First, an inside look at the U.S. Navy response to Houthi Red Sea attacks. Then, a Trump fake elector in Wisconsin speaks out. And, Cillian Murphy: The 60 Minutes Interview.
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2023 was the year the world learned to pronounce Cillian. The ancient Irish name seemed to be on everyone’s lips as the film “Oppenheimer”became a blockbuster with 13 Oscar nominations — including best actor for Cillian Murphy. Murphy has worked nonstop for nearly 30 years, but it was the epic drama of the atomic bomb that ignited a star. In this moment, with a Golden Globe under his porkpie hat and the Oscars three weeks away, Murphy is more famous than well-known. So, we set out to learn more. We were warned the 47-year-old Irishman is reserved and wouldn’t talk about himself. But we discovered finding Cillian Murphy depends on where you look.
Ireland’s Dingle Peninsula was named for a goddess before such things were written. And for 6,000 years stories have passed by ear.
So, if verse inhabits every Irish soul—then, in a country pub, Cillian Murphy is among peers—as he would have it—just a man with a pint to lift and no fame to bear.
Scott Pelley: What is the meaning of Ireland –
Cillian Murphy: Oh man!
Scott Pelley: —to you?
Cillian Murphy and Scott Pelley
60 Minutes
Cillian Murphy: I don’t think I can answer that question satisfactorily. It’s defined who I am as a person and my values. It’s just home.
Home includes his wife of 20 years, two teenage sons and scout, a lab named for the character in “To Kill a Mockingbird.” That figures, Murphy has always let stories lead his path.
Cillian Murphy: You find so much empathy in novels, you know, because there you are putting yourself into somebody else’s point of view, and I’ve always been a big reader. When a movie can connect with someone, and they feel seen or feel heard, or a novel can change somebody’s life, or a piece of music– an album– can change someone’s life. And I’ve had all that happen to me. And that’s the power of good art, I think.
Scott Pelley: There’s a straight line from the music in the pub to “Oppenheimer?”
Cillian Murphy: I think they’re from the same source, I mean, I really do. I don’t see– I see it’s all on a continuum. You know what I mean? It’s just a form of expression.
Expression, in the eyes of J. Robert Oppenheimer, the physicist who created the atom bomb but never controlled it.
Cillian Murphy: I remember reading at the beginning about him, that he was more riddle than answer. And I thought, “Oh, OK. Wow. That’s interesting.”
Scott Pelley: I’m curious about your notes…
The riddle was in this script by writer-director Christopher Nolan—printed in red so it couldn’t be photocopied.
Cillian Murphy: I did genuinely think it’s one of the greatest screenplays I’d ever read.
Scott Pelley: And you told him, “I’ll do it.”
Cillian Murphy: I mean, I said I would do it before I read it. I always say that —
Scott Pelley: That’s quite a risk. Why would you do that?
Cillian Murphy: It’s always paid off for me, you know, in every film that I worked with him on.
The script for “Oppenheimer” was on red paper so that it couldn’t be photocopied.
60 Minutes
There have been six Chris Nolan films for Murphy: “Dunkirk,” “Inception” and three “Batman” titles.
Scott Pelley: You told me that getting a film made, and getting it seen, is a miracle.
Cillian Murphy: It is. And then if it’s any way good, that’s a miracle. And then if it connects with audiences, that’s a miracle. So, it’s a miracle, upon miracle, upon miracle to have a film like “Oppenheimer.” It really is.
His Oppenheimer was not so much a miracle as hard work. He lost 28 pounds to get the silhouette. Then, he rose to the character step-by-step over six months–reading, listening to Oppenheimer’s lectures and covering miles on the beach performing for Scout.
Cillian Murphy: I remember at one point, I said to Chris– “Chris, there appears to be– he appears to speak Dutch here. And I think he’s giving a lecture in Dutch here. What are we gonna do about that?” And Chris said, “You mean what are you gonna do about that.”
Murphy says he put all he learned in the back of his mind and acted on instinct.
Cillian Murphy: I think instinct is your most powerful tool that you have as an actor. Nothing must be predetermined. So therefore, you mustn’t have a plan about how you’re gonna play stuff. And I love that. It’s like being buffeted by the wind and being buffeted by emotion.
Emily Blunt plays Oppenheimer’s tormented wife.
Emily Blunt
60 Minutes
Emily Blunt: He’s very visceral to be in a scene with. It’s like you, he transports you. He’ll kidnap you in a scene.
Scott Pelley: My favorite acting moment, of his, in “Oppenheimer…”
Scott Pelley: –is the scene after the bomb has been dropped, and he’s addressing all of the people at Los Alamos.
Scott Pelley: He somehow welds together the concept of being proud of what they did–
Emily Blunt: Yes.
Scott Pelley: — and regretting it very deeply.
Emily Blunt: Yes. Yes.
Scott Pelley: All at the same time.
Emily Blunt: I know!
Emily Blunt: No one moment is about one thing. And if you’re as agile as someone like Cillian, and as vulnerable, and as clever, you can play it all. But I don’t know if many people can do what he does.
Cillian Murphy discovered agility in his hometown, Cork. His mother was a teacher, his father, a school inspector. In high school Murphy and his brother had a band …
Performing led to acting class and his first play.
Scott Pelley: This is more like the size of a storage room than a theater.
Cillian Murphy: Yeah. But that’s all we were used to.
His first theater—1996—age 20 –the play was “Disco Pigs,” which grew to bigger theaters and became a movie.
Scott Pelley: Why did you think you could be an actor?
Cillian Murphy: I didn’t. I was very comfortable on stage in front of an audience from when I was little. I never had any nerves doing that. It felt natural, you know? And thrilling.
Scott Pelley: In this theater, what did you learn about acting?
Cillian Murphy and Scott Pelley in a theater
60 Minutes
Cillian Murphy: There’s, ah, a fire escape door right there. And that’s– kind of an alleyway there, and so you get a lot of, like, drunk guys out of their mind bashing up against the fire escape door. And it used to kinda energize us. So I remember learning about, like, taking whatever you have– sort of responding to whatever the energy is in the room and using it.
Scott Pelley: That’s really good training, maintaining your character with the drunk guy yelling through the fire escape door.
Cillian Murphy: Yeah. Yeah. Yeah. I– and I– and I think theater is such– an absurd undertaking when you think of it. You know, because at any point it could collapse and go wrong.
Scott Pelley: It’s dangerous.
Cillian Murphy: Yeah! And I love that aspect of it. Yeah.
That love led him to drop law school. And since then, there have been a dozen plays and 40 movies.
Cillian Murphy: I love it when it becomes an immersive experience. I love getting lost in it. In the early days, that was with theater. It felt kind of extraordinary that with just the power of will and a couple of lights and a good script, we were creating this world. And so, it’s that’s kind of addictive, when it works well.
It worked well in 2013, in a breakout role as a leading man.
In the series, “Peaky Blinders,” Murphy plays Thomas Shelby who survives World War 1, to lead a family of gangsters.
Cillian Murphy: They’re all damaged, broken men, but something got knocked in him, and he came back with this incredible drive, and ambition and, like, “I’m not afraid of death, so now I can do whatever I want.”
Scott Pelley: In Tommy Shelby you created a sympathetic, relatable, monster.
Cillian Murphy: I like to be challenged. And I– and when I read something, I wanna go, “I don’t really know how I can do that.”
In 10 years of “Peaky Blinders,” Murphy came into his own.
Cillian Murphy: I heard very early on in my career, a director, it was one of the Sydneys, it could’ve been Sidney Lumet or it could’ve been Sydney Pollack, but one of them said, “It takes 30 years to make an actor.” It’s not just technique and experience and all that it’s maturing as a human being and trying to grapple with life and figure it out, and all of that stuff. So, by the time you’ve been doing it for 30 years, you have all of that banked, hopefully. And eventually, then I think you’ll get to a point where you might be an okay actor.
Maturing is the theme of Murphy’s next film based on the novel, “Small Things Like These.” He plays Bill Furlong, tormented by injustice. His wife fears his empathy will upend their lives.
That’s Eileen Walsh. No actor has known Murphy longer. She was his first partner, in “Disco Pigs,” 28 years ago.
Scott Pelley: Is his work ethic rooted in fear or joy?
Eileen Walsh
60 Minutes
Eileen Walsh: Oh, that’s a good question. I think it can only be joy. But it sometimes takes a lotta pain to get to that joy.
Eileen Walsh: The deeper we go with acting the cost is greater for us. And physically I know Oppenheimer, you know, has cost him for the weight loss he insisted and, you know, it was his choice to do, but it was the right choice to create that amazing silhouette. But from the very beginning our warm-ups for “Disco Pigs” involved us punching each other quite hard. And, like, going for it, and then bursting out into it. This huge ball of velocity coming into it was the beginning of an “Oppenheimer,” was the whole kind of atom of us.
Now, after three decades of work, Cillian Murphy is cast in the most familiar Irish legend of all. Maybe there is gold, a 24-karat gold-plated statue, at the end of his spectrum of talent.
Scott Pelley: You have screwed this up though, you know?
Cillian Murphy: In what way?
Scott Pelley: You used to be an actor
Cillian Murphy: Yeah.
Scott Pelley: –and now you’re a movie star.
Cillian Murphy: Oh OK, am I? I think you can be both. You know– I’ve never understood that term, really, “movie star.” I’ve always just felt like– I’m an actor. That’s I think a term for other people, rather than for me.
Produced by Nicole Young. Associate producer, Kristin Steve. Broadcast associate, Michelle Karim. Edited by Peter M. Berman and Jorge J. García.
