction films on the list include Werner Herzog’s “Fireball: Visitors From Darker Worlds,” a documentary about comets and asteroids; Sam Pollack’s “MLK/FBI,” about the FBI’s investigation and harassment of Martin Luther King Jr.; Oscar nominee Gianfranco Rosi’s “Notturno”; and documentary legend Frederick Wiseman’s “City Hall.”Also Read: 'The French Dispatch,' 'Soul' Make the Cannes 2020 Lineup As Festival Reveals the Movies It Would Have ShownAs previously announced, Spike Lee’s film “David Byrne’s American Utopia,” a document of Byrne’s Broadway show, will be the opening-night film on Sept. 10. Mira Nair’s “A Suitable Boy,” taken from a decades-spanning TV miniseries, will close the festival 10 days later.Viggo Mortensen’s “Falling,” which premiered at the Sundance Film Festival in January and was also chosen for the canceled Cannes Film Festival, will be part of the Toronto Film Festival lineup as well.The lineup is long on films from around the world, with offerings from such international auteurs as Thomas Vinterberg (“Another Round”), Michel Franco (“New Order”), Kornél Mundruczó (“Pieces of a Woman”), Naomi Kawase (“True Mothers”) and François Ozon (Summer of ’85”).In a pandemic-affected year that has seen most awards shows postponed until deep into next year, the Toronto lineup is noticeably lacking in many studio awards films that typically use the fall festival circuit to launch their biggest contenders. While additional programming will be announced in upcoming weeks, TIFF has said that its feature lineup will consist of 50 films, the number that was announced on Thursday.Also Read: Venice Film Festival Lineup Includes Record 8 Features With Female Directors in CompetitionThe Toronto Film Festival will be significantly scaled-down from its usual size, which typically includes more than 200 features over 10 days. The industry presence will be reduced, with many events and all press screenings taking place on the festival’s private viewing platform rather than in Toronto. Socially-distanced screenings will take place for local audiences, with the festival organizers saying in a statement that TIFF continues to work with public health officials, “with its number-one priority being the health and well-being of both Festival filmgoers and the residents of the entire community.”The Toronto Film Festival 2020 lineup:“180 Degree Rule,” Farnoosh Samadi | Iran “76 Days,” Hao Wu, Anonymous, Weixi Chen | USA “Ammonite,” Francis Lee | United Kingdom “Another Round” (“Druk”), Thomas Vinterberg | Denmark “Bandar Band,” Manijeh Hekmat | Iran/Germany “Beans,” Tracey Deer | Canada “Beginning” (“Dasatskisi”), Dea Kulumbegashvili | Georgia/France “The Best is Yet to Come” (“Bu Zhi Bu Xiu”), Wang Jing | China “Bruised,” Halle Berry | USA “City Hall,” Frederick Wiseman | USA “Concrete Cowboy,” Ricky Staub | USA “David Byrne’s American Utopia,” Spike Lee | USA (Opening Night) “The Disciple,” Chaitanya Tamhane | India “Enemies of the State,” Sonia Kennebeck | USA “Falling,” Viggo Mortensen | Canada/United Kingdom “The Father,” Florian Zeller | United Kingdom/France “Fauna,” Nicolás Pereda | Mexico/Canada “Fireball: Visitors from Darker Worlds,” Werner Herzog, Clive Oppenheimer | United Kingdom/USA “Gaza mon amour,” Tarzan Nasser, Arab Nasser | France/ Germany/Portugal/Palestine/Qatar “Get the Hell Out” (“Tao Chu Li Fa Yuan”), I-Fan Wang | Taiwan “Good Joe Bell,” Reinaldo Marcus Green | USA “I Care A Lot,” J Blakeson | United Kingdom “Inconvenient Indian,” Michelle Latimer | Canada “The Inheritance,” Ephraim Asili | USA “Lift Like a Girl” (“Ash Ya Captain”), Mayye Zayed | Egypt/Germany/Denmark “Limbo,” Ben Sharrock | United Kingdom “Memory House” (“Casa de Antiguidades”), João Paulo Miranda Maria | Brazil/France “MLK/FBI,” Sam Pollard | USA “The New Corporation: The Unfortunately Necessary Sequel,” Joel Bakan, Jennifer Abbott | Canada “New Order” (“Nuevo orden”), Michel Franco | Mexico “Night of the Kings” (“La Nuit des Rois”), Philippe Lacôte | Côte d’Ivoire/France/Canada/Senegal “Nomadland,” Chloé Zhao | USA “No Ordinary Man,” Aisling Chin-Yee, Chase Joynt | Canada “Notturno,” Gianfranco Rosi | Italy/France/Germany “One Night in Miami,” Regina King | USA “Penguin Bloom,” Glendyn Ivin | Australia/USA “Pieces of a Woman,” Kornél Mundruczó | USA/Canada/Hungary “Preparations to Be Together For an Unknown Period of Time” (“Felkészülés meghatározatlan ideig tartó együttlétre”), Lili Horvát | Hungary “Quo Vadis, Aïda?” Jasmila Žbanić | Bosnia and Herzegovina/ Norway/The Netherlands/Austria/Romania/France/Germany/Poland/Turkey “Shadow In The Cloud,” Roseanne Liang | USA/New Zealand “Shiva Baby,” Emma Seligman | USA/Canada “Spring Blossom,” Suzanne Lindon | Francesing Night Presentation “A Suitable Boy,” Mira Nair | United Kingdom/India (Closing night) “Summer of 85” (“Été 85”), François Ozon | France “The Third Day,” Felix Barrett, Dennis Kelly | United Kingdom “Trickster,” Michelle Latimer | Canada “True Mothers” (“Asa Ga Kuru”), Naomi Kawase | Japan “Under the Open Sky” (“Subarashiki Sekai”), Miwa Nishikawa | Japan “Violation,” Madeleine Sims-Fewer, Dusty Mancinelli | Canada “Wildfire,” Cathy Brady | United Kingdom/IrelandRead original story Toronto Film Festival Lineup to Include Films Directed by Regina King, Halle Berry At TheWrap
EntertainmentThe WrapAwkwafina, John David Washington, Florence Pugh Among the 819 Invited to Join Oscars Academy
Awkwafina, Kaitlyn Dever, Cynthia Erivo, Beanie Feldstein, Brian Tyree Henry, Niecy Nash, Florence Pugh, Lakeith Stanfield, Olivia Wilde and John David Washington are among the 819 film professionals who have been invited to join the Academy of Motion Picture Arts and Sciences, the Academy announced on Tuesday.Additional invitations went to directors Ari Aster, Mati Diop, Robert Eggers, Ladj Ly and Lulu Wang; to documentary filmmakers David France and Jeff Reichert; to executives Jennifer Salke and Teddy Schwarzman; to musicians and composers Larry Mullen Jr., Max Richter, Arturo Sandoval and Bernie Taupin; to producers Ryan Murphy and Rosalie Swedlin; and to writers Lucy Alibar, Jez Butterworth and John-Henry Butterworth.A dozen different people from the Best Picture winner “Parasite” were invited to join: actors Choi Woo-Shik, Jang Hye-Jin, Jo Yeo-Jeong. Lee Jung-Eun and Park So-Dam, costume designer Choi Seyeon, editor Yang Jinmo, composer Jung Jae-Il, producer Kwak Sin-Ae, production designer Lee Ha Jun, sound mixer Choi Tae Young and writer Han Jin Won. (Director Bong Joon Ho had already been invited to join.)The number falls short of the 842 new members who were invited last year and the record 928 who received invitations in 2018, but it marks the fifth consecutive year of large new classes of members, with a particular focus on bringing more women and people of color into the organization.Also Read: Oscars Academy Introduces New Inclusion Initiatives, Expands Best Picture CategoryOf the 819 members invited to join this year, 367 are women, 405 are based outside the United States and 294 are from what the Academy terms “underrepresented ethnic or racial communities.”The number of invitations to women means that the Academy will reach its goal of doubling the number of female members since 2016. It has already passed its goal of doubling the number of non-white members.Not everyone who is invited opts to join the Academy, and AMPAS does not reveal the names of those who decline. But based on the number of invitations and the numbers of members added in recent years, more than 95% of those who receive invitations do join.Also Read: Academy Postpones Next Year's Oscars to April 25The Documentary Branch invited more new members than any other branch, 109. Other branches that issued a large number of invitations included the Marketing and Public Relations Branch, with 90, and the Short Films and Feature Animation Branch, with 81. An additional 89 people were invited to join as Members-at-Large, who do not belong to a specific branch but do have Oscar voting privileges. (Agents, who previously were not allowed to vote, were admitted to this branch this week.)Over the past five years, the Academy has extended invitations to more than 4,000 people. At the time it began the membership push, it had 6,436 active members. It now has 9,537, and the number will pass the 10,000 mark with the addition of this year’s class.Here is the complete list of those invited to membership:Actors Yalitza Aparicio – “Roma” Awkwafina – “The Farewell,” “Crazy Rich Asians” Zazie Beetz – “Joker,” “High Flying Bird” Alia Bhatt – “Gully Boy,” “Raazi” Bobby Cannavale – “The Irishman,” “The Station Agent” Choi Woo-Shik – “Parasite,” “The Divine Fury” Zendaya Coleman – “Spider-Man: Far from Home,” “The Greatest Showman” Tyne Daly – “The Ballad of Buster Scruggs,” “Spider-Man: Homecoming” Mackenzie Davis – “Terminator: Dark Fate,” “Tully” Ana de Armas – “Knives Out,” “Blade Runner 2049” Kaitlyn Dever – “Booksmart,” “Detroit” Cynthia Erivo* – “Harriet,” “Widows” Pierfrancesco Favino – “The Traitor,” “Rush” Beanie Feldstein – “Booksmart,” “Lady Bird” Zack Gottsagen – “The Peanut Butter Falcon” David Gyasi – “Maleficent: Mistress of Evil,” “Interstellar” Adèle Haenel – “Portrait of a Lady on Fire,” “BPM (Beats Per Minute)” Kelvin Harrison Jr. – “Waves,” “Luce” Brian Tyree Henry – “If Beale Street Could Talk,” “Widows” Huang Jue – “Long Day’s Journey into Night,” “The Lady in the Portrait” Jang Hye-Jin – “Parasite,” “Poetry” Jo Yeo-Jeong – “Parasite,” “The Target” Udo Kier – “The Painted Bird,” “Shadow of the Vampire” Lee Jung-Eun – “Parasite,” “Okja” Eva Longoria – “Overboard,” “Harsh Times” Natasha Lyonne – “Honey Boy,” “American Pie” Tzi Ma – “The Farewell,” “Arrival” George MacKay – “1917,” “Captain Fantastic” Tim McGraw – “Country Strong,” “The Blind Side” Thomasin McKenzie – “Jojo Rabbit,” “Leave No Trace” Ben Mendelsohn – “Ready Player One,” “Animal Kingdom” Rob Morgan – “Just Mercy,” “Mudbound” Niecy Nash – “Downsizing,” “Selma” Genevieve Nnaji – “Lionheart,” “Road to Yesterday” Park So-Dam – “Parasite,” “The Priests” Teyonah Parris – “If Beale Street Could Talk,” “Chi-Raq” Florence Pugh – “Little Women,” “Lady Macbeth” Hrithik Roshan – “Super 30,” “Jodhaa Akbar” James Saito – “Always Be My Maybe,” “Big Eyes” Alexander Siddig – “Cairo Time,” “Syriana” Lakeith Stanfield – “Knives Out,” “Sorry to Bother You” Yul Vazquez – “Gringo,” “Last Flag Flying” John David Washington – “BlacKkKlansman,” “Monsters and Men” Olivia Wilde – “Meadowland,” “Rush” Constance Wu – “Hustlers,” “Crazy Rich Asians” Wu Jing – “The Wandering Earth,” “Wolf Warrior” Zhao Tao – “Ash Is Purest White,” “Mountains May Depart”Also Read: 4 Ways the Oscars in April Could Shake Up This Years Awards SeasonCasting Directors Orit Azoulay – “The Kindergarten Teacher,” “The Band’s Visit” Libia Batista – “Eres Tú Papá?,” “Viva” Javier Braier – “The Two Popes,” “Wild Tales” Anja Dihrberg – “A Hidden Life,” “Clouds of Sils Maria” Leïla Fournier – “BPM (Beats Per Minute),” “Eastern Boys” Timka Grin – “With Mom,” “In the Land of Blood and Honey” Des Hamilton – “Jojo Rabbit,” “Melancholia” Carla Hool – “A Better Life,” “Sin Nombre” Camilla-Valentine Isola – “The Man Who Killed Don Quixote,” “Goya’s Ghosts” Tess Joseph – “Aladdin,” “Lion” Julia Kim – “The Last Black Man in San Francisco,” “Starlet” Eva Leira – “Pain and Glory,” “Biutiful” Kirsty McGregor – “Lion,” “Animal Kingdom” Yesi Ramirez – “The Hate U Give,” “Moonlight” Yolanda Serrano – “Pain and Glory,” “Biutiful” Nandini Shrikent – “Gully Boy,” “Life of Pi” Magdalena Szwarcbart – “Cold War,” “Schindler’s List” Toshie Tabata – “Shoplifters,” “Tokyo Tribe” Sarah Teper – “BPM (Beats Per Minute),” “Eastern Boys” Hila Yuval – “A Tale of Love and Darkness,” “Beaufort”Cinematographers Todd Banhazl – “Blow the Man Down,” “Hustlers” Jarin Blaschke – “The Lighthouse,” “The Witch” Nicola Daley – “Pin Cushion,” “I Am a Girl” ?”scar Faura – “Jurassic World: Fallen Kingdom,” “The Imitation Game” Takeshi Hamada – “Sakura Guardian in the North,” “Departures” Chayse Irvin – “BlacKkKlansman,” “Hannah” Ron Johanson – “Freedom,” “The Woman Inside” Polly Morgan – “Lucy in the Sky,” “The Truth about Emanuel” Trent