Verna Bloom, ‘Animal House’ and ‘Last Temptation of Christ’ Actress, Dies at 80

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Verna Bloom, a character actress best known for playing the cheating wife of Dean Wormer in “Animal House” and Mary, mother of Jesus in Martin Scorsese’s “The Last Temptation of Christ,” has died at age 80.
A family spokes…

‘The Mule’ Has Quietly Shown That Clint Eastwood Is Still a Box Office Star

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The headlines of the holiday box office have belonged to “Aquaman” while “Mary Poppins Returns” and “Spider-Man: Into the Spider-Verse” have brought in family audiences. But farther down the charts, Clint Eastwood has quietly left his own mark on the Christmas season.

After opening nearly a month ago to a $17.5 million launch, Warner Bros.’ “The Mule” has amassed a domestic total of $82 million against a budget of $50 million, and is on course to reach $100 million by the end of its theatrical run.

As a director, Eastwood has had several major hits this decade, the biggest being 2014’s highest grossing domestic release, “American Sniper.” He also found success with Tom Hanks on the biopic “Sully” in 2016. He’s also had some missteps, namely “The 15:17 to Paris,” which only made $57 million worldwide against a $30 million production budget before marketing.

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But “The Mule” is a different movie, because Eastwood is both in front of and behind the camera. It’s an actor-director combo that Eastwood hasn’t done since “Gran Torino” way back in 2008, and his first acting role since “Trouble With the Curve” six years ago. But when Eastwood does appear on the big screen, he can count on a devoted following of fans — mostly boomers — to show up to see him.

“For a generation, Clint Eastwood is The Man. There aren’t a lot of people in Hollywood these days at his age that have that must-see status,” comScore analyst Paul Dergarabedian told TheWrap last month.

According to data from Movio, “The Mule” had by far the the highest concentration of moviegoers over the age of 50 among the December wide releases. When drilling down into that age demographic, Movio found Eastwood’s recent films, including “Sniper” and “15:17,” were the most common films that had previously been seen in theaters by “The Mule”‘s audience. Other films commonly seen by the film’s audience were the WWII biopic “Hacksaw Ridge” and “A Star Is Born,” which was directed by “The Mule” co-star Bradley Cooper.

The film is also doing well with people who don’t regularly go to the movies. According to the audience survey, 21 percent of those who bought a ticket to “The Mule” see less than four films per year. For the average film, infrequent moviegoers account for 16 percent of the total audience.

At a time when recognizable brands are driving the upper echelons of the box office charts, Eastwood is proving to be a throwback to the times when actors were the main draw for moviegoers. On top of that, the film had the advantage of being released by Warner Bros., which in 2018 was able to do an excellent job of marketing their mid-budget fare well to the specific demographics that would show up on opening weekend to the likes of “Ocean’s 8” and “Crazy Rich Asians.”

“WB did an excellent job handling this film,” said Exhibitor Relations analyst Jeff Bock. “It worked well as an adult alternative to the Christmas blockbusters, especially in parts of the country where it was the only major drama in theaters. Plus it had two stars in Eastwood and Cooper that are very popular with older audiences, so that just further increased the word of mouth.”

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Sondra Locke Remembered as ‘Early Pioneer’ for Women in Hollywood

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Sondra Locke, the Oscar-nominated actress for the 1968 film “The Heart is a Lonely Hunter” who was reported dead on Thursday at age 74, is being remembered by Hollywood as someone who stood up for female rights in the industry against powerful men.

In 1996, Locke settled a legal suit with her ex-husband and frequent co-star Clint Eastwood after she contended that the actor and director sabotaged her career and duped her by dangling the promise of a directing deal at Warner Bros. At the time, the Los Angeles Times quoted her as saying that her suit was never about the money.

“It was about my fighting for my professional rights,” Locke said at the time. “People cannot get away with whatever they want to, just because they’re powerful.”

Also Read: Sondra Locke, Oscar-Nominated Actress and Longtime Clint Eastwood Partner, Dies at 74

A comment by her lawyer Peggy Garrity similarly should stir resonance in this age of the #MeToo movement: “It was about power and the arrogance of power,” Garrity said. “I see her as sort of an Everywoman for the ’90s.”

In their tributes to Locke on Friday morning, people are reacting by expressing that Locke’s legacy should not be remembered through the lens of the man to whom she was married but by the strengths of her own performances and, however short-lived, directorial accomplishments.

“Sondra Locke, like Barbara Lowden, deserves to be known for her work, not for the famous man she was disastrously involved with,” author Sarah Weinman tweeted.

Further, several individuals in the media criticized The Hollywood Reporter’s headline on its obituary for Locke that referred to her as Eastwood’s “embittered” ex-wife. It has since changed the headline.

“Was it Sondra Locke who all but forbade Clint Eastwood to work with anyone else during his prime career years, then had him quietly blackballed? Which one can be reasonably called bitter, Hollywood Reporter,” critic Farran Nehme said in a tweet. “This is the most sexist headline I’ve seen in some time.”

Also Read: ‘The Mule’ Film Review: Clint Eastwood Drives for the Cartel in Thoughtful, Bumpy Crime Tale

See some of the other reactions to Locke’s passing from industry professionals below:

#SondraLocke directed me in my first film when I was 4 years old. She was fantastic. RIP

— #EvanRachelWould (@evanrachelwood) December 14, 2018

#RestInParadise dear longtime friend #SondraLocke ????‍#AcademyAward nominated actress, skilled director (I did a scene for her in #TradingFavors), and I #BelieveHer.

— Frances Fisher (@Frances_Fisher) December 14, 2018

Sexist yes. And Sondra was not embittered. She won!

— Frances Fisher (@Frances_Fisher) December 14, 2018

RIP the wonderful actress Sondra Locke, incredibly talented, funny, ballsy, and always mesmerising on screen. Would have loved to work with her. Gone too soon. #fuckcancer

— James Moran (@jamesmoran) December 14, 2018

Rest in Peace to the fantastic, wonderfully unique actress and director (and Oscar-nominee — for 1968’s “The Heart is a Lonely Hunter”) Sondra Locke.

— Kim Morgan (@SunsetGunShot) December 14, 2018

Met #SondraLocke mid 90’s to discuss a film she was directing. Sadly, the film never happened. Lovely lady. #RIP

— Illeana Douglas (@Illeanarama) December 14, 2018

Sondra Locke, like Barbara Loden, deserves to be known for her work, not for the famous man she was disastrously involved with.