“It is possible that this is the first time that David Bowie has been compared to Robert Oppenheimer,” Scott Pelley commented to Cillian Murphy. Murphy says he found similarities between the two men.
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Stars from both sides of the Atlantic and beyond converged in London Sunday for the 77th British Academy Film Awards, where atom-bomb epic “Oppenheimer” could smash a 53-year-old record if it makes good on its field-leading 13 nominations.Christopher Nolan ‘s biopic of physicist J. Robert Oppenheimer was up for trophies including best film, best director and best actor for star Cillian Murphy. A good night could see it surpass the record nine awards won by “Butch Cassidy and the Sundance Kid” at the BAFTAs in 1971.It was guaranteed at least five prizes when Nolan won his first best-director BAFTA, having also won trophies for editing, cinematography and musical score, as well as the best supporting actor prize for Robert Downey Jr.”Oppenheimer” faced stiff competition in what’s widely considered a vintage year for cinema, and an awards season energized by the end of actors’ and writers’ strikes that shut down Hollywood for months.Holocaust drama ” The Zone of Interest” — a British-produced film shot in Poland with a largely German cast — was named both best British film and best film not in English, a first.Jonathan Glazer’s unsettling drama takes place in a family home just outside the walls of Auschwitz.”Walls aren’t new from before or since the Holocaust and it seems stark right now that we should care about innocent people being killed in Gaza or Yemen or Mariupol or Israel,” producer James Wilson said. “Thank you for recognizing a film that asks us to think in those spaces.”Gothic fantasia “Poor Things” had 11 nominations, including best film, director for Yorgos Lanthimos and actress for Emma Stone. Historical epic “Killers of the Flower Moon” had nine for the awards, officially called the EE BAFTA Film Awards.The ceremony, hosted by “Doctor Who” star David Tennant — who entered wearing a kilt and sequined top while carrying a dog named Bark Ruffalo — is a glitzy, British-accented appetizer for Hollywood’s Academy Awards, closely watched for hints about who might win at the Oscars on March 10.The prize for original screenplay, went to French courtroom drama “Anatomy of a Fall.” The film about a woman on trial over the death of her husband was written by director Justine Triet and her partner, Arthur Harari.”It’s a fiction, and we are reasonably fine,” Triet joked.Da’Vine Joy Randolph was named best supporting actress for playing a boarding school cook in “The Holdovers” and said she felt a “responsibility I don’t take lightly” to tell the stories of underrepresented people like her character Mary.Cord Jefferson won the adapted screenplay prize for the satirical “American Fiction,” about the struggles of an African-American novelistJefferson said he hoped the success of the movie “maybe changes the minds of the people who are in charge of greenlighting films and TV shows, allows them to be less risk-averse.”Ukraine war documentary “20 Days in Mariupol,” produced by The Associated Press and PBS “Frontline,” won the prize for best documentary.”This is not about us,” said filmmaker Mstyslav Chernov, who captured the harrowing reality of life in the besieged city with an AP team. “This is about Ukraine, about the people of Mariupol.”Chernov said the story of the city and its fall into Russian occupation “is a symbol of struggle and a symbol of faith. Thank you for empowering our voice and let’s just keep fighting.”Other leading award contenders included “The Holdovers” and Leonard Bernstein biopic “Maestro” — each with seven nominations — and grief-flecked love story “All of Us Strangers” with six. Barbed class-war dramedy “Saltburn ” has five nominations.” Barbie,” one half of 2023’s “Barbenheimer” box office juggernaut and the year’s top-grossing film, also had five nominations but missed out on nods for best picture and best director. Many saw the omission of “Barbie” director Greta Gerwig — for both the BAFTAs and the Oscars — as a major snub.The best film race pits “Oppenheimer” against “Poor Things,” “Killers of the Flower Moon,” “Anatomy of a Fall” and “The Holdovers.”Britain’s film academy introduced changes to increase the awards’ diversity in 2020, when no women were nominated as best director for the seventh year running and all 20 nominees in the lead and supporting performer categories were white. However, Triet was the only woman among this year’s six best-director nominees.A woman of color could take the best actress BAFTA for the first time, with Fantasia Barrino for “The Color Purple” and Vivian Oparah for “Rye Lane” nominated alongside Sandra Hüller for “Anatomy of a Fall,” Mulligan for “Maestro,” Margot Robbie for “Barbie” and Stone for “Poor Things.”No British performers are nominated in the best-actor category, but Ireland is represented by Murphy for “Oppenheimer” and Barry Keoghan for “Saltburn.” They’re up against Cooper for “Maestro,” Colman Domingo for civil rights biopic “Rustin,” Paul Giamatti for “The Holdovers” and Teo Yoo for “Past Lives.”Before the ceremony, nominees including Bradley Cooper, Carey Mulligan, Emily Blunt, Robert Downey Jr., Rosamund Pike, Ryan Gosling and Ayo Edebiri all walked the red carpet at London’s Royal Festival Hall, along with presenters Andrew Scott, Cate Blanchett and David Beckham.Guest of honor was Prince William, in his role as president of the British Academy of Film and Television Arts. He arrived without his wife, Kate, who is recovering from abdominal surgery last month.The ceremony included musical performances by “Ted Lasso” star Hannah Waddingham, singing “Time After Time,” and Sophie Ellis-Bextor, singing her 2001 hit “Murder on the Dancefloor,” which shot back up the charts after featuring in “Saltburn.”Actress Samantha Morton received the academy’s highest honor, the BAFTA Fellowship, and film curator June Givanni, founder of the June Givanni PanAfrican Cinema Archive, was honored for outstanding British contribution to cinema.Sunday’s ceremony was being broadcast on BBC One in the U.K. from 1900GMT, and on streaming service BritBox in the U.S., Canada, Australia and South Africa.___Hilary Fox contributed to this story.
Stars from both sides of the Atlantic and beyond converged in London Sunday for the 77th British Academy Film Awards, where atom-bomb epic “Oppenheimer” could smash a 53-year-old record if it makes good on its field-leading 13 nominations.
Christopher Nolan ‘s biopic of physicist J. Robert Oppenheimer was up for trophies including best film, best director and best actor for star Cillian Murphy. A good night could see it surpass the record nine awards won by “Butch Cassidy and the Sundance Kid” at the BAFTAs in 1971.
It was guaranteed at least five prizes when Nolan won his first best-director BAFTA, having also won trophies for editing, cinematography and musical score, as well as the best supporting actor prize for Robert Downey Jr.
“Oppenheimer” faced stiff competition in what’s widely considered a vintage year for cinema, and an awards season energized by the end of actors’ and writers’ strikes that shut down Hollywood for months.
Holocaust drama ” The Zone of Interest” — a British-produced film shot in Poland with a largely German cast — was named both best British film and best film not in English, a first.
Jonathan Glazer’s unsettling drama takes place in a family home just outside the walls of Auschwitz.
“Walls aren’t new from before or since the Holocaust and it seems stark right now that we should care about innocent people being killed in Gaza or Yemen or Mariupol or Israel,” producer James Wilson said. “Thank you for recognizing a film that asks us to think in those spaces.”
Gothic fantasia “Poor Things” had 11 nominations, including best film, director for Yorgos Lanthimos and actress for Emma Stone. Historical epic “Killers of the Flower Moon” had nine for the awards, officially called the EE BAFTA Film Awards.
The ceremony, hosted by “Doctor Who” star David Tennant — who entered wearing a kilt and sequined top while carrying a dog named Bark Ruffalo — is a glitzy, British-accented appetizer for Hollywood’s Academy Awards, closely watched for hints about who might win at the Oscars on March 10.
The prize for original screenplay, went to French courtroom drama “Anatomy of a Fall.” The film about a woman on trial over the death of her husband was written by director Justine Triet and her partner, Arthur Harari.
“It’s a fiction, and we are reasonably fine,” Triet joked.
Da’Vine Joy Randolph was named best supporting actress for playing a boarding school cook in “The Holdovers” and said she felt a “responsibility I don’t take lightly” to tell the stories of underrepresented people like her character Mary.
Cord Jefferson won the adapted screenplay prize for the satirical “American Fiction,” about the struggles of an African-American novelist
Jefferson said he hoped the success of the movie “maybe changes the minds of the people who are in charge of greenlighting films and TV shows, allows them to be less risk-averse.”
Ukraine war documentary “20 Days in Mariupol,” produced by The Associated Press and PBS “Frontline,” won the prize for best documentary.
“This is not about us,” said filmmaker Mstyslav Chernov, who captured the harrowing reality of life in the besieged city with an AP team. “This is about Ukraine, about the people of Mariupol.”
Chernov said the story of the city and its fall into Russian occupation “is a symbol of struggle and a symbol of faith. Thank you for empowering our voice and let’s just keep fighting.”
Other leading award contenders included “The Holdovers” and Leonard Bernstein biopic “Maestro” — each with seven nominations — and grief-flecked love story “All of Us Strangers” with six. Barbed class-war dramedy “Saltburn ” has five nominations.
” Barbie,” one half of 2023’s “Barbenheimer” box office juggernaut and the year’s top-grossing film, also had five nominations but missed out on nods for best picture and best director. Many saw the omission of “Barbie” director Greta Gerwig — for both the BAFTAs and the Oscars — as a major snub.
The best film race pits “Oppenheimer” against “Poor Things,” “Killers of the Flower Moon,” “Anatomy of a Fall” and “The Holdovers.”
Britain’s film academy introduced changes to increase the awards’ diversity in 2020, when no women were nominated as best director for the seventh year running and all 20 nominees in the lead and supporting performer categories were white. However, Triet was the only woman among this year’s six best-director nominees.
