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Tag: Academy Awards

  • Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

    Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

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    JERUSALEM — Chaim Topol, a leading Israeli actor who charmed generations of theatergoers and movie-watchers with his portrayal of Tevye, the long-suffering and charismatic milkman in “Fiddler on the Roof,” has died in Tel Aviv, Israeli leaders said Thursday. He was 87.

    The cause was not immediately released.

    Israeli leaders on Thursday tweeted their memories and condolences to Topol’s family.

    Israel’s ceremonial president, Isaac Herzog hailed Topol as “one of the most outstanding Israeli actors,” who “filled the movie screens with his presence and above all entered deep into our hearts.”

    Israeli Prime Minister Benjamin Netanyahu said Topol’s “contribution to Israeli culture will continue to exist for generations.” .

    Benny Gantz, Israel’s former minister of defense, praised Topol for helping Israelis connect to their roots.

    “We laughed and cried at the same time over the deepest wounds of Israeli society,” he wrote of Topol’s performance.

    Yair Lapid, head of Israel’s opposition, said Topol taught Israelis “love of culture and love of the land.”

    Topol’s charity, Jordan River Village, also announced his death, paying tribute to him as an “inspiration” whose “legacy will continue for generations to come.”

    A recipient of two Golden Globe awards and nominee for both an Academy Award and a Tony Award, Topol long has ranked among Israel’s most decorated actors. More recently in 2015, he was celebrated for his contributions to film and culture with the Israel Prize for lifetime achievement, his country’s most prestigious honor. Up until a few years ago, he remained involved in theater and said he still fielded requests to play Tevye.

    Topol got his start in acting in a theatrical troupe in the Israeli army in the 1950s, where he met his future wife Galia. His first major breakthrough was the lead role in the 1964 hit Israeli film Sallah Shabati, about the hardships of Middle Eastern immigrants to Israel. The film made history as the first Israeli film to earn an Academy Award nomination and also gave Topol his first Golden Globe Award.

    Two years later, he made his English-language film debut alongside Kirk Douglas in “Cast a Giant Shadow.” But the role of his life arrived in the long-running musical “Fiddler on the Roof,” in which he played the dairyman protagonist, Tevye, a Jewish father trying to maintain his family’s cultural traditions despite the turmoil gripping their Russian shtetl.

    With his rich voice, folkish witticisms and commanding stage presence, Topol’s Tevye, driving his horse-drawn buggy and delivering milk, butter and eggs to the rich, became a popular hero in Israel and around the world.

    After years of playing Tevye on stage in London and on Broadway, he scored the lead role in the 1971 Norman Jewison-directed film version, winning the Golden Globe award for lead actor and being nominated for a Best Actor Academy Award. He lost out to Gene Hackman in “The French Connection.”

    Topol played the part more than 3,500 times on stage, most recently in 2009. With the help of heavy makeup and costume work, he first portrayed the much older, burlier dairyman in his 30s and quite literally aged into the role.

    Topol faced tough competition securing the role in Jewison’s hit film — scores of talents have played Tevye in over a dozen languages since “Fiddler on the Roof” first appeared. Topol has said his personal experience as the descendant of Russian Jews helped him relate to Tevye and deepen his performance.

    In an interview with The Associated Press from his Tel Aviv home in 2015, on the occasion of accepting the Israel prize for lifetime achievement, Topol traced his meteoric rise from modest beginnings to worldwide fame.

    “I wasn’t brought up in Hollywood. I was brought up in a kibbutz,” he said. “Sometimes I am surprised when I come to China or when I come to Tokyo or when I come to France or when I come wherever and the clerk at the immigration says ’Topol, Topol, are you Topol?”

    Topol also starred in more than 30 other movies, including as the lead in “Galileo,” Dr. Hans Zarkov in “Flash Gordon” and James Bond’s foil-turned-ally Milos Columbo in “For Your Eyes Only” alongside Roger Moore.

    But he became synonymous with just one role — Tevye. Pouring his heart out about his impoverished Jewish community over the years, Topol made audiences laugh and cry from Broadway and West End stages.

    “How many people are known for one part? How many people in my profession are known worldwide?” he told the AP. “I’m not complaining.”

    Yet Topol said he sometimes needed to look outside of acting to find meaning in his life. He devoted much of his later years to charity as chairman of the board of Jordan River Village, a camp serving Middle Eastern children with life-threatening diseases.

    “I am interested in charities and find it more fulfilling than running from one (acting) part to another,” he said. ”When you are successful in a film and the money flows, yes, obviously, it is very nice. But to tell you that is the most important thing, I am not sure.”

    Topol is survived by his wife and three children.

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  • Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

    Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

    [ad_1]

    JERUSALEM — Chaim Topol, a leading Israeli actor who charmed generations of theatergoers and movie-watchers with his portrayal of Tevye, the long-suffering and charismatic milkman in “Fiddler on the Roof,” has died in Tel Aviv, Israeli leaders said Thursday. He was 87.

    The cause was not immediately released.

    Israeli leaders on Thursday tweeted their memories and condolences to Topol’s family.

    Israel’s ceremonial president, Isaac Herzog hailed Topol as “one of the most outstanding Israeli actors,” who “filled the movie screens with his presence and above all entered deep into our hearts.”

    Benny Gantz, Israel’s former minister of defense, praised Topol for helping Israelis connect to their roots.

    “We laughed and cried at the same time over the deepest wounds of Israeli society,” he wrote of Topol’s performance.

    Yair Lapid, head of Israel’s opposition, said Topol taught Israelis “love of culture and love of the land.”

    Topol’s charity, Jordan River Village, also announced his death, paying tribute to him as an “inspiration” whose “legacy will continue for generations to come.”

    A recipient of two Golden Globe awards and nominee for both an Academy Award and a Tony Award, Topol long has ranked among Israel’s most decorated actors. More recently in 2015, he was celebrated for his contributions to film and culture with the Israel Prize for lifetime achievement, his country’s most prestigious honor. Up until a few years ago, he remained involved in theater and said he still fielded requests to play Tevye.

    Topol got his start in acting in a theatrical troupe in the Israeli army in the 1950s, where he met his future wife Galia. His first major breakthrough was the lead role in the 1964 hit Israeli film Sallah Shabati, about the hardships of Middle Eastern immigrants to Israel. The film made history as the first Israeli film to earn an Academy Award nomination and also gave Topol his first Golden Globe Award.

    Two years later, he made his English-language film debut alongside Kirk Douglas in “Cast a Giant Shadow.” But the role of his life arrived in the long-running musical “Fiddler on the Roof,” in which he played the dairyman protagonist, Tevye, a Jewish father trying to maintain his family’s cultural traditions despite the turmoil gripping their Russian shtetl.

    With his rich voice, folkish witticisms and commanding stage presence, Topol’s Tevye, driving his horse-drawn buggy and delivering milk, butter and eggs to the rich, became a popular hero in Israel and around the world.

    After years of playing Tevye on stage in London and on Broadway, he scored the lead role in the 1971 Norman Jewison-directed film version, winning the Golden Globe award for lead actor and being nominated for a Best Actor Academy Award. He lost out to Gene Hackman in “The French Connection.”

    Topol played the part more than 3,500 times on stage, most recently in 2009. With the help of heavy makeup and costume work, he first portrayed the much older, burlier dairyman in his 30s and quite literally aged into the role.

    Topol faced tough competition securing the role in Jewison’s hit film — scores of talents have played Tevye in over a dozen languages since “Fiddler on the Roof” first appeared. Topol has said his personal experience as the descendant of Russian Jews helped him relate to Tevye and deepen his performance.

    In an interview with The Associated Press from his Tel Aviv home in 2015, on the occasion of accepting the Israel prize for lifetime achievement, Topol traced his meteoric rise from modest beginnings to worldwide fame.

    “I wasn’t brought up in Hollywood. I was brought up in a kibbutz,” he said. “Sometimes I am surprised when I come to China or when I come to Tokyo or when I come to France or when I come wherever and the clerk at the immigration says ’Topol, Topol, are you Topol?”

    Topol also starred in more than 30 other movies, including as the lead in “Galileo,” Dr. Hans Zarkov in “Flash Gordon” and James Bond’s foil-turned-ally Milos Columbo in “For Your Eyes Only” alongside Roger Moore.

    But he became synonymous with just one role — Tevye. Pouring his heart out about his impoverished Jewish community over the years, Topol made audiences laugh and cry from Broadway and West End stages.

    “How many people are known for one part? How many people in my profession are known worldwide?” he told the AP. “I’m not complaining.”

    Yet Topol said he sometimes needed to look outside of acting to find meaning in his life. He devoted much of his later years to charity as chairman of the board of Jordan River Village, a camp serving Middle Eastern children with life-threatening diseases.

    “I am interested in charities and find it more fulfilling than running from one (acting) part to another,” he said. ”When you are successful in a film and the money flows, yes, obviously, it is very nice. But to tell you that is the most important thing, I am not sure.”

    Topol is survived by his wife and three children.

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  • The Change That Will Save the Oscars Is…a Champagne-Colored Carpet?

    The Change That Will Save the Oscars Is…a Champagne-Colored Carpet?

