EXTRA EDITION

DIRECTOR/ WRITER

JANUARY 23, 2020

ADVERTISEMENT

CONTENDERS Directors & Writers

FIRST-TIME OSCAR NOMINEE TAIKA WAITITI ENTERS THE HOME STRETCH WITH 'JOJO RABBIT' ACADEMY AWA BEST PICTURE

Untitled-31 1 1/17/20 10:27 AM

EDITOR’S LETTER

Awards Contenders Reflect Current Issues

By Steven Gaydos

IT WILL BE UP TO FUTURE HISTORIANS other dispossessed in the guise of a to figure out whether or not there was “comic book” movie. ever a time of greater prosperity in Amer- “Parasite,” a parable of rich and poor ica when the general mood of the country colliding under one roof, could be a dia- was as gloomy and sour as our own. gram for the Bernie Sanders’ campaign The credit or blame for the current plans for economic reform. national state of disconsolation can be And beyond the mean streets of L.A., attributed to the media, social or mass, other woes unsettle any talk of “happy but the very real calamities of increasing days” on Wall Street. social inequity and a global environmen- The gripping WWI tale “1917” opened tal emergency also offer handy explana- the same week that the threat of a tions for our collective funk. wrenching no-holds-barred war with As is often the case, the awards season Iran was front-page news. films that are resonating with audiences, The rise of anti-Semitism again as well as critics and the entertainment plagues cities from Paris to New York, professionals who bestow honors, reflect confounding those who imagined World the world of their time. War II an the end to that particular infec- Hollywood’s major studios, responsible tion. “JoJo Rabbit” reminds viewers that for the majority of the films in contention, you must never stop steering the young are based in a city where homelessness away from hate. exposes the brutal downside of the afore- Time’s Up is making dramatic prog- mentioned American “prosperity.” ress for the cause of gender parity, but “Joker” has amazingly grossed a billion “Little Women” takes a story from 160 dollars while viscerally confronting the years ago to show the still-formidable living conditions of the mentally ill and social forces behind inequity and the daunting challenges that women every- where still face. While “Once Upon a Time in Holly- wood” and “Ford v Ferrari” extoll the virtues of friendship and fidelity to core values in deft and dazzling new ways, “Irishman” and “Marriage Story” are deep dives into the mysteries of mortal- ity and marital union. Timelessness and tenderness also have their virtues. What all the major honorees this year indicate is that filmmakers are pick- ing up the need for a kinder, gentler and more compassionate reckoning with the darkness on the edge of prosperity. Who- ever wins the various awards, it’s already clear that the concerns of the moviego- ers are being heard and then artistically STEVEN GAYDOS imagined and produced as vital 2019 Variety executive vice president, global content filmgoing experiences.

6 VARIETY Cover Photograph by Caitlin Cronenberg

TOP BILLING

ONSEE THE HER LAM JodieMargot Turner-Smith Robbie’s character and inDaniel “Bombshell,” Kaluuya starabout in sexual IN THE OPENING shot of Sofia Coppola’s “Lost in “Queenharassment & Slim.” at Fox News, was Translation” (2003), Scarlett Johansson is lying on photographed and dressed in a bed, back to the camera, shown in partial view, a way to highlight her sex appeal in order to under- wearing underpants. In Ridley Scott’s “Blade Run- score the film’s point. ner 2049” (2017) a banged-up Ryan Gosling stares up at a bone-thin, enormous nude projection of a woman. More recently, Jay Roach’s “Bombshell” (2019) featured Margot Robbie lifting her dress for John Lithgow as the camera takes in her legs. All typical images from Hollywood films, all doing their job: telling story, building charac- ter and providing context. These are images that have been used in cinema almost since its begin- nings more than 100 years ago. But what if many shots framed and filmed by directors and cine- matographers — men, women, nonbinary — actu- ally do something else, too — like undercut every other progressive stride women make on the cam- era, and in real life? That thesis is being put forward by indepen- dent filmmaker Nina Menkes, who’s been making waves with her talk, “Sex and Power: The Visual Language of Oppression,” at festivals. Now, with her upcoming documentary “Brainwashed,” set to be released in the fall, Menkes is aiming to take the discussion about how shot design affects our perception of women to a wider audience. As she notes, there’s a direct connection between how women are shown on the screen, their lack of proportional presence in key industry roles and the abuse and harassment that fueled the #MeToo movement. “I am not here to tell you how to shoot your film,” she says. “The point is to bring conscious- ness and awareness to a way of photographing women that has been so normalized no one even notices it.” And because it’s not obvious, it’s harder to weed out. “For years, as women we’ve been expected to relate to the white male protagonist — because that’s the person whose perspective is illumi- nated, and they’re the most complex, entertaining person in the film,” says director Marielle Heller (“A Beautiful Day in the Neighborhood”). “It’s about asking filmmakers what they’re try- ing to achieve,” says Madeline Di Nonno, CEO, Geena Davis Institute on Gender in Media. “What are they trying to say? Is there a way to depict Filmmakers Reframe their vision without objectifying the female character?” The answer seems to be “yes,” but it requires the Male Gaze conscious thought to rewire long-held notions of how to light, frame or block a shot. “If I feel that Spidey sense that something is cringey, I ask, ‘Can this be done in a more power- IT’S NOT ENOUGH FOR WOMEN TO BE BEHIND THE ful, respectful way?’ ” says Catherine Hardwicke CAMERA, DIRECTORS MUST RETHINK TROPES (“Miss Bala”). “Certain shots don’t work that I’ve had imprinted on my brain. It’s a challenge to By Randee Dawn walk the line.” HILARY B. GAYLE/LIONSGATE B. HILARY