A woman of color could take the best actress BAFTA for the first time, with Fantasia Barrino for “The Color Purple” and Vivian Oparah for “Rye Lane” nominated alongside Sandra Hüller for “Anatomy of a Fall,” Mulligan for “Maestro,” Margot Robbie for “Barbie” and Stone for “Poor Things.”
No British performers are nominated in the best-actor category, but Ireland is represented by Murphy for “Oppenheimer” and Barry Keoghan for “Saltburn.” They’re up against Cooper for “Maestro,” Colman Domingo for civil rights biopic “Rustin,” Paul Giamatti for “The Holdovers” and Teo Yoo for “Past Lives.”
Before the ceremony, nominees including Bradley Cooper, Carey Mulligan, Emily Blunt, Robert Downey Jr., Rosamund Pike, Ryan Gosling and Ayo Edebiri all walked the red carpet at London’s Royal Festival Hall, along with presenters Andrew Scott, Cate Blanchett and David Beckham.
Guest of honor was Prince William, in his role as president of the British Academy of Film and Television Arts. He arrived without his wife, Kate, who is recovering from abdominal surgery last month.
The ceremony included musical performances by “Ted Lasso” star Hannah Waddingham, singing “Time After Time,” and Sophie Ellis-Bextor, singing her 2001 hit “Murder on the Dancefloor,” which shot back up the charts after featuring in “Saltburn.”
Actress Samantha Morton received the academy’s highest honor, the BAFTA Fellowship, and film curator June Givanni, founder of the June Givanni PanAfrican Cinema Archive, was honored for outstanding British contribution to cinema.
Sunday’s ceremony was being broadcast on BBC One in the U.K. from 1900GMT, and on streaming service BritBox in the U.S., Canada, Australia and South Africa.
Highland Film Group has sold the horror film Rosario to a slew of international territories as the Berlin Film Festival and its market kicked into gear.
Felipe Vargas’ directorial debut from a script by Alan Trezza, which recently wrapped production, stars Emeraude Toubia, Oppenheimeractor David Dastmalchian, Jose Zuniga, Emilia Faucher and Paul Ben-Victor.
Highland Film Group on the weekend unveiled rights deals with Splendid Film for Germany and the Benelux, Galapagos Films for Poland, Spentzos Film for Greece, MovieCloud for Taiwan and Vietnam and MVP for Malaysia. There are also sales to Silverline Multimedia for the Philippines, PT Prima Cinema Multimedia for Indonesia, PictureWorks for India and Falcon Films for the Middle East.
Rosario stars Toubia in the titular role as a successful Wall Street stockbroker forced to spend the night with the body of her estranged grandmother Griselda after she abruptly dies. While waiting for the ambulance and her father Oscar, played by Zuniga, twisted and menacing supernatural forces possessing Griselda’s corpse begin their assault on Rosario as she becomes the target of a deadly family curse that spans generations.
Rosario is produced by Silk Mass’ Jon Silk and Mucho Mas’ Javier Chapa and Phillip Braun. The film is executive produced by Highland Film Group’s Arianne Fraser and Delphine Perrier, as well as Toubia, Bruce Barshop, Vincent Cordero, Simon Wise and Kristopher Wynne.
Mucho Mas Media financed and produced the film, which began production in Bogota, Colombia and included additional camera work in New York City.
“With the help of our terrific international partners, we look forward to introducing this smart and chilling film to audiences around the world,” said Highland Film Group COO Delphine Perrier.
Speaking to Josh Horowitz for a conversation at 92NY on Tuesday, Blunt explained that being referred to as an Academy Award nominee doesn’t yet feel natural, despite the months-long buzz she would receive Oscar recognition.
“It’s all quite scary, the anticipation of it, and I think you just try not to listen to buzz because buzz can be built on sand sometimes. And so when it did happen, and when it happened in such a far-reaching way for all of us in the movie and every crew member, it was magical,” Blunt said of Oppenheimer‘s many nominations, and when learning of her own, “I did have a brief cry in the middle of Brooklyn, brief weep directly after picking up my dog’s poop.”
“I did pick up her poop and then I heard that I got nominated so it was perfect,” she continued, and husband John Krasinski “had a really good cry as well, after helping me with the poop. I think he went and put it in the trash and then we both cried.”
Blunt is nominated for her performance as Kitty Oppenheimer, wife of Cillian Murphy’s titular character, who slowly loses hold of her own life throughout their marriage and J. Robert Oppenheimer’s work on the Manhattan Project.
“I think there was so much about her that I empathize with — the idea of that extraordinary brain wasted and decaying at the ironing board and the anger and the simmering rage that would follow,” the star said of her real-life character. “She kind of raged against the machine as best she could but there’s only so much I think she could do, and then she married this icon and clearly worshipped him, loved him, supported him, was there, a hugely stabilizing force in his life and yet she was so unstable. I think she bled for him, but I think to her own detriment.”
Blunt has several scenes of playing drunk in the film, but said only one time in her career has she actually had a few drinks before a drunk scene.
“I’ve done it once and it was a disaster. I was so paranoid and messy — it was way back in the day, I’m not even going to tell you what it was for. No, I prefer to be stone-cold sober,” Blunt explained, teasing, “I mean I seem to have done this a couple of times, I’m like the go-to for ugly drunks.”
Horowitz asked her at one point about previously meeting with Oppenheimer director Christopher Nolan for a role in 2008’s The Dark Knight, which eventually went to Katie Holmes. “I don’t think I was right… the best girl wins, it’s alright,” Blunt responded, and when it came to Kitty there was no competition as she joked, “Nothing says raging drunk like Emily Blunt, and Chris knows that.”
Throughout the hour-long conversation, Blunt also weighed in on possible (or unlikely) follow-ups to some of her most iconic films, including The Devil Wears Prada (“Sometimes things should be cherished and preserved in this bubble and it’s OK. We’re all good with it”), Sicario 3 (“I hear rumblings but there’s nothing firm. I think it’s hearsay”) and Edge of Tomorrow (“I think that’s a more real conversation…. I think when we were first talking about the sequel, it was right before I was about to do Mary Poppins, so it was quite a while. And then I think if we’re going to do one, we would have to reimagine what the sequel will look like.”)
And after Krasinski has had success in shifting to directing, Blunt said of taking that route herself, “Maybe one day. I don’t know quite yet if I want to, but I’m becoming increasingly interested and yeah, maybe one day.”
The conversation will be available in its entirety on the podcast Happy Sad Confused with Josh Horowitz, released on Feb. 12.
Christopher Nolan appreciates all film projects, big or small, but he admits that he will likely continue to work on “large-scale” productions.
During an interview with Time magazine, published online Monday, the filmmaker said some of his recent favorite films were smaller-scale dramas, including Past Lives, which he said was “subtle in a beautiful sort of way,” and Aftersun, which he called “just a beautiful film.”
And though Nolan admires the beauty of those projects, he noted that he feels a “responsibility” to continue making blockbuster movies with large casts, elaborate sets and big budgets.
“I’m drawn to working at a large scale because I know how fragile the opportunity to marshal those resources is,” the Interstellar director told the outlet. “I know that there are so many filmmakers out there in the world who would give their eye teeth to have the resources I put together, and I feel I have the responsibility to use them in the most productive and interesting way.”
Nolan’s latest directorial project Oppenheimer, which scored 13 Oscar nominations, reportedly got a $100 million budget. While that’s still a large amount for a film, it’s definitely smaller than the budget for his 2020 movie Tenet, which had a more than $200 million budget. And it’s even more of a difference from the third film in The Dark Knight trilogy, which had an estimated $250 million budget.
But the director doesn’t take any of his resources for granted — for Oppenheimer, he shortened the shoot from 85 days to 57 to free up more of the budget for production designs and location shooting.
“The U.S. government gave [the Manhattan Project] $2 billion, three to four years and an Army Corps of Engineers to build the original Los Alamos,” production designer Ruth De Jong previously told The Hollywood Reporter. “I had [none of that].”
The Cillian Murphy-led film, which followed the story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb, grossed nearly $1 billion at the box office since it was released in July.
“In the middle of our sex scene, the camera broke,” Pugh shared. “No one knows this, but it did. Our camera broke when we were both naked, and it was not ideal timing.”
Pugh played Jean Tatlock in Christopher Nolan’s Oppenheimer, who was in a relationship with Murphy’s titular protagonist before and during his marriage to Katherine “Kitty” Oppenheimer, played by Emily Blunt.
“Cillian and I are in this room together. It’s a closed set, so we’re both holding our bodies like this,” Pugh continued, wrapping her arms around herself.
The actress added that when someone arrived to fix the camera, she figured, “this is my moment to learn,” and asked the camera surgeon: “So tell me, what’s wrong with this camera?”
“You just make your moments,” Pugh told the crowd as they laughed at the anecdote. “I’m like, ‘What’s going on with the shutter here, buddy?’”
The actress went on to compliment Nolan’s full production team, saying that “every person on this set was so knowledgeable and was so ready to make this kind of movie that there was no dull moment. It was all amazing. It felt like we were lucky to be there every second of the day.”
Oppenheimerreceived 13 Oscar nominations on Tuesday, the most of any film. Among the nods are nominations for best picture, best actor (Murphy), best director (Nolan) and best supporting actress (Blunt) and actor (Robert Downey Jr.).
Every year, Awards Season is special for one reason: we all come together in outrage against a very specific group of voters, and publicly shame them until we grow bored. The Golden Globes and Emmys are great predictors of who will be ultimately nominated for an Oscar…but this year, it appears that the Academy stopped watching movies altogether.
When I woke up yesterday, I was bombarded by thousands of Tweets calling for the evisceration of the Academy after the 2024 Oscar Nominee list was revealed. It’s your modern-day mob mentality — and get your pitchforks ready, because there were quite a few notable snubs.