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    Say you’re playing a word association game and someone gives you “Oscars.” Somewhere in the first five words you might venture—statues, awards, Billy Crystal—will be the phrase “red carpet.” It’s such a ubiquitous element of the entertainment industry’s biggest awards show that E! built an entire franchise around it. Not to give too much of a glimpse behind the curtain here at VF.com, but we know how you search for awards show fashion—and there are two particular words that get you there. 

    Yet the Oscars are betting this year that a champagne carpet might be a change worth investing in. At a ceremony outside the Dolby Theatre in Los Angeles on Wednesday, host Jimmy Kimmel, Academy CEO Bill Kramer, and Academy president Janet Yang were on hand for the rollout of the arrivals carpet, which this year will be a distinctly muted champagne/sand/beige shade. Kimmel was ready with a joke about the carpet that, perhaps inevitably, referenced The Slap: “People have been asking, ‘Is there going to be any trouble this year? Is there going to be any violence this year?’ And we certainly hope not,” he said. “But if there is, I think the decision to go with a champagne carpet rather than a red carpet shows how confident we are that no blood will be shed.”

    It’s possible the production team will shed more light on the change at a press conference later on Wednesday, but they’re well aware of the precedent they’re breaking. According to ABC, the Oscar arrivals carpet has been red since 1961. 

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    As anyone who has entered the Vanity Fair Oscar party knows, the red carpet is a state of mind, even if said carpet is green-and-white striped or a particularly lovely peacock blue. Odds are you will still see a lot of TV hosts referring to the “red carpet” on Oscar Sunday out of force of habit, and we can only hope that anyone who was planning to wear a champagne-colored gown got some fair warning so they don’t risk blending into the background. 

    The main question this raises, though, is how many other changes are in store, as the Oscars continue their seemingly endless efforts to tweak traditions and gain new viewers. A new carpet is a much better gambit than, say, eliminating some categories from the telecast, or inventing new categories that are awarded by bots. Maybe the champagne carpet is a preview of potential other changes to come: subtle, classy, something you might not even notice at first. 

    Or maybe it’s just fixing something that wasn’t broken in the first place—another Oscar telecast tradition we may not be rid of yet. 


    Listen to Vanity Fair’s Little Gold Men podcast now.

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    Katey Rich

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  • Oscars Host Jimmy Kimmel Feels Extra Pressure Because Of The Slap

    Oscars Host Jimmy Kimmel Feels Extra Pressure Because Of The Slap

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    Sunday’s ceremony comes one year after Will Smith slapped Chris Rock on the 2022 Academy Awards stage, creating the most infamous moment in Oscars history.

    And that means a lot of pressure on Kimmel, especially when it comes to possible monologue jokes about the slap.

    “Well, whatever I say about it, it’s going to have to be great, right?” Kimmel told The Hollywood Reporter. “Because so much has been said and there’s so much focus on it. I obviously don’t want to make the whole monologue about that, but it would be ridiculous not to mention it.”

    Kimmel also has considered what to do if there is another slap ― especially if he’s the target.

    “If I’m bigger than they are, I beat the shit out of them on television. And if it’s the Rock, I run,” Kimmel joked.

    Kimmel is no stranger to Oscars drama. He hosted the 2017 ceremony, when “La La Land” was accidentally declared the Best Picture winner over “Moonlight.”

    Kimmel said last year’s slap tops that moment in Oscars infamy.

    “It’s disappointing in a lot of ways,” he said. “If you’re gonna be part of a fuckup, it might as well be the biggest fuckup ever. Being part of the second-biggest fuckup doesn’t carry as much cachet.”

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  • 2023 Oscars: Watch scenes of the best supporting actress nominees

    2023 Oscars: Watch scenes of the best supporting actress nominees

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    Watch scenes for the performances nominated in the category of best supporting actress at the 95th annual Academy Awards, as well as interviews with the stars at the links below.

    The Oscars will be presented on March 12.


    Angela Bassett, “Black Panther: Wakanda Forever”

    Angela Bassett (whose credits include “Boyz n the Hood,” “Malcolm X,” “How Stella Got Her Groove Back,” “Strange Days,” and “Mission Impossible: Fallout”) received her first Oscar nomination for her starring role as singer Tina Turner in the 1993 biopic “What’s Love Got to Do With It.” Three decades later, she became the first actor to receive an Academy Award nomination for a performance in a Marvel superhero film.

    In “Black Panther: Wakanda Forever,” Bassett reprises her role as Ramonda, Queen Mother of Wakanda, mother of the late T’Challa, who seeks to protect her nation and the power it possesses through its exclusive control of vibranium.

    In this scene, she strips General Okoye (Danai Gurira) of her power, following a fateful confrontation with a race of superhumans desperate to acquire vibranium.


    Black Panther Wakanda Forever | Queen Ramonda Fired Out Okoye Scene by
    One Ticket TV on
    YouTube

    Bassett won the Golden Globe for her performance.

    “Queen Ramonda, for me, is just, at its core, a representation of the strong women that I’ve had in my life who’ve raised me, of the strong women I see, my love for them, my appreciation of them,” Bassett told “CBS Mornings.”


    Angela Bassett on this year’s Academy Awards

    10:17

    “Black Panther: Wakanda Forever” is playing in theaters, available on demand and on home video, and streaming via Disney+.


    Hong Chau, “The Whale”

    In Darren Aronofsky’s “The Whale,” Chau plays Liz, a nurse who is caring for a morbidly-obese English teacher, Charlie (played by Oscar-nominee Brendan Fraser). Liz is practically the reclusive man’s only friend, the only person who could possibly convince him to get the medical attention he so obviously needs. She is also protective of him, with regard to a visiting missionary who is intent upon “saving” Charlie.

    In this scene she examines Charlie after he experiences chest pains, with an air of patience and tired resignation. But we will learn that not only is her connection to Charlie closer than that of a caretaker; Liz also learns that she has been lied to by Charlie about his money, which he’d planned to leave to his estranged daughter.


    Liz Helps Charlie After His Heart Attack – The Whale (2022) Scene by
    Movie Hub on
    YouTube

    Chau’s credits include “Inherent Vice,” “Big Little Lies,” “Homecoming,” “Watchmen,” “Driveways,” and “Downsizing” (for which she was nominated for a Screen Actors Guild Award). She’d actually stepped away from acting, having recently had a baby, but Aronofsky had written the part of Liz for her (even though the script didn’t specify the character as being Asian).

    “The Whale” got Chau back before the camera, and she has continued with roles in “Showing Up” (opposite Michelle Williams) and “The Menu” (with Ralph Fiennes).

    “The Whale” is Chau’s first Academy Award nomination.

    “The Whale” is playing in theaters, and is available on demand and on home video.


    Kerry Condon, “The Banshees of Inisherin”

    Kerry Condon (“Rome,” “Better Call Saul”) won the BAFTA Award for her performance as Siobhán, the sister of Pádraic (Colin Farrell), who acts as a go-between in her brother’s efforts to make amends and re-establish his broken friendship with Colm (Brendan Gleeson). At the same time, she is looking beyond the tiny island off the Irish coast where she lives with her brother, looking for a future for herself on the mainland.

    In this scene, Siobhán addresses a very unwelcome overnight guest, Dominic (Oscar-nominee Barry Keoghan), who questions why she’d never gotten married. 


    Pádraic, Siobhán and Dominic – The Banshees of Inisherin by
    BadRo on
    YouTube

    In this scene she gently lets down Dominic and his romantic aspirations:


    The Banshees of Inisherin 2022 Lake Scene by
    ClassicMovieScenes on
    YouTube

    Condon had a long history working with Irish playwright and filmmaker Martin McDonagh, appearing in his plays “The Lieutenant of Inishmore” and “The Cripple of Inishmaan,” as well as his 2017 film “Three Billboards Outside Ebbing, Missouri.”

    She told “CBS Mornings” that while she initially thought her character in “Banshees” wouldn’t be as much fun as the roles she played in McDonagh’s plays, she decided that “it was actually a bit harder, because it was for a more mature girl. Like, I don’t think I could have done this if I was 18 or 19. I needed all of these years of, like, learning things about life and disappointments and sadness.”

    This is her first Academy Award nomination.


    Golden Globe nominee Kerry Condon on “The Banshees of Inisherin”

    05:16

    “The Banshees of Inisherin” is playing in theaters, available on demand and home video, and streaming on HBO Max


    Jamie Lee Curtis, “Everything Everywhere All at Once”

    She leaped to fame as the star of the 1978 shocker “Halloween,” and quickly became the movies’ “Scream Queen,” in such horror films as “The Fog,” “Prom Night” and “Terror Train,” and in hard-edged thrillers like “Blue Steel.” But Jamie Lee Curtis’ greatest gifts are in comedy, as evidenced by her sprightly turns in such hits as “Trading Places,” “A Fish Called Wanda,” “True Lies,” “Freaky Friday” and “Knives Out.”

    In “Everything Everywhere All at Once,” Curtis plays Deirdre Beaubeirdre, a divorced IRS auditor investigating the mess of a tax return submitted by Evelyn and Waymond Wang (Michelle Yeoh and Ke Huy Quan).