— Sarah Weinman (@sarahw) December 14, 2018

Excuse me @THR, was it Sondra Locke who all but forbade Clint Eastwood to work with anyone else during his prime career years, then had him quietly blackballed? Which one can be reasonably called bitter, Hollywood Reporter? This is the most sexist headline I’ve seen in some time.

— Farran Nehme (@selfstyledsiren) December 14, 2018

Locke sued the WB and Eastwood in 1996 for attempting to destroy her directorial career. They settled.

It’s sad and disturbing to see so many articles covering her death referring to her simply as “Eastwood’s ex” or “embittered”.

— Women Film Directors (@women_direct) December 14, 2018

An early pioneer of women shouting out against injustice. She fought back and should have been commended for her courage.

— rsmy517 (@rsmy517) December 14, 2018

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‘Spider-Man: Into the Spider-Verse’ Scores $3.5 Million at Thursday Box Office

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“Spider-Man: Into the Spider-Verse,” Sony’s animated superhero film, kicked off the holiday season release slate by webslinging its way to $3.5 million in Thursday box office previews. The film previewed on 3,321 locations ahead of opening on approximately 3,800 screens this weekend.

Sony is projecting a $30 million opening weekend for “Into the Spider-Verse” behind a $90 million budget, with independent trackers saying it could climb as high as $35 million.

“Into the Spider-Verse” opens opposite “The Mule,” the Clint Eastwood-starring and directed crime vehicle from Warner Bros., and “Mortal Engines,” a post-apocalyptic epic from producer Peter Jackson at Universal.

Also Read: ‘Spider-Man: Into the Spider-Verse’ Film Review: Clever Superhero Saga With Animated Arachnids

“Spider-Man: Into the Spider-Verse” is produced by Phil Lord and Chris Miller. In comparison, “The Lego Batman Movie,” which Lord and Miller also worked on, earned $2.2 million in its Thursday previews when it opened in February 2017 to a total of $53 million.

“Into the Spider-Verse” tells the story of Miles Morales (Shameik Moore), a Puerto Rican and African American teen who becomes a new Spider-Man and must take down the evil Kingpin (Liev Schreiber) with the aid of another Peter Parker (Jake Johnson) and other Spider-Men from alternate dimensions. Bob Persichetti, Peter Ramsey and Rodney Rothman direct the film with a script by Phil Lord. Mahershala Ali, Brian Tyree Henry, Nicolas Cage and Lily Tomlin co-star.

The film boasts an impressive 99 percent score on Rotten Tomatoes as one of the better-reviewed films of the year. Despite the potential fatigue from Spider-Man films with “Venom” being released in October, Sony is hoping that “Spider-Verse” will have a long life at the box office and experience a jump at the Martin Luther King Jr. Day weekend.

Also Read: ‘Spider-Man: Into the Spider-Verse’ Post-Credits Scene Explained

“Mortal Engines,” directed by Christian Rivers and produced by Peter Jackson, earned $675,000 in Thursday previews from 2,600 screens. It will open on approximately 3,100 screens this weekend.

Universal is projecting just a $10 million opening for the action/fantasy film with a reported $100 million budget. The film is based on a YA novel by Philip Reeve and is set in a post-apocalyptic world where cities ride across the planet on wheels, consuming other cities and towns in order to survive. Hera Hilmar stars with Robert Sheehan and Hugo Weaving. It has a 30 percent score on Rotten Tomatoes.

“The Mule” is projected for a $20 million open while sporting a 64 percent on Rotten Tomatoes.

Also Read: Sondra Locke, Oscar-Nominated Actress and Longtime Clint Eastwood Partner, Dies at 74

Eastwood’s “The Mule” is notable as the first Eastwood starring role since “Trouble with the Curve” since 2012, and it also reunites him with Bradley Cooper, who starred in his massive box office hit “American Sniper.” Earlier this February, Eastwood’s “The 15:17 to Paris” earned $12 million in its opening weekend. Eastwood’s “Gran Torino” in 2008, also opened in limited release in December before expanding in January, and it earned $29 million upon opening wide.

“The Mule” stars Eastwood as a broke Korean war veteran who takes a job as a delivery man, only to discover that he’s been transporting millions of dollars worth of cocaine.

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‘The Mule’ Film Review: Clint Eastwood Drives for the Cartel in Thoughtful, Bumpy Crime Tale

‘The Mule’ Film Review: Clint Eastwood Drives for the Cartel in Thoughtful, Bumpy Crime Tale

Read on: TheWrapTheWrap.

American movies are so addicted to well-intentioned wrongdoing that you’d think income-redistributing thief and ethical assassin were common career choices. But Clint Eastwood, who has mined our darker impulses for exhilarating pleasure for over half a century, knows how to tell an entertaining crime saga that keeps the pain, confusion, and moral quandaries front and center. Which makes “The Mule,” his 38th feature behind the camera (and gajillionth in front of it, this time as an octogenarian gardener turned drug courier), another mostly solid notch in a career built on making many of life’s notches feel like scars.

After three docudramas — “American Sniper,” “Sully” and “The 15:17 to Paris” — that amount to a trilogy of sorts about heroism, Eastwood’s return to acting sees him playing a resolutely non-heroic man whose survival choice is fascinating, nonetheless. Eastwood’s character, Earl Stone, is based on a real-life 90-year-old horticulturalist recruited to drive hundreds of kilos of cocaine across America for the Sinaloa cartel before he was caught by the DEA.

In the half-comic, half-dramatic extrapolation of the story as written by Nick Schenk — who scripted Eastwood’s last turn as director-star, “Gran Torino” — Earl is a gregarious, wisecracking day-lily grower in Peoria, Illinois, facing hard times after his business fails. Long estranged from his ex-wife (Dianne Weist) and the daughter (Alison Eastwood) he ignored during his marriage, Earl’s only family connection left is his granddaughter (Taissa Farmiga), soon to marry. When a guest at her pre-wedding party approaches him with a proposal to make money driving, Earl — whose record is spotless after years on the road — quickly accepts.

Watch Video: Watch a Ruined Clint Eastwood Smuggle Cocaine in ‘The Mule’ Trailer

In an El Paso tire shop, a handful of serious-looking, tattooed Mexican-American garage hands give Earl a suitcase, a burner phone, and dropoff instructions. Before long, Earl is happily flush with cash as the cartel’s best driver, winning the respect of kingpin Latos (Andy Garcia) and the chummy garage gang who affectionately call him “Tata” (grandpa), even as his old-man-at-his-own-pace ways work the last nerve of impatient cartel minder Julio (Ignacio Serricchio, Netflix’s “Lost in Space”).