Okay, so I was already up in arms about the lack of nominations for Jacob Elordi and Charles Melton. But nothing was more offensive than the glaringly obvious Barbie irony: the Academy chose to honor “I’m Just Ken” by Ryan Gosling in a movie created by women, for women, about the struggles of feminism in a male-dominated society.
This is no hate to Ryan Gosling, who has owned his Ken-ergy in the best, candid way possible. He has supported his cast and uplifted its women during every single press event, red carpet, and personal statement. But the fact that they chose to nominate the one song about men taking over is laughable. Commenting on the lack of nominations himself, Gosling took to social media to say:
“ But there is no Ken without Barbie, and there is no Barbie movie without Greta Gerwig and Margot Robbie, the two people most responsible for this history-making, globally-celebrated film…To say that I’m disappointed that they are not nominated in their respective categories would be an understatement,”
Sure, Billie Eilish’s “What Was I Made For” was nominated considering it’s a beautiful, haunting ballad that perfectly fits the film. But the Oscars have proven they’re Billie stans before by honoring her James Bond ballad. What about the two women who made Barbie possible? Who revived cinema and brought millions of moviegoers to the theaters dressed in pink? Who created a whole movement surrounding celebrating women after years of being told we should bring each other down?
Barbie was a statistically bigger first-week success story than its release-day twin, Oppenheimer, and the biggest film of the year. Yet, no nomination for the director and face of the film. It’s almost like the Academy realized this movie was about them…
Here’s the worst part: you don’t have to let them win if you don’t want to. To not even recognize Margot Robbie and Greta Gerwig’s work and impact on the 2023 cinemascape is like saying Taylor Swift didn’t dominate the music industry this year. It’s just a lie.
So I will end this the way Taylor Swift would, with lyrics from “The Man”:
The nominations for the 2024 Oscars were announced today with “Oppenheimer” leading the pack with 13 nods followed by “Poor Things” with 11. The 96th annual Academy Awards follow a year that saw the “Barbenheimer” phenomenon of “Barbie” and Christopher Nolan‘s epic World War II biopic pack movie theaters around the world with each raking in hundreds of millions of dollars at the box office.
Tuesday’s announcement wasn’t without its share of surprises, with no nomination for “Barbie” director Greta Gerwig and no acting nods for the movie’s star Margot Robbie — a producer for the best picture nominee — or past Oscar winner Leonardo DiCaprio, who starred in “Killers of the Flower Moon.” Meanwhile, America Ferrera scored a best supporting actress nod for her performance in “Barbie” after she wasn’t nominated for a Golden Globe. And Justine Triet became the eighth woman nominated for best director for “Anatomy of a Fall.” Here is the full list of this year’s Oscar nominees:
Best picture
“American Fiction”
“Anatomy of a Fall”
“Barbie”
“The Holdovers”
“Killers of the Flower Moon”
“Maestro”
“Oppenheimer”
“Past Lives”
“Poor Things”
“The Zone of Interest”
Best actor
Bradley Cooper, “Maestro”
Colman Domingo, “Rustin”
Paul Giamatti, “The Holdovers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”
Best actress
Annette Bening, “Nyad”
Lily Gladstone, “Killers of the Flower Moon”
Sandra Hüller, “Anatomy of a Fall”
Carey Mulligan, “Maestro”
Emma Stone, “Poor Things”
Best supporting actor
Sterling K. Brown, “American Fiction”
Robert De Niro, “Killers of the Flower Moon”
Robert Downey Jr., “Oppenheimer”
Ryan Gosling, “Barbie”
Mark Ruffalo, “Poor Things”
Best supporting actress
Emily Blunt, “Oppenheimer”
Danielle Brooks, “The Color Purple”
America Ferrera, “Barbie”
Jodie Foster, “Nyad”
Da’Vine Joy Randolph, “The Holdovers”
Best director
Jonathan Glazer, “The Zone of Interest”
Yorgos Lanthimos, “Poor Things”
Christopher Nolan, “Oppenheimer”
Martin Scorsese, “Killers of the Flower Moon”
Justine Triet, “Anatomy of a Fall”
International feature film
“Io Capitano,” Italy
“Perfect Days,” Japan
“Society of the Snow,” Spain
“The Teachers’ Lounge,” Germany
“The Zone of Interest,” United Kingdom
Animated feature film
“The Boy and the Heron”
“Elemental”
“Nimona”
“Robot Dreams”
“Spider-Man: Across the Spider-Verse”
Adapted screenplay
“American Fiction”
“Barbie”
“Oppenheimer”
“Poor Things”
“The Zone of Interest”
Original screenplay
“Anatomy of a Fall”
“The Holdovers”
“Maestro”
“May December”
“Past Lives”
Visual effects
“The Creator”
“Godzilla Minus One”
“Guardians of the Galaxy Vol. 3”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”
Original score
“American Fiction”
“Indiana Jones and the Dial of Destiny”
“Killers of the Flower Moon”
“Oppenheimer”
“Poor Things”
Original song
“It Never Went Away” from “American Symphony”
“I’m Just Ken” from “Barbie”
“What Was I Made For?” from “Barbie”
“The Fire Inside” from “Flamin’ Hot”
“Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”
Documentary feature film
“20 Days in Mariupol”
“Bobi Wine: The People’s President”
“The Eternal Memory”
“Four Daughters”
“To Kill a Tiger”
Cinematography
“El Conde”
“Killers of the Flower Moon”
“Maestro”
“Oppenheimer”
“Poor Things”
Costume design
“Barbie”
“Killers of the Flower Moon”
“Napoleon”
“Oppenheimer”
“Poor Things”
Animated short film
“Letter to a Pig”
“Ninety-Five Senses”
“Our Uniform”
“Pachyderme”
“War Is Over! Inspired by the Music of John & Yoko”
Live action short film
“The After”
“Invincible”
“Knight of Fortune”
“Red, White and Blue”
“The Wonderful Story of Henry Sugar”
Documentary short film
“The ABCs of Book Banning”
“The Barber of Little Rock”
“Island in Between”
“The Last Repair Shop”
“Nǎi Nai & Wài Pó”
Film editing
“Anatomy of a Fall”
“The Holdovers”
“Killers of the Flower Moon”
“Oppenheimer”
“Poor Things”
Sound
“The Creator”
“Maestro”
“Mission: Impossible – Dead Reckoning Part One”
“Oppenheimer”
“The Zone of Interest”
Production design
“Barbie”
“Killers of the Flower Moon”
“Napoleon”
“Oppenheimer”
“Poor Things”
Makeup and hairstyling
“Golda”
“Maestro”
“Oppenheimer”
“Poor Things”
“Society of the Snow”
Last week, Nolan’s drama about J. Robert Oppenheimer, the leader of the top-secret Manhattan Project that created the atomic bomb, led the nominations for the BAFTA Film Awards with 13 nods. “Poor Things,” starring Emma Stone and directed by Yorgos Lanthimos, received 11 nominations for the U.K.’s version of the Oscars.
At the Golden Globes earlier this month, “Oppenheimer” won five awards, including best drama motion picture. Nolan took home the Globe for best director. Cillian Murphy’s portrayal of the title character earned him best actor in a drama, and co-star Robert Downey Jr. won best supporting actor.
First-time Globe nominee Lily Gladstone won best drama actress for her performance in Martin Scorsese’s “Killers of the Flower Moon.”
“Poor Things” won the Globe for best musical or comedy motion picture, and Stone won the category’s best actress award. Paul Giamatti won best actor in a musical or comedy for Alexander Payne’s “The Holdovers,” and Giamatti’s co-star Da’Vine Joy Randolph — another first-time Globe nominee — won best supporting actress.
“Barbie” was nominated for nine Globes, including best director. It won two, best original song for Billie Eilish‘s “What Was I Made for?” and the new award for cinematic and box office achievement.
David Morgan and Caitlin O’Kane contributed reporting.
Alex Sundby is a senior editor at CBSNews.com. In addition to editing content, Alex also covers breaking news, writing about crime and severe weather as well as everything from multistate lottery jackpots to the July Fourth hot dog eating contest.
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To Kill a Tiger, a riveting Canadian documentary crafted by Nisha Pahuja, has made its majestic roar at the Oscars by securing a nomination in the Best Documentary Feature Film category of the 96th Academy Awards. With the backdrop set in Jharkhand, India, this sobering story revolves around a family relentlessly seeking justice for their 13-year-old daughter, a victim of a brutal rape crime by three men. The cinematic narration delves deep into the societal and legal obstacles faced by the affected family, shining a spotlight on the culturally embedded issues that turn a blind eye to violence against women. Also Read – Oscars 2024 Nominees: Bradley Cooper, Emma Stone and others nominated; Barbie, Oppenheimer dominate the list
The documentary first aired its social dilemma to the audience at the Toronto International Film Festival on September 10, 2022, cinching the title of Best Canadian Film. It further racked up laurels such as the Inspiring Voices and Perspectives award at the Cinéfest Sudbury International Film Festival and two Canadian Screen Awards for Best Feature Length Documentary and Best Editing in a Documentary. Praise for To Kill a Tiger echoed from critics at Stir, CityNews, and Northern Stars, while comedian and producer Mindy Kaling hailed it as a “triumph” to be witnessed by all. Also Read – Dunki at Oscars 2024: Shah Rukh Khan, Rajkumar Hirani planning to submit the film for main categories?
Amongst the group of 15 movies that progressed in the Documentary Feature Film category out of the eligible 167 films at the Oscars, To Kill a Tiger marks its presence. Joining the list are other engaging narratives like American Symphony, Apolonia, Beyond Utopia, Bobi Wine: The People’s President, Desperate Souls, Dark City and the Legend of Midnight Cowboy, and more remarkable documentaries.