8 VARIETY.COM

TOP BILLING

Asking the questions is a start, but in voice around and place it on different images,” interpretations,” she says. “Saying that show- many cases filmmakers unconsciously hew to says director Numa Perrier (“Jezebel”). ing torsos and body parts could never be in long-established rules or tropes in their cam- “There’s often an utter neglect and dismis- service of a positive message is too strident.” era setups that inherently disempower female siveness that’s present — a director could have Although “Bombshell” director Roach characters. made choices to focus on a woman, but they declined to comment for this report, in Decem- “People are replicating a system and bias only focus on the man.” ber, Variety’s Amy Nicholson wrote about the they aren’t even aware of,” says Kirsten Schaf- Ageism in hiring non-20something perform- scene in a story about how filmmakers create fer, executive director, Women in Film. “Even ers can also contribute to that desire for flatten- safe sets, noting that Roach used extra cameras, well-intentioned male directors don’t realize ing soft focus, says DP Natasha Braier (“Honey which recorded the moment simultaneously how easy it is for cultural norms to pass on.” Boy”). “Women are expected to be treated with from three setups to get through the assault in “I am conscious of it,” says writer-director- more care with lighting, if they are not super- fewer, fresher takes. showrunner Noah Hawley (“Lucy in the Sky,” young, or anything after 30,” she says. “Some- “It was a disturbing scene to read. It was a “Fargo”), who adds that he’s made efforts to times it comes from the director, but many disturbing thing to reenact,” says Robbie. “But avoid the male gaze where relevant. “The real- times from the actress herself.” Jay is one of the most sensitive and emotionally ity is, it has the insidious power of being con- Nor is it only about live-action female por- in-tune directors I’ve ever worked with, so I felt sidered ‘normal,’ in that the history of cinema trayals; Marge Dean, president, Women in Ani- completely safe.” is primarily male, and male directors tend to mation, says the issues Menkes raises “are One area of general agreement, though, film women the way they see them, as opposed living hard in adult animation. The character appears to be in the solution: Get more women to the way women see themselves.” design, camera angles … movement or action into jobs where they control all sides of the sto- And one reason it may be critical to redefine [and] lighting are all set up to render women as rytelling. To some, this is more critical than “normal” in shooting women on film is, as sev- narrow characters that are disempowered.” realigning whether women’s stories are told eral directors point out, it’s a short hop from Of the Oscar-nominated toons, only “Toy with the correct lighting or point of view. portraying female characters as objects or sym- Story 4” has a powerful female lead: Bo Peep, “I can’t help but feel this discussion [of cam- bols on screen to doing so in the real world. who clearly chooses to embrace an independent era angles] is premature,” says Lloyd. “We’ve “Objectifying women on screen emphasizes life away from a child “owner.” got to get there first. Right now, it feels as if a huge gap between us, which is where MeToo What can throw the discussion offtrack, when we’re not there on screen — men don’t begins,” says Phyllida Lloyd (“The Iron Lady,” though, is that film — like all art — is subjective, even notice.” “Herself”). “It emphasizes a woman’s pow- both in the creation and the consumption. And to “get there,” says director Jill Soloway erlessness with a come-hither sexuality that While several directors referred to “Bomb- (“Transparent,” “Mothertrucker”), the camera might be completely unrelated to what women shell’s” dress-lifting scene as problematic (“The has to be shared more diversely. are trying to communicate.” Assistant” director Kitty Green says, “I was “White male people have plenty of access to Menkes says: “Once you’ve seen it, you can’t specifically trying not to do what ‘Bombshell’ their own gaze,” she says. “They should seek unsee it. If you want a shot of this woman’s does”), Martha Lauzen, executive director, Cen- out, mentor and distribute the work of people of derriere in transparent underwear — fine. But ter for the Study of Women in Television and color, trans people, women. Hollywood tells the understand that these images repeated ad nau- Film, says it was “effective” — because it made world how to feel about itself. We have had our- seam create an atmosphere where, if a young her uncomfortable. selves described to us by white men. I just want woman walks into a room, a young man doesn’t “It’s common for two people to watch the the camera in the hands of other people. What think he’s looking at a person, but a sex object.” same scene and come away with two different they do with that camera — is up to them.” Still, pinning down the discussion can be a challenge. Menkes’ presentation hones in on films through the ages, where women are filmed in flattening soft focus; shown as body parts (torsos, buttocks, legs); or, even when the emotional pivot of a scene is the woman’s, the camera shoots over a man’s shoulder, which sustains the male point of view or gaze. The term “male gaze” was coined in 1975 by film theorist Laura Mulvey; the “female gaze” is a more recent, less-explored theory, but is not necessarily the exact opposite. Kristy Guevara-Flanagan, director and UCLA assistant professor, has also been working on a documentary, “Body Parts,” which exam- ines how women are seen on camera; she also made a short about showing women on camera post-mortem. “There’s a fetishizing going on, with the way the camera pans and tilts down women’s [dead] bodies. It’s like the body becomes symbolic, rather than related to character,” she says. INDEPENDENCE DAY Bo Peep got a female Issues are not only limited to the camera; empowerment makeover multiple directors reference the importance of and storyline — and won the editor in the process. Woody’s heart — in “Toy “It’s about how you handle the footage and Story 4.” what footage you select, or if you move the PIXAR/DISNEY

10 VARIETY.COM SEPT. 8, DEC. 2: ANDREW H. WALKER/SHUTTERSTOCK (2); OCT. 15, JAN. 5: SHUTTERSTOCK (2) DIRECTORS FASHION WRITERS SEPT. 8 be soserious.” humor andlyricismnot clothes tohaveasenseof humorous thatIwantedthe subject matter,butit’sso dealing withaveryserious movie walksthislineof closeted Nazi.Thewhole character waslikethis and paleshirt.“Sam’s in thispurpleGuccisuit premiere of“JojoRabbit” at theTorontofestival possible.” Rockwellarrived special anduniqueas to makeitasfunand do something,Ialwayswant moments, soeverytimewe he reallyenjoysthese actor andpersonality, such avibrant,amazing client Rockwell.“He’s Michael Fisheroflongtime fitting,” saysstylist Sam everytimewehavea “IT’S ACELEBRATION A BURST OF PERSONALITY OFA BURST PERSONALITY STYLIST MICHAELFISHERWANTED with with ACTING: “SAM ANDIGRAVITATE TOWARDS COLOR ANDPATTERN” OCT. 15 toned-up asaperson.” because he’snotthatbut- forgo straightties.“Just “crazy socks,”butoften do embellisheditemsand to be“fluid.”They’ll lot, Fisherlikesclothes tends tomovearounda the clothes.”AsRockwell wanted thattoreflectin it wassoamazing,thatI [Taika Waititi]handled the movieanddirector the Holocaust,’buthow talking aboutHitlerand junkets waslike,‘You’re everyone inallthepress able andlight.Because ed himtofeelcomfort- the presstour.“Iwant- greens,” saysFisherof of printsandcolors Studios. “Wedidalot and patternedshirtbyAcne donned adarkgreensuit Rabbit” event,Rockwell For theHollywood“Jojo