At its best, “The Mule” is a sneaky disquisition on America as a place in which opportunity and success often carry disquieting undercurrents. Earl preferred work to family, then the internet (so he says) killed his business, so when an organization offers income for a simple task, Earl sees a chance to earn again and to be well-liked. Looking the other way is as American as anything, and if the largesse that reignites his flower business keeps his cash-strapped VFW hall open and finances his granddaughter’s education isn’t questioned by anybody — including Earl himself, often shown in his pickup singing along to the radio like a carefree lackey — then what’s the problem?

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Well, guilt and death, namely. “The Mule” becomes a better, admirably heavier film when more dangerous stakes, one character’s mortality, and late-in-life regret take over. Those later moments carry a heft that’s absent when Earl is a merry mule cavorting with prostitutes, and Eastwood’s camera is ogling grinding backsides at Garcia’s compound. The circumstance may technically fall within the movie’s “inspired by a true story” tag (the real-life guy did go on cartel-financed vacations), but these shameless scenes only seem “inspired by” an aged male director’s need to prove his abiding virility.

There’s also a clunky engagement with race and subculture, beyond Earl’s built-in familiarity with Spanish speakers as a one-time boss of undocumented migrants, that’s intended to indicate a changing society to an unfiltered senior (Much like “Gran Torino”). When Earl assists a black family with a flat tire, they politely inform him not to use the word “negro.” And yet Earl’s use of “ladies” when meeting a lesbian motorcycle gang is corrected when he learns they self-identify as Dykes on Bikes. (That earns a reaction shot with a rascally twinkle.)

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More effectively handled is a non-Earl moment when Bradley Cooper’s DEA agent, on the lookout for the cartel’s top driver, stops an upstanding Latino driver who articulates his nervousness: “Statistically, these are the most dangerous five minutes of my life.” Though he’s not mistreated, the few seconds of this rattled bystander struggling with his seatbelt afterward is the kind of empathetic detail about today’s America that few filmmakers telling a cops-and-criminals story would have bothered showing.

Eastwood’s on surer ground overall, though, when the walls start closing in on Earl and a reckoning (both figurative and literal) is at hand. Some may see Cooper as underused, but his sturdy appeal informs his two key exchanges with Earl, both centered on the consequences of a badly prioritized life. Eastwood and Weist also do memorable work laying out the recriminations and ruefulness of a failed marriage in a mere handful of scenes that reinforce both her excellence and how underrated he’s always been playing conflicted leading men.

Earl is, on some level, the perfect part for the 88-year-old legend, long a master of sneaking uncomfortable truths about life and finality into well-oiled, enjoyable packages. “The Mule” may not always stand with his most resonant work, at times betraying the awkwardness of someone set in his grizzled ways. But Eastwood’s tilled enough filmmaking soil over the years to know that the same ground can produce daylilies or contraband and that the most involving movies at least try to harvest both.

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Golden Globes Nomination Predictions 2019: All the Contenders in Top Categories (Photos)

Read on: TheWrapTheWrap.

Golden Globes nominations often contain a handful of head-scratchers and curiosities, but this is already a more curious year than most at the Hollywood Foreign Press Association.
Two films that could easily have qualified as musicals, “A Star Is…

Golden Globes Nomination Predictions: What Stars Will Be Born This Year?

Read on: TheWrapTheWrap.

Golden Globes nominations often contain a handful of head-scratchers and curiosities, but this is already a more curious year than most at the Hollywood Foreign Press Association.

Two films that could easily have qualified as musicals, “A Star Is Born” and “Bohemian Rhapsody,” elected to go into the drama category instead. One that could have been a drama, “Green Book,” entered as a comedy. And one that will be a major contender in many categories, “Roma,” is ineligible for the best drama category because it’s not in English.

Such is the landscape going into this year’s Golden Globes nominations. In trying to figure out which way the members of the HFPA are leaning, it helps to understand that even though the group only has around 90 voters, there are many factions within it: Some are focused on television, some are indie fans, some gravitate toward big stars who can make their ceremony the glitziest one possible.

Also Read: Golden Globes Unveil New Supersize Statuette for 2019 Ceremony

Here are our best guesses in an odd year.


Best Motion Picture – Drama
The two films that could have qualified as musicals, “A Star Is Born” and “Bohemian Rhapsody,” were both adored by many of the voters, making the former a prohibitive favorite and the latter a strong candidate for a nomination as well. Other contenders range from big-studio offerings like “Black Panther,” “First Man,” “Widows” and “Can You Ever Forgive Me?” to indies like “If Beale Street Could Talk,” “BlacKkKlansman” and “Boy Erased.”

Expect a mixture of the two, with the provocative nature of “BlacKkKlansman” making it irresistible and the sheer craftsmanship and scale of “First Man” landing it a spot. The final slot might come down to “If Beale Street Could Talk,” “Black Panther,” “At Eternity’s Gate” or “Can You Ever Forgive Me?” The last of those may need to settle for acting nominations — and while the blockbuster status of “Black Panther” will be appealing to boost ratings, the artistic pedigree of Barry Jenkins and “Beale Street” could give it a slight edge over the potential sleeper, “At Eternity’s Gate.”

Predicted nominees:
“Bohemian Rhapsody”
“First Man”
“If Beale Street Could Talk”
“A Star Is Born”

Best Actor in a Motion Picture – Drama
Bradley Cooper is a lock for “A Star Is Born,” as is Rami Malek for playing Freddie Mercury in “Bohemian Rhapsody.” Ryan Gosling, a winner two years ago for “La La Land,” should make it back for playing Neil Armstrong in “First Man.” That leaves two slots for actors from smaller movies: Ethan Hawke in “First Reformed,” Willem Dafoe in “At Eternity’s Gate,” Lucas Hedges in “Boy Erased,” John David Washington in “BlacKkKlansman” or Clint Eastwood in the last movie the HFPA saw before voting, “The Mule.”

Also Read: Watch a Ruined Clint Eastwood Smuggle Cocaine in ‘The Mule’ Trailer (Video)

We think Hawke will get in, perhaps buoyed by his Gotham Award win — and since the HFPA members have been suspiciously quiet about their reactions to “The Mule,” the last slot will go to Dafoe, whom they loved as Vincent Van Gogh.