Opaloch – “Avengers: Endgame,” “District 9” Larkin Seiple – “Luce,” “Kin” Ken Seng – “Terminator: Dark Fate,” “Deadpool” Vladimír Smutný – “The Painted Bird,” “Kolya” Jörg Widmer – “A Hidden Life,” “Pina” Jasper Wolf – “Instinct,” “Monos” Katsumi Yanagijima – “Battle Royale,” “Dear Doctor”Costume Designers Massimo Cantini Parrini – “Dogman,” “Tale of Tales” Choi Seyeon – “Parasite,” “Okja” Lisy Christl – “White House Down,” “Anonymous” Caroline De Vivaise – “Shadow of the Vampire,” “Germinal” Nicoletta Ercole – “Letters to Juliet,” “Under the Tuscan Sun” Catherine George – “Okja,” “Snowpiercer” Danielle Hollowell – “Girls Trip,” “Undercover Brother” Neeta Lulla – “Jodhaa Akbar,” “Devdas” Eimer Ní Mhaoldomhnaigh – “Love & Friendship,” “Becoming Jane” Dayna Pink – “Bumblebee,” “Seeking a Friend for the End of the World” Dorota Roqueplo – “Hiszpanka,” “The Mill and the Cross” Judy Shrewsbury – “High Life,” “Let the Sunshine In” Amy Westcott – “Black Swan,” “The Wrestler” Denise Wingate – “Live Free or Die Hard,” “Wedding Crashers”Directors Ali Abbasi – “Border,” “Shelley” Levan Akin – “And Then We Danced,” “The Circle” Francesca Archibugi – “A Question of the Heart,” “Tomorrow” Ari Aster – “Midsommar,” “Hereditary” Icíar Bolláin – “Even the Rain,” “Take My Eyes” Kat Candler – “Hellion,” “Jumping off Bridges” Felipe Cazals – “El Año de la Peste,” “Canoa: A Shameful Memory” Cristina Comencini – “Latin Lover,” “Don’t Tell” Sebastián Cordero – “Europa Report,” “Crónicas” Terence Davies – “The House of Mirth,” “The Long Day Closes” Sophie Deraspe – “Antigone,” “A Gay Girl in Damascus: The Amina Profile” Mati Diop* – “Atlantics,” “A Thousand Suns” Robert Eggers – “The Lighthouse,” “The Witch” Luis Estrada – “The Perfect Dictatorship,” “Herod’s Law” Sydney Freeland – “Deidra & Laney Rob a Train,” “Drunktown’s Finest” Bette Gordon – “Handsome Harry,” “Variety” Maggie Greenwald – “Sophie and the Rising Sun,” “The Ballad of Little Jo” Megan Griffiths – “Sadie,” “The Night Stalker” Alma Har’el – “Honey Boy,” “Bombay Beach” Sterlin Harjo – “Mekko,” “Barking Water” Kathleen Hepburn – “The Body Remembers When the World Broke Open,” “Never Steady, Never Still” Jan Komasa – “Corpus Christi,” “Warsaw ’44” Tamara Kotevska* – “Honeyland” Alejandro Landes – “Monos,” “Porfirio” John H. Lee – “Operation Chromite,” “71: Into the Fire” Ladj Ly* – “Les Misérables” Victoria Mahoney – “Yelling to the Sky” Samira Makhmalbaf – “At Five in the Afternoon,” “The Apple” Mai Masri – “3000 Nights,” “33 Days” Akin Omotoso – “Vaya,” “Tell Me Sweet Something” Matt Reeves – “Dawn of the Planet of the Apes,” “Cloverfield” Ljubo Stefanov* – “Honeyland” Elle-Máijá Tailfeathers – “The Body Remembers When the World Broke Open,” “ćəsna?”əm, the city before the city” Maria Tognazzi – “Me, Myself & Her,” “A Five Star Life” Jorge Alí Triana – “Bolívar Soy Yo,” “A Time to Die” Matthew Vaughn – “Kick-Ass,” “Layer Cake” Lulu Wang* – “The Farewell,” “Posthumous” Wash Westmoreland – “Still Alice,” “Quinceañera” Andrés Wood – “Araña,” “Violeta Went to Heaven”Documentary Shirley Abraham – “The Hour of Lynching,” “The Cinema Travellers” Joelle Alexis – “The Green Prince,” “A Film Unfinished” Cristina Amaral – “Um Filme de Verão (A Summer Film),” “Person” Liran Atzmor – “King Bibi,” “The Law in These Parts” Violeta Ayala – “Cocaine Prison,” “The Bolivian Case” Julia Bacha – “Naila and the Uprising,” “Budrus” Robert Bahar – “The Silence of Others,” “Made in L.A.” Nels Bangerter – “Cameraperson,” “Let the Fire Burn” Malek Bensmaïl – “The Battle of Algiers, a Film within History,” “La Chine Est Encore Loin (China Is Still Far)” Sara Bernstein – “Rebuilding Paradise,” “The Inventor: Out for Blood in Silicon Valley” Yael Bitton – “Advocate,” “Machines” Garrett Bradley – “Time,” “Alone” Salem Brahimi – “Abd El-Kader,” “Africa Is Back” Vincent Carelli – “Martírio,” “Corumbiara: They Shoot Indians, Don’t They?” Almudena Carracedo – “The Silence of Others,” “Made in L.A.” Paola Castillo – “Beyond My Grandfather Allende,” “Genoveva” Daniel Chalfen – “The Infiltrators,” “Silenced” Chaowei Chang – “Chong Tian (The Rocking Sky),” “The Road to Fame” Lisa Kleiner Chanoff – “Life Overtakes Me,” “Watchers of the Sky” Alison Chernick – “Itzhak,” “Matthew Barney: No Restraint” Kasper Collin – “I Called Him Morgan,” “My Name Is Albert Ayler” Inadelso Cossa – “A Memory in Three Acts,” “Xilunguine, the Promised Land” Laura Coxson – “The Proposal,” “Iris” Maria Cuomo Cole – “Newtown,” “Living for 32” Emma Davie – “Becoming Animal,” “I Am Breathing” Adam Del Deo – “Quincy,” “Every Little Step” Whitney Dow – “When the Drum Is Beating,” “Two Towns of Jasper” Kelly Duane de La Vega – “The Return,” “Better This World” Sandi Dubowski – “A Jihad for Love,” “Trembling before G-d” Carol Dysinger – “Learning to Skateboard in a Warzone (If You’re a Girl),” “Camp Victory, Afghanistan” Paz Encina – “Memory Exercises,” “Paraguayan Hammock” Ali Essafi – “Sheikhates Blues,” “Général, Nous Voilà!” Ina Fichman – “The Oslo Diaries,” “The Wanted 18” David France – “The Death and Life of Marsha P. Johnson,” “How to Survive a Plague” Asako Fujioka – “Shukufuku (Blessed)” Atanas Georgiev* – “Honeyland,” “Cash & Marry” Linda Goldstein Knowlton – “We Are the Radical Monarchs,” “Somewhere Between” Robert Greene – “Bisbee ’17,” “Kate Plays Christine” Pernille Rose Grønkjær – “Hunting for Hedonia,” “The Monastery” Tala Hadid – “House in the Fields,” “Windsleepers” Amelia Hapsari – “Rising in Silence,” “Fight like Ahok” John Haptas – “Life Overtakes Me,” “Tokyo Waka” Jessica Hargrave – “Ask Dr. Ruth,” “Good Ol’ Freda” Monica Weston Hellström – “The Distant Barking of Dogs,” “15 Min – The Massacre” Sonja Henrici – “Donkeyote,” “I Am Breathing” Jerry Henry – “City of Gold,” “American Revolutionary: The Evolution of Grace Lee Boggs” Alice Henty – “The Dog Doc,” “The Work” Robin Hessman – “Simple as Water,” “My Perestroika” Nishtha Jain – “Gulabi Gang,” “Lakshmi and Me” Rachel Leah Jones – “Advocate,” “Gypsy Davy” Gary Byung-Seok Kam – “In the Absence,” “Planet of Snail” Toni Kamau – “I Am Samuel,” “Softie” Anne Köhncke – “Pervert Park,” “The Act of Killing” Tamara Kotevska* – “Honeyland,” “Lake of Apples” Hajooj Kuka – “Live from Mogadishu,” “Beats of the Antonov” Richard Ladkani – “Sea of Shadows,” “The Ivory Game” Véronique Lagoarde-Ségot – “Amal,” “5 Broken Cameras” Peter Lataster – “Miss Kiet’s Children,” “Awake in a Bad Dream” Petra Lataster-Czisch – “Miss Kiet’s Children,” “Awake in a Bad Dream” Erez Laufer – “Rabin in His Own Words,” “One Day after Peace” Monica Lazurean-Gorgan – “A Mere Breath,” “Chuck Norris vs. Communism” Bo Li – “Our Time Machine,” “Plastic China” Allyson Luchak – “This Is Not a Movie,” “One Nation under Dog” Amit Madheshiya – “The Hour of Lynching,” “The Cinema Travellers” Vinnie Malhotra – “16 Shots,” “Ivory Tower” Jeffrey Malmberg – “Spettacolo,” “Marwencol” Vitaly Mansky – “Putin’s Witnesses,” “Under the Sun” Andrea Meditch – “Ernie & Joe: Crisis Cops,” “Grizzly Man” Thomas G. Miller – “Limited Partnership,” “One Bad Cat: The Reverend Albert Wagner Story” Todd Douglas Miller – “Apollo 11,” “Dinosaur 13” Rima Mismar Nicole Newnham – “Crip Camp,” “The Rape of Europa” Bianca Oana – “Colectiv (Collective),” “Turn Off the Lights” Jacki Ochs – “Out of My Head,” “Letters Not about Love” Mariana Oliva – “The Edge of Democracy,” “Piripkura” Göran Hugo Olsson – “That Summer,” “The Black Power Mixtape 1967-1975” Deborah Oppenheimer – “Foster,” “Into the Arms of Strangers: Stories of the Kindertransport” Iván Osnovikoff – “Los Reyes,” “La Muerte de Pinochet (The Death of Pinochet)” Tiago Pavan – “The Edge of Democracy,” “Olmo and the Seagull” Bettina Perut – “Los Reyes,” “La Muerte de Pinochet (The Death of Pinochet)” Nicolas Philibert – “To Be and to Have,” “In the Land of the Deaf” Diane Quon – “The Dilemma of Desire,” “Minding the Gap” Claudia Raschke – “RBG,” “Mad Hot Ballroom” Marina Razbezhkina – “Optical Axis,” “Winter, Go Away!” Jeff Reichert – “American Factory,” “Remote Area Medical” Lisa Remington – “Foster,” “Feminists: What Were They Thinking?” Yoruba Richen – “The New Black,” “Promised Land” Jihan Robinson – “Pahokee,” “Traveling While Black” Marta Rodriguez – “Our Voice of Earth, Memory and Future,” “Campesinos (Peasants)” Erich Roland – “The Final Year,” “Waiting for “Superman”” Maureen A. Ryan – “1971,” “Wisconsin Death Trip” Sophie Sartain – “Seeing Allred,” “Blessed Is the Match: The Life and Death of Hannah Senesh” Elhum Shakerifar – “Of Love & Law,” “Even When I Fall” Karin Slater – “Sisters of the Wilderness,” “The Meaning of the Buffalo” Jason Spingarn-Koff – “The White Helmets,” “Life 2.0” Ljubo Stefanov* – “Honeyland,” “Lake of Apples” Michèle Stephenson – “American Promise,” “Slaying Goliath” David Tedeschi – “Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese,” “George Harrison: Living in the Material World” Douglas Tirola – “Bisbee ’17,” “Drunk Stoned Brilliant Dead” Mila Turajlic – “The Other Side of Everything,” “Cinema Komunisto” Noland Walker – “Boogie Man: The Lee Atwater Story,” “Citizen King” Yvonne Welbon – “The New Black,” “Sisters in Cinema” Chris White – “Midnight Traveler,” “Quest” Yi Seung-Jun – “In the Absence,” “Planet of Snail” Donald Young – “Daze of Justice,” “Jake Shimabukuro: Life on Four Strings” Miranda Yousef – “Misconception,” “Troubadours” Yolande Zauberman – “M,” “Classified People” Zhou Hao – “The Chinese Mayor,” “Cotton” Michel Zongo – “No Gold for Kalsaka,” “The Siren of Faso Fani”Executives Jillian Apfelbaum Ozzie Areu Tarak Ben Ammar Mark Boxer Ian Bricke Agnes Chu Ronni Coulter Tonia Davis Louisa Dent Jeff Deutchman Danielle Diego Holly Edwards Ellen Ruth Eliasoph Elissa Federoff Stacey Fong Philip Goore Elishia Holmes Robin Jonas Robert Warren Kessel Jonathan Kier Spencer Klein Jean Labadie Ashley Levinson Laura Lewis Teresa Moneo Dave Neustadter Barbara Peiro Chan Phung Stephen R. Plum Laurene Powell Jobs Tom Prassis Pamela Reynolds Frank Rodriguez Paul Martin Roeder Eric Roth Jennifer Salke Ann Sarnoff Teddy Schwarzman Lori Silfen Terry Steiner Priya Swaminathan Jeannine Tang Gregg Taylor Kevin Ulrich Mimi Valdes Krista Wegener Erin Westerman Danice Woodley Tom YodaFilm Editors Catherine Apple – “Onward,” “Hotel Transylvania” Andrew Bird – “In the Fade,” “The Edge of Heaven” Konstantin Bock – “Capernaum” Andrew Buckland – “Ford v Ferrari,” “The Girl on the Train” Francesca Calvelli – “The Traitor,” “No Man’s Land” Alejandro Carrillo Penovi – “Heroic Losers,” “The Clan” Przemysław Chruścielewski – “Corpus Christi,” “The Last Family” David Coulson – “The Zookeeper’s Wife,” “Whale Rider” Patrick Don Vito – “Three Christs,” “Green Book” Tom Eagles – “Jojo Rabbit,” “What We Do in the Shadows” Kayla M. Emter – “Hustlers,” “The Immigrant” Louise Ford – “The Lighthouse,” “The Witch” Madeleine Gavin – “City of Joy,” “What Maisie Knew” Atanas Georgiev* – “Honeyland,” “These Are the Rules” Jeff Groth – “Joker,” “War Dogs” Nick Houy – “Little Women,” “Lady Bird” Carole Kravetz Aykanian – “Ghost World,” “Devil in a Blue Dress” Julien Lacheray – “Portrait of a Lady on Fire,” “Girlhood” Jennifer Lame – “Marriage Story,” “Manchester by the Sea” Igor Litoninskiy – “Beanpole,” “Stalingrad” Alex Marquez – “Snowden,” “Savages” Benjamin Massoubre – “I Lost My Body,” “The Big Bad Fox & Other Tales” Kelly Matsumoto – “Fast & Furious 6,” “The Mummy Returns” Roberto Perpignani – “The Postman (Il Postino),” “The Night of the Shooting Stars” Fred Raskin – “Once upon a Time…in Hollywood,” “Django Unchained” David Ian Salter – “Finding Nemo,” “Toy Story 2” Tambet Tasuja – “Truth and Justice,” “Take It or Leave It” Michael Taylor – “The Farewell,” “Love Is Strange” Yang Jinmo – “Parasite,” “Okja”Makeup Artists and Hairstylists Ma Kalaadevi Ananda – “A Beautiful Day in the Neighborhood,” “12 Years a Slave” Anji Bemben – “Overboard,” “Watchmen” Gregory Funk – “Once upon a Time…in Hollywood,” “The Way Back” Barrie Gower – “Rocketman,” “Mandela: Long Walk to Freedom” Colleen LaBaff – “Iron Man 3,” “Hitchcock” Marese Langan – “Emma,” “Belle” Alberto Moccia – “Zama,” “The German Doctor” Greg Nelson – “Tropic Thunder,” “Dad” Nina Paskowitz – “Jobs,” “Iron Man” Mari