About Oscars 2024
The Oscars 2024 red carpet will unroll on Sunday, March 10, 2024, at the Dolby Theatre in Hollywood, Los Angeles, California as the 96th Academy Awards unfurls. Telecasted live on ABC and universally across 200+ territories, the event will have comedian Jimmy Kimmel as the host for the fourth time. The production chair occupied by Raj Kapoor and Katy Mullan and directorial reins held by Hamish Hamilton. As actors Zazie Beetz and Jack Quaid reveal the nominees in various categories such as Best Picture and Best Actress on January 23, 2024, “To Kill A Tiger” is set to compete with awaited cinema pieces like Killers of the Flower Moon, and Barbie.
The societal mirror that To Kill a Tiger is, highlights the deep-seated issue of sexual violence against women, prevalent not just in India but globally. Beyond being a mere film, it’s a call for change and a manifesto challenging the rampant social evil. Lauded, celebrated, and a potential history-maker at the Oscars; To Kill a Tiger is indeed a movie with a mission.
Nominations for the 2024 BAFTA Film Awards have been unveiled. Scroll down for the full list.
Leading the way this year is Christopher Nolan’s atomic biopic Oppenheimer, which snagged 13 noms, including best film, director, and adapted screenplay. Oppenheimer was one nomination away from equaling All Quiet on the Western Front’s record 2023 haul of 14 noms. Trailing Nolan is Greek filmmaker Yorgos Lanthimos, who clocked 11 nominations with his latest black comedy, Poor Things. Lanthimos’ haul also includes best film and director alongside outstanding british film and adapted screenplay for Tony McNamara.
Chasing the leading two is Martin Scorsese’s Osage epic Killers Of The Flower, which clocked nine nominations. The 3-hour plus pic pops up in best film, supporting actor for Robert DeNiro, and cinematography for Rodrigo Prieto. However, the film didn’t land noms in either best director or best actress (Lily Gladstone), where it had been longlisted and earmarked as a frontrunner. Jonathan Glazer’s breakout Cannes drama The Zone Of Interest also netted nine nominations, giving the British filmmaker his best-ever BAFTAs haul.
Other leading films include Anatomy of A Fall, The Holdovers, and Maestro, which all clocked seven noms. Andrew Haigh’s enigmatic drama All of Us Strangers landed six nods, and Greta Gerwig’s Barbie and Emerald Fennell’s Saltburn have five apiece.
This year, 11 out of 23 nominees in the performance categories have received their first BAFTA nomination, including Sandra Hüller (Anatomy of a Fall and The Zone of Interest), Cillian Murphy (Oppenheimer), Fantasia Barrino and Danielle Brooks (The Color Purple), Colman Domingo (Rustin), Paul Giamatti, Da’Vine Joy Randolph and Dominic Sessa (The Holdovers), Jacob Elordi (Saltburn), Vivian Oparah (Rye Lane), and Teo Yoo (Past Lives). In other notable acting notes, Paul Mescal and Claire Foy are in their respective supporting categories for All Of Us Strangers, while awards season frontrunners Margot Robbie and Emma Stone fill out the best actress category.
In best director, four of the six are first-time director nominees: Jonathan Glazer (The Zone of Interest), Andrew Haigh (All of Us Strangers), Alexander Payne (The Holdovers), andJustine Triet (Anatomy of a Fall). Triet is the sole woman in director. None of the director nominees are previous winners in this category.
Standout British titles in this year’s crop of noms include Raine Allen Miller’s debut feature Rye Lane, which landed two noms, including Outstanding British Film alongside Oparah’s acting nom, and Molly Manning Walker’s How To Have Sex, which landed three noms: Outstanding British Film, Outstanding Debut, and Casting.
This year’s nominations are relatively spread out amongst the studios, with Disney/Searchlight out in front, clocking 22 noms. Trailing behind is Universal (14). Indie studio A24 had a strong showing with nine, all from Jonathan Glazer’s Zone Of Interest. Apple performed the best amongst the streamers with 14 noms, including 4 for Ridley Scott’s Napoleon. Netflix clocked 12 overall.
Winners will be announced at the 2024 BAFTA Film Awards ceremony, hosted by actor David Tennant on February 18 at the Southbank Centre’s Royal Festival Hall in London.
Breaking down the noms, Jane Millichip, CEO of BAFTA, said: “The 38 films nominated by BAFTA voters today span an extraordinary range of genres and stories. The field this year is incredibly strong. More films were entered, making the selection process particularly tough for our voting members.
She added: “The films and talented people nominated represent some of the most talked about films of the year, the most critically acclaimed, and films yet to be released and discovered by audiences. With a month to go until the EE BAFTAs on 18 February, we encourage film fans everywhere to watch as many nominated films as possible and find out more about the people who make them by listening to our new official podcast, Countdown to the BAFTAs, which is available widely on podcast platforms from today.”
HOW TO HAVE SEX Molly Manning Walker (Writer, Director)
IS THERE ANYBODY OUT THERE? Ella Glendining (Director)
FILM NOT IN THE ENGLISH LANGUAGE
20 DAYS IN MARIUPOL Mstyslav Chernov, Raney Aronson Rath
ANATOMY OF A FALL Justine Triet, Marie-Ange Luciani, David Thion
PAST LIVES Celine Song, David Hinojosa, Pamela Koffler, Christine Vachon
SOCIETY OF THE SNOW J.A. Bayona, Belen Atienza
THE ZONE OF INTEREST Jonathan Glazer
DOCUMENTARY
20 DAYS IN MARIUPOL Mstyslav Chernov, Raney Aronson Rath
AMERICAN SYMPHONY Matthew Heineman, Lauren Domino, Joedan Okun
BEYOND UTOPIA Madeleine Gavin, Rachel Cohen, Jana Edelbaum
STILL: A MICHAEL J. FOX MOVIE Davis Guggenheim, Jonathan King, Annetta Marion
WHAM! Chris Smith
ANIMATED FILM
THE BOY AND THE HERON Hayao Miyazaki, Toshio Suzuki
CHICKEN RUN: DAWN OF THE NUGGET Sam Fell, Leyla Hobart, Steve Pegram
ELEMENTAL Peter Sohn, Denise Ream
SPIDER-MAN: ACROSS THE SPIDER-VERSE Joaquim Dos Santos, Kemp Powers, Justin K. Thompson, Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
DIRECTOR
ALL OF US STRANGERS Andrew Haigh
ANATOMY OF A FALL Justine Triet
THE HOLDOVERS Alexander Payne
MAESTRO Bradley Cooper
OPPENHEIMER Christopher Nolan
THE ZONE OF INTEREST Jonathan Glazer
ORIGINAL SCREENPLAY
ANATOMY OF A FALL Justine Triet, Arthur Harari
BARBIE Greta Gerwig, Noah Baumbach
THE HOLDOVERS David Hemingson
MAESTRO Bradley Cooper, Josh Singer
PAST LIVES Celine Song
ADAPTED SCREENPLAY
ALL OF US STRANGERS Andrew Haigh
AMERICAN FICTION Cord Jefferson
OPPENHEIMER Christopher Nolan
POOR THINGS Tony McNamara
THE ZONE OF INTEREST Jonathan Glazer
LEADING ACTRESS
FANTASIA BARRINO The Color Purple
SANDRA HÜLLER Anatomy of a Fall
CAREY MULLIGAN Maestro
VIVIAN OPARAH Rye Lane
MARGOT ROBBIE Barbie
EMMA STONE Poor Things
LEADING ACTOR
BRADLEY COOPER Maestro
COLMAN DOMINGO Rustin
PAUL GIAMATTI The Holdovers
BARRY KEOGHAN Saltburn
CILLIAN MURPHY Oppenheimer
TEO YOO Past Lives
SUPPORTING ACTRESS
EMILY BLUNT Oppenheimer
DANIELLE BROOKS The Color Purple
CLAIRE FOY All of Us Strangers
SANDRA HÜLLER The Zone of Interest
ROSAMUND PIKE Saltburn
DA’VINE JOY RANDOLPH The Holdovers
SUPPORTING ACTOR
ROBERT DE NIRO Killers of The Flower Moon
ROBERT DOWNEY JR. Oppenheimer
JACOB ELORDI Saltburn
RYAN GOSLING Barbie
PAUL MESCAL All of Us Strangers
DOMINIC SESSA The Holdovers
CASTING
ALL OF US STRANGERS Kahleen Crawford
ANATOMY OF A FALL Cynthia Arra
THE HOLDOVERS Susan Shopmaker
HOW TO HAVE SEX Isabella Odoffin
KILLERS OF THE FLOWER MOON Ellen Lewis, Rene Haynes
CINEMATOGRAPHY
KILLERS OF THE FLOWER MOON Rodrigo Prieto
MAESTRO Matthew Libatique
OPPENHEIMER Hoyte van Hoytema
POOR THINGS Robbie Ryan
THE ZONE OF INTEREST Łukasz Żal
EDITING
ANATOMY OF A FALL Laurent Sénéchal
KILLERS OF THE FLOWER MOON Thelma Schoonmaker
OPPENHEIMER Jennifer Lame
POOR THINGS Yorgos Mavropsaridis
THE ZONE OF INTEREST Paul Watts
COSTUME DESIGN
BARBIE Jacqueline Durran
KILLERS OF THE FLOWER MOON Jacqueline West
NAPOLEON Dave Crossman, Janty Yates
OPPENHEIMER Ellen Mirojnick
POOR THINGS Holly Waddington
MAKE UP & HAIR
KILLERS OF THE FLOWER MOON Kay Georgiou, Thomas Nellen
MAESTRO Sian Grigg, Kay Georgiou, Kazu Hiro, Lori McCoy-Bell
NAPOLEON Jana Carboni, Francesco Pegoretti, Satinder Chumber, Julia Vernon
OPPENHEIMER Luisa Abel, Jaime Leigh McIntosh, Jason Hamer, Ahou Mofid
POOR THINGS Nadia Stacey, Mark Coulier, Josh Weston
ORIGINAL SCORE
KILLERS OF THE FLOWER MOON Robbie Robertson
OPPENHEIMER Ludwig Göransson
POOR THINGS Jerskin Fendrix
SALTBURN Anthony Willis
SPIDER-MAN: ACROSS THE SPIDER-VERSE Daniel Pemberton
PRODUCTION DESIGN
BARBIE Sarah Greenwood, Katie Spencer
KILLERS OF THE FLOWER MOON Jack Fisk, Adam Willis
OPPENHEIMER Ruth De Jong, Claire Kaufman
POOR THINGS Shona Heath, James Price, Zsuzsa Mihalek
THE ZONE OF INTEREST Chris Oddy, Joanna Maria Kuś, Katarzyna Sikora
SOUND
FERRARI Angelo Bonanni, Tony Lamberti, Andy Nelson, Lee Orloff, Bernard Weiser
MAESTRO Richard King, Steve Morrow, Tom Ozanich, Jason Ruder, Dean Zupancic
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE Chris Burdon, James H. Mather, Chris Munro, Mark Taylor