Predicted nominees:
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate”
Ryan Gosling, “First Man”
Ethan Hawke, “First Reformed”
Rami Malek, “Bohemian Rhapsody”

Best Actress in a Motion Picture – Drama
Lady Gaga is an absolute no-brainer here, and Glenn Close (“The Wife”) and Melissa McCarthy (“Can You Ever Forgive Me?”) seem destined for nominations as well. And then it becomes a question of whether voters want to reward a complete newcomer like Yalitza Aparicio for “Roma” (which is eligible in other categories despite being in a foreign language), another foreign actress like Joanna Kulig for “Cold War” (apparently popular with voters), a genre performance like Toni Collette’s in “Hereditary,” or one or two of the big stars in the running: Nicole Kidman in “Destroyer,” Julia Roberts in “Ben Is Back,” Saoirse Ronan in “Mary Queen of Scots,” Natalie Portman in “Vox Lux,” or Viola Davis in “Widows.”

We’re guessing that Davis and Kidman get in and Roberts gets saved for the TV categories, but watch out for Kulig.

Predicted nominees:
Lady Gaga, “A Star Is Born”
Glenn Close, “The Wife”
Melissa McCarthy, “Can You Ever Forgive Me?”
Viola Davis, “Widows”
Nicole Kidman, “Destroyer”

Best Motion Picture – Musical or Comedy
You can argue with the submission of “Green Book” as a comedy rather than a drama,  but the HFPA accepted it that way, and you can’t argue that it’ll be one of the finalists. “Mary Poppins Returns,” the one big musical that has submitted itself as such, should be there as well, along with “The Favourite,” which might live up to its name in this category. Beyond that, “Crazy Rich Asians” is hard to ignore in a year with so much emphasis on diversity and inclusion, and “Vice” is a flashy latecomer that could slip in as well.

Also Read: ‘Mary, Queen of Scots’ Film Review: Saoirse Ronan and Margot Robbie Make Worthy, Regal Adversaries

Still, “Eighth Grade,” “The Old Man and the Gun,” “The Death of Stalin,” “Paddington 2,” “The Ballad of Buster Scruggs” and even another true musical, “Mamma Mia! Here We Go Again” aren’t out of the running.

Predicted nominees:
“Crazy Rich Asians”
“The Favourite”
“Green Book”
“Mary Poppins Returns”

Best Actor in a Motion Picture – Musical or Comedy
Viggo Mortensen and Christian Bale, who gained a lot of weight for their roles in “Green Book” and “Vice,” respectively, are guaranteed to be nominated. Robert Redford’s (probably) final performance in “The Old Man and the Gun” should be charming enough to do the trick. And then voters could go for big names (Ewan McGregor for “Christopher Robin,” Ryan Reynolds for “Deadpool 2,” Lin-Manuel Miranda for “Mary Poppins Returns,” John C. Reilly for “Stan and Ollie”) or for Globes newcomers like Nick Robinson for “Love, Simon” or the fast-rising Lakeith Stanfield for “Sorry to Bother You.”

Predicted nominees:
Viggo Mortensen, “Green Book”
Christian Bale, “Vice”
Robert Redford, “The Old Man and the Gun”
Lin-Manuel Miranda, “Mary Poppins Returns”
John C. Reilly, “Stan and Ollie”

Best Actress in a Motion Picture – Musical or Comedy
Olivia Colman is, yes, “The Favourite.” Emily Blunt is a practically perfect nominee for “Mary Poppins Returns.” It’d be a surprise if Constance Wu (“Crazy Rich Asians”) and Elsie Fisher (“Eighth Grade”) didn’t make the cut as well.

That leaves the final slot open for a big star in a little-seen movie, like Charlize Theron in “Tully,” a well-liked actress in a well-liked indie; Kathryn Hahn in “Private Life”; Lily James in another true musical, “Mamma Mia! Here We Go Again”; and surprise New York Film Critics Circle winner Regina Hall in “Support the Girls.” We think Hahn will edge out Theron for the spot.

Predicted nominees:
Emily Blunt, “Mary Poppins Returns”
Olivia Colman, “The Favourite”
Kathryn Hahn, “Private Life”
Elsie Fisher, “Eighth Grade”
Constance Wu, “Crazy Rich Asians”

Best Supporting Actor
Moving to the acting categories that aren’t split by genre, the top four in supporting actor seem clearly to be Mahershala Ali for “Green Book,” Timothee Chalamet for “Beautiful Boy,” Richard E. Grant for “Can You Ever Forgive Me?” and Sam Elliott for “A Star Is Born.”

If Sam Rockwell had more scenes in “Vice,” he’d be a lock — but his part as George W. Bush is so small that it could leave room for Adam Driver (“BlacKkKlansman”), Michael B. Jordan (“Black Panther”), Nicholas Hoult (“The Favorite”) or Hugh Grant (“Paddington 2”). But he’ll probably slip in because he manages to steal a couple of scenes from Christian Bale.

Predicted nominees:
Mahershala Ali, “Green Book”
Timothee Chalamet, “Beautiful Boy”
Sam Elliott, “A Star Is Born”
Richard E. Grant, “Can You Ever Forgive Me?”
Sam Rockwell, “Vice”

Best Supporting Actress
Two of the slots are likely reserved for schemers from “The Favourite,” Emma Stone and Rachel Weisz. Regina King for “If Beale Street Could Talk” and Amy Adams for “Vice” will lock up two more. And then what? Claire Foy for “First Man,” Michelle Yeoh for “Crazy Rich Asians,” Nicole Kidman for “Boy Erased,” Margot Robbie for “Mary Queen of Scots”? Or would they dare give Meryl Streep her 32nd nomination for one scene in “Mary Poppins Returns?”

We think that “First Man” will claim another nomination here, though Yeoh or Robbie wouldn’t be a surprise.

Predicted nominees:
Amy Adams, “Vice”
Regina King, “If Beale Street Could Talk”
Emma Stone, “The Favourite”
Rachel Weisz, “The Favourite”
Claire Foy, “First Man”

Best Director
He’s not eligible for Best Motion Picture – Drama, but “Roma” director Alfonso Cuaron is eligible here, and the HFPA likes him. They also like Bradley Cooper, and they can’t ignore Yorgos Lanthimos and Spike Lee.