Paz Robles – “I Dream in Another Language,” “Cantinflas” David Ruiz Gameros – “Tear This Heart Out,” “Amores Perros” Tapio Salmi – “Rocketman,” “Chéri” Susana Sánchez – “The Liberator,” “Goya’s Ghosts” Esmé Sciaroni – “Like Crazy,” “Days and Clouds” Brian Sipe – “Avengers: Endgame,” “Guardians of the Galaxy Vol. 2” Mike Smithson – “The Lone Ranger,” “Austin Powers: The Spy Who Shagged Me” Vera Steimberg – “Dolemite Is My Name,” “Dreamgirls” Debbie Zoller – “Pitch Perfect,” “I Heart Huckabees”Marketing and Public Relations Christopher Albert Jade Alex Mia Ammer Jon Anderson Shani Ankori Amy Astley Karen Barragan Emily Bear Maggie Begley Brooke Blumberg Meghann Burns Sheri Callan Inma Carbajal-Fogel Mark Carroll Emmanuelle Castro Candice Chen Tom Chen Staci R. Collins Jackson Ray Costa Arnaldo D’Alfonso Maitena de Amorrortu Sylvia Desrochers Clay Dollarhide Peter Dunne Laura Dyer Ekta Farrar Liza Burnett Fefferman Michael Fisk Dana Flowers Venus Fong Fernando Garcia Rona K. Geller Scott Goldman Amy Grey Harlan Gulko Yuka Hoshino Stephen Huvane Lana Iny Allison Jackson Claudia Kalindjian Teni Karapetian Craig Karpel Joshua Kornblit Nancy Lan Elaine Christine LaZelle Maxine Leonard Alan Lobel Weelin Loh Liz Mahoney Miguel Mallet Carol Marshall Charles McDonald Michael McIntyre Olivier Mouroux Charlie Olsky Julia Pacetti Tom Parker Spencer Peeples Rose Zello Phillips Chris Regan Rene Ridinger Mary Goss Robino Samantha Rosenberg Dustin M. Sandoval Heather Ann Secrist Adam J. Segal Susie Shen Amanda Joy Sherwin Jamie Shor Gina Soliz Gordon Spragg Patrick Starr Ken Sunshine Rachel Tash Albert Tello Keleigh Thomas Morgan Kyle David Thorpe Claudia Tomassini Adriana Trautman Jayne Trotman Beatrice Wachsberger Marcos Waltenberg Joe Wees Marla Weinstein Kimberly Wire Damon Wolf Judy Woloshen Anne Yoo Ramzy Zeidan Flora ZhaoMusic Clinton Bennett – “After,” “Godzilla: King of the Monsters” Tamar-Kali Brown – “The Last Thing He Wanted,” “Mudbound” Joshuah Brian Campbell – “Harriet” Chanda Dancy – “After We Leave,” “Everything before Us” Nainita Desai – “The Reason I Jump,” “For Sama” Arhynn Descy – “Eye for an Eye,” “50 Kisses” Bryce Dessner – “Irresistible,” “The Two Popes” Cynthia Erivo* – “Harriet” Ilan Eshkeri – “Stardust,” “Layer Cake” Robert Andre Glasper – “The Photograph,” “Mr. Soul!” Katie Greathouse – “Spider-Man: Into the Spider-Verse,” “Pirates of the Caribbean: At World’s End” Andrea Guerra – “The Pursuit of Happyness,” “Hotel Rwanda” Tom Howe – “A Shaun the Sheep Movie: Farmageddon,” “Charming” Chad Hugo – “The Black Godfather,” “Hidden Figures” Devonté “Blood Orange” Hynes – “Queen & Slim,” “Fifty Shades of Grey” Jung Jae-Il – “Parasite,” “Okja” Peter Kam – “Dragon,” “The Warlords” Lele Marchitelli – “Loro 1,” “The Great Beauty” Cyril Paul Henri Morin – “Zaytoun,” “Samsara” Khaled Mouzanar – “Capernaum,” “Where Do We Go Now?” Larry Mullen Jr. – “Mandela: Long Walk to Freedom,” “Man on the Train” Blake Neely – “Assassins,” “Life as We Know It” Roger Neill – “20th Century Women,” “Beginners” Michael Nyman – “Gattaca,” “The Piano” Sattar Oraki – “The Salesman,” “Give Back” Michiru Oshima – “Memories of Tomorrow,” “Lost Paradise” Park Inyoung – “Pieta,” “Poongsan” Max Richter – “Ad Astra,” “Waltz with Bashir” Patrice Rushen – “Men in Black,” “Indecent Proposal” Jeff Russo – “Lucy in the Sky,” “Hondros” Arturo Sandoval – “Richard Jewell,” “The Mule” Anton Sanko – “Fractured,” “Ouija” Jermain Stegall – “Proximity,” “Jamesy Boy” Bernie Taupin – “Rocketman,” “Brokeback Mountain”Producers Zeynep ?-zbatur Atakan – “The Wild Pear Tree,” “Winter Sleep” Toufik Ayadi – “Les Misérables,” “Château” Christophe Barral – “Les Misérables,” “Château” Sam Bisbee – “The Hero,” “Other People” Edher Campos – “Sonora, the Devil’s Highway,” “The Golden Dream” Nicolas Celis – “Roma,” “Tempestad” Bénédicte Couvreur – “Portrait of a Lady on Fire,” “Girlhood” Jessica Elbaum – “Hustlers,” “Booksmart” Elda Ferri – “The Soul Keeper,” “Life Is Beautiful” Brad Corwin Fuller – “A Quiet Place,” “The Purge” Alex Garcia – “Kong: Skull Island,” “Desierto” Anna Gerb – “A Most Violent Year,” “All Is Lost” Rana Joy Glickman – “God Said Ha!,” “Full Tilt Boogie” Jared Ian Goldman – “Ingrid Goes West,” “Wilson” Pippa Harris – “1917,” “Blood” Brian Kavanaugh-Jones – “Honey Boy,” “Midnight Special” Kwak Sin-Ae – “Parasite,” “Vanishing Time: A Boy Who Returned” Enrique López Lavigne – “The Impossible,” “Sex and Lucia” Álvaro Longoria – “Everybody Knows,” “Finding Altamira” Mónica Lozano – “I Dream in Another Language,” “Instructions Not Included” Gabriela Maire – “Las Niñas Bien (The Good Girls),” “La Caridad (Charity)” Luis Manso – “Champions,” “Binta and the Great Idea” Shannon McIntosh – “Once upon a Time…in Hollywood,” “The Hateful Eight” Andrew Miano – “The Farewell,” “A Single Man” Tim Moore – “Richard Jewell,” “Sully” Matías Mosteirin – “The Clan,” “Wild Tales” Ryan Murphy – “A Secret Love,” “Running with Scissors” Carthew Neal – “Jojo Rabbit,” “Hunt for the Wilderpeople” Tommy Oliver – “The Perfect Guy,” “Kinyarwanda” Clark Peterson – “Rampart,” “Monster” Gabriela Rodríguez – “Roma,” “Gravity” Rosalie Swedlin – “The Wife,” “Laggies” Mar Targarona – “Secuestro (Boy Missing),” “The Orphanage” Luis Urbano – “Letters from War,” “Tabu” Alicia Van Couvering – “Cop Car,” “Tiny Furniture” Faye Ward – “Wild Rose,” “Stan & Ollie” Chelsea Winstanley – “Jojo Rabbit,” “What We Do in the Shadows” Ryan Zacarias – “The Mountain,” “Mediterranea”Production Design Andrew Baseman – “Crazy Rich Asians,” “Eat Pray Love” Markus Bensch – “The Hunger Games: Mockingjay – Part 2,” “V for Vendetta” Livia Borgonogni – “Spider-Man: Far from Home,” “La Stoffa dei Sogni” Sandra Cabriada – “Instructions Not Included,” “The Mexican” Andrew Max Cahn – “Up in the Air,” “The Hangover” S. Todd Christensen – “Sicario,” “Moneyball” Paola Comencini – “Io Sono Tempesta,” “Don’t Tell” Alex DiGerlando – “The Dead Don’t Die,” “Beasts of the Southern Wild” Robert Foulkes – “Ford v Ferrari,” “La La Land” Elli Griff – “Ghost in the Shell,” “Edge of Tomorrow” Darryl Henley – “Aquaman,” “Blade Runner 2049” Molly Hughes – “Harry Potter and the Deathly Hallows Part 2,” “War Horse” Kevin Kavanaugh – “Only the Brave,” “The Dark Knight Rises” Noah Klocek – “Onward,” “The Good Dinosaur” Jamie Lapsley – “Tommy’s Honour,” “Kill Command” Estefanía Larraín – “A Fantastic Woman,” “Neruda” Harriet Lawrence – “Overlord,” “Suffragette” Alan Lee – “The Lord of the Rings: The Return of the King,” “The Lord of the Rings: The Two Towers” Lee Ha Jun – “Parasite,” “Okja” Wing Lee – “The First Purge,” “Stoker” Barbara Ling – “Once upon a Time…in Hollywood,” “Fried Green Tomatoes” Jim Magdaleno – “First Man,” “Dawn of the Planet of the Apes” Margaret (Peg) McClellan – “Brokedown Palace,” “Leave It to Beaver” Akin McKenzie – “Wildlife,” “Aftermath” Robin Miller – “Gemini Man,” “Spider-Man” Phil Norwood – “The Lion King,” “Baywatch” Harry Otto – “Star Trek Beyond,” “American Sniper” Missy E. Parker – “Hidden Figures,” “Pirates of the Caribbean: On Stranger Tides” Hope Parrish – “X-Men: First Class,” “The Net” Jay Pelissier – “Ant-Man and the Wasp,” “The Fate of the Furious” Janice Polley – “Blackhat,” “Collateral” Anna Rackard – “Haywire,” “Ondine” Michèle St-Arnaud – “Arrival,” “X-Men: Days of Future Past” Lee Sandales – “1917,” “Rogue One: A Star Wars Story” Bob Shaw – “The Irishman,” “The Wolf of Wall Street” Mark Tildesley – “High-Rise,” “Sunshine” Ra Vincent – “Jojo Rabbit,” “The Hobbit: An Unexpected Journey” Peter Walpole – “Cloud Atlas,” “V for Vendetta” Peter Wenham – “Inferno,” “Captain America: The Winter Soldier” Jeremy Woolsey – “Hidden Figures,” “Pitch Perfect”Short Films and Feature Animation Frank E. Abney – “Incredibles 2,” “Coco” Mounia Akl – “Submarine,” “Eva” Dekel Berenson – “Anna,” “Ashmina” Lorelay Bove – “Zootopia,” “Wreck-It Ralph” Jamaal Bradley – “The Croods,” “Puss in Boots” Colin Brady – “Everyone’s Hero,” “A Bug’s Life” Gary Bruins – “Inside Out,” “Up” Matthew A. Cherry – “Hair Love,” “Forward” Sue-Ellen Chitunya – “Grandpa’s Hands,” “Team Marilyn” Jérémy Clapin* – “I Lost My Body,” “Palmipédarium” Bruno Collet – “Memorable,” “Son Indochine” Josh Cooley – “Toy Story 4,” “Inside Out” Emanuela Cozzi – “ParaNorman,” “The Prince of Egypt” BJ Crawford – “The Peanuts Movie,” “Ice Age: Continental Drift” Philip Dale – “Kubo and the Two Strings,” “Coraline” Everett Downing – “Hair Love,” “WALL-E” Marc du Pontavice – “I Lost My Body,” “Oggy and the Cockroaches: The Movie” Robert Ducey – “Kubo and the Two Strings,” “Coraline” Sonya Dunn – “End of the World,” “The Bedroom” Fabian Erlinghauser – “Song of the Sea,” “The Secret of Kells” Jean-Loup Felicioli – “Phantom Boy,” “A Cat in Paris” Giovanna Ferrari – “The Breadwinner,” “Song of the Sea” José David Figueroa García – “Perfidia,” “Ratitas” Michael Ford – “The Angry Birds Movie 2,” “Hotel Transylvania” Alain Gagnol – “Phantom Boy,” “A Cat in Paris” Maryann Garger – “Astro Boy,” “Flushed Away” Axel Geddes – “Toy Story 4,” “Finding Dory” Delphine Girard – “A Sister,” “Caverne” Philippe Gluckman – “Rise of the Guardians,” “Antz” Ian Gooding – “Moana,” “The Princess and the Frog” Oscar Grillo – “Monsters, Inc.,” “Monsieur Pett” Otto Guerra – “City of Pirates,” “Wood & Stock: Sexo, Orégano e Rock’n’Roll” Patrick Hanenberger – “Smallfoot,” “Rise of the Guardians” Aaron Hartline – “Up,” “Robots” Deborah Haywood – “Twinkle, Twinkle,” “Sis” Sabine Heller – “The Peanuts Movie,” “Rio” Isabel Herguera – “Winter Love,” “Under the Pillow” Lizzy Hobbs – “The Flounder,” “I’m OK” Faren Humes – “Liberty,” “Our Rhineland” Mino Jarjoura – “Saria,” “Asad” Marcel Jean – “Sleeping Betty,” “La Pirouette” Meryam Joobeur – “Brotherhood,” “Born in the Maelstrom” Daria Kashcheeva – “Daughter,” “To Accept” Paul Kewley – “Early Man,” “Shaun the Sheep Movie” Anita Killi – “Angry Man,” “The Hedge of Thorns” Sayoko Kinoshita – “A Little Journey,” “Pica Don” Michelle Kranot – “Nothing Happens,” “Hollow Land” Uri Kranot – “Nothing Happens,” “Hollow Land” Ka’ramuu Kush – “Sundays at Noon,” “Salvation Road” Jean-François Le Corre – “Memorable,” “This Magnificent Cake!” Hyun-min Lee – “Moana,” “Big Hero 6” Matt Lefebvre – “Saria,” “Asad” Eric Leighton – “Coraline,” “The Nightmare before Christmas” Niki Lindroth von Bahr – “Something to Remember,” “The Burden” Andy London – “I’m in the Mood for Death,” “The Back Brace” Summer Joy Main-Muñoz – “Don’t Say No,” “La Cerca” Damien Megherbi – “Nefta Football Club,” “Wicked Girl” Deanna Morse – “Recipe for Birds,” “Whispers of the Prairie” Bob Moyer – “Toy Story 4,” “Up” Mark Nielsen – “Toy Story 4,” “Inside Out” Wanjiru M. Njendu – “Boxed,” “The Dinner Guest” Justin Pechberty – “Nefta Football Club,” “Wicked Girl” Amy Pfaffinger – “Moana,” “Frozen” Yves Piat – “Nefta Football Club,” “Tempus Fugit” Julia Pistor – “The SpongeBob SquarePants Movie,” “Rugrats in Paris: The Movie” Charlotte Regan – “My Boy,” “Standby” Milo Riccarand – “The Secret Life of Pets,” “Despicable Me” Stéphan Roelants – “The Breadwinner,” “Song of the Sea” Kirsikka Saari – “After the Reunion,” “Do I Have to Take Care of Everything?” Ahmad Saleh – “Ayny,” “Maa Baa” Dan Scanlon – “Onward,” “Monsters University” Sheila Sofian – “Survivors,” “Secret Rage” Jason Stalman – “Isle of Dogs,” “Kubo and the Two Strings” Colin Stimpson – “The Secret Life of Pets,” “We’re Back! A Dinosaur’s Story” Chris Sullivan – “Consuming Spirits,” “Ain’t Misbehavin!” Amos Sussigan – “Swan Cake,” “Broken Wing” Michael J. Travers – “The Peanuts Movie,” “Ice Age” Saschka Unseld – “The Blue Umbrella,” “Toy Story 3” Eric Wachtman – “Kubo and the Two Strings,” “Coraline” Fusako Yusaki – “The Rose of the Winds,” “Winter Days” Juan Pablo Zaramella – “Luminaris,” “The Glove”Sound Katia Boutin – “The Mustang,” “Elle” James Boyle – “Edge of Tomorrow,” “World War Z” Choi Tae Young – “Parasite,” “The Host” Cary Clark – “Ford v Ferrari,” “Lucy in the Sky” Christian T. Cooke – “The Shape of Water,” “A Dangerous Method” Midge Costin – “Armageddon,” “Crimson Tide” Martin Czembor – “First Reformed,” “Solace” Evan Daum – “The Purge,” “World War Z” Adriano Di Lorenzo – “The Traitor,” “Nico, 1988” Pavel Doreuli – “Stalingrad,” “A Good Day to Die Hard” Rana Eid – “Ismaii,” “Nuts” Mattias Eklund – “Polar,” “The 100-Year-Old Man Who Climbed out the Window and Disappeared” David Esparza – “The Magnificent Seven,” “The Equalizer” Paula Fairfield – “Alita: Battle Angel,” “Mother!” David Lew Farmer – “Thor: Ragnarok,” “Ant-Man” Robert Farr – “Peterloo,” “We Need to Talk about Kevin” Julie Feiner – “The Revenant,” “Marvel’s The Avengers” Cyril Holtz – “The Sisters Brothers,” “Elle” Tateum Kohut – “Escape Room,” “Zombieland” Frank Kruse – “Rush,” “Cloud Atlas” Anne Le Campion – “Chant d’Hiver,” “The Ghost Writer” Dessie Markovsky – “Mr. Brooks,” “Bliss” Bill Meadows – “Star Trek Beyond,” “The Revenant” Ryan Murphy – “Mad Max: Fury Road,” “Godzilla” Steven Robert Nelson – “Neighbors,” “American History X” Colin Nicolson – “Murder on the Orient Express,” “T2 Trainspotting” Stephen Peter Robinson – “Aquaman,” “The Revenant” Warren Shaw – “Beauty and the Beast,” “Tower Heist” Steve Slanec – “Kong: Skull Island,” “Finding Dory” Martin Steyer – “The Captain,” “Rush” Donald Sylvester – “Ford v Ferrari,” “The Fault in Our Stars” James M. Tanenbaum – “Avatar,” “Volcano” Ian Tapp – “Annihilation,” “Slumdog Millionaire” Rachael Tate – “1917,” “Jurassic World: Fallen Kingdom” Gisle Tveito – “Utøya: July 22,” “Force Majeure” Jean Umansky – “Incendies,” “Amélie” Tony Volante – “Hold the Dark,” “Limitless” Mandell Winter – “The Equalizer 2,” “The Magnificent Seven” Frank Wolf – “Aladdin,” “Charlie’s Angels”Visual Effects David Alexander – “Cliffs of Freedom,” “The Laundromat” Jon Franklin Alexander – “Avengers: Age of Ultron,” “Noah” Vishal Anand – “Bharat,” “War” Berj Bannayan – “John Wick: Chapter 3 – Parabellum,” “Geostorm” John Bell – “Rango,” “Pirates of the Caribbean: On Stranger Tides” Tami Carter – “Star Wars: The Rise of Skywalker,” “Lucy” Ahdee Chiu – “The Wandering Earth,” “The Last Stand” Ryan Michael Church – “Transformers: The Last Knight,” “Avengers: Age of Ultron” Todd Constantine – “Jumanji: The Next Level,” “Godzilla: King of the Monsters” Ryan Cook – “The Call of the Wild,” “Rampage” Karin Margarete Cooper – “Star Wars: The Rise of Skywalker,” “Kong: Skull Island” Dan Cox – “The A-Team,” “Gulliver’s Travels” Nick Marc Epstein – “Alita: Battle Angel,” “Valerian and the City of a Thousand Planets” Leandro Estebecorena – “The Irishman,” “Kong: Skull Island” Luca Fascione – “Alita: Battle Angel,” “Avengers: Endgame” Greg Fisher – “The Jungle Book,” “Guardians of the Galaxy” Aaron Gilman – “Alpha,” “Pacific Rim Uprising” Stephane Grabli – “The Irishman,” “Jurassic World: Fallen Kingdom” Darin Grant – “The Lego Movie 2: The Second Part,” “Kung Fu Panda 2” Jeremy Hays – “The Call of the Wild,” “Once upon a Time…in Hollywood” Sandeep Kamal – “Panipat,” “Jal” Sidney Olivier Kombo-Kintombo – “Avengers: Endgame,” “War for the Planet of the Apes” Hoiyue Harry Lam – “Midway,” “The Wandering Earth” Mårten Larsson – “Avengers: Endgame,” “Pixels” Patrick Ledda – “Dumbo,” “Pirates of the Caribbean: Dead Men Tell No Tales” Gong Myung Lee – “Triple Frontier,” “Deadpool 2” Richard Little – “1917,” “The Jungle Book” Doug Moore – “12 Strong,” “Ant-Man” Elliot Newman – “The Lion King,” “The Jungle Book” Artemis Oikonomopoulou – “Annihilation,” “Thor: Ragnarok” Mihaela Orzea – “Ant-Man and the Wasp,” “The Huntsman: Winter’s War” Mike Anthony Perry – “Alita: Battle Angel,” “Valerian and the City of a Thousand Planets” Todd Sheridan Perry – “Black Panther,” “Doctor Strange” Nick Rasmussen – “Ready Player One,” “Star Wars: The Last Jedi” Marco Revelant – “Gemini Man,” “The Hobbit: The Battle of the Five Armies” Jason Schugardt – “Clown,” “In the Blood” David Seager – “Aladdin,” “Terminator: Dark Fate” Amy Shepard – “Playing with Fire,” “Doctor Strange” Bill Spitzak – “Abominable,” “How to Train Your Dragon: The Hidden World” Olcun Tan – “Doctor Sleep,” “Thor: Ragnarok” Dmitry Tokoyakov – “Beyond the Edge,” “Furious” James Tooley – “Star Wars: The Rise of Skywalker,” “Teenage Mutant Ninja Turtles” Leandro Visconti – “Lion’s Heart,” “The Innocents” Paige Warner – “Terminator: Dark Fate,” “Pirates of the Caribbean: Dead Men Tell No Tales” Matt Welford – “A Dog’s Way Home,” “Spider-Man: Homecoming” Victor Wong – “The Founding of an Army,” “Rise of the Legend” Max Wood – “The Nutcracker and the Four Realms,” “Suicide Squad” Ged Wright – “Sonic the Hedgehog,” “22 July”Writers Narges Abyar – “Breath,” “Track 143” Lucy Alibar – “Troop Zero,” “Beasts of the Southern Wild” David Berenbaum – “The Spiderwick Chronicles,” “Elf” Jez Butterworth – “Ford v Ferrari,” “Edge of Tomorrow” John-Henry Butterworth – “Ford v Ferrari,” “Edge of Tomorrow” Shane Carruth – “Upstream Color,” “Primer” Jérémy Clapin* – “I Lost My Body” Sabrina Dhawan – “Kaminey,” “Monsoon Wedding” Mati Diop* – “Atlantics,” “A Thousand Suns” Susanna Fogel – “Booksmart,” “The Spy Who Dumped Me” Michel Franco – “Chronic,” “After Lucia” Giordano Gederlini – “Les Misérables,” “The Invader” Han Jin Won – “Parasite” Julia Hart – “Fast Color,” “Miss Stevens” Gregory Allen Howard – “Harriet,” “Ali” Amy Jump – “A Field in England,” “Sightseers” Ladj Ly* – “Les Misérables” Alexis Manenti – “Les Misérables” Stella Meghie – “The Photograph,” “Jean of the Joneses” Najwa Najjar – “Between Heaven and Earth,” “Eyes of a Thief” Tyler Nilson – “The Peanut Butter Falcon” Mateusz Pacewicz – “Suicide Room: Hater,” “Corpus Christi” Pamela Pettler – “Monster House,” “Tim Burton’s Corpse Bride” Michael Schwartz – “The Peanut Butter Falcon” Lulu Wang* – “The Farewell,” “Posthumous” Krysty Wilson-Cairns – “1917” Wally Wolodarsky – “Trolls World Tour,” “Monsters vs Aliens”Members-at-Large Alan Selby Albert Wade Allen Hank Amos Colin Russell Anderson Pete Antico Trevor Astbury Alberto Barbera Christina Bazdekis Kyetay Beckner Bonnie Bernstein Bob Bowen Joey Box Troy Brown Todd A. Bryant Trey Cannon Rocky Capella Carlo Chatrian Christina Chou Carter Cohn Eliza Coleman John Cooper John Copeman Emerson Davis Willem de Beukelaer Jack Deutchman Sandra Evers-Manly Simon Faber Roy Farfel Shayne Fiske Goldner Dominique Fouassier Thierry Frémaux Joe Gawler Nick Gillard Michelle Grady Annemarie Griggs Markus Gross Bill Hogan Ashley Holland Petra Holtorf-Stratton Rowley Irlam Ernest Jackson Julianne Jordan Peter King Henry Kingi Jr. Adam Kirley James Knight Blair Kohan Jessica Kovacevic Benjamin Kramer V. Senthil Kumar Paul A. Levin Alexander LoVerde Lap Van Luu Jane Maguire JJ Makaro Arnon Manor Chelsea McKinnies Tricia Carol Miles James Mockoski Daniel Molina Carlos Morales Phil Neilson Yasmine Pearl Meyash Prabhu Kate Richter Sally Riley Scott Rogers Michael Scherer Sarah Self James Skotchdopole Bec Smith Michael Solinger Ryan Stafford Jessica Teach Julien Thuan Jesse Torres Tim Trella Mark Vanselow Rosalie Varda William Washington Talitha Watkins Patricia Whitcher Sally Baldwin Willcox Michael Wise Michelle Wright Richard Wright Daisy Wu Jo Yao Mira YongAssociates Richard L. BennettRead original story Awkwafina, John David Washington, Florence Pugh Among the 819 Invited to Join Oscars Academy At TheWrap
EntertainmentThe Wrap‘The French Dispatch,’ ‘Soul’ Make the Cannes 2020 Lineup As Festival Reveals the Movies It Would Have Shown
Wes Anderson’s “The French Dispatch,” Pete Docter’s “Soul” and two films from Steve McQueen, “Lovers Walk” and “Mangrove” (both from his anthology series “Small Axe”), are among the films that would have gone to this year’s Cannes Film Festival if it had taken place, Cannes organizers announced at a press conference in Paris on Wednesday.While the prestigious festival itself will not happen, those films and 52 others in the 2020 Official Selection will bear the Cannes 2020 label, a way the festival plans to highlight films that would have been chosen to screen in Cannes this year and have committed to trying for theatrical releases by the end of the year.Other filmmakers who will be represented on the virtual Croisette include Thomas Vinterberg (“Another Round”), Francois Ozon (“Summer of ’85”), Naomi Kawase (“True Mothers”) Im Sang-soo (“Heaven”) and Viggo Mortensen, whose Sundance premiere “Falling” is also on the Cannes list.The festival was originally scheduled for May 12 through May 23 in the South of France, but the physical gathering was canceled when the coronavirus prompted a ban on public events in the country. Still, Cannes general delegate Thierry Fremaux said in a letter posted on the festival’s website that “cancellation has never been an option,” so the festival’s bookers continued to view the 2,067 films that were submitted for consideration, the first time ever that more than 2,000 films had been submitted.Also Read: Cannes Admits Physical Festival Is Impossible, Turns to Other PlansThe films chosen includes 15 from first-time directors, the largest number ever in the Official Selection. Of the films chosen for the festival, 16 are directed by women, up from 14 last year, 11 in 2018 and 12 in 2017.The festival also includes 21 French films, eight more than last year. Of those 21, eight are directed by women.The announcement of the Official Selection, which was made by Fremaux and Cannes president Pierre Lescure, did not differentiate between films that would have been part of the Main Competition, ones that would have gone into the Un Certain Regard sidebar or ones that would have screened out of competition.The festival plans to help showcase its Cannes 2020 films at other film festivals that will take place this year, including ones in Venice, Telluride, Toronto and New York, as well as Sundance in 2021.“To be adamant in our decision to deliver an Official Selection is ultimately, for the Festival, the best way to help cinema, as well as focus on the films that will be released in theaters in the coming months,” read Fremaux’s letter posted on the Cannes website, in part. “The reopening of cinemas, after months of closure, is a crucial issue. The Cannes Film Festival intends to accompany these films and support their careers in France and abroad, as well as confirm the importance of theaters as in what makes the value of the Seventh Art. We know that many festivals are taking the same position …“Many other festivals around the world have expressed the desire to welcome the Cannes 2020 selection films. The Cannes Film Festival will soon unveil how it will operate next fall. Traditionally, successive festivals such as Locarno, Telluride, Toronto, Deauville, San Sebastian, Pusan, Morelia, Angoulême (for French cinema), New York, Rome, Rio, Tokyo, Mumbaï or Mar del Plata and even Sundance have invited the films of the Official Selection. They will do it again this year with the active support of Cannes and its teams. As we did last year, the Festival will present one or two films together with ACID (Association du Cinéma Indépendant pour sa Diffusion), one of the Festival’s parallel sections that will also announce a selection. The Critics’ Week will also announce its own selection. Finally, Lili Hinstin, the Locarno Festival’s director wanted to be the first to welcome Cannes films (before she too was unfortunately forced to give up), and we also spoke with Jose-Luis Rebordinos, the director of the San Sebastian festival, who decided that the films included in the Cannes 2020 Official Selection could also compete in San Sebastian. He changed the rules, just for us. Exceptional circumstances, exceptional measures.