SAM ROCKWELL By Jasmin Rosemberg Jasmin DEC.2 the GothamAwards.” I thoughtitwasgreatfor acting issoexplosivethat and chaotic,Sam’s was holiday,itsilver says. “Butitwasfun, in thebombing?’”Fisher does thislooklikeitwas looking atitlike,‘Ohno, Park bombing.“AndI’m the 1996CentennialOlympic film starringRockwellabout Jewell,” ClintEastwood’s premiere of“Richard considered usingitfora carry itoff.’”They art pieceandonlySamcould ful; it’ssuchanamazing thought, ‘Thisisbeauti- that suitcamein,I color andpatterns,sowhen Fisher says.“Samloves interesting colorpalette,” Berluti now—it’ssuchan Kris VanAsscheisdoingat “I’m ahugefanofwhat ’S LOOKS TO REFLECT HISDYNAMIC JAN. 5 the way.” subtle, itscreamsSamall distinct: “Eventhoughit’s The endresultwaschicbut last threeawardsseasons.” of Louboutinshoesforthe and he’swornthesamepair always dancingonthecarpet Fosse,” Fishersays.“Samis nods tohischaracterBob pumps.” “Hisstackedheel shirt andRockwell’s“lucky They addedablush-colored most beautifuldeepshade.” da madeithappenwiththe mentioned purple,andPra- went forsubtlecolor.“He the “Fosse/Verdon”nominee classic.” FortheGlobes, tle bit,butIstillkeepit carpets, weembellishalit- high-profile awardsshow says. “Whenhedoesthese and foremost,”Fisher “Sam’s anactor,first VARIETY 11 ‘ film, aswellfilm, asfor “Joker.” Tillinger Koskoff, whoisOscar-nominated for the 50years. spanning 160 actors, inastory days,ing: 108shooting 117locations, 319scenes, THE NUMBERS FOR “THEIRISHMAN” working today.’ director department assistant greatest the Thank GodIhave Koskoff Emma Tillinger 12 TALK/SHOW

“I must say, itwas nosmallfeat,” laughsEmma By TIM GRAYTIM VARIETY.COM

are stagger- discuss logisticsonthe on his past threefilms.on hispast Departed,”“The andproducer ciate produceronScorsese’s everywhere,” shesays. upstate,Bronx, New Jersey, Queens, the Staten Island, LongIsland, Brooklyn, tan, soundstages. of thetimeonone-third by Steven shotonly Zaillian, Scorsese andscriptedMartin were. clear.” really Ithadtobe was, what age thecharacters tion we were what year in, it tellingyouscript, what loca- page oftheday’seach shooting on intricate model had avery working today,” shesays. “We tant-director department IhaveGod thegreatest assis- plex Thank andcomplicated. hearings, etc. theWatergate landing, moon assassination, theApollo 11 cover suchevents astheJFK with newsreelfootage to used of theU.S., ahistory basically in1956.ButNiro) starting it’s Frank De Sheeran(Robert Emma TillingerKoskoff set of“TheIrishman.” Tillinger Koskoff was asso- “We shotallover: Manhat- by directed The Netflix film, “Logistically, thiswas com- “Irishman” of isthestory and MartinScorsese UPPER MANAGEMENT

seen him be sopleased.”seen himbe I’ve neverin hisfilmmaking. of alotof themeshe’s covered Koskoff. “It’s theculmination of ‘Irishman,’” says Tillinger thought outandcrafted.” framewas sowelling —every out “Rodrigo’s fabulous light- with Scorsese, andshesingles for histhirdconsecutive film Rodrigo Prieto was enlisted day.”flights every upfiveground andequipment getting crew, allthecast, back- days, anditwas pretty wild, camera movement. ground people, allwithalotof of characters, plustheback- all theinteractionamongalot of viewhewantedpoints for anglesand hadspecific Marty ing therightplace because place. We hadahardtimefind- Bob Shaw transformed that hallinHarlem;at abanquet That wastion Night. filmed of Frank SheeranApprecia- existing locations. sets andreconfigured many tion designerwhobuiltsome asproduc- BobShaw” derful to thriftstores.” from costumegamut, houses lot was —we rented ranthe costumes were builtanda ing thesethings. Alotof the Powell timecraft- hadthebest as costumes. andSandy “Marty san work on“Irishman,” such producer’s prideinthearti- cast deals.” andalotofmaking crewdeals allthroughprep,with Marty will realize Marty’s I’m vision. planthat aproduction create budget andschedule, andwe line producer, ADandDPona team. production schedule, andpulltogether the take itfromscripttobudget to we have closetoafinalscript;I actors. Mywork kicksinwhen during that process. typically Istay outof his way writer. Iweigh but inifasked, ing isbetween himandthe what he wants todo, thescript- “Marty is incredibly proud isincredibly “Marty cinematographerEsteemed sequence was five“That “One example was thescene won- She alsopraises“the Tillinger Koskoff takes a “I alsowork closelywiththe hebringsinthekey“Then “Once haschosen Marty

NIKO TAVERNISE/NETFLIX Still Blurred Lines Movies and TV: ENTWINED FOR 70ENTWINED YEARS THE BIGANDSMALLSCREENHAVE BEEN TV andfilmseemseparate, in TV but, duringawardsand especially time. including Amazon andNetflix — services centered onstreaming many arguments,been heated often about that inthenext 50years.” alotofarguments therewillbe pose We atheatre? something called sup- incans to hauled ofinstead being sized screeninsomebody’s home directlytoawall- from Hollywood of an accomplishment ifit’s beamed wrote: “Isa‘motionpicture’any less He between filmandtelevision. andtechnical) tinction (artistic talkedwood about theblurringdis- JimHar-column in1978,reporter IN APRESCIENT VARIETY Yes, Mr. Harw the Town”TVshow. on EdSullivan’s“Talkof Streetcar NamedDesire,” including forbestpic“A awards presentation, org re-createdits1952 The NewYorkFilmCritics PIONEERS VAULT ood, VARIETY there have