That leaves a lot of additional choices: 2016 winner Damien Chazelle for “First Man,” Barry Jenkins for “If Beale Street Could Talk,” Peter Farrelly for “Green Book,” Adam McKay for “Vice,” Ryan Coogler for “Black Panther,” and Rob Marshall for “Mary Poppins Returns.”

Farrelly’s movie is a likelier winner in other categories, but voters may bypass the guy who directed “Dumb and Dumber” in favor of the guy whose movie “La La Land” swept the Globes two years ago.

Predicted nominees:
Bradley Cooper, “A Star Is Born”
Damien Chazelle, “First Man”
Alfonso Cuaron, “Roma”
Yorgos Lanthimos, “The Favourite”
Spike Lee, “BlacKkKlansman”

Best Screenplay
You might think that with two best-picture categories and only five screenplay nominees, this category would go almost exclusively to films nominated for one of the top two awards. But in fact, almost every year at least one of the screenplay nominees is not a best-film nominee. Paul Schrader’s “First Reformed” could well be the one to turn that trick this year (and maybe even “Eighth Grade” or “A Quiet Place,” if voters want to get adventurous). Among films that will be nominated for the top prizes, the barbs of “The Favourite” and the heart of “Green Book” should prevail, along with “BlacKkKlansman” and “If Beale Street Could Talk.” But “A Star Is Born,” “Roma,” “Bohemian Rhapsody” and “Can You Ever Forgive Me?” have real shots, too.

Predicted nominees:
“The Favourite”
“First Reformed”
“Green Book”
“If Beale Street Could Talk”

Best Original Score
It’s hard to predict what will stand out, and whether voters will focus on the songs in “A Star Is Born” and “Mary Poppins Returns” to the exclusion of the scores. But “First Man,” “If Beale Street Could Talk,” “BlacKkKlansman,” “Incredibles 2,” “Widows” and “Isle of Dogs” have all attracted attention. And wouldn’t they love to nominate Radiohead’s Thom Yorke for his first film score, even if it means embracing Luca Guadagnino’s gory “Suspiria?”

Predicted nominees:
“BlacKkKlansman” Terence Blanchard
“First Man” Justin Hurwitz
“If Beale Street Could Talk” Nicholas Britell
“Incredibles 2” Michael Giacchino
“Suspiria” Thom Yorke

Best Original Song
“Shallow?” Of course. A song from “Mary Poppins Returns?” Naturally. A Kendrick Lamar song from “Black Panther?” Can’t miss that opportunity. In a category often littered with big names — and one in which documentary songs from the likes of Diane Warren and Tim McGraw are ineligible — look for Annie Lennox (“Requiem for a Private War”) and Dolly Parton (“The Girl in the Movies”) to have enough luster to grab the final two spots in a crowded field that also includes potential nominees Troye Sivan and Jonsi, Alan Menken, Kesha and Arlissa.

Predicted nominees:
“All the Stars” from “Black Panther”
“The Girl in the Movies” from “Dumplin’”
“The Place Where Lost Things Go” from “Mary Poppins Returns”
“Requiem for A Private War” from “A Private War”
“Shallow” from “A Star Is Born”

Best Motion Picture – Animated
Without any of the indie animated films making a big splash this year, the major studios seem to have this category all but locked up: Disney/Pixar with “Incredibles 2” and “Ralph Breaks the Internet,” Fox with “Isle of Dogs” and Sony with “Spider-Man: Into the Spider-Verse.” The last slot could go to a smaller film like “Mirai,” “Tito and the Birds” or “Ruben Brandt, Collector,” but it’s more likely to be “Dr. Seuss’ The Grinch,” “Early Man” or “Smallfoot.”

Predicted nominees:
“Dr. Seuss’ The Grinch”
“Incredibles 2”
“Isle of Dogs”
“Ralph Breaks the Internet”
“Spider-Man: Into the Spider-Verse”

Best Motion Picture – Foreign Language
Where the Oscar foreign-language race has 87 submissions from 87 different countries, the Globes voters are only considering 37 films, fewer than half of which are in the Oscar race. Still, Oscar contenders “Cold War” (which voters loved), “Roma” (which they might not have loved but will feel obligated to nominate), “Capernaum” and “Girl” (both of which hit hard) should be safe, and joined by the non-Oscar contender “Everybody Knows,” which has the advantage of starring Penelope Cruz and Javier Bardem.

But watch out for “Shoplifters,” “Museo” (starring Globes favorite Gael Garcia Bernal), “What Will People Say,” “The Guilty” and “Happy as Lazzaro” (which will give them another chance to salute a widely acclaimed film ineligible for the Oscars).

“Cold War”
“Everybody Knows”


Best Television Series – Drama
With nominations moved up to the first week of December instead of the second week, voters had less time than usual to catch up on the glut of television. That might help existing shows over new ones, although “Killing Eve” is inescapable and the presence of Julia Roberts in “Homecoming” should be more than enough to give that show a nomination.

Otherwise, it’s likely that voters will lean toward last year’s winner, “The Handmaid’s Tale” and maybe the final season of “The Americans,” and lots of HFPA members are still fans of “This Is Us.” Among new shows, “Pose” might be a little too adventurous for their tastes. But “Better Call Saul” or “Westworld” could easily end up in the mix, as could HBO’s summer premiere “Succession,” which would allow the Globes to recognize a show before the Emmys can.

Predicted nominees:
“The Americans”
“The Handmaid’s Tale”
“Killing Eve”
“This Is Us”

Best Actor in a Drama Series
Voters still love “This Is Us” and they’ve always loved Kevin Costner, so that takes care of three slots. It would seem churlish to deny Matthew Rhys in the final season of “The Americans,” and J.K. Simmons could make it in a battle with John Krasinski (“Jack Ryan”), Jason Bateman (“Ozark”), Bob Odenkirk (“Better Call Saul”) and Stephan James (“Homecoming”) for that last spot.

Predicted nominees:
Sterling K. Brown, “This Is Us”
Kevin Costner, “Yellowstone”
Matthew Rhys, “The Americans”
J.K. Simmons, “Counterpart”
Milo Ventimiglia, “This Is Us”

Best Actress in a Drama Series
Do the voters want Julia Roberts to come to their party? Of course they do. They know they also need Sandra Oh and Elisabeth Moss and Keri Russell, but from there they could go for Oh’s castmate Jodie Comer, Evan Rachel Wood for another season of “Westworld” or two ways to make a statement: Rewarding Jodie Whittaker for being the first female “Doctor Who” or Robin Wright for anchoring the Kevin Spacey-less “House of Cards.” That last one might be irresistible.