    Clip: Jamie Lee Curtis in “Everything Everywhere All at Once” by
    CBS Sunday Morning on
    YouTube

    Curtis would play variations of her character in the alternate worlds that are revealed in The Daniels’ multiverse action-comedy, including a love interest for Evelyn Wang, in a universe where they both sport hot dog fingers. (Consequently, Deirdre must play the piano with her toes.)


    Everything Everywhere All At Once (2022) – Evelyn Comforts Mrs. Deirdre | HD by
    Theodore on
    YouTube

    Playing Beaubeirdre, Curtis got to let it all hang out, literally. “I know women like Deirdre Beaubeirdre,” she told “Sunday Morning.” “I think we all do. We all have had so many disappointments, so many opportunities that then break your heart. And I think that Deirdre’s heart has just been broken. I know her. And I love her.”

    Curtis won the Golden Globe and the Screen Actors Guild Awards for her performance. This is her first Academy Award nomination.


    Jamie Lee Curtis on life since “Halloween”

    08:19

    “Everything Everywhere All at Once” is now in theaters, and available on demand and home video, and streaming on Showtime


    Stephanie Hsu, “Everything Everywhere All at Once”

    Stephanie Hsu (whose credits include “The Marvelous Mrs. Maisel,” “The Path,” and “Shang-Chi and the Legend of the Ten Rings”) stars as Joy, a young queer woman struggling in her relationship with her mother, laundromat owner Evelyn Wang (Michelle Yeoh). In addition to the mother-daughter tensions that are exacerbated by her Asian immigrant’s traumatic past, Evelyn also finds herself pitted against a nihilistic manifestation of Joy from an alternate universe.

    In this scene, Joy transforms into Jobu Tupaki, a powerful being who threatens to destroy every universe.


    Everything Everywhere All At Once (2022) – Evelyn Confronts Jobu Tupaki | HD by
    Theodore on
    YouTube

    In this scene, the main universe Evelyn reconciles with Joy, who fears that, unlike what other multiverse versions of Joy may offer her mother, she is only Joy: “Here, all we’ll get are a few specks of time where any of this actually makes any sense.”


    Everything Everywhere All At Once (2022) – Evelyn Reconciles With Joy [1/3] | HD by
    Theodore on
    YouTube

    “I think one of my favorite things about ‘Everything Everywhere All at Once’ is that it’s about so many things, that it’s somehow able to transcend identity politics,” Hsu told CBS Bay Area station KPIX. “That it is centered around a Chinese family, but it launches into the multiverse, so many things are happening all at once, that you forget that you’re focusing on a Chinese immigrant family.” 

    This marks the first Academy Award nomination for Hsu.

    “Everything Everywhere All at Once” is now in theaters, and available on demand and home video, and streaming on Showtime


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  • How the Oscar Shorts Races Got So Starry

    How the Oscar Shorts Races Got So Starry

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    At the Academy Awards last year, Riz Ahmed dedicated his award for the live-action short The Long Goodbye, made with director Aneil Karia, to “everyone who feels like they don’t belong.” But because of the Academy’s decision to hand out eight awards before the actual broadcast, he was speaking to only a half-full theater.

    The Academy has already reversed its decision about relegating certain awards to the preshow, but many filmmakers still fear that the three Oscar shorts categories, which have boosted the careers of everyone from Jim Henson to Martin McDonagh, might eventually get booted from the Oscar telecast altogether. The categories have actually become a haven for celebrities, with Taylor Swift and Kendrick Lamar both making shorts that qualified for Oscar consideration. J.J. Abrams, Alfonso Cuarón, and Malala Yousafzai all produced nominated shorts this year, but none of the other celebs ultimately got nods, which suggests that the shorts categories—for now, at least—still mostly belong to up-and-comers.

    “These three categories don’t resonate with the wider audience,” admits Anders Walter, an Oscar winner who’s back in the race this year with live-action short nominee Ivalu. “Nobody knows about the films, and they definitely don’t know about the people behind them. Big names like Taylor Swift are a great way for the Academy to maybe find a way to keep the attention on these categories, so they don’t risk leaving the show one day.”

    Kobe Bryant is still the most famous Oscar shorts winner, for 2017’s Dear Basketball. Celebrity is clearly not a sure path to a nomination—and a nomination is not exactly a shortcut to riches, either. “There are no guarantees,” says actor Colman Domingo, who cowrote the Oscar-qualifying animated short New Moon with his husband, Raúl Domingo. “You have to be a part of it because you love it and you want this story to exist.” Though the rise of streaming has introduced new buyers for short films, like Disney+ and Apple TV+, filmmakers suspect they will remain largely a labor of love. “I’m very selfish,” says Cuarón, who coproduced nominee Le Pupille. His chief criteria for supporting a short? “I want to see that film.”

    Cuarón has Hollywood connections that may have helped Le Pupille get seen, but he faces some impressive competition. The 15 nominated shorts represent a wide swath of storytellers who will be competing as equals. Says two-time Oscar winner and Ivalu coproducer Kim Magnusson, “I have to congratulate everybody who opted in to see the films and has done a great job of watching and voting with their heart and maybe not buying into a lot of the publicity.”

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    Natalie Jarvey

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  • ‘Everything Everywhere’ Sweeps Spirit Awards 1 Week Prior To Oscars Night

    ‘Everything Everywhere’ Sweeps Spirit Awards 1 Week Prior To Oscars Night

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    “Everything Everywhere All At Once” continued its awards sweep at the Film Independent Spirit Awards on its path to the Oscars next weekend. The multiverse-hopping adventure collected awards for best picture, directors Daniel Kwan and Daniel Scheinert, actors Michelle Yeoh, Ke Huy Quan and Stephanie Hsu, screenplay and editing.

    “Thank you to everyone who makes crazy, weird independent movies,” Scheinert said.

    Awards were handed out Saturday afternoon in a tent on the beach in Santa Monica, Calif., and the show was streamed live on YouTube and Twitter.

    First-time Spirit Awards host Hasan Minhaj opened the show saying, “Of all the awards shows, this is by far, one of them.”

    Minhaj went hard on everything, from the entertainment trade website Deadline (“At this point, Deadline is half gossip, half Ezra Miller crime tracker,” he said) to the show’s lack of a broadcast partner.

    “The Independent Film Channel did not want the Independent Film Awards,” he said, noting that the channel chose to show the poorly reviewed Will Ferrell movie “Semi-Pro” instead.

    “Awards shows are dead,” he added. “My 2-year-old watches slime videos with more viewers than the Oscars.”

    The first prize of the afternoon went to Quan for best supporting actor for “Everything Everywhere All At Once,” which his co-star Jamie Lee Curtis was also nominated for. This is the first year the Spirit Awards embraced gender neutral acting awards – both lead and supporting performance categories had 10 nominees. Quan, who is expected to win the supporting actor Oscar next week, chose to devote his speech to many of the crew who worked on the film, from the stunt coordinators to the production assistants.

    Hsu later collected the prize for best breakthrough performance for the film.

    “This is my first ever individual award and it feels incredibly appropriate that it’s in this room. I feel so honored” she said. “I really want to thank the Daniels so much. Thank you so much for finding me and believing in my art and seeing me and championing me.”

    Hsu said she hoped the award would act as a talisman to “protect that freak flag” and desire to tell stories.

    “I kinda like the gender neutral thing, it’s kind of tight,” said “Abbott Elementary’s” Quinta Brunson who won for leading performance in a new scripted series.

    Brunson said she felt like the least independent person there, as her show is supported by Warner Bros. and Disney, but that the spirit of it felt right.

    Laura Poitras’s “All the Beauty and the Bloodshed” won best documentary. The film looks at the life of photographer and activist Nan Goldin.

    “It would take me the entire day to fully express my gratitude to Nan for her collaboration and for her trust,” Poitras said. “She’s taught me so many things in making this film, most importantly the role of art and artists to change not only society but how we understand the world we live in.”

    “Women Talking” was previously announced as winner of the Robert Altman Award, celebrating director Sarah Polley, casting directors John Buchan and Jason Knight, and the ensemble cast including Jessie Buckley, Rooney Mara, Claire Foy, Ben Whishaw and Frances McDormand.

    “It’s so fitting the way that you’re being recognized for the beautiful, supportive, loving ensemble that you are,” Polley said.

    She also called her film “Women Are Talking” in a nod to Mark Wahlberg’s slip-up at the Screen Actors Guild Award s last week.

    “Sorry, Marky Mark just gets in my head,” she said.

    Apple TV+’s “Pachinko” got the corresponding award on the television side.

    Nathan Fielder had the crowd laughing accepting his award for non-scripted series for his HBO show “The Rehearsal” and detailing the contents of the lunch boxes at everyone’s seats.

    “The bean salad was great,” he said. “There were a few grapes also. Delicious. They weren’t rotten. None were rotten.”

    Looking down at his award, he said, “I guess they’ll add the name to it later?”

    “Nanny” director Nikyatu Jusu won the Someone to Watch award.

    “Thank god Charlotte Wells was not in this category because all year ‘Aftersun’ has been whooping my ass,” Jusu said.

    “Aftersun” did win best first feature later in the afternoon.

    “Here’s to the second feature,” Wells said.