Named Desire”Named pic. asbest Afew emonies, including“A Streetcar out awards at HotelAlgonquin cer- 20, 1952,thegrouphanded On Jan. New York Film Critics organization. awardsvised was by the pioneered guild ceremonies. Awards, Critics Choice andallthe of GoldenGlobes, SAG part a crucial centers categories onfilms, are TV awards chatter season sometimes for otherkudocasts. Andthough onTV,debuted setting thetone whentheceremonychanged Academy Awards was forever connected for decades. nearly thosetwo have deeply truth, been By TimGray Surprisingly, of tele- theidea In the1950s, theDNA of the television history.) cials was Betty White, theZelig of (Among theactorsinOldscommer- oversold.”sold —notcarsbeing picturesbeing about] should [be minimum.” “Oscar night He added, that commercials heldtoa willbe assurances fromfuturesponsors &Sciences should“getture Arts said theAcademy of MotionPic- “Ouch! ThoseCommercials!” He under theheadline Schoenfeld, a piece by DailyVariety Joe editor ning timewas 90minutes. less. For theshow’s therecord, run- awards, makingtheshow seemend- slowly down theaisletoaccept their that thewinnerssauntered plained day, Variety anunsigned piece com- March 25,1954.Onthefollowing thesecond on sponsor Oscarcast, was thesolesponsor. onMarch19,1953.RCA25th event, Awards debutwithits madeitsTV Critics rites, butinterest dwindled. totheN.Y. show tied afternoon Film The following year, an NBCaired variety show, “Talk of theTown.” onCBS’Ed Sullivan were re-created hours later, thesepresentations Accompanying was that story $275,000to Oldsmobile paid theAcademyUndeterred, cally still atelevisionshow. else, it’suling andeverything basi- choices inpresenters, date-sched- but don’tfilm, forget: Intermsof It’s theoreticallyacelebration of awards shows revolve around. ter of thesolarsystem that other awards-givers. tige amongartists, audiences and growing exponentially inpres- anditismore creative freedom, 21st century, offered artists TV status. But at inthe somepoint was relegated tosecond-classTV awards for For television. years, with isfilled theseason But infact, maxes withtheAcademy Awards. dar as“Oscar season,” since itcli- calen- September-to-February the content. and they canmaintaincontrol of fun atmosphere at theevents, income, butthetradeoff isthe deals. They arelosingouton tors, writers, etal)—eschewTV AFI Awards andtheguilds(direc- showbiz honors—including the alsoon NBC.debut, that theSAG Awards madeits theyearThat tobe alsohappens decades, returningtoNBCin1995. various networks for several its own show, around bouncing liams Show.” AndyWil-variety program“The the 1964ceremonies aironNBC’s with NBCtohave asegmentof Foreignwood Press signed Assn. casts. But the21-year-old Holly- kudo- reluctant tocommit toTV works andawards-givers were households—othernet-80% of TV — the’54show drewanestimated for several years. that wasidea seriouslyconsidered futureOscars, sponsor an industry So far, Oscarsarestill thecen- still referSome people tothe Meanwhile, themajorityof gotIn 1966,theGoldenGlobes Despite Oscar’s ratings success Schoenfeld suggested thefilm VARIETY 13

GLOBE PHOTOS/MEDIAPUNCH/SHUTTERSTOCK

Future Left Mark Designer of the is thelynchpin ofthefilm. tion illustrator. Hecreated theV’Ger entity that Trek: The MotionPicture” asthefilm’s produc- ize hisfuturistic vision. into theworld offilm, where hecould fully real- cars for Ford inits advanced styling center. Design), andbegan hiscareer creating concept Angelesof Los (now theArtCenter College of tion inmany blockbusters. ing thefuturistic world offilmsandtransporta- illustrator who played apivotal role indesign- hiswork.seen You aware mightnotbe ofhisname, but you’ve Mead, who last died monthattheage of86. ema, allfrom theimaginationoflate Syd Sulaco” in “Aliens” are indelible images ofcin- Vegas” in “Blade Runner 2049” andthe “USS ner,” thelightcycles of “Tron,” “futuristic Las THE SPINNER 14 HELPED CLASSIC SCI-FI SYD MEAD’S LEGACY OFICONICCONCEPTART ARTISANS Mead madehisfilmdebut in1978 on “Star Not longafter that, Mead movewould soon He graduated from theArtCenter School Mead was themastermind concept artist and

By JazzTangcay police car in1982’s police “Blade Run- VARIETY.COM depicted infilms. theway —influenced position the future is tile imaginationandsenseofcolor andcom- ing hiswork. tures would thesignature become to recogniz- effects, as well assmoke filters. Allthose fea- porated bands oflightandotherlighting world of “Blade Runner,” Angeles setin2019Los art director David Snyder to led theonscreen film’s production designerLawrence Paull and intent to make asci-fifilmnoir. and dystopian while look maintaining Scott’s smoke, rain andcontrast gave thefilmits slick tions were signature Mead: Strong backlighting, The “Blade Runner” world and Mead’s illustra- ner” would Mead’s be most influentialwork. tion ‘reality ahead ofschedule.’ ” future,” Mead once said, “I’ve science called fic- Nicknamed the “artist who illustrates the His concepts through —channeled hisfer- In hisillustrations for “Star Trek,” Mead incor- Months ofconversations amongMead andthe Ridley Scott’s 1982sci-fidrama “Blade Run- template formodern “Aliens” createda Syd Mead’sconcept designs forJames sci-fi movies. Cameron’s 1986 SPACE CASE

on Hollywood. the design.” sively freight armed carrier. That’s what drove itwouldbecause messy. be Imadeit into amas- it fast andhedidn’t want to have to pull focus, hewasbecause going to runthecamera past gave me. The Sulaco hadto more be orlessflat, The path thatItook was from asketch thatJim wanted to domore asortofRambo-in-space. space. Itwas very gritty andreal. Cameron was like anindustrial oilderrickgoing through and theeggchamber. InRidley’s movie theship some oftheinterior sets too, like thecafeteria designing theSulaco onaplanejourney. Idid Jim Cameron, andhe’s agreat writer. Istarted magazine: “I got thescriptFedExed to meby worked onwas “Aliens.” In2014, hetold Empire 1982 film. Mead maintained theoriginalaesthetics ofthe Grand andLuxor, remain inhisworld, while ate apost-apocalyptic Vegas Las thistime. Director Villeneuve Denis wanted Mead to cre- again 35years later in “Blade Runner 2049.” directors anddesigners. groundbreaking cinematography still influences marriage oftheproduction’s aesthetic and flying cars. collapse, extreme divisions and socioeconomic of Tokyo andHongKong. as amixofcyberpunk lights neon reminiscent Mead’s legacy ishisvisionandinfluence Another enduringfranchise thatMead Famous Vegas landmarks, such astheMGM Mead would revisit the “Blade Runner” world The film’s was look instantly iconic, andthe The film’s designalsodepicts environmental

COURTESY OF SYD MEAD CONTENDERSCONTENDERS

ACADEMY AWARDS

Directors

Writers

VARIETY 15 the Gloves Off Directors Take Oscar Nominated CONTENDERS |DIRECTORS 16 INEVITABILITY OFVIOLENCE ALL FIVENOMINEESRECKON WITHTHE