Predicted nominees:
Sandra Oh, “Killing Eve”
Julia Roberts, “Homecoming”
Elisabeth Moss, “The Handmaid’s Tale”
Keri Russell, “The Americans”
Robin Wright, “House of Cards”

Best Television Series – Musical or Comedy
A few new comedy shows are vying for spots in this category, among them “Barry,” “The Kominsky Method,” “Kidding” and “Camping.” “Barry” seems to be a lock and “The Kominsky Method,” with HFPA favorite Michael Douglas as its star, has a strong shot at securing a nomination alongside last year’s winner, “The Marvelous Mrs. Maisel” and the previous year’s winner, “Atlanta.” But you can’t rule out two-time nominee “black-ish” or the second season of “The Good Place.” And you can’t rule out the star power of Jim Carry in “Kidding,” or the shot of adrenaline he might deliver to the awards show.

Predicted nominees:
“The Marvelous Mrs. Maisel”
“The Good Place”
“The Kominsky Method”

Best Actress in a Television Series – Musical or Comedy
Rachel Brosnahan won last year and she’s not going anywhere. The HFPA has long had a great relationship with “Camping” star Jennifer Garner. Our other picks are from an array of contenders that also include Issa Rae for “Insecure,” Candice Bergen for “Murphy Brown,” Constance Wu for “Fresh Off the Boat,” Tracee Ellis Ross for “black-ish,” Allison Janney for “Mom” and Lily Tomlin for “Grace and Frankie.”

Predicted nominees:
Kristen Bell, “The Good Place”
Rachel Brosnahan, “The Marvelous Mrs. Maisel”
Alison Brie, “GLOW”
Jennifer Garner, “Camping”
Maya Rudolph, “Forever”

Best Actor in a Television Series – Musical or Comedy
Bill Hader is a must for “Barry” and Jim Carrey and Michael Douglas are old HPFA faves now eligible again for “Kidding” and “The Kominsky Method,” so count them in. But that leaves a batch of men contending for two slots: Donald Glover for “Atlanta,” Ted Danson for “The Good Place,” Anthony Anderson for “black-ish,” William H. Macy for “Shameless,” Tracy Morgan for “The Last O.G.,” and even Sacha Baron Cohen for “Who Is America.” (They do want some viral moments on their show, after all.)

Predicted nominees:
Jim Carrey, “Kidding”
Ted Danson, “The Good Place”
Michael Douglas, “The Kominsky Method”
Donald Glover, “Atlanta”
Bill Hader, “Barry”

Best Television Limited Series or Motion Picture Made for Television
Ryan Murphy is the old reliable in this category, and “The Assassination of Gianni Versace” will be nominated for everything, just as it was at the Emmys. But then it’s a matter of which miniseries registered most strongly with the voters: “Sharp Objects,” “A Very English Scandal,” “Maniac,” “Escape at Dannemora,” or “The Romanoffs.”

The first two seem like good bets, but the HFPA have shown less visible enthusiasm for “Maniac” and “Escape at Dannemora,” which could open the way to the TV movie “The Tale” or for “Patrick Melrose.”

Predicted nominees:
“The Assassination of Gianni Versace: American Crime Story”
“The Romanoffs”
“Sharp Objects”
“The Tale”
“A Very English Scandal”

Best Actor in a Limited Series or TV Movie
Darren Criss, Hugh Grant and Benedict Cumberbatch seem to be favorites here, but is there enough support in the HFPA ranks for “Escape at Dannemora” and “Maniac” for Benicio del Toro and Jonah Hill to grab the last two slots? John Legend (“Jesus Christ Superstar Live in Concert”) and Antonio Banderas (“Genius: Picasso”) are lurking – and so is a real wild card, Peter Dinklage in the HBO movie “My Dinner With Herve.”

Predicted nominees:
Darren Criss, “The Assassination of Gianni Versace: American Crime Story”
Benedict Cumberbatch, “Patrick Melrose”
Benicio del Toro, “Escape at Dannemora”
Peter Dinklage, “My Dinner With Herve”
Hugh Grant, “A Very English Scandal”

Best Actress in a Limited Series or TV Movie
As a star at the center of a big film (“Vice”) and a big HBO miniseries (“Sharp Objects”), Amy Adams is on solid footing here to land two Globe nominations, one in film and one in TV. So is Regina King, who may well pair her “If Beale Street Could Talk” film nom with another one for “Seven Seconds.” And you know, Emma Stone might just double up with “The Favourite” in film and “Maniac” in TV.

If they want actresses who won’t have another Globe nomination in a different category, they’ll likely look to Patricia Arquette (“Escape at Dannemora”), Laura Dern (“The Tale”) and maybe Florence Pugh (“The Little Drummer Girl”), Hayley Atwell (“Howards End”) or Sarah Paulson (“American Horror Story: Apocalypse”).

Predicted nominees:
Amy Adams, “Sharp Objects”
Emma Stone, “Maniac”
Patricia Arquette, “Escape at Dannemora”
Laura Dern, “The Tale”
Regina King, “Seven Seconds”

Best Supporting Actor in a Series, Limited Series or Movie Made for Television
The supporting categories in television are wide open, mixing comedy and drama series with TV movies and limited series. Among the hundreds of potential nominees, we’re going with a mixture of old favorites and hot newcomers, with the emphasis on the former.

Predicted nominees:
Alan Arkin, “The Kominsky Method”
Edgar Ramirez, “The Assassination of Gianni Versace: American Crime Story”
Tony Shalhoub, “The Marvelous Mrs. Maisel”
Ben Whishaw, “A Very English Scandal”
Henry Winkler, “Barry”

Best Supporting Actress Series, Limited Series or Movie Made for Television
Again, performers from every type of TV show are eligible — and again, it’s hard to make sense of the possibilities except that Globe voters like these folks. Bonus points to Laurie Metcalf for surviving the “Roseanne” wreck.

Predicted nominees:
Alex Borstein, “The Marvelous Mrs. Maisel”
Patricia Clarkson, “Sharp Objects”
Penelope Cruz, “The Assassination of Gianni Versace: American Crime Story”
Laurie Metcalf, “The Conners”
Thandie Newton, “Westworld”

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‘Marlina the Murderer’ Director Hopes Clint Eastwood Sees Her Indonesian Thriller

Read on: TheWrapTheWrap.