    Other winners included “Joyland” (best international film), “The Bear” (new scripted series and supporting actor Ayo Edebiri), “The Cathedral” (The John Cassavetes Award), John Patton Ford (first screenplay for “Emily the Criminal”) and “Tár” cinematographer Florian Hoffmeister.

    Winners are voted on by members of the non-profit organization Film Independent. The budget cap for eligible films was recently raised from $22.5 million to $30 million.

    Kwan closed the show with some words of inspiration to dream big.

    “We are in the middle of an identity crisis, the industry at large is confused as to what’s happening next and it’s really scary especially for the independent world, but I want to offer up a reframe: This is an opportunity,” Kwan said.

    “When things are shaking and it gets turbulent and cracks form in the foundation, that’s the best time to plant seeds. It is our job not just to adapt to the future but also to actively dream up what kind of future we want to rewrite and what kind of future we want to be working and living in,” Kwan continued. I urge us all to dream really big. What we do here is going to flow upstream to the rest of the industry.”

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  • Chris Rock to finally have his say in new stand-up special

    Chris Rock to finally have his say in new stand-up special

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    A year after Will Smith smacked him on the Academy Awards stage, Chris Rock is poised to finally have his say.

    The 58-year-old comedian on Saturday night will perform his first stand-up special since last year’s Oscars. He’s doing it in “Chris Rock: Selective Outrage,” streaming live on Netflix at 10 p.m. EST. Not only will Rock present about an hour of stand-up from the Hippodrome Theatre in Baltimore, but Netflix — in its first ever live show — will bookend the special with star-studded commentary.

    The pre-show, beginning at 9:30 p.m., will feature Paul McCartney, Jerry Seinfeld, Matthew McConaughey, Cedric the Entertainer, Ice-T and two hosts from last year’s Oscars: Wanda Sykes and Amy Schumer. Afterward Rock’s set, Dana Carvey and David Spade will host guests including Kareem Abdul-Jabbar, Arsenio Hall and JB Smoove.

    While Smith has apologized and repeatedly spoken about the incident since last March, Rock has avoided all the usual platforms where celebrities often go to air their feelings. He never sat down with Oprah Winfrey, and turned away the many media outlets that would have loved to land an exclusive in-depth interview.

    Instead, Rock has for much of the past year been touring new material in a long string of performances as part of his Ego Death tour. The shows, which had been announced before the 2022 Oscars, have featured performances with Dave Chappelle and Kevin Hart.

    On the road, Rock has often worked in jokes and reflections on the slap, though it’s never been more than an element of his shows. There’s no guarantee that he will talk it about Saturday night, but he’s widely expected to and has long suggested this would be his chosen forum.

    Rock first broke his public silence about the slap three nights after the Oscar ceremony, last year in Boston. “How was your weekend?” he asked the crowd. He added that he was “still kind of processing what happened.”

    Now, after plenty of processing, Rock will be taking the cultural spotlight just a week before the March 12 Oscars, where the slap is sure to revisited by this year’s host, Jimmy Kimmel. In the aftermath of last year’s events, Smith resigned his membership to the film academy. The academy board of governors banned Smith from the Oscars and all other academy events for a decade.

    At the annual luncheon for nominees held last month, motion picture academy president Janet Yang voiced regret about how the incident was handled, calling the academy’s response “inadequate.” Bill Kramer, the academy’s chief executive, has said the academy has since instituted a crisis communications team to prepare for and more rapidly respond to the unexpected.

    “Selective Outrage” is Rock’s second special for Netflix, following 2018’s “Tamborine.” They’re part of a two-special $40 million deal Rock signed with the streamer in 2016.

    While rivals have gotten into live streaming and sports, “Selective Outrage” marks Netflix’s first foray into live programming. Netflix, with 231 million global subscribers, also recently signed on to stream next year’s Screen Actors Guild Awards, signaling that “Selective Outrage” may be just the start of a new trend.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Chris Rock to finally have his say in new stand-up special

    Chris Rock to finally have his say in new stand-up special

    [ad_1]

    A year after Will Smith smacked him on the Academy Awards stage, Chris Rock is poised to finally have his say.

    The 58-year-old comedian on Saturday night will perform his first stand-up special since last year’s Oscars. He’s doing it in “Chris Rock: Selective Outrage,” streaming live on Netflix at 10 p.m. EST. Not only will Rock present about an hour of stand-up from the Hippodrome Theatre in Baltimore, but Netflix — in its first ever live show — will bookend the special with star-studded commentary.

    The pre-show, beginning at 9:30 p.m., will feature Paul McCartney, Jerry Seinfeld, Matthew McConaughey, Cedric the Entertainer, Ice-T and two hosts from last year’s Oscars: Wanda Sykes and Amy Schumer. Afterward Rock’s set, Dana Carvey and David Spade will host guests including Kareem Abdul-Jabbar, Arsenio Hall and JB Smoove.

    While Smith has apologized and repeatedly spoken about the incident since last March, Rock has avoided all the usual platforms where celebrities often go to air their feelings. He never sat down with Oprah Winfrey, and turned away the many media outlets that would have loved to land an exclusive in-depth interview.

    Instead, Rock has for much of the past year been touring new material in a long string of performances as part of his Ego Death tour. The shows, which had been announced before the 2022 Oscars, have featured performances with Dave Chappelle and Kevin Hart.

    On the road, Rock has often worked in jokes and reflections on the slap, though it’s never been more than an element of his shows. There’s no guarantee that he will talk it about Saturday night, but he’s widely expected to and has long suggested this would be his chosen forum.

    Rock first broke his public silence about the slap three nights after the Oscar ceremony, last year in Boston. “How was your weekend?” he asked the crowd. He added that he was “still kind of processing what happened.”

    Now, after plenty of processing, Rock will be taking the cultural spotlight just a week before the March 12 Oscars, where the slap is sure to revisited by this year’s host, Jimmy Kimmel. In the aftermath of last year’s events, Smith resigned his membership to the film academy. The academy board of governors banned Smith from the Oscars and all other academy events for a decade.

    At the annual luncheon for nominees held last month, motion picture academy president Janet Yang voiced regret about how the incident was handled, calling the academy’s response “inadequate.” Bill Kramer, the academy’s chief executive, has said the academy has since instituted a crisis communications team to prepare for and more rapidly respond to the unexpected.

    “Selective Outrage” is Rock’s second special for Netflix, following 2018’s “Tamborine.” They’re part of a two-special $40 million deal Rock signed with the streamer in 2016.

    While rivals have gotten into live streaming and sports, “Selective Outrage” marks Netflix’s first foray into live programming. Netflix, with 231 million global subscribers, also recently signed on to stream next year’s Screen Actors Guild Awards, signaling that “Selective Outrage” may be just the start of a new trend.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Angela Bassett on this year’s Academy Awards

    Angela Bassett on this year’s Academy Awards

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    Angela Bassett on this year’s Academy Awards – CBS News


    Watch CBS News



    Film and television icon Angela Bassett sits down exclusively with Gayle King to discuss her wide-ranging career and her Oscar nomination for Best Supporting Actress for her role in “Black Panther: Wakanda Forever.”

    Be the first to know

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  • The Oscar universe belongs to ‘Everything Everywhere’

    The Oscar universe belongs to ‘Everything Everywhere’

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    NEW YORK — They dreamt up universes of hotdog fingers, googly-eyed rocks and “Raccaccoonie.” But Daniel Kwan and Daniel Scheinert, in this world or another, never imagined the kind of runaway success “Everything Everywhere All at Once” would have on the Oscar trail.

    For the past year, since “ Everything Everywhere All at Once” debuted at SXSW, the filmmaking duo known as the Daniels has been living in what has sometimes felt to them like a parallel dimension. They never expected that their madcap multiverse tale would take them to the Oscars. They still, sometimes, don’t believe it.

    “It feels like we’re in our movie sometimes,” Scheinert says. “At some point we’re going to get pulled out of this joke and be back to our own lives and be like, ‘Oh, wouldn’t that be cool? Too bad.’”

    Yet “Everything Everywhere All at Once” has emerged as the most improbable of Academy Awards heavyweights. An absurdist indie that pairs existentialism and everything bagels, released way back in March last year, is not just heading for a few possible wins at the Oscars on March 12. It’s poised to steamroll.

    It’s the favorite to win best picture, best director, best actress for Michelle Yeoh, best supporting actor for Ke Huy Quan and potentially best supporting actress for Jamie Lee Curtis. A movie with fanny-pack-styled kung fu about a middle-aged woman filing her taxes is on course to best blockbusters (“Top Gun: Maverick” ) and Spielberg ( “The Fabelmans” ), alike.

    If “Everything Everywhere All at Once” — nominated for a leading 11 Oscars and already a winner with the predictive producers, actors and directors guilds — wins best picture, it will be one of the most anti-Oscar bait winners ever. Among other historic feats, it will almost certainly be the first best picture winner to prominently feature butt plugs.

    “In kink-positive people’s defense, you can put almost anything up your butt,” Scheinert says, laughing. “So, in a way, every single Oscar movie has a butt plug. You just have to be creative.”