“As previously announced, the Marché du Film will have an online edition this year, organized by its director Jérôme Paillard. Such an online edition was possible for the Marché, but it is not something we wished for the Festival itself (we don’t even know if it would have been allowed by the right-holders of the films). At the Marché, both participation and desire are promising (all information is available on the Marché du Film’s Website).”Also Read: Cannes' Marché du Film Outlines Virtual Plan for June EventThe Cannes 2020 Official Selection:“Ammonite,” Francis Lee “Antoinette dans les Cevennes,” Caroline Vignal “Au Crepuscule,” Sharunas Bartas “Aya and the Witch,” Goro Miyazaki “Beginning,” Dea Kulumbegashvili “The Billion Road,” Dieudo Hamadi “Broken Keys,” Jimmy Keyrouz “Casa de Antiguidades,” Joao Paulo Miranda Maria “The Death of Cinema and My Father, Too,” Dani Rosenberg “Des Hommes,” Lucas Belvaux “DNA,” Maiwenn “Druk” (“Another Round”), Thomas Vinterberg “El olvido que seremos,” Fernando Trueba “Enfant Terrible,” Oskar Roehler “Even,” Im Sang-soo “Falling,” Viggo Mortensen “February,” Kamen Kalev “Flee,” Jonas Poher Rasmussen “The French Dispatch,” Wes Anderson “Garcon chiffon,” Nicolas Maury “Gargarine,” Fanny Liatard and Jeremy Trouilh “A Good Man,” Marie-Castille Mention Schaar “Here We Are,” Nir Bergman “Heaven,” Im Sang-soo “Ibrahim,” Samuel Guesmi “John and the Hole,” Pascual Sisto “Josep,” Aurel “Last Words,” Jonathan Nossiter “Le Discours,” Laurent Tirard “Les choses qu’on dit, les choses qu’on fait,” Emmanuel Mouret “Les Deux alfred,” Bruno Podalydes “Limbo,” Ben Sharrock “Lovers Walk,” Steve McQueen “Mangrove,” Steve McQueen “Un medecin de nuit,” Elie Wajeman “Nadia, Butterfly,” Pascal Plante “Nine Days to Raqqa,” Xavier de Lauzanne “The Origin of the World,” Laurent Lafitte “Peninsula,” Yeon Sang-Ho “Pleasure,” Ninja Thyberg “The Real Thing,” Koji Fukada “Rouge,” Farid Bentoumi “Septet: The Story of Hong Kong,” Ann Hui Johnnie TO, Tsui Hark, Sammo Hung, Yuen Woo-Ping and Patrick Tam “Si le vent tombe,” Nora Martirosyan “Simple Passion,” Danielle Arbid “Sixteen Years,” Suzanne Lindon “Slalom,” Charlene Favier “Squad,” Ayten Amin “Soul,” Pete Docter “Striding Into the Wind,” Wei Shujun “Summer of ’85,” Francois Ozon “Sweat,” Magnus Von Horn “Teddy,” Ludovic & Zoran Boukherma “True Mothers,” Naomi Kawase “The Truffle Hunters,” Gregory Kershaw and Michael Dweck “Un Triomphe,” Emmanuel Courcol “Vaurien,” Peter DourountzisRead original story ‘The French Dispatch,’ ‘Soul’ Make the Cannes 2020 Lineup As Festival Reveals the Movies It Would Have Shown At TheWrap
EntertainmentThe WrapTelevision Academy Delays Emmy Voting, Bans Campaign Events
The Television Academy has moved back the dates of Emmy voting, changed some eligibility rules and suspended all “For Your Consideration” events in an effort to adjust to industry changes caused by the coronavirus, the Academy announced on Friday morning.In a release announcing the changes, the TV Academy said it has no current plans to cancel or postpone the Primetime Emmy Awards, which are scheduled for Sept. 20, or the Creative Arts Emmys ceremonies set for Sept. 12 and 13.However, it added, “As national and statewide directives and mandates on the COVID-19 pandemic remain fluid, the Television Academy and broadcast partner ABC will monitor recommendations from the Centers for Disease Control and Prevention and the L.A. County Department of Public Health.”Also Read: TV Ad Sales Expected to Drop 13% This Year, Magna Global SaysKey dates in both the first and second rounds of voting have been changed, with the period of nominations voting shortened by three days and the final voting shortened by four days.The deadline for Emmy entries was changed by almost a full month, moving from its original May 11 date to June 5.Nomination voting, which was originally due to begin on June 15, has been pushed back to July 2, and will now run through July 13.Emmy nominations will be announced on July 28, two weeks later than the original July 14 date.Final voting will begin on August 21, four days later than originally planned, but ballots will still be due on the original date of August 31.Also Read: Golden Globes Suspend Eligibility Rules Because of Coronavirus Theater ClosingsThe Academy will also extend the eligibility date for “hanging episodes,” the Emmys’ name for episodes which air after the cutoff date, to qualify for this year’s awards. While the overall eligibility period remains June 1, 2019 through May 31, 2020, episodes can now air as late as June 30, 2020 and still be eligible for consideration for this year’s Emmys.In addition, the Academy has suspended all of its “For Your Consideration” events for this Emmy season. Those events typically took place at Television Academy theaters or made use of the Academy’s mailing list of voters, and most often attracted live audiences for screenings, Q&As and receptions. The new rule, though, suspends all such events “whether with a live audience, streaming or recorded for posting on a viewing platform.”Also Read: LA Mayor Says Staples Center, Movie Soundstages Could House COVID-19 Patients: 'Any Place Is On the Table'A pokes person for the Academy told TheWrap that the rule also prohibits a network or streaming service from hosting its own FYC events that would be promoted to Television Academy members.The changes, which have been expected in light of the interruption of production schedules and the self-quarantining rules in place in Los Angeles, New York and other locations, were first raised in a conference call with network and awards executives on Monday, and subsequently approved by the Academy’s Board of Governors.Here is the full text of the Television Academy release spelling out the changes:The Television Academy today announced changes to be implemented for the 72nd Emmy Awards® season in response to unprecedented challenges resulting from the COVID-19 pandemic.These updates include a revised Emmy voting calendar, modification of the hanging episode rule for series and limited series, and suspension of For Your Consideration industry events.Following discussions with key industry partners, the Television Academy Board of Governors voted to update the Emmy Awards calendar to better accommodate ongoing changes and disruptions in production and programming schedules across all network, cable and streaming services. Key dates in the competition have been pushed back, and voting windows have shortened:Revised Emmy Awards Calendar:June 5: Entry deadline July 2: Nominations-round voting begins July 13: Nominations-round voting ends July 28: Nominations announced August 21: Final-round voting begins August 31: Final-round voting endsCLICK HERE for the full Emmy Awards calendar.NOTE: There are no current plans to cancel or delay the Sept. 20 Emmy telecast or the Sept. 12 and 13 Creative Arts Emmy ceremonies. As national and statewide directives and mandates on the COVID-19 pandemic remain fluid, the Television Academy and broadcast partner ABC will monitor recommendations from the Centers for Disease Control and Prevention and the L.A. County Department of Public Health.Modification of Hanging Episode Rule (Series and Limited Series)Due to production and programming delays, the Academy has extended the eligibility date for “hanging episodes” to June 30 (formerly May 31).Series eligibility: To qualify for eligibility in the current eligibility year, the series must have premiered by the end of the eligibility year (May 31, 2020). If the series has one or more episodes that fall into the subsequent eligibility year, those episodes must be broadcast or posted on an accessible platform by June 30 to gain eligibility for the current eligibility year. A minimum of six eligible episodes is still required to qualify for series eligibility.Limited Series eligibility: To qualify for eligibility in the current eligibility year, the limited series must have premiered by the end of the eligibility year (May 31, 2020). If the limited series has one or more episodes/parts that fall into the subsequent eligibility year, those episodes must be broadcast or posted on an accessible platform by June 30 to gain eligibility for the current eligibility year, provided the complete limited series is made available by the June 30 deadline. If those episodes/parts are not able to be broadcast/posted by June 30, then the complete limited series, along with the individual achievements, will be eligible in the subsequent eligibility year.For Your Consideration Events All Television Academy For Your Consideration events — whether with a live audience, streaming or recorded for posting on a viewing platform — have been suspended for this Emmy season.Read original story Television Academy Delays Emmy Voting, Bans Campaign Events At TheWrap
EntertainmentThe WrapRoman Polanski Draws Protests, Wins Prizes at Stormy Cesar Awards
The stormiest and most beleaguered Cesar Awards ever took place in Paris on Friday, with “Les Miserables” being named 2019’s best French film while protesters lined the streets outside the Salle Pleyel protesting the nominations for Roman Polanski’s “J’accuse,” which is known as “An Officer and a Spy” outside France.Despite the furor, Polanski won two Cesar awards, one for best director and another for adapted screenplay, which he shared with his co-writer Robert Harris. His film also won for its costumes. After Polanski’s best-director award was announced, “Portrait of a Lady on Fire” actress Adele Haenel and director Celine Sciamma walked out of the theater.It was Polanski’s fifth Cesar in the directing category, the most of any director. His previous awards were for “Tess,” “The Pianist,” “The Ghost Writer” and “Venus in Fur.”Despite all the attention on Polanski, the Oscar-nominated “Les Miserables” was the big winner of the night, taking home four awards. In addition to the best-film prize, director Ladj Ly’s taut drama also won for most promising actor (Alexis Manenti) and best editing, as well as taking the audience award, the one category that is chosen by members of the public rather than the 4,000-plus voters in the Academy of Cinema Arts and Sciences.Also Read: 'An Officer and a Spy' Review: Roman Polanski Is No Emile Zola in This Listless Retelling of the Dreyfus AffairThe best actor prize went to Roschdy Zem for “Oh Mercy!” and best actress to Anais Demoustier for “Alice and the Mayor,” while the supporting actor and actress awards were given to Swann Arlaud for “By the Grace of God” and Fanny Ardant for “La Belle Epoque,” respectively.The awards for the most promising actor and actress went to Alexis Manenti for “Les Miserables” and Lyna Khoudri for “Papicha,” respectively.Polanski’s “An Officer and a Spy,” which dramatizes the Dreyfus affair in which a 19th-century French officer was unfairly convicted of treason, led all films with 12 nominations from the Academy of Cinema Arts and Sciences. The nominations for Polanski, who has been subject to multiple accusations of sexual misconduct, caused widespread protests not just about the nominations but about the organization itself.Earlier in February, more than 400 members of the French Academy signed an open letter calling for a “complete overhaul” of the organization, which is run by an unelected board of directors. In response, the entire board resigned, effective after the ceremony, and asked that a mediator oversee reforms.This week, Polanski announced that he would not attend the ceremony because he anticipated it would turn into a “public lynching.” None of the nominees from his film attended the show, which did not stop women’s groups from organizing protests outside the venue.Also Read: French Directors' Guild Looks to Suspend Roman Polanski Through Rule ChangeOther films that went into the show with multiple nominations included “Les Miserables” and “La Belle Epoque” with 11, “Portrait of a Lady on Fire” with 10 and “By the Grace of God” and “The Specials” with eight.Other winners on Friday included “Papicha” for best first feature film, “M” for documentary and “I Lost My Body” for animated film.