Mouly Surya’s film “Marlina the Murderer in Four Acts” may be set on an island in Indonesia, but she imbues the film with touches from Spaghetti Westerns.

In fact, the film hems so closely to the Western genre, from explicit nods to Ennio Morricone’s scores from Sergio Leone’s films, to vast shots of open desert and prairies and the title character Marlina emerging on the wavy horizon on horseback, Surya said she hopes Clint Eastwood might see her film and enjoy it.

“I would love to be there to see that,” Surya told TheWrap’s Beatrice Verhoeven Thursday as part of TheWrap’s Awards and Foreign Screening Series at the Landmark Theatres in Los Angeles. “Little by little it takes the shape of this Indonesian feminist Western, even if that doesn’t make sense because we’re not in the West.”

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“Marlina the Murderer” tells the story of a woman living on the Indonesian island Sumba. Desperate for money and a way to bury her mother-in-law, Marlina invites a stranger named Markus into her home to help. But he reveals that he and six other men in his crew plan to not only take all her livestock, but also rape her. When Markus starts to take advantage of her, she manages to behead him with a machete and poison the rest.

But the film’s tone changes drastically between each of the four acts. It begins as something of a bloody, Tarantino-esque revenge fantasy, only to introduce some oddball comedy when Marlina decides to wrap her rapist’s head in a cloth and carry it with her to a police station in town. Amazingly, it’s something that doesn’t seem to faze her best friend or some of her neighbors. And by the film’s final act, Surya wanted to give the film an “operatic” feel that matches some of the finest Spaghetti Westerns.

“When I saw pictures of it for the first time, there was a picture of the savanna, and there’s horses. This is like Texas. It’s really Marlboro country,” Surya said. “You just need a cowboy in the middle of the picture.”

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Surya explained that on an island like Sumba in Indonesia, rapes, murders and other crimes frequently go unreported, and the police, as in the film, are generally unhelpful and woefully under-equipped. As a result, people in these small, rural communities who live hours away from the nearest town or even restaurant (Surya said she found just four establishments while traveling and researching the island) often take matters into their own hands, with men carrying machetes wherever they go and women traveling with bags of food on long journeys. Amazingly, the original story was based on a man who witnessed a woman carrying a severed head with her through a marketplace.

“The social stigma in Indonesia is even worse. We are decades behind in terms of speaking up about this kind of crime,” Surya said. “If you’re on this island, you have to keep a weapon somewhere. It’s the Wild Wild East.”

All of the above fit the tone she was going for with “Marlina the Murderer,” making it into a feminist Spaghetti Western with a specifically Indonesian perspective. Surya was asked about why Marlina would keep poisonous berries hidden away in her vanity, and she explained it spoke to the film’s themes of women taking control.

Also Read: ‘Woman at War’ Director on What Tom Cruise Could Learn From His Quirky Icelandic Thriller

“It’s saying something about having your weapon underneath your beauty in a way,” Surya said. “Women helping each other and supporting each other, that’s what I really wanted to convey because women supporting each other is the most beautiful relationship you can have.”

“Marlina the Murderer in Four Acts” is Indonesia’s entry into the Foreign Language Oscar race. It made its premiere as part of the 2017 Cannes Film Festival and was nominated for the Queer Palme. The film opened in New York on June 22 this year.

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Oscars: Governors Awards Brings Out Honorees And Hopefuls In Star-Filled Evening Hijacked By Clint Eastwood(!)

Read on: Deadline.

The 10th annual Governors Awards started out on a sober note Sunday night with Academy of Motion Picture Arts and Sciences president John Bailey acknowledging the devastating impact of the California fires, and said it has hit close to home for many in…

10 Things We Learned at the Oscars’ 10th Governors Awards

Read on: TheWrapTheWrap.

Since 2009, the Academy has been handing out its Honorary Oscars at the Governors Awards, an annual event designed both to give the honorees a fuller, more lavish presentation and to shorten the Oscar show by moving the honorary awards a night of their own.

Sunday night marked the 10th Governors Awards, with Honorary Oscars handed out to publicist Marvin Levy, film composer Lalo Schifrin and actress Cicely Tyson, and the Irving G. Thalberg Memorial Award going to producers Kathleen Kennedy and Frank Marshall.

As usual, the event in the Ray Dolby Ballroom at Hollywood & Highland was partly an emotional evening devoted to honor deserving artists, and partly one of the most lavish campaign stops of awards season.

Here’s what we learned:

1. Publicity rules.
At the beginning of the night, Academy President John Bailey mentioned the five honorees, one by one. All received enthusiastic applause – but the biggest hand clearly went to Levy, best known as Steven Spielberg’s longtime publicist.

“Did Marvin get the most applause because there are so many publicists here?” asked one attendee, who happened to be, yep, a publicist.

And that was probably a good guess – because in a room where many of the tables were packed with talent from virtually every Oscar-contending film, lots of PR reps were on hand to facilitate the schmoozing that has become the lifeblood of the Governors Awards.

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2. The “Popcorn Oscar” is still the elephant in the room.
In his opening remarks, Bailey talked about the history of the Governors Awards, and the history of the Academy itself. “So many changes over the years,” he said. “Many in the past few years, as you know.”

A pause. “Some have been readily embraced, some challenged.”

The line passed quickly, but it clearly referred to the short-lived plan to introduce a new Oscar for “achievement in popular entertainment,” aka the Popcorn Oscar. The plan was adopted by the Board of Governors on Aug. 7, announced early the next morning, widely criticized by Academy members and Oscar watchers, and canceled on Sept. 6 in order to permit “further discussion.”

3. The Governors Awards might just set a record for the largest amount of Wolfgang Puck food left uneaten.
Here’s the problem: After Bailey’s remarks, the program took an hour-long break for dinner. But when Lady Gaga was over here and Nicole Kidman was over there and Chadwick Boseman was sporting a knee-length red jacket and every large or small movie had a presence in the ballroom, and the people in the room who weren’t affiliated with an Oscar contender were either voters or press – well, nobody really sit and ate.

Instead, you got a dinner break devoted to table hopping, mingling and schmoozing – pretty much everything except eating.