    Getting creative has been part of the Daniels’ method since they first met at while studying film at Emerson College in Boston. Kwan, a Massachusetts native, and Scheinert, from Alabama, started off making music videos and shorts. Their feature film debut, 2016’s “Swiss Army Man,” starred Daniel Radcliffe as a flatulence-emitting corpse. “Everything Everywhere All at Once” is just their second feature. The Daniels are each 35.

    The unexpected success — the A24 release has grossed more than $100 million worldwide against a $14.3 million budget — has thrown off the trajectory the Daniels imagined they might be on. In a recent, rare lull between awards ceremonies, they spoke by Zoom from Kwan’s home office. He apologized for the mess, a disorder that reminded him of their film.

    “I keep saying I’ll do it once the movie promoting is done,” Kwan says, nearly a year after it opened.

    However many Oscars “Everything Everywhere All at Once” ultimately wins — it won’t be a bagel — it’s clear to Kwan that nothing will ever be quite the same after their unexpected lurch onto Hollywood’s highest stage.

    “I’ve gone through so many cycles of euphoria and depression and manic episodes,” Kwan, a gentle and introspective soul, says. “I’ve realized that I’m never going to get to back to my old life. That struck me at one of my low points and I had to actually mourn the loss of our lives. That can be both incredible and sad at the same time.”

    When “Everything Everywhere All at Once” landed in theaters, it ignited the specialty film business after two years of pandemic, driving moviegoers back to art houses and becoming A24’s biggest box-office smash. But even then, awards talk was mostly farfetched. It wasn’t until the fall, when it won best film at the Gotham Awards that the buzz started to get real. Affection for the film just kept building. Early naysaying that the film was too strange for older academy voters has proved wrong.

    Scheinert wryly recalls telling cast and crew on set: “We’re not making an Oscar movie here. This movie is about quantity, not quality.” And yet, by a twist of fate, a movie made without any thought of the Academy Awards is set to conquer them.

    “The industry at large is going through a lot of soul searching,” says Kwan. “What happened with theatrical during the pandemic, what’s happening now with streaming, the fact that OscarsSoWhite has caused the makeup of the academy to change. We are in such a moment of flux that I do think somehow this strange movie has stuck a chord.”

    “We feel like this film is reflective of what reality feels like, to us, at least,” Kwan adds. “The fact that people are responding to it is really affirming: Oh, you see what I see.”

    At a time when Hollywood’s main studio product is in franchises, remakes and sequels, “Everything Everywhere All at Once” is also a movie brimming with originality. (This is the first Oscar year two sequels, “Maverick” and “Avatar: The Way of Water,” are nominated for best picture.) A vote for “Everything Everywhere All at Once” is a vote for something different.

    “There’s something really important about stretching your own imagination in your everyday life. We create these narratives about ourselves and then we accidentally get trapped in them often,” says Kwan. “I grew up with a lot of self-doubt and self-loathing. The fact that I’m now a director who’s been able to find some success is just such a narrative-shattering, imagination-stretching idea that I would have never been able to imagine a few years ago.”

    To Scheinert, the film’s “secret weapon” is its cast. Even if the movie isn’t to your taste, he says, “You can’t hate Ke and Michelle.” Yeoh, long one of the big-screen’s martial arts powerhouses, has said throughout awards season that “Everything Everywhere All at Once” opened a new door to her as an actor. Quan, a former child star who had given up acting after years of struggle, has said an Oscar wasn’t his goal. He just wanted a job.

    “If our movie can un-typecast people and un-typecast the community, that’s a pretty dope thing,” says Scheinert.

    Reached by phone the morning of Oscar nominations, Yeoh said she never imagined, when they started making “Everything Everywhere All at Once,” that they were destined for the Academy Awards.

    “We’re a tiny little movie with a big beating heart, without a doubt,” said Yeoh. “We had ambitions because we felt that our story just needed to be told. In times of chaos and turbulence, this is a movie about healing. It’s about love. It’s about a very ordinary person — which we all are —who’s given the opportunity to be a superhero with superpowers that are love and compassion.”

    On stage after stage, the Daniels, Yeoh, Quan and more have brought the house down with moving speeches about Asian representation. At the Screen Actors Guild Awards on Sunday, Quan said: “To all those at home who are watching, who are struggling and waiting to be seen, please keep on going because the spotlight will one day find you.” Ninety-four-year-old James Hong, the film’s crotchety patriarch, reflected at the SAGs on Hollywood’s dismal history of depicting Asian and Asian-American life. Then he declared triumphantly: “Look at us now!”

    “Everything Everything Everywhere All at Once,” an antic metaphor for the immigrant experience of Asian Americans, has made its own case for a different movie universe, one where heroes look like Yeoh’s Evelyn Quan Wang or Quan’s Waymond Wang.

    “If I was growing up with a film like this or with this conversation happening, I would be a very different kind of person and a very different kind of Asian American,” says Kwan. “Most of my life, the Asian part of my experience was something to be erased or something to ignore because it felt more like a liability than a strength.”

    So there are many alternate realities to the lives behind “Everything Everywhere All at Once” — mostly less joyful ones where this movie doesn’t exist for them, or anyone else.

    Rewind exactly a year and a day from the March 12 Oscars and the Daniels and company were standing on the SXSW stage in Austin, Texas, with little idea of what was to come. Asked by an audience member what got left on the cutting room floor, Scheinert with a twinge of regret suggested another universe, entirely: Spaghetti Baby Noodle Boy, with a talking macaroni who doesn’t understand why he’s not spaghetti, voiced by Jenny Slate.

    Another road not taken, yes. But as Scheinert noted, there’s always the DVD.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

    ___

    For more coverage of this year’s Academy Awards, visit: https://apnews.com/hub/academy-awards

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  • The Oscar universe belongs to ‘Everything Everywhere’

    The Oscar universe belongs to ‘Everything Everywhere’

    [ad_1]

    NEW YORK — They dreamt up universes of hotdog fingers, googly-eyed rocks and “Raccaccoonie.” But Daniel Kwan and Daniel Scheinert, in this world or another, never imagined the kind of runaway success “Everything Everywhere All at Once” would have on the Oscar trail.

    For the past year, since “ Everything Everywhere All at Once” debuted at SXSW, the filmmaking duo known as the Daniels has been living in what has sometimes felt to them like a parallel dimension. They never expected that their madcap multiverse tale would take them to the Oscars. They still, sometimes, don’t believe it.

    “It feels like we’re in our movie sometimes,” Scheinert says. “At some point we’re going to get pulled out of this joke and be back to our own lives and be like, ‘Oh, wouldn’t that be cool? Too bad.’”

    Yet “Everything Everywhere All at Once” has emerged as the most improbable of Academy Awards heavyweights. An absurdist indie that pairs existentialism and everything bagels, released way back in March last year, is not just heading for a few possible wins at the Oscars on March 12. It’s poised to steamroll.

    It’s the favorite to win best picture, best director, best actress for Michelle Yeoh, best supporting actor for Ke Huy Quan and potentially best supporting actress for Jamie Lee Curtis. A movie with fanny-pack-styled kung fu about a middle-aged woman filing her taxes is on course to best blockbusters (“Top Gun: Maverick” ) and Spielberg ( “The Fabelmans” ), alike.

    If “Everything Everywhere All at Once” — nominated for a leading 11 Oscars and already a winner with the predictive producers, actors and directors guilds — wins best picture, it will be one of the most anti-Oscar bait winners ever. Among other historic feats, it will almost certainly be the first best picture winner to prominently feature butt plugs.

    “In kink-positive people’s defense, you can put almost anything up your butt,” Scheinert says, laughing. “So, in a way, every single Oscar movie has a butt plug. You just have to be creative.”

    Getting creative has been part of the Daniels’ method since they first met at while studying film at Emerson College in Boston. Kwan, a Massachusetts native, and Scheinert, from Alabama, started off making music videos and shorts. Their feature film debut, 2016’s “Swiss Army Man,” starred Daniel Radcliffe as a flatulence-emitting corpse. “Everything Everywhere All at Once” is just their second feature. The Daniels are each 35.

    The unexpected success — the A24 release has grossed more than $100 million worldwide against a $14.3 million budget — has thrown off the trajectory the Daniels imagined they might be on. In a recent, rare lull between awards ceremonies, they spoke by Zoom from Kwan’s home office. He apologized for the mess, a disorder that reminded him of their film.

    “I keep saying I’ll do it once the movie promoting is done,” Kwan says, nearly a year after it opened.

    However many Oscars “Everything Everywhere All at Once” ultimately wins — it won’t be a bagel — it’s clear to Kwan that nothing will ever be quite the same after their unexpected lurch onto Hollywood’s highest stage.

    “I’ve gone through so many cycles of euphoria and depression and manic episodes,” Kwan, a gentle and introspective soul, says. “I’ve realized that I’m never going to get to back to my old life. That struck me at one of my low points and I had to actually mourn the loss of our lives. That can be both incredible and sad at the same time.”

    When “Everything Everywhere All at Once” landed in theaters, it ignited the specialty film business after two years of pandemic, driving moviegoers back to art houses and becoming A24’s biggest box-office smash. But even then, awards talk was mostly farfetched. It wasn’t until the fall, when it won best film at the Gotham Awards that the buzz started to get real. Affection for the film just kept building. Early naysaying that the film was too strange for older academy voters has proved wrong.