World WarIepic“1917.” shots onthesetof Sam Mendescallsthe FRONT LINES By AndrewBarker VARIETY.COM level of brutality as2019’slevel of brutality nominees, andit’s acomparabledirector winnerpossessed for OldMen”brothers’ “No Country hasa —butnotsince theCoen Locker” Hurt “The Revenant” tensionof orthetimebomb “The — witness thecharnel-houseeye candyof the directorOscarfor plentyof violentfilms strata.zations andsocioeconomic ofable clashingcultures, end-product civili- a natural state of humanity, astheinescap- violence, butviolence asaninevitability, as notincidentalviolence oftion, orthethreat not crimesof orcrimesof passion aspira- one isafilmwithviolence at itscore. And Upon aTimeinHollyw lips’ “Joker” andQuentinTarantino’s “Once “Parasite,” SamMendes’“1917,” Todd Phil- ese’s Irishman” “The toBongJoon Ho’s Scors- fromMartin film, nominated every ute —butsomethingdeeper, by shared mosomes —thoughmoreonthat inamin- No, notjust thepredominance of Ychro- director Oscar, andonethingstands out. TAKE ALOOK Obviously, plentyof filmmakers have won DIRECTORS WRITERS

at thefive nomineesfor the ood.” Ever y single

FRANÇOIS DUHAMEL/UNIVERSAL IRISHMAN: NETFLIX; ONCE UPON A TIME IN HOLLYWOOD: ANDREW COOPER/SONY PICTURES; JOKER: NIKO TAVERNISE/WARNER BROS. “It’s hard tofind five ofthebestdirector nominees dealtin such haves andhave-nots asonethat willinevitably “Joker” thewideninggulfbetween the posit feltare still being today. Both“Parasite” and voice toclass conflicts whosereverberations givingpowerful viaVladimirLenin, torted) of practiceput intosomesort (however dis- tle, of MarxandEngels withtheideals finally ideologicalbat-of the20thcentury’s primary dier’s accounts would allow. extent of thecarnage, thanmost singlesol- glimpseof andamoreoverwhelming the flict, provide amorekaleidoscopic viewof thecon- onthemove,perpetually Mendesmanages to tant howitzer But shell. by keeping hissoldiers adis- helplessly awaitingrain, thetrajectory of sitting inthefreezinginclude longperiods age French orBritishsoldier would probably experiencekind —thereal-time of anaver- War allowed for little movement fartoo of any the trenches, theWestern Front of theGreat Tostant momentum. forward in most grunts offers anunusualdepictionof itwithhiscon- rative of World War I,andMendes’“1917” gain is, of course, thedominanthistorical nar- recedes intomeaninglessness. territory gained how quicklyallof hisbloodily just how little that violence accomplished, and the curseof livinglongenoughtounderstand acceptancecile hisHobbesian of conflict with and level sands, Sheeranisforced torecon- Like astatue of Ozymandiasoverlooking lone tragedy, andfailstofindmuchsenseinitat all. and of allofin thefullmeaning thisbloodshed film’s hewidensthecanvas finalthird, totake of fromtheheat thebattlesping back inthe are hardlynewtoScorsese’s films, butby step- eat-dog ethicsof theEast Coast underworld of notoriousmobhitsalongtheway. Thedog- of Jimmyappearance Hoffa andany number Pigs andtheKennedy assassination tothedis- of theperiod’spoints history, fromtheBay of weave theirway inandoutof thefieriest flash- and theirerstwhile henchmanFrank Sheeran pins suchasRussell Bufalino, Angelo Bruno States,the United king- whereinunderworld asagangster’s century ofmiddle-20th history violence. bleak insuchstark, nominees dealt hard tofindany year inwhichallfive director another year whenall stark violence.” The end of WWI also marked the beginning alsomarkedThe endof thebeginning WWI violenceGreat over negligibleterritorial Irishman,”In “The Scorsese depictsthe Upon aTimeinHollywood” and QuentinTarantinoonthesetof“Once “The Irishman,”ToddPhillips’“Joker” [ METHOD TOTHEMADNESS Clockwise fromtop]MartinScorsese’s control. theunderclass’ attemptseasily canslipoutof tofightback andhow of asupervillain, factorsinthebirth indispensable ier-to-swallow andevil—canbe notionsof structuralist good of late-stageheartlessness capitalism—rather than someeas- “Parasite,” asitshows how disintegration andthe societal themes, thoughitdraws fromseveral of thesamewells as cence notsave does themfromtheconsequences. of theirprivilege; but of course, intheendtheirblitheinno- “normal” casuallyunaware people of thedarker consequences explicitly caricature loathsome of the1%,butrather afamilyof late. thewealthy Bongiscarefulto portray familynot as some the former, it’s nothardtoseehow tensionscould esca- easily for thelatter andacatastrophic for loss of homeandproperty ofden spate rainy acancelled campingtrip weather means familyat thetopof thehill:whenasud- of theupper-crust gins iscontinually contrasted luxury withtheuninterrogated tensions. modern very tosome 1980s, of speak theearly both comic-book simulacrum of and“Joker” SouthKoreanwith specifics sociology issetina tobrutality,lead andeven if“Parasite” is largely concerned “Joker” isarguably less itsclass subtleabout conflict In “Parasite,” thesheerfragility of thoselivingonthemar- VARIETY.COM 17 DIRECTORS CONTENDERS |DIRECTORS 18 ously unseeninmost of ourlifetimes, further and economic toanextent inequality previ- presidential electionthat on class hasfocused watching andvoting onthesefilms:witha sidering thecontext inwhichthey were busy themes that connected withOscarvoters, con- film isonacollision course withbloodletting. the about Hills, everything of theHollywood throughthenarrow curves speed at breakneck tion: muchlike BradPitt steering hisCadillac of thefilmisalways inonedirec-tory heading through LosAngeles mansions. But thetrajec- Lee,and Bruce oramidnight“creepy crawl” squabble between astuntman backlot a petty tion isnever afeasible strategy, whetheritbe But thisisaworld still, inwhichde-escala- into thedarker, erastocome. moreparanoid splintering of theAquarian wave of optimism have at ugly prevented least theincreasingly at CieloDrive could of theManson“family” thebrutality suggest whenredirected, that, lence, of agenerous thefilmcould reading flame-throwing vio- of head-splitting, orgy filmof thefive.hopeful Although itendsinan wood” is, unexpectedly, arguably themost Bong JoonHodirects“Parasite,”whichdepictsSouthKoreanclasstensionsastheyrisefromalowboiltotragicdenouement. HOSTING DUTIES WRITERS It’s understandable that thesewould be Tarantino’s “Once aTimeinHolly- Upon VARIETY.COM experience towhichcinemacangive life, as well asdeath. it would refreshingtoseetheAcademy’s be choices reflectthewiderrange of present auniformly excellent slice filmmaking;butmoving of modern forward, many Thefivetoo more tomention. directornomineesfor theyear’s Oscars riage Story,” Mati Diop’s “Atlantics,” Pedro Almodovar’s “Pain andGlory,” and other’s skulls in:fromLulu Wang’s Farewell” “The Baumbach’s toNoah “Mar- each get notbashing cerned uptowhenthey’re withthethingshuman beings of many freely taken choices. first scenes,senses coming fromthevery presentsthat outcome astheendpoint of almost nonstop conflict andhostility that endsonaviolentreckoning that one evenevil, of intheheat wartime. Even theSafdiebrothers’“UncutGems,” afilm “Jojo isultimately acelebration Rabbit” of humanity’s ability toturnaway from rather entirelyhumaninstitutions control. Taika of racialandsocial Waititi’s entirely inevitable, notasaresultof someprimalforces albeit of nature, but soukas’ “Queen &Slim” hinges onseveral actsof traumatic violence that feel ian sideof life that continues MelinaMat- onbetween letters fromthefront. American history, yet finds plentyof dramaandgiantstakes inthequietercivil- male violence.” that out. bear certainly Thenomineesinthiscategory muchhavewe very ahierarchy of stories. Ithink that thetopof that hierarchy is inaVanity noted director GretaGerwig Fair “Ithink essay thismonth, earlier it throughtothenominations seemslike certainly achoice. As“Little Women” their ballots. But thefactthat thesefive were theonlydirectorialvisionstomake tions withIranthat largely played outwhileAcademy were members fillingout tostave escala- totry off, andaseriesof(or unwilling) tenseandviolentmilitary intimations of environmental catastrophe that humankindseemseitherunable And then, of course,And then, therewas filmscon- aplethoraof brilliantlydirected Of course, Gerwig’s “Little Women” takes war place in duringthebloodiest