So “Eighth Grade” star Elsie Fisher beamed as she was introduced to Saoirse Ronan, and Timothee Chalamet huddled with Zoe Kazan, and “Roma” director Alfonso Cuaron chatted with “Cold War” director Pawel Pawlikowski, and everybody wanted to meet Oprah Winfrey …

And Kathryn Hahn, in the race this year for her performance in Tamara Jenkins’ “Private Life,” looked around the room and shook her head. “I’ve never been to this before,” she said. “Everybody is here.”

Meanwhile, Wolfgang Puck’s braised short rib and hearts of palm went uneaten on many a plate – though “Green Book” star Viggo Mortensen, for one, actually tried to eat before being pulled away by well-wishers.

And when the dinner break ended, Tom Hanks took the stage and put it all in perspective. “It’s nice to be part of the famous people’s club,” he said, “where we pretend to know each other and to have seen each other’s work.”

Also Read: ‘Green Book’ Film Review: Viggo Mortensen and Mahershala Ali Take a Perilous Road Trip Through the Deep South

4. It pays to leave the Board of Governors.
Two of this year’s honorees, Levy and Kennedy, were longtime members of the Academy’s Board of Governors. But AMPAS rules say that you can’t give a Governors Award to a sitting governor, so their recent exits from the board cleared the way for their awards.

Kennedy’s case was particularly noteworthy, because she is the most high profile in a number of longstanding members of the board who have opted to leave in recent years. While producer Bill Mechanic made the flashiest departure, with a scathing letter to Academy president John Bailey that slammed AMPAS management, Kennedy had spent years not only as a board member but as an officer.

It was understood that the job of Academy president was hers for the asking – but instead of seeking another term on the board during a tumultuous time for the Academy, she opted not to run for re-election this year.

And that meant they could vote her the Thalberg.

5. It also pays to be close to Steven Spielberg.
Spielberg isn’t on the board anymore, either, but his shadow hung over the Governors Awards. Levy, who first worked with the director when he was the only member of the Columbia Pictures marketing team who liked Spielberg’s proposed poster for “Close Encounters of the Third King,” is his longtime publicist. Marshall has produced 10 of Spielberg’s films, Kennedy more than that.

So at the end of the show, it made perfect sense that it was Spielberg onstage handing out the last award.

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6. A TV theme song trumps everything else Lalo Schifrin wrote.
The Argentinian composer has a long history of classic film scores, including “Cool Hand Luke,” “Bullitt,” “Dirty Harry” and many more. And you have to figure that the board voted him his Honorary Oscar for his film scores, right?

Right, except that Schifrin’s most famous composition, and one that figured prominently in his Governors Award presentation, is the 90-second theme he wrote for the 1960s television show “Mission: Impossible.”

It ended the film package paying tribute to Schifrin’s work, and it was also the first joke in presenter Kathy Bates’ introduction to the portion of the show devoted to him – although she sort of pretended that it was movie music.

“Let’s be honest,” Bates said. “Without the cool ‘Mission: Impossible’ theme, I’m betting Tom Cruise fails in his mission the first time, which means no next five sequels.”

7. 88 + 86 = entertainment.
After Bates’ speech and the film clips, the award to Schifrin was presented by Clint Eastwood. The actor-director, who is 88, and began his presentation by saying he can’t see the TelePrompTer anymore and just wanted to ask Schifrin some questions. So Schifrin, 86 and not exactly spry, slowly and painstakingly making his way to the stage, where the two men tried to figure out how many movies they’d made together.

“Besides ‘Inspector Callahan,’ ‘Dirty Harry’ and the sequels, we did two or three more,” mused Schifrin, who couldn’t remember what those others were. Then Eastwood rambled a bit about Schifrin not being able to sell records in his native Argentina. Schifrin said was because of a law that outlawed the sale of “immoral” recordings. Then he added, “and they thought jazz was immoral.” To which Eastwood replied, “Well, it kind of is.”

Finally, Schifrin, realizing it was probably time for him to give his acceptance speech, cut short his presenter’s entertaining ramblings. “It was nice talking to you,” he said to Eastwood, who (mostly) retreated out of microphone range and let the Oscar winner speak.

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8. Cicely Tyson is a queen.
Tyler Perry said exactly that at the beginning of his speech during the presentation of an Honorary Oscar to Tyson: “For those of you who don’t know, African Americans hold Cicely Tyson in such high esteem, she is a queen to us.”

Quincy Jones reinforced that notion in his speech, as did Ava DuVernay in hers -which began when she mentioned that she’d asked a number of prominent African American women to describe Tyson in one word, and Oprah Winfrey offered the word regal.

And the 93-year-old Tyson, even as she described her reaction on learning of the award (“I just cried and cried – I couldn’t even say ‘thank you’”), was eloquent, emotional and every inch the queen that Perry had described.

9. Spielberg once caught Kennedy and Marshall making out on his couch.
Spielberg presented the Irving Thalberg Award to the married producing team of Kennedy and Marshall and described how they’d met when he first hired Kennedy as his secretary, quickly promoted her (“she went from taking notes to taking over”), then brought in Marshall to serve as line producer on “Raiders of the Lost Ark.”

“We made movie after movie together,” he said. “Until one day I walked into my office and saw them making out on my couch … I knew I was the third wheel.”

The anecdote got one of the biggest laughs of the night – and when Kennedy came to the microphone to accept her award a few minutes later, she began her speech with a sheepish, “I’m not sure I’m gonna recover from the couch story.”

Also Read: Kathleen Kennedy Re-Ups With Lucasfilm for 3 More Years

10. Change is still in the air.
It was a night of relatively few political speeches, a night mostly devoid of the kind of promises of diversity or inclusion that have been heard at previous Governors Awards. But the awards themselves spoke to a certain amount of inclusion: Levy is the first publicist ever given an Oscar; Schifrin only the third composer to win an honorary award, after Alex North in 1985 and Ennio Morricone in 2006; and most notably, Kennedy is the first woman to ever receive the Thalberg Award.

“I’m proud to be the first woman to accept this award” she said, prompting a standing ovation, “but I’m not the first to deserve it, and I’m 100 percent sure I’m not the last.”

And then she moved on to a larger theme. “We all know there are changes in our industry that must be enacted,” she said. “As our industry grows and changes, who gets to tell their stories needs to grow and change as well. Each of us has the obligation to ensure that everyone who has a story to tell has the same opportunity that most of us have had.

“With the inclusion of these powerful new voices, we might just bring the world back to its senses – and maybe just maybe, shatter a few glass ceilings along the way.”

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