    Scheinert wryly recalls telling cast and crew on set: “We’re not making an Oscar movie here. This movie is about quantity, not quality.” And yet, by a twist of fate, a movie made without any thought of the Academy Awards is set to conquer them.

    “The industry at large is going through a lot of soul searching,” says Kwan. “What happened with theatrical during the pandemic, what’s happening now with streaming, the fact that OscarsSoWhite has caused the makeup of the academy to change. We are in such a moment of flux that I do think somehow this strange movie has stuck a chord.”

    “We feel like this film is reflective of what reality feels like, to us, at least,” Kwan adds. “The fact that people are responding to it is really affirming: Oh, you see what I see.”

    At a time when Hollywood’s main studio product is in franchises, remakes and sequels, “Everything Everywhere All at Once” is also a movie brimming with originality. (This is the first Oscar year two sequels, “Maverick” and “Avatar: The Way of Water,” are nominated for best picture.) A vote for “Everything Everywhere All at Once” is a vote for something different.

    “There’s something really important about stretching your own imagination in your everyday life. We create these narratives about ourselves and then we accidentally get trapped in them often,” says Kwan. “I grew up with a lot of self-doubt and self-loathing. The fact that I’m now a director who’s been able to find some success is just such a narrative-shattering, imagination-stretching idea that I would have never been able to imagine a few years ago.”

    To Scheinert, the film’s “secret weapon” is its cast. Even if the movie isn’t to your taste, he says, “You can’t hate Ke and Michelle.” Yeoh, long one of the big-screen’s martial arts powerhouses, has said throughout awards season that “Everything Everywhere All at Once” opened a new door to her as an actor. Quan, a former child star who had given up acting after years of struggle, has said an Oscar wasn’t his goal. He just wanted a job.

    “If our movie can un-typecast people and un-typecast the community, that’s a pretty dope thing,” says Scheinert.

    Reached by phone the morning of Oscar nominations, Yeoh said she never imagined, when they started making “Everything Everywhere All at Once,” that they were destined for the Academy Awards.

    “We’re a tiny little movie with a big beating heart, without a doubt,” said Yeoh. “We had ambitions because we felt that our story just needed to be told. In times of chaos and turbulence, this is a movie about healing. It’s about love. It’s about a very ordinary person — which we all are —who’s given the opportunity to be a superhero with superpowers that are love and compassion.”

    On stage after stage, the Daniels, Yeoh, Quan and more have brought the house down with moving speeches about Asian representation. At the Screen Actors Guild Awards on Sunday, Quan said: “To all those at home who are watching, who are struggling and waiting to be seen, please keep on going because the spotlight will one day find you.” Ninety-four-year-old James Hong, the film’s crotchety patriarch, reflected at the SAGs on Hollywood’s dismal history of depicting Asian and Asian-American life. Then he declared triumphantly: “Look at us now!”

    “Everything Everything Everywhere All at Once,” an antic metaphor for the immigrant experience of Asian Americans, has made its own case for a different movie universe, one where heroes look like Yeoh’s Evelyn Quan Wang or Quan’s Waymond Wang.

    “If I was growing up with a film like this or with this conversation happening, I would be a very different kind of person and a very different kind of Asian American,” says Kwan. “Most of my life, the Asian part of my experience was something to be erased or something to ignore because it felt more like a liability than a strength.”

    So there are many alternate realities to the lives behind “Everything Everywhere All at Once” — mostly less joyful ones where this movie doesn’t exist for them, or anyone else.

    Rewind exactly a year and a day from the March 12 Oscars and the Daniels and company were standing on the SXSW stage in Austin, Texas, with little idea of what was to come. Asked by an audience member what got left on the cutting room floor, Scheinert with a twinge of regret suggested another universe, entirely: Spaghetti Baby Noodle Boy, with a talking macaroni who doesn’t understand why he’s not spaghetti, voiced by Jenny Slate.

    Another road not taken, yes. But as Scheinert noted, there’s always the DVD.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

    ___

    For more coverage of this year’s Academy Awards, visit: https://apnews.com/hub/academy-awards

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  • The SAG Awards, streaming Sunday, should offer Oscar preview

    The SAG Awards, streaming Sunday, should offer Oscar preview

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    Last year, the top winners at the Screen Actors Guild Awards all corresponded exactly with the Academy Awards winners. Will Sunday’s SAGs offer the same preview?

    The 29th annual Screen Actors Guild Awards will begin at 8 p.m. EST Sunday and be streamed live on Netflix’s YouTube page. After the awards, presented by the film and television acting guild SAG-AFRTA, lost their broadcast home at TNT/TBS, Netflix signed on to stream the ceremony. Though future editions will be streamed live directly on Netflix, this year’s show, at Fairmont Century Plaza in Los Angeles, will be on the streaming service’s YouTube page and its social media channels.

    “Everything Everywhere All at Once” and “The Banshees of Inisherin” come in with a co-leading five nominations. Each film is up for the guild’s top award, best ensemble, along with “Babylon,” “The Fabelmans” and “Women Talking.”

    The SAG Awards are considered one of the most reliable Oscar bellwethers. Actors make up the biggest percentage of the film academy, so their choices have the largest sway. Last year, “CODA” triumphed at SAG before winning best picture at the Oscars, while Ariana DeBose, Will Smith, Jessica Chastain and Troy Kotsur all won both a SAG Award and an Academy Award.

    With both supporting categories seemingly sown up by Angela Bassett (“Black Panther: Wakanda Forever”) and Ke Huy Quan (“Everything Everywhere All at Once”), Sunday’s SAG Award could offer the most clarity in the lead acting awards.

    Best actress could go to either Michelle Yeoh (“Everything Everywhere All at Once”) or Cate Blanchett (“Tár”). While Andrea Riseborough’s much-debated campaign led to an Academy Awards nomination, some of the most notable Oscar snubs are up for best actress. Though nominated by the actors guild, Danielle Deadwyler (“Till”) and Viola Davis (“The Woman King”) were overlooked by the academy, prompting some to decry racial bias in Hollywood. Ana de Armas (“Blonde”) is also nominated.

    In best actor, Austin Butler (“Elvis”), Brendan Fraser (“The Whale”) and Colin Farrell (“The Banshees of Inisherin”) all are considered contenders with a realistic shot of winning. The guild also nominated Adam Sandler (“Hustle”) and Bill Nighy (“Living”).

    On the TV side, nominated for best ensemble in a drama series are: “Better Call Saul,” “The Crown,” “Ozark,” “Severance” and “The White Lotus.” Up for best comedy series ensemble are the casts of “Abbott Elementary,” “Barry,” “The Bear,” “Hacks” and “Only Murders in the Building.”

    Presenters on Sunday include Zendaya (who scored her first SAG nomination for her leading performance in “Euphoria”, Aubrey Plaza, Jenna Ortega, Adam Scott, Chastain and Jeff Bridges. Sally Field is to received the SAG lifetime achievement award, an honor to be presented to her by Andrew Garfield.

    ___

    For more coverage of Hollywood’s awards season, visit: https://apnews.com/hub/awards-season

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  • Rihanna to perform Oscar-nominated

    Rihanna to perform Oscar-nominated

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    Rihanna will perform “Lift Me Up” from “Black Panther: Wakanda Forever,” the Academy of Motion Pictures Arts and Sciences announced Thursday. This will be the Grammy Award-winning pop star’s first time performing at the Oscars. 

    “Lift Me Up” was nominated for Best Original Song — marking another first for the pop star. “Wakanda Forever” director Ryan Coogler, composer Ludwig Göransson and Nigerian singer Tems are credited in the single, which reached no. 2 on the Billboard Hot 100 last November.

    It was also Rihanna’s first release after a near-six-year absence, and her Oscars performance will be the first time she’s performed during an awards show since the 2018 Grammys.


    Rihanna – Lift Me Up (From Black Panther: Wakanda Forever) by
    RihannaVEVO on
    YouTube

    “‘Lift Me Up’ is a song that holds great meaning to us as it was written as a tribute to the extraordinary life and legacy of our friend, the late Chadwick Boseman, and his influence on this film,” Göransson said in a statement. Boseman, known for his role as King T’Challa in Marvel’s “Black Panther,” died in 2020 after a four-year battle with cancer. 

    “It was an honor to work with these incredible musicians in crafting a song for our film and for our friend,” Coogler said in a statement after the nomination. “It was meant to be a tribute to love and the specter of loss, and I couldn’t be happier that it is being recognized.”

    The movie earned five nominations in total, including Best Actress in a Supporting Role for Angela Bassett, Best Costume Design, Best Makeup and Hairstyling, and Best Visual Effects.

    The news comes just weeks after she delivered an Internet-shattering performance during the Super Bowl LVII halftime show. 

    Wearing a bright-red ensemble, Rihanna’s 13-minute solo performance was the first time she had performed on stage in nearly seven years. She also set the Twitterverse a-buzzing after showing off what looked like a baby bump during the performance of her song “B**** Better Have My Money.”

    The singer’s representative later confirmed to CBS News that Rihanna is pregnant with baby No. 2. Rihanna welcomed her first child with her partner, rapper A$AP Rocky, in May.