NEON CLAY ENOS/WARNER BROS. of the New Year Directing the Course CHOCK FULLOFINTRIGUINGPROJECTS FROM MAJORAUTEURS WITH 2019 FILMSRECEDING IN THEREARVIEW, 2020IS list competing for blockbusters attention. ahealthy andpopu- mixofbe Oscarhopefuls studios for supremacy, therewill andasusual, challengingtheprimary again, Netflix willbe ing toscreenswithambitiousprojects. Once on thehorizon, andmajorfilmmakers return- shape, withnumeroushigh-profile projects patch” intotheworld peeking of 1920s Anderson’s French star-studded “The Dis- Coppola returnwiththeirnewest films, with Cooper, anightmarishdoozy. tobe looks horror, “Antlers,” Scott fromwriter-director “I’m Thinkingof EndingThings.” of Speaking full genre withthepsychological horrorthriller gifts, andmaster satirist CharlieKaufman goes who welcome intotheworld ababy withunique Adam Driver andMarionCotillard asartists Carax’s latest head-spinner, “Annette,” features Edgy FrenchGloria Steinem. filmmaker Leos Glorias,”with “The at thelife whichlooks of gant filmmaker Julie Taymor returnstoscreens piece/biopic “Blonde,” while visuallyextrava- Andrew Dominikfor mood- theMarilynMonroe upwithwriter-director Netflix hasteamed IDIOSYNCRATIC AUTEURS Agatha Christie onthe Nile.” in“Death mystery “Murder ontheOrientExpress” withanother adaptation of “Artemis Fowl,” andfollows up double dutyin2020withMay’s big-budget News of theWorld.” Kenneth Branagh does totheWildGreengrass heads West in“The Scott Duel” medieval goes in“The andPaul inJuly.unspool Aroundtheholidays, Ridley sive-budgeted mind-teaser, “Tenet,” will 5 Bloods.” ’s latest mas- Spikereleasing Lee’s Vietnam War drama“Da expectations whichwillalsobe fromNetflix, Herman J. Mankiewicz,willarrive withhigh exploration of “Citizen Kane” screenwriter piece of David material. Fincher’s “Mank,” an iconic filmmaker willtacklesuchaniconic in December, withmany wondering how the willfinallyhitscreens ing of “West SideStory” Steven Spielberg’s long-gestating re-imag- THE VETERANS THE RELEASE CALENDAR

Critical darlingsWes AndersonandSofia By NickClement for 2020istaking water,” withMatt DamonandAbigailBreslin. wheelhousefor crimedrama“Still- customary filmmaker Tom McCarthy steps outsidehis Trial of theChicagoon “The 7,” whiletopical Murray AaronSorkintakes astheco-leads. ter relationship, withRashidaJones andBill la’s “On theRocks” examining afather-daugh- American journalisminFrance, andCoppo- Reitman’s “Ghostbusters: Afterlife” andDean fromdirectorJoseph Kosinski, Jason erick” in theform of thissummer’s “Top Gun:Mav- ducer-star Ryan Reynolds. “Free Guy,” andpro- fromdirectorShawn Levy games come tolife inthisJuly’s action-comedy Anne Hathaway andOctavia Spencer. Andvideo sic Roald Dahlnovel Witches,” “The starring anewtakeZemeckis willunleash ontheclas- InOctober, inMarch. released will be Robert director’s chairfor “A QuietPlace Part II,” which Niki Caro, whileJohn Krasinski returnstothe launches itslive-action version of “Mulan” from from returningdirectorPatty Jenkins. Disney from Cathy Yan plus“Wonder Woman 1984” as theDC-universe offerings “Birds of Prey” Shortland’s aswell for “BlackWidow” Marvel, movie Zhao’s crop:Chloe “Eternals”andCate makers tacklingthisyear’s willbe comic-book to anewgeneration. Agroupof female film- world upthespice-obsessed rial whileopening fansof thecelebrated sourceappease mate- sci-fi withhistake on“Dune,” to whichlooks ner,” filmmaker DenisVilleneuve returnsto to“BladeRun- makingasequel After boldly THE BLOCKBUSTERS Old franchises will get fresh leases onlifeOld franchiseswillget freshleases projects. anticipated 2020’s most- an” isamong “Wonder Wom- blockbuster low-up toher kins’ fol- Patty Jen- FRAY INTO THE get sci-fi withtheTom Hanksvehicle “Bios.” (“Game of big-bud- Thrones”)goes Sapochnik from directorDeeRees, whiledirectorMiguel Last ThingHeWanted” thriller“The political status Netflix willalsorelease thisspring. Nanjiani andIssa Rae, sleeper haspotential Lovebirds,”der mystery“The withKumail Showalter’s mur- romanticcomedy turned could aninteresting surprise, be andMichael remake of Swedish sensation “Force Majeure,” “Downhill,” asanAmericanized whichserves eran Alan Taylor. andJimRash’s ark,” by seriesvet- directed whichhasbeen Many feature Saintsofthe prequel New- “The David with Chasereturnstohisoriginalroots Back,”Look while“Sopranos” mastermind on creepy thrillers“Repulsion” and“Don’t Soho,” fromEdgar Wright, riff isanapparent Ben AffleckandAnadeArmas. “Last Nightin mas withsexy thriller“DeepWater,” starring erotic thriller, Adrian Lyne, returnstocine- scenario,dow”-esque whilethemaster of the findsAmyWindow” Adams ina“Rear Win- Williams. Joe Wright’s Woman “The inthe the domineeringfather toSerenaandVenus “King Richard,” whichfeatures Will Smithas helmer Reinaldo MarcusGreenwillrelease by star Tom Hanks, andup-and-coming which was fromaC.S. adapted Forester novel with theWorld War IIactionfilm“Greyhound,” Director AaronSchneidergets abigstep-up CURIOUS QUESTIONMARKS Me DoIt,” fromhelmer MichaelChaves. September’s Conjuring: The DevilMade “The Conjuring” expands in the universe of “The “Candyman,” fromdirectorNiaDaCosta, while take ontheclassic Clive Barker creation Jordanproducer Peele willpresentanother Green’s “Halloween Kills”inOctober. InJune, tor Everardo GoutinJuly, andDavid Gordon Man,” “Purge” fromdirec- anuntitled sequel Wadlow andLeighWhannell’s Invisible “The February’s “Fantasy Island” fromdirectorJeff Prods. willrolloutfour titlesin2020,including Prolific company production Blumhouse EVERYONE STILLWANTSHORROR tive Thanksgiving holiday. Paul Wellins BriggsandDean over thelucra- “Raya andtheLast Dragon” fromco-directors Walt Disney Animation Studioswillunspool with Pete Docter’s cosmic adventure “Soul.” andwillfollowScanlon inMarch, upinJune fantasy comedy “Onward” fromdirectorDan tion “Sonic theHedgehog.” Pixarwillrelease willseeJeff Fowler’sary adapta- video-game over MemorialDay weekend, whileFebru- from directorJustin Linwillrevitsengines “No TimetoDie.” Aninth“Fast andFurious” Joji thisApril Fukunaga’sBond isback inCary a franchisekick-starter inSeptember. James as from directorStefanoSollima,could serve Tom Clancyadaptation Remorse,” “Without Parisot’s “Bill&Ted Face theMusic,” while VARIETY.COM