“La Belle Epoque” won for its original screenplay and production design, while craft awards went to “Portrait of a Lady on Fire” for cinematography, “I Lost My Body” for music and “Le Chant du Loup” for sound.The first non-English film to win Best Picture at the Oscars, Bong Joon Ho’s “Parasite,” beat “Joker,” “Once Upon a Time … in Hollywood” and “Pain and Glory” in the Best Foreign Film category.The Cesars normally take place just before the Oscars — but while the Academy scheduled this year’s show on Feb. 9, the earliest date ever, the Cesars retained its typical late-February slot.This is the complete list of Cesar nominees. Winners are indicated by *WINNER.Best Film “La Belle Epoque” “By the Grace of God” “Les Miserables” *WINNER “An Officer and a Spy” (“J’accuse”) “Oh Mercy!” “Portrait of a Lady on Fire” “The Specials”Best Director Nicolas Bedos, “La Belle epoque” Arnaud Desplechin, “Oh Mercy!” Ladj Ly, “Les Miserables” Francois Ozon, “By The Grace Of God” Roman Polanski, “An Officer and a Spy” (“J’accuse”) *WINNER Celine Sciamma, “Portrait of a Lady on Fire” Eric Toledano and Olivier Nakache, “The Specials”Best First Feature Film “Atlantics” “Le Chant du Loup” “Les Miserables” “Nom de la Terre” “Papicha” *WINNERBest Actress Anais Demoustier, “Alice and the Mayor” *WINNER Eva Green, “Proxima” Adele Haenel, “Portrait of a Lady on Fire” Chiara Mastrianni, “Chambre 212” Noemie Merlant, “Portrait of a Lady on Fire” Doria Tillier, “La Belle epoque” Karin Viard, “The Perfect Nanny”Best Actor Daneil Auteuil, “La Belle epoque” Damien Bonnard, “Les Miserables” Vincent Cassel, “The Specials” Jean Dujardin, “An Officer and a Spy” (“J’accuse”) Reda Kateb, “The Specials” Melvil Poupaud, “By The Grace Of God” Roschdy Zem, “Oh Mercy!” *WINNERBest Supporting Actress Fanny Ardant, “La Belle epoque” *WINNER Josaine Balasko, “By The Grace Of God” Laure Calamy, “Only the Animals” Sara Forestier, “Oh Mercy!” Helene Vincent, “The Specials”Best Supporting Actor Swann Arlaud, “By The Grace Of God” *WINNER Gregory Gadebois, “An Officer and a Spy” (“J’accuse”) Louis Garrel, “An Officer and a Spy” Benjamin Lavernhe, “Love At Second Sight” Denis Menochet, “By The Grace Of God”Most Promising Actress Luana Bajriani, “Portrait of a Lady on Fire” Mame Bineta Sane, “Atlantics” Celeste Brnquentuell, “The Dazzled” Lyna Khoudri, “Papicha” *WINNER Nina Meurisse, “Camille”Also Read: Why the Algerian Government Doesn't Want You to See the Country's Oscar Entry 'Papicha'Most Promising Actor Anthony Bajon, “In The Name of The Land” Benjamin Lessieur, “The Specials” Alexis Manenti, “Les Miserables” *WINNER Liam Pierron, “School Life” Djibril Zonga, “Les Miserables”Best Original Screenplay “La Belle Epoque” *WINNER “By the Grace of God” “Les Miserables” “Portrait of a Lady on Fire” “The Specials”Best Adapted Screenplay “Adults in the Room” “I Lost My Body” “An Officer and a Spy” (“J’accuse”) *WINNER “Oh Mercy!” “Seules les Betes”Best Cinematography “La Belle Epoque” “Les Miserables” “An Officer and a Spy” (“J’accuse”) “Oh Mercy!” “Portrait of a Lady on Fire” *WINNERBest Editing “La Belle Epoque” “By the Grace of God” “Les Miserables” *WINNER “An Officer and a Spy” (“J’accuse”) “The Specials”Best Costume Design “La Belle Epoque” “Le Chant du Loup” “Edmond” “An Officer and a Spy” (“J’accuse”) *WINNER “Portrait of a Lady on Fire”Best Production Design “La Belle Epoque” *WINNER “Edmond” “An Officer and a Spy” (“J’accuse”) “Portrait of a Lady on Fire” “The Wolf’s Call”Best Sound “La Belle Epoque” “Le Chant du Loup” *WINNER “Les Miserables” “An Officer and a Spy” (“J’accuse”) “Portrait of a Lady on Fire”Best Original Music “Atlantics” “I Lost My Body” *WINNER “Les Miserables” “An Officer and a Spy” (“J’accuse”) “Oh Mercy!”Best Documentary Film “The Cordirella of Dreams” “Lourdes” “M” *WINNER “68, Mon Pere et les Chous” “Wonder Boy”Best Animated Feature Film “The Bear’s Famous Invasion of Sicily” “I Lost My Body” *WINNER “The Swallows of Kabul”Best Animated Short Film “Ce magnifique gateau!” “Je sors acheter des cigarettes” “La nuit des sacs plastiques” *WINNER “Make It Soul”Best Short Film “Beautiful Loser” “Pile Poil” *WINNER “Le Chant d’Ahmed” “Le Chien bleu” “Nefta Football Club”Best Foreign Film “Joker” “Lola Vers la Mer” “Once Upon a Time … in Hollywood” “Pain and Glory” “Parasite” *WINNER “The Traitor” “Young Ahmed”Audience Award “Qu’est-ce qu’on a encore fait au Bon Dieu?” “Nous finirons ensemble” “The Specials” “Au nom de la terre” “Les Miserables” *WINNERRead original story Roman Polanski Draws Protests, Wins Prizes at Stormy Cesar Awards At TheWrap
EntertainmentThe Wrap‘The Lion King’ Is King at the Visual Effects Society Awards
“The Lion King,” the Disney “live-action” remake that is made up almost entirely of computer-generated characters and backgrounds, has won three awards at the Visual Effects Society’s 18th annual VES Awards, which were handed out Wednesday night in Los Angeles.The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the VES category that corresponds most closely to the Academy Awards’ Best Visual Effects category.“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,” the episode built around the year’s most viral CG character, Baby Yoda.The film that wins the VES award in the Outstanding Visual Effects in a Photoreal Feature category (or its predecessor, Outstanding Visual Effects in an Visual Effects-Driven Motion Picture) has gone on to win the VFX Oscar 10 times in the last 17 years, but only once in the last five. The Outstanding Supporting Effects winner has won the Oscar twice in that time, including last year with “First Man.”Oscar nominees in the category this year include the two top VES winners, “The Lion King” and “The Irishman,” as well as “Star Wars: The Rise of Skywalker,” which won one VES award, and “Avengers: Endgame” and “1917,” which did not win any.Also Read: 'The Irishman': Martin Scorsese on De-Aging De Niro and Pacino Without 'Helmets or Tennis Balls on Their Faces'Also at the show, Sheena Duggal received the VES Award for Creative Excellence, Roland Emmerich was given the Visionary Award and Martin Scorsese received the Lifetime Achievement Award. Scorsese could not attend and accepted the award via video.The show took place at the Beverly Hilton and was hosted by Patton Oswalt.The winners:Outstanding Visual Effects in a Photoreal Feature: “The Lion King” Robert Legato Tom Peitzman Adam Valdez Andrew R. JonesOutstanding Supporting Visual Effects in a Photoreal Feature: “The Irishman” Pablo Helman Mitchell Ferm Jill Brooks Leandro Estebecorena Jeff BrinkOutstanding Visual Effects in an Animated Feature: “Missing Link” Brad Schiff Travis Knight Steve Emerson Benoit DubucOutstanding Visual Effects in a Photoreal Episode: “The Mandalorian”: “The Child” Richard Bluff Abbigail Keller Jason Porter Hayden Jones Roy K. CancinoOutstanding Supporting Visual Effects in a Photoreal Episode: “Chernobyl”: “1:23:45” Max Dennison Lindsay McFarlane Clare Cheetham Paul Jones Claudius Christian RauchOutstanding Visual Effects in a Real-Time Project: “Control” Janne Pulkkinen Elmeri Raitanen Matti Hämäläinen James TottmanOutstanding Visual Effects in a Commercial: Hennessy: “The Seven Worlds” Carsten Keller Selçuk Ergen Kiril Mirkov William LabanOutstanding Visual Effects in a Special Venue Project: “Star Wars: Rise of the Resistance” Jason Bayever Patrick Kearney Carol Norton Bill GeorgeOutstanding Animated Character in a Photoreal Feature: “Alita: Battle Angel”: Alita Michael Cozens Mark Haenga Olivier Lesaint Dejan MomcilovicOutstanding Animated Character in an Animated Feature: “Missing Link”: Susan Rachelle Lambden Brenda Baumgarten Morgan Hay Benoit DubucOutstanding Animated Character in an Episode or Real-Time Project: “Stranger Things 3”: Tom/Bruce Monster Joseph Dubé-Arsenault Antoine Barthod Frederick Gagnon Xavier LafargeOutstanding Animated Character in a Commercial: “Cyberpunk 2077”: Dex Jonas Ekman Jonas Skoog Marek Madej Grzegorz ChojnackiOutstanding Created Environment in a Photoreal Feature: “The Lion King”: The Pridelands Marco Rolandi Luca Bonatti Jules Bodenstein Filippo PretiOutstanding Created Environment in an Animated Feature: “Toy Story 4”: Antiques Mall Hosuk Chang Andrew Finley Alison Leaf Philip ShoebottomOutstanding Created Environment in an Episode, Commercial, or Real-Time Project: “Game of Thrones”: “The Iron Throne”: Red Keep Plaza Carlos Patrick DeLeon Alonso Bocanegra Martinez Marcela Silva Benjamin RossOutstanding Virtual Cinematography in a CG Project: “The Lion King” Robert Legato Caleb Deschanel Ben Grossmann AJ SciuttoOutstanding Model in a Photoreal or Animated Project: “The Mandalorian”: The Sin; The Razorcrest Doug Chiang Jay Machado John Goodson Landis Fields IVOutstanding Effects Simulations in a Photoreal Feature: “Star Wars: The Rise of Skywalker” Don Wong Thibault Gauriau Goncalo Cababca François-Maxence DesplanquesOutstanding Effects Simulations in an Animated Feature: “Frozen II” Erin V. Ramos Scott Townsend Thomas Wickes Rattanin SirinaruemarnOutstanding Effects Simulations in an Episode, Commercial, or Real-Time Project: “Stranger Things 3”: Melting Tom/Bruce Nathan Arbuckle Christian Gaumond James Dong Aleksandr StarkovOutstanding Compositing in a Feature: “The Irishman” Nelson Sepulveda Vincent Papaix Benjamin O’Brien Christopher DoerhoffOutstanding Compositing in an Episode: “Game of Thrones”: “The Long Night”: Dragon Ground Battle Mark Richardson Darren Christie Nathan Abbott Owen LongstaffOutstanding Compositing in a Commercial: Hennessy:” The Seven Worlds” Rod Norman Guillaume Weiss Alexander Kulikov Alessandro GranellaOutstanding Special (Practical) Effects in a Photoreal or Animated Project: “The Dark Crystal: The Age of Resistance”: “She Knows All the Secrets” Sean Mathiesen Jon Savage Toby Froud Phil HarveyOutstanding Visual Effects in a Student Project: “The Beauty” Marc Angele Aleksandra Todorovic Pascal Schelbli Noel WinzenRead original story ‘The Lion King’ Is King at the Visual Effects Society Awards At TheWrap
EntertainmentThe Wrap‘1917’ Named Top Film at Producers Guild Awards
“1917” has won the Producers Guild of America’s award as the best-produced feature film of 2019, giving it an important victory at an awards show that usually honors the film that goes on to win the Oscar for Best Picture.The film, an immersive drama about World War I that was fashioned to look like a single shot, triumphed in a field that also included top Academy Award contenders “Once Upon a Time … in Hollywood,” “The Irishman,” “Parasite” and “Joker.” While the PGA win makes it a de facto frontrunner of sorts in that race, this is a year in which the Oscar race still feels unsettled.“Apollo 11” won the award for documentary feature, while “Toy Story 4” won for animated feature.Also Read: '1917': How Sam Mendes & Co. Re-Created World War I in a Single TakeTelevision winners included “Succession,” “Fleabag,” “Chernobyl,” “Apollo: Missions to the Moon” and “Leaving Neverland.”As the only other major award to use the same ranked-choice voting system as the Academy to determine its top film prize, the Producers Guild Awards are one of the most reliable predictors of Oscar success. The PGA winner has gone on to win the Best Picture Oscar 21 times in 30 years, and eight times in the 10 years since both groups expanded to 10 nominees and instituted ranked-choice voting.But in one of those eight years, the Oscar winner, “12 Years a Slave,” tied with “Gravity” at the PGA – and in 2015 and 2016, the guild went for “The Big Short” and “La La Land” while the Oscars chose “Spotlight” and “Moonlight.”So while the win gives “1917” some valuable momentum in what has seemed to be a wide-open year, the compressed schedule leaves less time for any momentum to take hold before Oscar voting begins on Jan. 30 (but also less time to momentum to change). The film is not nominated for any Screen Actors Guild Awards, which will be handed out on Sunday.Also Read: Taika Waititi Joins Scorsese, Tarantino, Mendes and Bong With Directors Guild Nomination for 'Jojo Rabbit'Special awards were given to Netflix’s Ted Sarandos (Milestone Award), Plan B’s Brad Pitt, Dede Gardner and Jeremy Kleiner (David O. Selznick Achievement Award in Theatrical Motion Pictures); Marta Kauffman (Norman Lear Achievement Award in Television); actress and producer Octavia Spencer (Visionary Award); and the film “Bombshell” (Stanley Kramer Award).The ceremony took place at the Hollywood Palladium.The winners:Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures: “1917,” Sam Mendes, Pippa Harris, Jayne‐Ann Tenggren, Callum McDougall Outstanding Producer of Documentary Motion Pictures: “Apollo 11,” Todd Douglas Miller, Thomas Petersen Outstanding Producer of Animated Theatrical Motion Pictures: “Toy Story 4,” Mark Nielsen, Jonas Rivera Norman Felton Award for Outstanding Producer of Episodic Television – Drama: “Succession” (Season 2), Jesse Armstrong, Adam McKay, Frank Rich, Kevin Messick, Mark Mylod, Jane Tranter, Tony Roche, Scott Ferguson, Jon Brown, Georgia Pritchett, Will Tracy, Jonathan Glatzer, Dara Schnapper, Gabrielle Mahon Danny Thomas Award for Outstanding Producer of Episodic Television – Comedy: “Fleabag” (Season 2), Phoebe Waller‐Bridge, Harry Bradbeer, Lydia Hampson, Harry Williams, Jack Williams, Joe Lewis, Sarah Hammond David L. Wolper Award for Outstanding Producer of Limited Series Television: “Chernobyl,” Craig Mazin, Carolyn Strauss, Jane Featherstone, Johan Renck, Chris Fry, Sanne Wohlenberg Outstanding Producer of Televised or Streamed Motion Pictures: “Apollo: Missions to the Moon” Outstanding Producer of Non-Fiction Television: “Leaving Neverland” Outstanding Producer of Live Entertainment & Talk Television: “Last Week Tonight with John Oliver” (Season 6) Outstanding Producer of Game & Competition Television: “RuPaul’s Drag Race” (Season 11) Outstanding Sports Program: “What’s My Name / Muhammad Ali” Outstanding Children’s Program: “Sesame Street” (Season 49) Outstanding Short-form Program: “Comedians in Cars Getting Coffee” (Season 11) PGA Innovation Award: “Vader Immortal: A Star Wars VR Series – Episode 1”Read original story ‘1917’ Named Top Film at Producers Guild Awards At TheWrap