OPPENHEIMER Willie Burton, Richard King, Kevin O’Connell, Gary A. Rizzo
THE ZONE OF INTEREST Johnnie Burn, Tarn Willers
SPECIAL VISUAL EFFECTS
THE CREATOR Jonathan Bullock, Charmaine Chan, Ian Comley, Jay Cooper
GUARDIANS OF THE GALAXY VOL. 3 Theo Bialek, Stephane Ceretti, Alexis Wajsbrot, Guy Williams
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE Neil Corbould, Simone Coco, Jeff Sutherland, Alex Wuttke
NAPOLEON Henry Badgett, Neil Corbould, Charley Henley, Luc-Ewen Martin-Fenouillet
POOR THINGS Simon Hughes
CRAB DAY Ross Stringer, Bartosz Stanislawek, Aleksandra Sykulak
VISIBLE MENDING Samantha Moore, Tilley Bancroft
WILD SUMMON Karni Arieli, Saul Freed, Jay Woolley
BRITISH SHORT FILM
FESTIVAL OF SLAPS Abdou Cissé, Cheri Darbon, George Telfer
GORKA Joe Weiland, Alex Jefferson
JELLYFISH AND LOBSTER Yasmin Afifi, Elizabeth Rufai
SUCH A LOVELY DAY Simon Woods, Polly Stokes, Emma Norton, Kate Phibbs
YELLOW Elham Ehsas, Dina Mousawi, Azeem Bhati, Yiannis Manolopoulos
When the Barbenheimer phenomenon vaulted two summer movies to blockbuster glory, it was clear how the films diverged when it came to the trajectories of their female characters. Stereotypical Barbie, played by Margot Robbie in Greta Gerwig’s candy-bright confection, winds up trading the plasticine perfection of her Malibu Dreamhouse for the mixed-bag freedoms of the real world. In the case of Kitty Oppenheimer—wife to the so-called American Prometheus, brought to simmering life by Emily Blunt in Christopher Nolan’s biopic—she is still, in the metaphorical sense, confined to the box. A biologist who winds up relegated to the roles of wife and mother, she remains unfulfilled, “bristling against the constraints of womanhood at that time,” Blunt says in a video about her Oppenheimer performance, which has garnered a raft of best-supporting-actress nominations. Kitty is a “really brilliant brain that kind of went to waste at the ironing board, and she suffered for it.”
Blunt slips into her Giorgio Armani Privé dress with help from stylist Jessica Paster.
By Jenna Jones.
If Kitty has the force of an undetonated weapon, what Blunt unleashed at Sunday’s Critics Choice Awards 2024 was pure bombshell—red paillettes glowing like fire under the lights. “We were going for a modern twist on Old Hollywood,” stylist Jessica Paster says by phone, shortly after Blunt decamped for the carpet. (She joined her Oppenheimer cast members onstage to accept the award for best acting ensemble.) “The minute I saw that dress, I knew that I wanted it for Emily. I said, ‘Please put it on hold—I just don’t know for what!’” Such was the coup de foudre sparked last July when the one-shoulder Giorgio Armani Privé look appeared on the runway. “The movie is set in the ’40s and ’50s, and that’s what I love about this silhouette,” Paster says. “More important,” she adds, “it has the femininity, but it’s a very strong dress.”
Makeup artist Jenn Streicher swatched countless lipsticks, seeking this precise shade of red—Chanel’s 31 Le Rouge in Rouge Privé.
By Jenna Jones.
Much of that magnetism—glamour at its most grounded—is due to Blunt’s personality, funny and cerebral and warm. Another quotient is her bedrock team. “We’re all in tune with each other,” says Paster, speaking about the others in the creative triumvirate: Jenn Streicher on makeup, Laini Reeves on hair. Streicher comes to the phone, tracing their origin story to the 2007 awards season following The Devil Wears Prada. “I had actually been working with her husband, John [Krasinski], and they had just started dating,” the makeup artist recalls. “I was like, ‘Yeah, if you ever need anybody, just let me know.’” The next week, Blunt called up about the SAG Awards. “John always says that she stole me from him,” Streicher says with a laugh.
The red shoes are by Alexandre Birman; hairstylist Laini Reeves, working with the hair-health line Burgeon, secures the rosette-like buns.
With nearly 600 members, the Critics Choice Association (CCA) is the largest group of entertainment journalists in the U.S. and Canada. But before you roll your eyes at a televised awards ceremony based in the judgement of a bunch of schlubby scribes, know this: The Critics Choice Awards is historically the most accurate predictor of Academy Award nominations, which makes its assessments of cinematic and television achievement of particular note to those who follow splashier races like the Oscars and tomorrow night’s Emmy Awards.
Nominations were announced in December, and voting ended Friday for this year’s awards, which will be announced on January 14, 2024. The awards ceremony will air live for viewers in the Eastern time zone from 7-10 p.m. on the CW, but will be tape delayed most other places. One exception is Los Angeles, where local CW affiliate KTLA-5 will broadcast live from Santa Monica’s Barker Hangar; the station will also air red carpet arrivals starting at 2 p.m. PT.
In addition to host Chelsea Handler, who returns for her second year in the role, folks on that carpet include Harrison Ford, who’ll be presented with this year’s Career Achievement Award by director James Mangold. Margot Robbie will also be on stage to present America Ferrera with the gender equity-focused SeeHer Award; other presenters include Angela Bassett, Daniel Levy, Natasha Lyonne, and Oprah Winfrey.
Even before the awards began, the CCA named some of the nights winners from the red carpet. The Holdovers‘ Dominic Sessa was named the year’s Best Young Actor/Actress, Quiz Lady was named 2024’s Best Movie Made for Television, and Spider-Man: Across The Spider-Verse took home the Best Animated Feature award.
Below, find a complete list of Critics Choice Awards 2024 nominations with their winners in bold; it will be updated throughout the evening. We also have coverage of the red carpet’s best fashion and looks.
Film Awards
Best Picture
American Fiction Barbie The Color Purple The Holdovers Killers of the Flower Moon Maestro Oppenheimer Past Lives Poor Things Saltburn
Best Actor
Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Paul Giamatti, The Holdovers Cillian Murphy, Oppenheimer Jeffrey Wright, American Fiction
Best Actress
Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Margot Robbie, Barbie Emma Stone, Poor Things
Best Supporting Actor
Sterling K. Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr., Oppenheimer Ryan Gosling, Barbie Charles Melton, May December Mark Ruffalo, Poor Things
Best Supporting Actress
Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Julianne Moore, May December Da’Vine Joy Randolph, The Holdovers
Best Young Actor/Actress
WINNER: Dominic Sessa,The Holdovers
Abby Ryder Fortson, Are You There God? It’s Me, Margaret. Ariana Greenblatt, Barbie Calah Lane, Wonka Milo Machado Graner, Anatomy of a Fall Madeleine Yuna Voyles, The Creator
Best Acting Ensemble
Air Barbie The Color Purple The Holdovers Killers of the Flower Moon Oppenheimer
Best Director
Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer Alexander Payne, The Holdovers Martin Scorsese, Killers of the Flower Moon
Best Adapted Screenplay
Kelly Fremon Craig, Are You There God? It’s Me, Margaret. Andrew Haigh, All of Us Strangers Cord Jefferson, American Fiction Tony McNamara, Poor Things Christopher Nolan, Oppenheimer Eric Roth and Martin Scorsese, Killers of the Flower Moon
Best Original Screenplay
Samy Burch, May December Alex Convery, Air Bradley Cooper and Josh Singer, Maestro Greta Gerwig and Noah Baumbach, Barbie David Hemingson, The Holdovers Celine Song, Past Lives
Best Cinematography
Matthew Libatique, Maestro Rodrigo Prieto, Barbie Rodrigo Prieto, Killers of the Flower Moon Robbie Ryan, Poor Things Linus Sandgren, Saltburn Hoyte van Hoytema, Oppenheimer
Best Production Design
Suzie Davies and Charlotte Dirickx, Saltburn Ruth De Jong and Claire Kaufman, Oppenheimer Jack Fisk and Adam Willis, Killers of the Flower Moon Sarah Greenwood, Katie Spencer, Barbie James Price, Shona Heath, and Szusza Mihalek, Poor Things Adam Stockhausen and Kris Moran, Asteroid City
Best Editing
William Goldenberg, Air Nick Houy, Barbie Jennifer Lame, Oppenheimer Yorgos Mavropsaridis, Poor Things Thelma Schoonmaker, Killers of the Flower Moon Michelle Tesoro, Maestro
Best Costume Design
Jacqueline Durran, Barbie Lindy Hemming, Wonka Francine Jamison-Tanchuck, The Color Purple Holly Waddington, Poor Things Jacqueline West, Killers of the Flower Moon Janty Yates and David Crossman, Napoleon
Best Hair and Makeup
Barbie The Color Purple Maestro Oppenheimer Poor Things Priscilla
Best Visual Effects
The Creator Guardians of the Galaxy Vol. 3 Mission: Impossible – Dead Reckoning Part One Oppenheimer Poor Things Spider-Man: Across the Spider-Verse
Best Comedy
American Fiction Barbie Bottoms The Holdovers No Hard Feelings Poor Things
The Golden Globe Awards returned after a tumultuous few years with a revamped ceremony hosted by comedian Jo Koy. Christopher Nolan’s “Oppenheimer” dominated the film categories, and Lily Gladstone made history as the first Native American to win a Golden Globe. On the television side, “The Bear” and “Succession” won big. “Entertainment Tonight” co-host Nischelle Turner has all the details.