19 CONTENDERS: WRITER

BOAZ, MY 13-YEAR-OLD son, was rummaging BOTH SIDES through a pile of Academy screeners fanned Scarlett Johansson out across our TV stand when he lifted up one and Adam Driver in “Marriage Story” and brandished it for me to see. “Oh, I already with its echoes in saw this one,” he said. real life. I was expecting to look up and see a copy of “Missing Link” or “Toy Story 4.” But no, it was “Marriage Story,” ’s account of an artsy, white bicoastal couple’s expensive divorce that nabbed six Oscar nominations, including original screenplay for Baumbach. “You did?” I said. “You watched it?” “Yeah, it was on Netflix,” he shrugged non- chalantly. “It was pretty good. I watched it twice.” I suppose some mothers might be con- cerned that their impressionable, newly minted teen whiled away 4½ hours absorbed in an R-rated movie peppered with the F-word, fiery arguments over infidelity and a scene in which an explosively emotional Adam Driver punches a hole through the wall of his L.A. rental apartment, but let’s be real: There’s nothing in “Marriage Story” more harrowing than what’s on the nightly news. In a world in which kids are slaughtered by AK-47s in the classroom and students are subjected to lock- down drills at school, a fictionalized drama about divorce in the modern age is like an episode of “Sesame Street” in comparison (a “very special episode,” but still). Truth be told, I was impressed that Boaz was beginning to develop such sophisticated taste in cinema; this was a giant step up from twerking tutori- als on YouTube. But I was curious for another reason: My husband and I were getting divorced and Boaz and his sister, Ayla, were the children caught in the crosshairs. Had watching “Marriage Story” further traumatized him — or did it provide some sense of comfort that he wasn’t alone in the dissolution of our once intact nuclear family? “What did you think of it?” I asked him. “Did it make you feel sad? Are you OK?” “I like the lawyer scenes,” he said. “I guess because they were realistic. The guy who played the grandson of Darth Vader was good. The scenes where they were fighting she acted like a 5-year-old, so I guess she did a good job.” Maybe this was a learning moment, I thought. Maybe Boaz and I could sit down and work our way through the entire repertoire of ‘Marriage Story’ Great Divorce Cinema, from ’s “Scenes From a Marriage” to “The Squid and the Whale,” another semi-autobiographical divorce drama written and directed by Baumbach. Hits Home Maybe this could be healing, hopeful. “You want to watch ‘Kramer vs. Kramer?’” I asked Boaz. I was a weird, loner kid and WITH A FOCUS ON HIGH PRICE ATTORNEYS, BAUMBACH’S FILM “Kramer vs. Kramer” was one of my favorite UNDERSTATES THE EMOTIONAL COST OF REAL LIFE DIVORCE films growing up, a film I watched when I was probably too young to watch it, but one that was By Malina Saval deeply impactful all the same. Perhaps on some WILSON WEBB/NETFLIX (2)