EntertainmentThe WrapTerry Gilliam Lets Loose on ‘Don Quixote,’ Trump, Harvey Weinstein, Marvel and More
“Welcome to my velvet prison,” Terry Gilliam said as he walked into the restaurant at the Four Seasons hotel in Beverly Hills. Casual in what appeared to be a robe of some sort, the filmmaker, animator and Monty Python member was in Los Angeles for a few days, ostensibly to whip up some awards attention for “The Man Who Killed Don Quixote,” the freewheeling riff on Cervantes that had been almost three decades in the making before he finally made it with Adam Driver and Jonathan Pryce.But at the age of 79, Gilliam isn’t the kind of guy to stick to one subject – not when it’s the 50th anniversary of Python, not when he has a history of misadventures on screen and off with the likes of “Brazil,” “The Adventures of Baron Munchausen,” “The Fisher King,” “The Imaginariuym of Doctor Parnassus” and others, and not when there’s Brexit, Boris Johnson, Donald Trump, Netflix, Harvey Weinstein and the rise of the comedy police to talk about.So what brings you to Los Angeles? I don’t know. It’s a strange moment. My daughter, Amy, was one of the producers of “Quixote,” and she said, “This is crazy. It’s awards season, and we don’t exist.” Everybody’s talking about the 10 million Adam Driver films that have come out, and “Quixote” doesn’t exist because we had probably the worst distribution I’ve ever experienced in my life.So Amy talked to our fairy godmother, the lady who made the film possible — she’d come in at the last moment and given us the money we couldn’t get for years. And she said, “Let’s get Terry out here and do some things and get some press.”I don’t know what it means, because we’re not going to be nominated for anything. But we do actually have the Academy streaming the film, which is good. It’s slightly odd, but I just didn’t want the film to just disappear because it’s a really good film. And I think it’s Adam’s best performance this year, personally.Also Read: 'The Man Who Killed Don Quixote' Film Review: Terry Gilliam Finally Delivers Messy FunIn a way, I suppose it’s only fitting that even after you finished the damn thing, it’s still a struggle. It’s a perfect “Quixote” story. “Quixote” is always about the nightmare of thinking you’ve achieved something, and then bang, you’re down on the floor again.When you got to the end of it, was there a feeling of, “Oh s—, I finished this. What now?” Not really. (Pause) Well, there is the “What now?” question. Because I don’t have a f—ing clue what now. When you finish a film there’s always this postnatal depression that goes on for me [for] six months, but always there was “Quixote” waiting in the wings, saying, “Come on, come back and see if we can make this thing.” And now I don’t have anything.I’m playing with a few things, but I just don’t know. It’s the first time in my life I felt this. Maybe I have burned myself out. I’m reading like mad trying to get something that kicks me into belief again. Maybe the problem is getting old. You get weary. My life and my filmmaking has been about fights, and now there’s nobody attacking me. (Laughs)We’ll see what’s going. I’m working with Richard LaGravenese on an old script that we had years ago, trying to see if we can update it and make it work. We thought, well, maybe we can extend this and make a six-part TV series. Because the money is sitting there at Netflix and all the other streamers. But when you see Marty (Scorsese) doing what he does, the Coen brothers doing it, I’m not sure if Netflix is going to have any money left by the time I get there.Also Read: Terry Gilliam Feels a 'Huge Emptiness' Waiting for Him Now That 'Don Quixote' Is Finally FinishedSo that’s the likely course rather than theatrical? Independent distribution is really f—ed. They don’t have any money anymore. And how do you compete with “Avengers” and things like that? It’s only at this time of year when you get a sense that there are independent films out there, because they’re spending all their money for the awards.There must have been a point in your career when Hollywood would have given you “Avengers”-style movies. When I was younger, I would’ve loved to have done that kind of work. But not now. There’s so many good technical directors out there. I don’t know their names – nobody knows their names – but boy, they can do the job. And even fairly recently, somebody was talking to me about one of the big things. But I just don’t want to work on that kind of movie, because they’re basically factory systems. And why?The one person I admire at the moment is Taika Waititi. A couple of years ago at Christmas, my son put on “Thor: Ragnarok.” I said, “I don’t want to see this stuff,” but it was really funny. And I think “Jojo Rabbit” is wonderful, just fantastic.He’s facing questions like, “Should you really joke about Nazis today?” Exactly. You can’t joke about anything these days. You might cause offense, and offense is a crime against humanity and must be stopped. You might make somebody think, and that’s really dangerous.That’s why “Jojo Rabbit” is such a brilliant film, because he deals with Nazis and his touch is perfect. I never laughed as hard as I did in “Jojo Rabbit,” with the German version of “I Want to Hold Your Hand.” But his balance was so beautiful and the story is wonderful.I don’t know where we are these days. The problem is that our politicians in America and now Britain are so beyond satire. They’re the joke, but it’s not laughable. Boris Johnson and Donald Trump are the clowns, but they’re not funny. They’re the other side of clowning, the dark side.Also Read: Taika Waititi Says He Didn't Even Try to Pitch Studios on His WWII Comedy 'Jojo Rabbit'You left the United States, where you were born and raised, to go to Britain in the 1960s? ’67. I was fed up with America. I was angry because there was a war going on and the civil rights movement was in full flow and friends were getting seriously hurt. When you’re raised here, you begin to believe that America stands for truth, justice and all of those things. And it was a moment of looking around saying, “This is not the place I thought it was. I want out because I am angry, and when I’m angry I’m not much fun to be around.”Did it make you less angry to be over there? Yeah. I suppose that I realized for all the faults in the country, they weren’t my fault, because I wasn’t born there. Getting to England just took the weight off my shoulders, and I loved the culture there.I went there because I believed in what I thought the country stood for — a liberal attitude, an intelligent, liberal, embrace of everybody. And it’s now become bitter, racist, hating immigrants. It’s horrible. They’ve become as ideologically confused as Americans, and the big lie seems to work. We’re out of Europe. It is a f—ing little island that doesn’t make anything anymore, and I don’t know how it’s going to survive.When you’re thinking about what to do next, are you thinking about projects that would reflect what you see in the world? Yeah. But the problem is that it’s so hard to work out how you satirize this stuff, because it is already satirical in the worst possible way. I mean, everything I’ve done to me is relating to the world we live in in some way. And I’m finding it so hard at the moment to find a way of doing it that’s still funny. I’m just not laughing anymore.When they did the 40th anniversary re-release of “Monty Python’s Life of Brian” early this year, it could not have been much timelier. It’s totally prescient, that film. It’s prescient and it’s funny and it’s honest. But a year or so ago, the new head of comedy at the BBC made this big public statement that Monty Python would never be commissioned now, because it was six white guys. ‘Cause they’re into diversity now, not comedy. Well, I was diverse. I was an American, I wasn’t British. Graham Chapman was gay. So we were pretty diverse. Some studied English history, others weren’t into law. What more do you want? (Laughs)When I was promoting “Quixote,” I was asked my feelings about that in a press conference in Germany. And I said, “Well, as a white male, I’m really tired of being blamed for all the wrongs on the planet. From now on, I want you to call me Loretta. I’m a black lesbian in transition.”I got a laugh, of course. But the British liberal press has tried to be so much like the Hollywood press, and Hollywood is just crazed now. It’s like a little village where at any moment there’s only one way to think about things. And so I was pilloried for causing harm to people by what I said. Harm. They don’t even know what the word harm means anymore. I ruffled somebody’s feathers? That’s harm?And “I want you to call me Loretta” is, after all, a quote that Eric Idle’s character says in a scene from “Life of Brian” that’s all about the rise of extreme political correctness. The common good is not important anymore. It’s “me” and “I feel” and “you must never say anything critical of me or my behavior,” because that’s offending.I sound like some old right winger, I know. After I made that statement in Germany, I did an interview with a really good journalist who said, “Many of the things you say sound very similar to what the neo-Nazis say.” I’m 180 degrees the opposite of them. And I said, “Whatever you write, please write this: When we can’t distinguish between humor and hatred, we are f—ed.”Python must have gotten plenty of people saying, “Oh, you shouldn’t joke about that.” No, we didn’t. I did an interview for the 50th anniversary, and Python used to always refer to “fat, ignorant bastards.” And they were worried about the offense we were causing by saying that. I said, “They were fat, ignorant bastards – that wasn’t offensive, it was just a statement of fact.” (Laughs)You can’t be critical. You can’t say anything that’s humorous, critical, questioning, because somebody will be offended. I got an award once for an opera, and I talked about the fact that I didn’t want the lead singer to be just some 50-year-old fat woman. And there was so much shock over me saying fat woman that I had to backtrack and explain what I really meant: There are fat women who sing, and if they’re supposed to be playing a 16-year-old Juliet, give me a break.So basically, you’ve been saying things that get you into trouble for years. Right. I think the problem of being of an advanced age is just you get dismissed as an old fart who doesn’t know the world. I know what’s going on and, but I do a lot of complaining because I can get away with it. I don’t give a s— what you think, which is not particularly helpful.So when you started the TV show in ’69 did you guys have any sense that what you were doing was significant? We were just doing what we want to do and getting away with it. Nothing more. We were just delighted that we had the opportunity to do what we wanted to do, and we had the BBC as an outlet. There were only three channels then, right? So everybody saw what you