    The single is up against “Hold My Hand” from “Top Gun: Maverick,” “Applause” from “Tell It Like a Woman,” “Naatu Naatu” from “RRR,” and “This Is A Life” from “Everything Everywhere All at Once.” 

    The Academy Awards show is set for Sunday, March 12.

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  • Will All Quiet on the Western Front win best picture Oscar?

    Will All Quiet on the Western Front win best picture Oscar?

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    Some of the nominations for best picture at this year’s Oscars were easy to predict. The Fabelmans is the venerable Steven Spielberg’s love letter to cinema, for instance, so that was a dead cert. Top Gun: Maverick was a commercial and critical smash, so that was always a shoo-in, too. But one film on the shortlist took pundits by surprise: All Quiet on the Western Front. Adapted from the classic World War One novel by Erich Maria Remarque, it was given a mere scattering of cinema showings before streaming on Netflix; it starred an Austrian actor, Felix Kammerer, who had never been in a film before; and its director, Edward Berger, had done most of his work in television. It was also German – and no previous German film had ever been in the running for best picture. Plenty of critics expected All Quiet on the Western Front to turn up on the best international feature list, but not only did it get a best picture nomination, it appeared in eight other categories, too. And then it won the best film award at the Baftas, and an initially overlooked film became a hot favourite. It was the biggest Oscar shock since Will Smith slapped Chris Rock in 2022.

    Still, perhaps that’s an outdated way of looking at it. The Oscars, and the film industry in general, have changed recently in all sorts of radical ways. And if you put those ways together, then suddenly Berger’s epic war drama seems like the most logical best picture choice of all.

    More like this:

    –       How Top Gun: Maverick shocked the world

    –       The incredible plot that tricked Hitler

    –       The ultimate anti-war films

    One significant reform came in 2009, when the Academy announced that the number of films in the best picture category was being increased from five to 10. In theory, this would allow such blockbusters as The Dark Knight and Wall-E to be nominated for the top prize, as both had been snubbed earlier that year. In practice, blockbusters still don’t have much luck: Black Panther and Joker are the only superhero movies to have been shortlisted since 2009. But the new rule has led to more unusual films appearing in the best picture line-up – and more films that aren’t in English, too.

    Up until 2018, only nine such films had ever made it into the category: a rough average of one every decade. But ever since Alfonso Cuarón’s Roma was nominated for 2019’s top Oscar, there has been one non-English-language contender every year – and a Korean film, Parasite, won best picture in 2020. “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films,” said the film’s director, Bong Joon-ho, when he collected his statuette.

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  • The Oscar nominee that says a lot just with its title

    The Oscar nominee that says a lot just with its title

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    NEW YORK — Long before a bemused Riz Ahmed read its name on Oscar nominations morning, the title of Pamela Ribon’s short film has tended to have an effect on those who hear it. Like when Ribon went to pick up her festival credential at SXSW in Austin, Texas, shortly before premiering her movie there.

    Guy at the desk: “What’s it called?”

    Ribon: “My Year of Dicks.”

    Guy at the desk, not missing a beat: “Hard same.”

    There is, to be sure, no Oscar nominee this year quite like “My Year of Dicks” — and not just because of a title that, as Ribon notes, “is tough on a spam filter.”

    The film, written and created by Ribon and directed by Sara Gunnarsdóttir, is one of the more hysterical, painful and sweet portraits of adolescence in all its awkwardness. It’s nominated for best animated short film at next month’s Academy Awards. Phil Lord (“Spider-Man: Into the Spiderverse,” “The Lego Movie”) has called the 26-minute movie “one of the best films of the year of any length.”

    It’s based on Ribon’s 2014 memoir, “Notes to Boys (and Other Things I Shouldn’t Share in Public)” — particularly a chapter that documents 15-year-old Ribon’s resolution to lose her virginity in 1991 while growing up on the outskirts of Houston. It proceeds as five cringe-inducing chapters of intimate encounters with not-so-great guys, though — as damning as that title is — “My Year of Dicks” is less about judgment for Ribon’s far-from-ideal romantic partners than it is about recounting, and illuminating, the bumbling first steps of sex.

    “It’s cheeky but it isn’t mean,” Ribon said in a recent interview by Zoom from her home in Los Angeles. “It really was an inclusive feeling of: ‘We all got through that somehow, didn’t we?’”

    When they were starting out, Gunnarsdóttir, an Icelandic animator who crafted the vivid animations of “Diary of a Teenage Girl, ” wondered if “Notes to Boys” would be a better, less troublesome title. But Ribon sensed something relatable — nay, something universal — about “My Year of Dicks.”

    “Not everybody has sent a note to a boy but everybody’s had a year of dicks — academically or in business or dating. It has a lot of layers,” Ribon says. “So it has been a way to bring everyone in, unfortunately. Everyone’s like ‘Hard same.’”

    “My Year of Dicks,” which is streaming on Vimeo, has emerged, against the odds, as one of the most talked-about films at this year’s Oscars. Not only will much be riding on whether Ribon and Gunnarsdóttir can win on March 12, but perhaps even more eagerly awaited will be seeing which presenter, at the most dignified of awards shows, gets to utter the film’s name for an audience of millions, on live television.

    “Do you think they’ll bleep it?” anxiously wonders Ribon.

    For Ribon, 47, “My Year of Dicks” is an oddly appropriate culmination. Though her best known credits as a screenwriter are for more kid-friendly cartoons (“Moana,” “Ralph Breaks the Internet”), Ribon has, as an essayist, blogger and podcaster, long been an uncommonly open book. Her 2012 essay, “How I Might Have Just Become the Newest Urban Legend,” described a less than, um, sanitary trip to the masseuse parlor while she was many months pregnant.

    “People were like: ‘It just would never occur to me to share that story with people,’” Ribon says. “And I was like, ‘What would you do?’ They were like, ‘Never tell anyone ever for the rest of life my life what just happened to me.’ I was like, ‘Oh!’”

    “I do sometimes feel like a walking cautionary tale,” says Ribon.

    Even as a teen, Ribon was deeply aware of the tragicomedy of her coming of age. She didn’t keep a diary but she prodigiously wrote, either by typewriter or by hand, about her life. Holding up a thick green notebook, Ribon flips through the short stories, notes to boys and ticket stubs she accrued through those years.

    “I liked to have an audience from the beginning when I was processing my thoughts,” says Ribon. “I’m still that way. I much prefer writing an email about my day than keeping it to myself. It feels weird to talk to me.”

    Ribon dumped all of that material and more on Gunnarsdóttir, who, with a small team of indie animators, created a loose kind of rotoscoped version of young Pam intermixed with old footage of her from high school. Each of the five chapters has its own animation design to match, including an anime section and one styled as a vampire tale. For Gunnarsdóttir, the power of animation is take something naturalistic and add expressionism.

    “So you have this foundation that feels very real but the magic happens when you go away from it and go very abstract,” says Gunnarsdóttir, speaking from France.

    “That honesty, it comes from her,” Gunnarsdóttir adds. “I think she’s very brave.”

    Ribon is less convinced.

    “I don’t know if it’s brave as much as it’s ridiculous,” she says, laughing.

    Among the film’s most cringe-inducing moments is a lewdly frank sex talk from Ribon’s father. Ribon has had to insist to her mother it’s word-for-word accurate (Ribon’s father died years ago). After initially shielding her mom from the film, Ribon’s mother has become an ardent supporter — even if she initially couldn’t make it all the way through a public reading of “Notes to Boys.”

    “My Year of Dicks” began as a television project for FX Networks, but the filmmakers ultimately decided to try their luck on the festival circuit. Since the Walt Disney Co. owns FX, “My Year of Dicks” technically counts, ironically enough, as one of Disney’s Oscar nods, alongside the likes of “Avatar: The Way of Water” and “Turning Red.”

    As time went on, “My Year of Dicks” began to appear different, and more distant to Ribon. The overturning of Roe v. Wade made such sexual exploration far more perilous for young women. Texas law bans abortions after roughly six weeks of pregnancy and makes no exceptions for rape or incest. Ribon’s film, increasingly, looked like a time capsule of a bygone era.

    “In modern day Texas, this is the most dangerous thing a girl can do with her future. These people should not be responsible for lifelong decisions because of a party,” says Ribon. “At least I felt free to find out. Now, I would have been too scared to learn about myself. I’m grateful for the mistakes I was able to make. I didn’t have sex in any of those situations but it could have happened. And it could have happened with just one person being more a dick than here. It’s so much scarier to think about.”

    But Ribon believes animation offers “a tool to talk to someone’s unfiltered heart” — that even in an a very adult animated film, it’s possible to connect back to, as she says, “that part where we set out with the best intentions for ourselves.”

    “We’re thrown back into Saturday morning cartoon feelings,” she says.

    So, yes, “My Year of Dicks” might be the most giggle-inducing Oscar nominee this year. But it also may be the most nakedly heartfelt.

    “Maybe that’s my job in life, to help people know that you’re not alone and it could be worse. There is something very satisfying about knowing I officially have the worst sex talk of all time. It’s not just something that I say,” Ribon says, pausing to smile. “The academy has spoken.”