20 VARIETY.COM THE SQUID AND THE WHALE: SAMUEL GOLDWYN LLC/KOBAL/SHUTTERSTOCK; KRAMER VS KRAMER: COLUMBIA/KOBAL/SHUTTERSTOCK own intothe maritaldysfunction, andlean away that weren’t thoseparts relevant tomy did. I So thing. maybe Ishouldtoo. Maybe Iwas missing some - enoughtowatchpelling twice mademerealize, and snacksinthelobby. afairlynice onewithcoffeea building—albeit her own office. Sherentsconference space in doesn’tsupremely ineptmediator even have divorce —inmy “Discount Divorce Story,” our much everything. up makinganeven mess of further pretty attorneys billable hour, withevery that, wind about whiteprivilege andthehigh-costdoes about theunraveling of amarriage thanit ostensibly divorce about becomes almost less to retainNora’s Andafilmthat’s services. asthecurrencyneeded serve mitted adultery) (she’s of course; right, Charliecom- got every resentment andrelationship dissatisfaction to matter. Asfaraswe know, Nicole’s festering ond mortgage onthehouse),butitdoesn’t seem a lineaboutNicole’s mothertakingoutasec- actor, canafford Nora’s hefty fee (later, there’s gourmet cookies. Nicole inwithacupof and manukahoney tea Dern’s svengali of apower attorney, wholures until shefell of Nora, underthe spell Laura outset didn’t even want tousedivorce lawyers of step for at acharacterwhowe the film’s learn Sure. Isitlikely? Hardly. Itwas allsowildlyout ical for saidattorneys torepresentCharlie? making ituneth- LosAngelesthe greater area, familylawthat in Nicole expert metwithevery felt far-fetched Isitpossible andoutlandish. a county withthousandsof divorce attorneys), inLosAngeles, (again, has notyet interviewed lie races aroundtoretainalawyer that Nicole known this).Andthemontage inwhichChar- and theboy’s mother, would have obviously Scarlett Johansson’s native Angeleno heroine, of trick-or-treatinga bounty options(Nicole, levard offers PinkDotonHalloween whenL.A. totakingtheirsonaSunsetBou- nist) resorts Charlie (Adam Driver’s stage directorprotago- Forthem. example, itmakes nosensethat and legalimplausibilities. Icould notget past tickingofftime Isaw itsvarious it, plotholes was pretty ridiculousthefirst “Marriage Story” Switch: “Ifound Pikachu!” the Pokemon Sword gameonhisNintendo later,” to back Andthenheturned saidBoaz. States willendindivorce orseparation. 50%oftics: about allmarriages intheUnited haps Iwas just practicalinconsidering statis- primer for my own divorce decadeslater. Per- my would functionasa ex didallthecooking) (i.e., theburningFrench kitchenscene toast — some of thefilm’s key, now-famous sequences leveldeep subconscious Iknewthat oneday But that Boaz found “Marriage Story” com- But found that Boaz “Marriage Story” I’m alsohaving acompletely different We’re noteven surehow Nicole, atheater In theinterest of fulldisclosure, Ithought “Sure, I’llwatch movie, that ‘Kramer’ but And thistime, Iwas able tostrip Jin Won Han Nominees Oscar Joker Jojo Rabbit The Irishman The Two Popes ADAPTED SCREENPLAY Wilson-Cairns 1917 Once UponaTime inHollywood ORIGINAL SCREENPLAY Marriage Story Knives Out Little Women Parasite SamMendesandKrysty Todd Phillips,ScottSilver

BongJoonHo, and itseffects. (right) tackledivorce “Kramer vsKramer” Whale” (above)and “The Squidandthe SPLITSVILLE RianJohnson Taika Waititi Steven Zaillian Anthony McCarten NoahBaumbach

own momentmightbe. “Company” Andwhat hiswould be, too. Manilow concert (I’ma Barry Fanilow). anunapologetic what Ithoughtabout my metomytook first “Guided by Voices” show; ourdaughterwas conceived after over adecade’s He Gaye Springsteen. toBobDylanBruce fromMarvin worth, inevitably transpire. Myex andIhadourproblems, butwe alsohadmusic, well loss andlove andtheeventual onward, path tootherloves andlosses that will a song—anantheminwhichCharlie, now divorced fromNicole, reflectsupon sings “BeingAlive,” “Company.” fromthe1970StephenSondheimmusical, It’s andsillythefirst time, ascartoonish had dismissed isthescene inwhichCharlie us willhave morechildren. likelooks andinwhatever they take shape it’s form, highlyunlikely that eitherof inarowembroiled that felt familiar. alltoo ex andIweathered tragedies fromwhichneitherof usever fullyrecovered. a list of thingswe other. liked each about Like Nicole, invisible. Ifelt unheard, My gift duringhisChetBaker phase. We once hadatherapist whoasked ustowrite that were: slobs, Nicoleparts andIareboth andIonce gave asa my ex atrumpet With several songsstill tocome. Our divorce would anentiresoundtrack. require But how doyou pickjust oneswan songafter16years together? But methemost what about“Marriage struck Story,” I Iadmit, andwhich, The oneswe have, already thosetwo ours, willbe alone, forever. And Iget too. that, Becausewhatever relationships come whatever next, that “I can’t believe that Ihave toknow you forever!” Nicole screams. Inoneof “Marriage morefeverish Story’s” scenes, Nicole andCharliebecome We walls punched andthrewplates both andremotecontrols andpillows.

VARIETY.COM 21 FINAL CUT

Hollywood On May 2, 1969, Paramount Pictures took an ad in Daily Variety that touted its youth-skewing hits “Goodbye, Columbus,” “Romeo & Juliet” and “If ...” Despite Touts Youth ad copy that reads as awkward corporate PR trying to be groovy and deep, Par- amount’s pics were part of the vanguard of how entrenched Hollywood was being changed by young people demanding films that reflected their world. Just Appeal as today when movements such as #OscarSoWhite and #MeToo are changing what kind of movies are made, and by whom.

Variety, VOL. 346, NO. 23 (USPS 146-820, ISSN 0011-5509) is published weekly, except the fourth week of June, the first week in July, and the fourth and fifth weeks in December, with 40 special issues: Jan (8), Feb (8), June (7), Aug (6), Nov (5) and Dec (6) by Variety Media LLC, 11175 Santa Monica Blvd., Los Angeles, CA 90025, a division of Penske Business Media. Periodicals postage paid at Los Angeles, CA and at other mailing offices. Postmaster send address changes to: Variety, P.O. Box 15759, North Hollywood, CA 91615-5759. Canada Post International Publications Mail Product (Canadian Distribution) Publications Mail Agreement No. 40043404. Return undeliverable Canadian addresses to: RCS International Box 697 STN A, Windsor, Ontario N9A 6N4. Sales agreement No. 0607525. Annual subscription rates: USA, $329; Canada, $359 (includes GST); Europe, $399; rest of world, $599. Single copies are available for $9; back issues $11 U.S., $15 International. A reasonable fee shall be assessed to cover handling costs in the event of a cancellation of a subscription. Subscription customer service is available by phone: (800) 552-3632 or email: [email protected]. For content licensing, editorial re-use requests or custom ePrints or reprints, please email us at [email protected]. Variety ©2020 by Variety Media, LLC. Variety and the Flying V logo are trademarks of Penske Business Media. Printed in the U.S.A.

22 VARIETY CONNECT WITH THE ENTERTAINMENT & MEDIA COMMUNITY

MARCH 26 LOSLOS ANGELESANGELES

REGISTER NOW VARIETY.COM/MARKETINGSUMMIT

PARTNERSHIP OPPORTUNITIES SEAN SOPER | [email protected] #ENTERTAINMENTMARKETING

SUPPORTING PARTNERS MEDIA PARTNERS A C A D E M Y A W A R D® N O M I N A T I O N S 6 INCLUDING

“‘PARASITE’ IS THE MOVIE OF THE YEAR AND BONG JOON HO MAY BE THE FILMMAKER OF THE CENTURY”

FOR YOUR CONSIDERATION

Untitled-25 1 1/17/20 12:23 PM