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The Golden Globes is no stranger to being riddled with scandal. Even in the 1950s, when it was still a relatively germinal organization (with the first edition airing in 1944), the awards ceremony was “renowned” for taking what amounted to bribes and payoffs via various “gift-giving” endeavors from studios, production companies and individual stars themselves. By the 60s, the Golden Globes were exposed for determining their winners based on advertiser influence, and that, furthermore, the Hollywood Foreign Press Association (HFPA) put pressure on nominees to attend the ceremony, lest they lose their win to another nominee who actually did attend. The entire thing was such a shitshow—such a complete and blatant display of nepotism and abuse of power—that the ceremony was actually banned from being aired on television between 1969 and 1974.
Scarcely back on the air for a full ten years after returning post-1974, the next major scandal was Pia Zadora’s “miraculous” win for “New Star of the Year” (another made-up award in the vein of Cinematic and Box Office Achievement) thanks to her performance in Butterfly, a movie that was both unanimously panned and had not even been released yet at the time the awards ceremony aired. Not so hushed whisperings about how Zadora’s husband, Turkish-Israeli financier Meshulam Riklis, bought her the award led to a further degradation in the Golden Globes’ credibility. Yet this has never stopped the show from enduring. In fact, from being second only to the Academy Awards in terms of prestige and well-knownness to the layperson outside of Hollywood. Yet, as Scarlett Johansson once called out, the show was merely used as a tool by the likes of Harvey Weinstein to curry Oscar favor. Hence, the flagrancy of bribery.
Some cynics would even argue that it surely can’t be a coincidence that the only time Madonna was ever recognized for her acting ability was thanks to the Golden Globes, as she won the award (in 1997) for Best Actress in a Motion Picture – Musical or Comedy for Evita. The HFPA had a less speculative case of being paid off for the 2011 Golden Globes, when both Burlesque and The Tourist managed to secure nominations in the Best Motion Picture – Musical or Comedy category. This despite Burlesque being a critical laughingstock (though, yes, it is lauded by those who appreciate camp) and the fact that The Tourist was a spy/action-adventure movie. Needless to say, HFPA members were cajoled into nominating these films thanks to getting “flewed out” to Las Vegas to see a Cher concert and a little personal lobbying from Angelina Jolie herself re: The Tourist.
At the end of 2020, amid then-fervent cries about changing Hollywood’s openly discriminatory practices as a result of the overall anti-racist spark ignited by George Floyd’s murder in May of that year, the Golden Globes were once again put on blast for a lack of Black members and generally arcane membership “policies.” So it was that, yet again, the awards ceremony was barred from being aired on television in 2022, with Tom Cruise going so far as to return the Golden Globes he won as a show of “solidarity” the year before. By 2023, the organization had been (theoretically) totally revamped, sold off to Eldridge Industries (also known for buying Dick Clark Productions) and repackaged as a for-profit entity with a larger and more “diverse” membership working behind the scenes to nominate people and the films they’re part of. Not only that, but as Robert Downey Jr. pointed out during his acceptance speech this year, the organization changed its name, doing away with the HFPA altogether. It also transitioned to a new network, swapping NBC out in favor of CBS, billed as the “less fun” of the Big Three broadcast networks (NBC, ABC and CBS). And, indeed, it didn’t seem like much fun for anyone when the last-minute host, Jo Koy (relatively unknown up until this moment), took the stage to deliver a monologue that induced cricket-chirping silence (though Taylor Swift really didn’t need to be so uppity about the harmless “difference between the NFL and Golden Globes” joke that Koy made).
Luckily, things picked up slightly as the evening wore on, and viral moments of levity were provided, including Jennifer Lawrence mouthing, “If I don’t win, I’m leaving” and what felt like two minutes of watching Timothée Chalamet (who, mercifully, did not win for Best Actor in Wonka) and Kylie Jenner “canoodling” and saying shit to the effect of, “No, I love you more.” It was pretty nasty (and not nearly as noteworthy as Ali Wong’s show of PDA with Bill Hader), but obviously the stuff of viral and meme gold. Even that “bit” between Kristen Wiig and Will Ferrell presenting the award for Best Actor in a Motion Picture – Musical or Comedy proved to, for whatever reason, endlessly charm audiences. Which proves that the Golden Globes isn’t quite yet the stodgy, irrelevant entity that people would like to make most long-running institutions out to be.
That said, the presence of Taylor Swift and Billie Eilish (who also won the award for Best Original Song for “What Was I Made For?”) alone served as enough proof that the ceremony has carried on to subsequent generations. Even if only the most blanca and monoculture-oriented. But that didn’t stop the voters from doing their best to promote “inclusivity” in the lone manner they could: by giving the award for Best Actress in a Motion Picture – Drama to Lily Gladstone for her performance as Mollie Burkhart in Killers of the Flower Moon. Even if there were many Native Americans who weren’t quite as moved by the film as some of the white viewers who watched it (a phenomenon that also seemed to occur with 2016’s Moonlight). In truth, Gladstone’s capitulation to the proverbial white male as the teller of an Osage story can be viewed as at Native American version of the Uncle Tom trope. And yet, how else is a girl (or boy) supposed to get representation in mainstream Hollywood without “cozying up” a bit?
This seemed to be the underlying theme of the night, with audience silence resounding well beyond the Jo Koy monologue in terms of nary a celebrity making any political statement. That’s right: for arguably the first time in history, celebrities at an awards ceremony were not feeling political. Almost as though to do so would be “too much” amid the tinderbox climate (figuratively and literally) of now. Particularly with regard to mentioning anything about Israel and Palestine. Which proves, once again, that Hollywood hypocrisy is alive and well no matter how much its awards ceremonies feign “evolution.” For how can an awards show really evolve if the industry itself hasn’t?
Oppenheimerwon the award for best motion picture, drama, at the Golden Globes 2024 on Sunday. The film also took home the awards for director for Christopher Nolan, lead actor in a drama for Cillian Murphy, supporting actor in a drama for Robert Downey Jr., and original score.
“This was just an incredible experience making this film,” said producer Emma Thomas in her acceptance speech. “What we do is collaboration, and that’s amazing and exciting and I find that completely magical.”
Thomas, who has been married to Nolan since 1997, made sure to give her husband a special shout-out. “I’m so pleased that Chris has been acknowledged,” she said. “Chris brings out the best in people by being the best himself.”
The film was competing against Anatomy of a Fall, Killers of the Flower Moon, Maestro, Past Lives, and The Zone of Interest in the night’s top category.
Oppenheimer traces J. Robert Oppenheimer’s (Cillian Murphy) work to create the first atomic bomb during World War II. Also starring Robert Downey Jr., Emily Blunt, and Matt Damon, the 180-minute epic was a box office smash when it opened over the summer, earning roughly $955 million worldwide to become the third-highest-grossing film of 2023. It came into the night with eight Globes nominations, the second most of any film (behind Barbie). Critically acclaimed, Oppenheimer was also shortlisted in three Oscar categories (makeup and hairstyling, original score, and sound.
Two other Nolan films—Inception and Dunkirk—have been nominated in this category before, but Oppenheimer is the first of his to ever win.
The makeup of the Globes voting body has notably changed over the past two years, but there’s still virtually no overlap with the Academy, and the group’s choice in this category often has not lined up with the eventual best-picture Oscar winner. Recent winners include The Fabelmans, The Power of the Dog,Nomadland, and 1917.
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The 2024 Golden Globe Awards promise high honors to some of the year’s best in film and television — Barbenheimer, “Succession,” “The Crown” and Taylor Swift’s “Eras Tour” movie are just a few standouts that earned big nominations. With the expected celebration comes the possibility of a fresh start for the Globes, an awards ceremony trying to rebuild its image in the wake of controversy that prompted an overhaul of changes to the show and how it operates.
For the first time in decades, the Golden Globe Awards will be broadcast live on CBS this Sunday, Jan. 7, from 8-11 p.m. ET (5-8 p.m. PT), with the comedian Jo Koy as host. The ceremony will also be available to stream on Paramount+ and the CBS app. Paramount Global is the parent company of CBS.
The network shift followed an end to NBC’s longstanding partnership with the Golden Globes, after the show faced widespread criticism and boycotts over allegations of racism and corruption within the Hollywood Foreign Press Association, the organization that ran the Globes for decades and voted annually to select nominees and winners.