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • 12 Great Actors Who’ve Never Won An Oscar

    12 Great Actors Who’ve Never Won An Oscar

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    Every year, the Academy Awards come along to grace a handful of nominated actors with a golden statue. But let’s face it. Hollywood is teeming with talent, and just because you’ve risen to A-lister status doesn’t mean you’re automatically guaranteed an Oscar. In fact, over the years, there have been plenty of seasoned actors who have experienced tremendous success in the movie and television industry — but they’ve never won an Academy Award. While it may be hard to believe based on their impressive careers, these celebrities have never gone home with that coveted award.

    Why is that, exactly? Well, it’s pretty obvious that there are several different factors that go into selecting a winner for Best Actor or Best Actress. Like pretty much every other art form, reception to a performance is subjective. What might be one person’s idea of “best” is another person’s “very good.” And, even if everyone’s performances were all considered equal in terms of quality, there still has to be one winner.

    Some actors — such as Leonardo DiCaprio, for instance — spend years delivering memorable performance after memorable performance, only to be passed over continuously by the Academy. DiCaprio finally broke this cycle with his ambitious performance as frontiersman Hugh Glass in the 2015 film The Revenant, which won him the Oscar for Best Actor. While some famous actors go their whole careers without ever achieving that milestone, it doesn’t mean they aren’t deserving. Sometimes, the timing just isn’t right. Here are 12 actors who have surprisingly never won an Oscar.

    12 Actors Who Have Surprisingly Never Won An Oscar

    These great actors have given unforgettable performances in classic films. None of them have won an Academy Award.

    Actors Who Won Oscars For Their First Movie Roles

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    Claire Epting

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  • The 10 Most Surprising Oscar Best Picture Winners

    The 10 Most Surprising Oscar Best Picture Winners

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    Every year, film buffs and casual viewers alike get excited when the Academy releases their annual list of nominations — especially when it comes to the Best Picture category. You see, unlike every other category, the Best Picture trophy carries a bit more weight to it. There are less quantifiable elements to it than a more specific category, such as Sound Editing or Costume Design. In those categories, you can pinpoint certain merits based on technique or attention to craft. As a concept, “Best Picture” implies that a film manages to score highly in several departments — but even beyond that, it leaves the biggest impression on its audiences.

    The term “Oscar bait” refers to a movie (typically, a drama) that seems particularly geared toward a certain demographic — the industry professionals who get to decide the nominations each year. These films often feature A-list actors in challenging roles, heavy-hitting themes, and sweeping scores. They’re the clear front-runners, and no one is really surprised when they take home the big prize. But other times, a movie has an unexpected victory. Whether it falls into a genre that isn’t typically celebrated at the Academy Awards, or it snubs a more “Oscar-worthy” title, sometimes a film’s win comes as quite a shock to the audience. At the end of the day, though, the news shouldn’t come as a shock to the Academy — they’re the very ones who picked it, after all.

    Below, you’ll find 10 of the most shocking Best Picture winners in Oscar history.

    The 10 Most Shocking Best Picture Winners In Oscar History

    These movies shocked the film world on their way to winning Best Picture at the Academy Awards.

    The Worst Oscar Best Picture Winners

    These movies won the Academy Awards for Best Picture over better, more deserving films.

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    Claire Epting

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  • Marilyn Monroe biopic

    Marilyn Monroe biopic

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    On the eve of the Academy Awards ceremony in March, the winners (or losers) of the 43rd annual Razzie Awards will be revealed. Leading the pack with eight nominations is Netflix’s controversial biopic about Marilyn Monroe, titled “Blonde,” which received widespread criticism from both viewers and movie critics alike for exploitation of the late star.

    “Blonde” received nominations for worst picture, worst remake, worst director for Andrew Dominik and worst screenplay. The film also received two nominations each in the categories of worst supporting actor and worst screen couple. 

    Ironically, Ana de Armas, who depicted Marilyn Monroe in the film, received an Oscar nod for best actress when the Academy Award nominations were announced Tuesday morning.

    Ana de Armas arrives at the premiere of “Blonde” held at the TCL Chinese Theatre on Sept. 13, 2022 in Los Angeles, California.

    Michael Buckner/Variety via Getty Images


    Coming in second, with seven nominations, was stoner comedy “Good Mourning,” staring musicians Machine Gun Kelly and Mod Sun. The Razzie Awards called the film, “laugh-free,” adding that it achieved “the rare feat of scoring a perfect ZERO on Rotten Tomatoes.”

    World Premiere Of
    Mod Sun and Machine Gun Kelly attend the “Good Mourning” world premiere after party at The London West Hollywood at Beverly Hills on May 12, 2022 in West Hollywood, California.

    Kevork Djansezian / Getty Images


    The infamous award show isn’t without controversy after one of this year’s nominations for worst actress was originally given to 12-year-old Ryan Kiera Armstrong for her role in “Firestarter.” The movie, which also stars Zac Efron, is based on a Stephen King novel of the same name.

    Many took to social media to call out the Razzie Awards for singling out the young actress, who also starred in “It Chapter 2” and “Black Widow.”

    “Why put a kid at risk of increased bullying or worse?” tweeted Julian Hilliard, a child actor who starred in “WandaVision” and “Haunting of Hill House.”

    Filmmaker Joe Russo — who co-directed “Avengers: Endgame” with his brother Anthony Russo — tweeted that the award show had “sunk to a new low.”

    “If you’re gonna continue denigrating people’s hard work — which you shouldn’t — at least target adults,” Russo wrote. 

    The Razzie Awards responded to the controversial nomination, telling CBS News, “The recent valid criticism of the choice of 11-year-old Armstrong as a nominee for one of our awards brought our attention to how insensitive we’ve been in this instance. As a result, we have removed Armstrong’s name from the final ballot that our members will cast next month. We also believe a public apology is owed Ms. Armstrong, and wish to say we regret any hurt she experienced as a result of our choices.”

    In addition, organizers said that actors and filmmakers under the age of 18 will no longer be considered for the awards.

    In early 2022, organizers rescinded a Razzie given to actor Bruce Willis following his diagnosis with the cognitive disorder aphasia. They had created a category for him called the worst performance by Bruce Willis in a 2021 movie for his film “Cosmic Sin.”

    “If someone’s medical condition is a factor in their decision making and/or their performance, we acknowledge that it is not appropriate to give them a Razzie,” organizers said in a statement at the time.

    Along with “Blonde” and “Good Mourning,” the nominees for worst picture were Disney’s “Pinocchio,” “The King’s Daughter” and “Morbius.”

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  • Marilyn Monroe biopic

    Marilyn Monroe biopic

    [ad_1]

    On the eve of the Academy Awards ceremony in March, the winners (or losers) of the 43rd annual Razzie Awards will be revealed. Leading the pack with eight nominations is Netflix’s controversial biopic about Marilyn Monroe, titled “Blonde,” which received widespread criticism from both viewers and movie critics alike for exploitation of the late star.

    “Blonde” received nominations for worst picture, worst remake, worst director for Andrew Dominik and worst screenplay. The film also received two nominations each in the categories of worst supporting actor and worst screen couple. 

    Ironically, Ana de Armas, who depicted Marilyn Monroe in the film, received an Oscar nod for best actress when the Academy Award nominations were announced Tuesday morning.

    Ana de Aramas arrives at the premiere of “Blonde” held at the TCL Chinese Theatre on Sept. 13, 2022 in Los Angeles, California.

    Michael Buckner/Variety via Getty Images


    Coming in second, with seven nominations, was stoner comedy “Good Mourning,” staring musicians Machine Gun Kelly and Mod Sun. The Razzie Awards called the film, “laugh-free,” adding that it achieved “the rare feat of scoring a perfect ZERO on Rotten Tomatoes.”

    World Premiere Of
    Mod Sun and Machine Gun Kelly attend the “Good Mourning” world premiere after party at The London West Hollywood at Beverly Hills on May 12, 2022 in West Hollywood, California.

    Kevork Djansezian / Getty Images


    The infamous award show isn’t without controversy after one of this year’s nominations for worst actress was given to 12-year-old Ryan Kiera Armstrong for her role in “Firestarter.” The movie, which also stars Zac Efron, is based on a Stephen King novel of the same name.

    Many took to social media to call out the Razzie Awards for singling out the young actress, who also starred in “It Chapter 2” and “Black Widow.”

    “Why put a kid at risk of increased bullying or worse?” tweeted Julian Hilliard, a child actor who starred in “WandaVision” and “Haunting of Hill House.”

    Filmmaker Joe Russo — who co-directed “Avengers: Endgame” with his brother Anthony Russo — tweeted that the award show had “sunk to a new low.”

    “If you’re gonna continue denigrating people’s hard work — which you shouldn’t — at least target adults,” Russo wrote.  

    In early 2022, organizers rescinded a Razzie given to actor Bruce Willis following his diagnosis with the cognitive disorder aphasia. They had created a category for him called the worst performance by Bruce Willis in a 2021 movie for his film “Cosmic Sin.”

    “If someone’s medical condition is a factor in their decision making and/or their performance, we acknowledge that it is not appropriate to give them a Razzie,” organizers said in a statement at the time.

    Along with “Blonde” and “Good Mourning,” the nominees for worst picture were Disney’s “Pinocchio,” “The King’s Daughter” and “Morbius.”

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