did. We went on on Sunday night, and on Monday morning everybody at work was around the water cooler talking about it. That doesn’t exist anymore because there’s so many choices.We just thought about each show as the end, to make it as funny as we could. We argued amongst ourselves, but the good thing about the group was there was a mutual respect in the work. Individually, we’d get in huge fights about each other, but we all felt that the work was the key thing. And when I look back, it’s incredibly rare to have your own television show where there’s no producer, no executives saying, “This is what you need to do. This is the audience we want you to go for it.”That’s why I do find it funny that we are 50 years on and we’re legendary now. (Laughs) We’re national treasures, whatever that means. Because I certainly don’t feel like that. I take the tube, Mike Palin takes the tube. And occasionally, maybe a couple of times a week, someone says, “Nice, Terry.”Coming to Hollywood, the pressure is to be a real star. It’s a killer. I’ve got friends, two who committed suicide here, and on every level they were successful here. But there was always more success they hadn’t attained, and that’s the pressure of it. Which I think is terrible.Did you ever feel yourself falling into that? Yeah, yeah. That’s why I don’t like LA. I stay away from it. I know it’s contagious. (Laughs) Coming here for a couple of days, that’s it.It was one of those weird things, having grown up out here, in the Valley, and wanting to be in film somehow. It seemed so distant. Physically it wasn’t distant, but then to go to England and finally come back to Hollywood and make movies in Hollywood was always odd and interesting and quite wonderful.I think that separation is really important. I talk to friends out here, and their limited view bothers me. It’s all about how you get something through this particular system. And now I think it’s really hard if you’re a talented to survive out here and to still continue to do really good work other than just producing products.I also think it’s hard now because you make a film and you want feedback. And feedback is also the number of people that are watching it and how it plays in a cinema. You don’t get that on Netflix. You don’t know who, what, anything.And yet they gave Martin Scorsese the money to make “The Irishman” when no studio would. Exactly. Exactly. But the question is, what is the ultimate effect of the movie now? We don’t know. At least with films, you know how many people went, you can see them so you’re getting feedback so you know if you’re communicating. And maybe at a certain point and a certain age, like me and Marty, we don’t care if we’re communicating any more – we just want to do the things we’ve wanted to do for years. We want to say we’re getting away with it.Do you find it appealing to think about the longer form you could use if you did go with Netflix? Well, that’s one of the things that Richard LeGravenese and I have been doing. We did a breakdown for a six-part series which looked like it could work, but I’m not convinced. What I tend to do with my repetitive nature is dance between reality and imagination. In a two-hour, two-hour-plus film, you’ve got the audience trapped, so you play that game in route. If you’re doing it on TV, I’m not sure it works the same way. When you get to the end of an episode, do you leave it in reality or do you leave it in the imaginative stage? And then you come back and pick it up from there? But it may be the only way that it will ever get done is if we do it for Netflix.But you don’t have a timeline for when you’re liable to do your next thing? No. I don’t know. I’m reading like mad waiting for the muse to come back. I think the problem is that I know how long it takes to get a film set up, and I’m kind of worn out. What I really would like if somebody who’s got a good script and they’ve got the funding and they’re looking for a director. Hi!I mean, in a sense that that’s what happened after “Munchhausen.” That was just a nightmare, and along came the script for “The Fisher King.” I didn’t write it, I didn’t care, it’s a great script. All we need to do is get Robin Williams, and I can get Robin. And we were off. It was the same thing with “The Brothers Grimm,” which was my experience with the Weinstein bothers. That was like, you just wanted to give up. But we did “Tideland,” which was low budget and fast.So I think that’s what I’m feeling. I will work on various things. I’m doing a musical for the theater. I had a period when I did two operas. These are the things that come along — they’re ready to go and I jump in because I’ve got to work. I know all the film ideas I’ve got are not going to be easy to finance, and I’m impatient. My theory is I’m going to die very soon, and I’d like to knock off one or two more.Your problems with the Weinsteins were over their tendency to interfere in the filmmaking? Yeah, yeah, yeah. Wanting to be directors. And they’re not. If you want to be a director, direct a movie. But they can’t. They’ve got to get their fingerprints all over the thing, so they can claim they did. They fired my DP and forced another DP on me. At a certain point the fun and the joy of filmmaking was destroyed.In their earlier stages, they were very good at picking up really good films and then saying to the filmmakers, “Your film is very good. It could be great, if … ” They would then get the filmmakers to compromise and do what they thought would make the film more popular and more successful. And then the films would fail, so they destroyed these young filmmakers. Really destroyed them. Once you’ve been through that experience, you’ve lost all confidence in yourself. And I know several who just gave up.The problem is, they’re smart, Harvey in particular. But in “Brothers Grimm,” Robin Williams was originally going to play the part that Peter Stormare played. They wouldn’t do a deal with Robin because they thought Robin had betrayed them on “Good Will Hunting.” Robin was the reason the film got made, and when the film looked like it might be worked for some awards, they wanted Robin to give up his back end to give them the money to campaign. And Robin said, “Why?” and he didn’t. So they refused to let me have Robin.I wanted Samantha Morton for the part that Lena Headey played. Samantha was perfect for the part, but Harvey would not do it. He said, “She’s brilliant, she’s going to win the Academy Award one day, but she’s not going to be in your film.” I talked to her and said, “What was your crime that they are behaving like this?” And the only thing she could think of was that when they were in Cannes promoting something, there was a lunch, and Harvey said, “Come to lunch. important people. I want you to wear a very short skirt.” And she came down in slacks. That was her crime. I think that was the only thing she could think of. He wanted her to look sexy and she said no.And eventually his karma caught up with him, and he’s in a real karma crash.Well, I think I’ve got plenty to work with… Enough to destroy my career? (Laughs) Thank you.Actually, you asked why I was here. I’m actually here to say things that get me into trouble when you print them.Read original story Terry Gilliam Lets Loose on ‘Don Quixote,’ Trump, Harvey Weinstein, Marvel and More At TheWrap
EntertainmentThe Wrap‘Parasite’ Wins Best Picture From Los Angeles Film Critics
“Parasite” has been named the best film of 2019 by the Los Angeles Film Critics Association, which announced its annual awards on Sunday. “The Irishman” was runner-up.The twisted Korean black comedy also won awards for director Bong Joon Ho and supporting actor Song Kang Ho, and it was runner-up in the screenplay and production design categories. “The Irishman” did not win any awards but finished second to “Parasite” for picture, director and supporting actor (Joe Pesci).This marked the second year in a row that the L.A. critics have named a film not in English the year’s best, and the fifth time in their 45-year history. All of those wins have taken place in the last 20 years: “Roma” last year, “Amour” in 2012, “Letters From Iwo Jima” in 2006 and “Crouching Tiger, Hidden Dragon” in 2000.Also Read: How 'Parasite' Director Bong Joon Ho Created the Year's Most Dangerously Charming FilmAntonio Banderas won the best-actor award for “Pain and Glory,” the same prize he claimed from the New York Film Critics Circle. Adam Driver was named runner-up for “Marriage Story.” Mary Kay Place won the best-actress prize for the small indie “Diane,” with Lupita Nyong’o taking runner-up for “Us.”Jennifer Lopez’s performance as a stripper looking to turn the tables on her colleagues got perhaps unexpected critical support from LAFCA voters, who gave her the supporting-actor award over runner-up Zhao Shuzhen for “The Farewell.”“I Lost My Body” was named the best animated film over runner-up “Toy Story 4,” while “American Factory” beat “Apollo 11” for best nonfiction film. “Pain and Glory” was named best foreign-language film over “Portrait of a Lady on Fire,” in a vote that took place after “Parasite” had won the best-picture award.In the craft categories, Claire Mathon was voted the prize for cinematography for her work on both “Portrait of a Lady on Fire” and “Atlantics,” Barbara Ling won for her production design of “Once Upon a Time … in Hollywood,” Dan Levy was honored for his music to the animated film “I Lost My Body” and Todd Douglas Miller took the editing award for “Apollo 11,” the second year in a row the critics have given this prize to a nonfiction film. (“Minding the Gap” won last year.)Last year, five of the LAFCA winners went on to win the Oscar: actresses Olivia Colman and Regina King, animated film “Spider-Man: Into the Spider-Verse,” “Roma” cinematographer Alfonso Cuaron and “Black Panther” production designer Hannah Beachler.Also Read: New York Film Critics Circle Awards: 'The Irishman' Named Best Picture of 2019The LAFCA best-film winner has won the Oscar for Best Picture 10 times in the 45 years the organization has been giving out awards, including three times in the last decade: “The Hurt Locker” in 2009, “Spotlight” in 2015 and “Moonlight” in 2016.The group consists of 62 Los Angeles-based film critics working in print and electronic media. (TheWrap’s Alonso Duralde is a member.)The awards will be given out at an awards dinner on Saturday, Jan. 11, 2020, at the InterContinental Hotel in Century City. Also at that ceremony, director-writer-actress Elaine May will be honored with this year’s Career Achievement Award.Also Read: AFI Top 10 List Includes 'The Irishman,' 'Joker,' 'The Farewell'The 2019 Los Angeles Film Critics Association Awards:Best Film: “Parasite” Runner-up: “The Irishman” Best Director: Bong Joon Ho, “Parasite” Runner-up: Martin Scorsese, “The Irishman” Best Actor: Antonio Banderas, “Pain and Glory” Runner-up: Adam Driver, “Marriage Story” Best Actress: Mary Kay Place, “Diane” Runner-up: Lupita Nyong’o, “Us” Best Supporting Actor: Song Kang Ho, “Parasite” Runner-up: Joe Pesci, “The Irishman” Best Supporting Actress: Jennifer Lopez, “Hustlers” Runner-up: Zhao Shuzhen, “The Farewell” Best Foreign-Language Film: “Pain and Glory” Runner-up: “Portrait of a Lady on Fire” Best Documentary/Nonfiction Film: “American Factory” Runner-up: “Apollo 11” Best Animated Film: “I Lost My Body” Runner-up: “Toy Story 4” Best Screenplay: Noah Baumbach, “Marriage Story” Runner-up: Bong Joon Ho and Han Jin Won, “Parasite” Best Cinematography: Claire Mathon, “Portrait of a Lady on Fire” and “Atlantics” Runner-up: Roger Deakins, “1917” Best Editing: Todd Douglas Miller, “Apollo 11” Runner-up: Ronald Bronstein & Benny Safdie, “Uncut Gems” Best Music/Score: Dan Levy, “I Lost My Body” Runner-up: Thomas Newman, “1917” Best Production Design: Barbara Ling, “Once Upon a Time … in Hollywood” Runner-up: Ha Jun Lee, “Parasite” New Generation Award: Joe Talbot, Jimmie Fails and Jonathan Majors, “The Last Black Man in San Francisco” Douglas E. Edwards Independent/Experimental Film/Video: “The Giverny Document,” Ja’Tovia GaryRead original story ‘Parasite’ Wins Best Picture From Los Angeles Film Critics At TheWrap