The HFPA has since dissolved and the Globes, in turn, has come under new leadership with a clear focus on expanding diversity. Its current voting body consists of 300 entertainment journalists from 75 countries, according to the awards show.
“I’m most interested in the tone of the awards show,” said Aramide Tinubu, a TV critic at Variety who has also covered film. “I’m interested to see, will the Globes continue to be a fun, off-the-wall ceremony as it’s always been, or is it going to be a little bit more buttoned-up or taken a little bit more seriously?”
Golden Globes ceremonies were historically known as Hollywood’s lighthearted “party of the year,” signaling that awards season had begun. Its somewhat unpredictable nominations and winners often stood apart from other awards shows along the path to the Oscars, and now, with different leadership, voters, and two new categories, the outcome of any competition is that much more of a toss-up. Here are the top races to watch.
Best motion picture
The award for best motion picture is given to two winners in two separate categories.
Unlike the Oscars, coming up in March, the Golden Globes splits its major film contenders into two categories: musical or comedy films in one, and dramas in another. That means the Barbenheimer rivalry that gave rise to its own cultural moment over the summer may not take center stage on Sunday to the extent it could later this awards season, when the blockbusters will be eligible to compete against each other for top honors.
Still, Greta Gerwig’s “Barbie”, in the musical or comedy category, and Christopher Nolan’s drama “Oppenheimer” dominate the Globes nominations, with nine nods for “Barbie” and eight for “Oppenheimer,” and how their winnings eventually shake out is going to be a major focal point of the night.
In addition to box office success and critical acclaim, “Barbie” fueled an aesthetic craze over the color pink that for a time seemed to take over the world. Its fellow contenders for best musical or comedy film are Yorgos Lanthimos’ “Poor Things,” Cord Jefferson’s “American Fiction,” Alexander Payne’s “The Holdovers,” Todd Haynes’ “May December” and Ben Affleck’s “Air.”
Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer” were the films of the summer, with the Barbenheimer phenomenon born out of their dueling popularity. Both movies are neck-and-neck as contenders at the 2024 Golden Globes.
Chris Pizzello / AP
“Oppenheimer,” the dark WWII saga that, like “Barbie,” drew audiences to theaters in droves, will compete for the award for best drama. It’s contending with some heavy-hitters: Martin Scorcese’s “Killers of the Flower Moon,” Bradley Cooper’s “Maestro,” Celine Song’s “Past Lives,” Jonathan Glazer’s “The Zone of Interest” and Justine Triet’s “Anatomy of a Fall.”
“I think that overall, ‘Barbie’ might take home more prizes than ‘Oppenheimer,’” said Tinubu, citing the staggering popularity of Gerwig’s movie. The fact that they’ll compete in separate categories for the Globes’ top film awards could potentially favor “Barbie,” she added.
“I can’t call ‘Oppenheimer’ necessarily for drama, because it’s up against ‘Killers of the Flower Moon’ and it’s up against ‘Maestro’ and ‘Past Lives,’” Tinubu said. “I do think ‘Barbie’ might have an angle over ‘Poor Things’ and ‘American Fiction’ and ‘May December,’ only because it’s more seen and widely-known. ‘American Fiction’ and ‘Poor Things’ are fantastic but I think it might prevail there.”
Cinematic and box office achievement
The Golden Globes debuted two new categories this year: one for cinematic and box office achievement, and a second for TV stand-up comedy performance.
The first recognizes “nominees from among the year’s highest-earning and/or most-viewed films that have gained extensive global audience support and produced exceptional creative content,” the awards show said in a statement.
It may seem “Barbie” is a shoo-in to win the prize in this category, since the film won fanfare in addition to $1.4 billion in gross ticket sales that placed it among the top 15 box office hits of all time, in the U.S. and worldwide. But, owing in part to a lucrative box office year that approached pre-pandemic sales, there are other strong contenders in this race, too.
“Barbie” star Margot Robbie is photographed during a photocall for the film “Barbie” in Los Angeles on June 25, 2023.
MIKE BLAKE/REUTERS
Both “Barbie” and “Oppenheimer” had already raked in hundreds of millions by the end of their opening weekend showdown last July. “Barbie,” which had an edge even then, ultimately ranked as the highest-grossing film of the year, according to Box Office Mojo, while “Oppenheimer” trailed closely behind on the global box office list, ranking third after “The Super Mario Bros. Movie,” which nearly paced with “Barbie.”
The animated film based on Nintendo’s popular video game franchise is nominated alongside Barbenheimer for the cinematic and box office achievement award, joining several of last year’s leading earners. “Spider-Man: Across the Spider-Verse,” “Guardians of the Galaxy Vol. 3,” “John Wick: Chapter 4,” “Mission: Impossible – Dead Reckoning Part 1” and “Taylor Swift: The Eras Tour” round out this category.
Taylor Swift performs during “The Eras Tour” in Nashville, Tennessee, on May 5, 2023.
George Walker IV / AP
Swift’s concert film could potentially give “Barbie” a run for its money. The movie follows her along the “Eras Tour,” her ludicrously successful international performance series that’s drawn millions to stadiums across five continents (including one venue in Seattle where the crowd of excited Swifties caused minor seismic activity). The tour itself became the first ever to surpass $1 billion in revenue, and at one point the Federal Reserve actually credited it with helping to revitalize the U.S. economy.
“Taylor Swift: The Eras Tour” went on to shatter box office records in just over two months since its premiere, which was the latest of any film nominated for this award, and the film’s distributor AMC Theaters has called it the highest-grossing concert movie in history. The “Eras Tour,” in concert and film form, was also a defining cultural moment in 2023, and Swift in December was named Spotify’s most-streamed artist and TIME’s person of the year.
Best TV drama series
The Golden Globe award for best television drama series could be a tight race, as it pits a handful of decorated old-timers against hopeful newcomers that made quite a splash with their releases in 2023.
“Succession,” HBO’s hit satire about a dysfunctional family’s media dynasty, is a frontrunner in this category. The series returns this year as a six-time Golden Globes winner and 18-time nominee, which has twice taken home the award for best television drama. Whether the buzz surrounding its farewell season will translate into yet another awards show sweep for “Succession” remains to be seen, but the series already leads the Globes’ television nominations, with nine nods, as it does the nominations for the Emmy Awards coming up the following week.
Brian Cox in “Succession,” the HBO satire about a family media dynasty that leads television nominations at the Golden Globes this year, with nine nods across multiple categories.
David Russell/HBO
Competing with “Succession” for the award for best drama is “The Crown,” another acclaimed series about a powerful and often dysfunctional lineage that is also a darling of the awards circuit and just finished its final season. A 23-time nominee and seven-time winner at the Globes, “The Crown,” like “Succession,” has won the prize twice in this category, although the two series have only been nominated once at the same time.
“The Morning Show,” a nine-time Globes nominee that has earned nods in this category for each of its three seasons, will also contend for the prize again alongside “The Last of Us,” “The Diplomat” and “1923,” all of which debuted last year and were met with widespread praise.
Actors Bella Ramsey and Pedro Pascal, who co-star in “The Last of Us,” attend an event for the Directors Guild of America in Los Angeles on April 28, 2023.
Photo by FilmMagic/FilmMagic for HBO via Getty Images
Tinubu said gauging the outcome of this particular race would be challenging, considering the track records of both “Succession” and “The Crown” and the potential of “The Last of Us,” HBO’s video game adaptation that pulled remarkable global ratings and largely earned rave reviews. She predicted the prize this year will go to one of those three nominees.
Best director
Films directed by women still make up a small minority of box office hits, though a handful break the glass ceiling. Results of a study released by the USC Annenberg Inclusion Initiative showed less than 9% of the top-grossing film directors were women in 2022, a figure that marked progress nonetheless from 2007, when women directed just 2.7% of the year’s biggest films.
Part of the historic success of “Barbie” was the fact that it was headed by Gerwig, who in August became the first woman to direct a film that surpassed $1 billion in ticket sales. Gerwig has earned praise before as the director of “Lady Bird” and “Little Women,” but this is her first time being nominated in the director’s category at the Globes. One other woman is nominated in the category this year: Celine Song, the South Korean-Canadian playwright who made her directorial debut with the festival hit “Past Lives.”
They are competing against Martin Scorcese, a 10-time nominee and three-time winner in this category, for “Killers of the Flower Moon,” and Christopher Nolan, a three-time nominee, for “Oppenheimer.” Bradley Cooper, nominated for “Maestro,” marking his return to the category for a second time after receiving a nod in 2019 for “A Star is Born,” his directorial debut. Yorgos Lanthimos, the Greek director known for his acclaimed dark comedies “The Lobster” and “The Favourite,” received a nod for the first time in this Globes category for “Poor Things.”
“I’d kind of be shocked if Christopher Nolan or Martin Scorcese took home anything, only because I feel like it would be too obvious,” said Tinubu. Noting that Hollywood accolades have notoriously overlooked women directors, she suggested Gerwig could win the prize, if not Cooper, who she, along with vocal fans at the time, felt was snubbed in awards circles over “A Star Is Born.”
“I also would love for Celine Song to get it for ‘Past Lives,’ which I think is also excellent,” she said. “And I actually love ‘Poor Things’ as well. I think the director has such a singular vision, but I don’t know if he’s going to be able to usurp the ‘Barbie’ of it all.”
Emily Mae Czachor is a reporter and news editor at CBSNews.com. She covers breaking news, often focusing on crime and extreme weather. Emily Mae has previously written for outlets including the Los Angeles Times, BuzzFeed and Newsweek.
