Conceptual Metaphor in Selected Interview Transcript of American Oscar Award Winners

CONCEPTUAL METAPHOR IN SELECTED INTERVIEW TRANSCRIPT OF AMERICAN OSCAR AWARD WINNERS

A THESIS

AUDRY VALEINSIA FARJER REG.NO. 150705022

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019

Universitas Sumatera Utara CONCEPTUAL METAPHOR IN SELECTED INTERVIEW TRANSCRIPT OF AMERICAN OSCAR AWARD WINNERS

A THESIS

AUDRY VALEINSIA FARJER REG. NO. 150705022

SUPERVISOR CO-SUPERVISOR

Dr. Muhizar Muchtar, M.S. Dr. Drs. Umar Mono, Dipl.Trans, M.Hum. NIP. 1954111719800 3 100 NIP. 19600122198601 1 001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019

Universitas Sumatera Utara Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

Prof. T. Silvana Sinar, M.A., Ph.D. Rahmadsyah Rangkuti, M.A., Ph.D. NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002

Universitas Sumatera Utara Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on May 31st, 2019

Dean of Faculty of Cultural Studies

University of Suatera Utara

Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001

Board of Examiners

Rahmadsyah Rangkuti, M.A., Ph.D.

Prof. Dr. Drs. Syahron Lubis, MA, BA.,

Dr. Muhizar Muchtar, MS

Universitas Sumatera Utara AUTHOR’S DECLARATION

I, AUDRY VALEINSIA FARJER DECLARE THAT I AM THE SOLE AUTHOR

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BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE.

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ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS

THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER

DEGREE IN ANY TERTIARY EDUCATION.

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Date : May 31st, 2019

Universitas Sumatera Utara COPYRIGHT DECLARATION

NAME : AUDRY VALEINSIA FARJER

TITLE OF THESIS : CONCEPTUAL METAPHOR IN SELECTED INTERVIEW TRANSCRIPT OF AMERICAN OSCAR AWARD WINNERS

QUALIFICATION : S1/SARJANA SASTRA

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Universitas Sumatera Utara ACKNOWLEDGMENT

Firstly, I would like to express my gratitude for My Lord, Jesus Christ, for being my source of strength. In the process of writing this thesis, I have faced some difficulties that I don‘t think I can pass if it is not because of Him.

Secondly, I would like to thank to the Head of English Department, Prof. Dra.

T. Silvana Sinar, M.A., Ph.D, the Secretary of English Department, Rahmadsyah

Rangkuti, S.S, M.A, Ph.D., and all the lecturers and staff of Department of English who have been patiently teaching and guiding me during my time of study.

I would like to express my sincere gratitude to Dr. Muhizar Muchtar, M.S as my supervisor for being really patient and kind to me during the time of writing this thesis which means a lot to me. Also, I would like to thank my co-supervisor, Dr.

Drs. Umar Mono, Dipl.Trans., M.Hum for being kind, and very thorough in correcting my thesis. All the advices which have been given to me from my supervisors will always be kept and remembered in my heart.

I dedicate my deepest love to my beloved parents, and my brothers. They are the ones who keep me going in times where I feel like giving up, they are the ones who taught me how to be strong in overcoming any difficulties. Dear father, I thank you sincerely for always showing me love and support. Dear mother, I thank you for always teaching me how to be patient and strong. For my dear brothers, Bung Carlo and Bung Boy, you both are one of the reasons why I have to accomplish all of my dreams in life.

vii

Universitas Sumatera Utara The last but not least, I dedicate my gratitude for Sri Wahyuni, Regina

Goela, Widi Ambarwati, Miftach Khairani, and Rara Tri Antika. Thank you for being the best cure to my feeling of boredom, most importantly, for being my support system.

I hope this thesis can be useful for the readers. May the grace and the love of God always be with us.

Medan, May 31st, 2019

Audry Valeinsia Farjer Reg. No. 150705022

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Universitas Sumatera Utara ABSTRACT

The title of this research is “Conceptual Metaphor in Selected Interview Transcript of American Oscar Award Winners”. The purposes of this research are to identify the kinds of conceptual metaphor in the transcript of the Oscar Award winners and to explain the meaning of the conceptual metaphor in the interview transcript of the Oscar Award winners. The method of this research is using qualitative descriptive analysis. The concept of metaphorical expressions are analyzed by using George Lakoff and Mark Johnson‘s conceptual metaphor theory. The result of this research shows that all types of metaphor are found in the data, which are structural metaphor, orientational metaphor, and ontological metaphor. The meaning behind the conceptual metaphor in the data shows that it can be understood easily through the process of metaphorical mapping.

Keywords : Conceptual Metaphor, Metaphorical Mapping, Semantics

Universitas Sumatera Utara ABSTRAK

Judul dari penelitian ini adalah “Conceptual Metaphor in Selected Interview Transcript of American Oscar Award Winners”. Tujuan dari penelitian ini adalah untuk mengidentifikasi jenis metafora konseptual dalam transkrip wawancara pemenang Penghargaan Oscar, dan untuk menjelaskan makna dari metafora konseptual dalam transkrip wawancara pemenang Penghargaan Oscar. Metode penelitian ini menggunakan analisis deskriptif kualitatif. Konsep ekspresi metaforis dianalisis dengan menggunakan teori metafora konseptual oleh George Lakoff dan Mark Johnson. Hasil penelitian ini menunjukkan bahwa semua jenis metafora konseptual ditemukan dalam data, yaitu metafora struktural, metafora orientasi, dan metafora ontologis. Makna di balik metafora konseptual dalam data menunjukkan bahwa metafora konseptual itu dapat dipahami dengan mudah melalui proses pemetaan metaforis.

Kata kunci: Metafora Konseptual, Pemetaan Metaforis, Semantik

Universitas Sumatera Utara TABLE OF CONTENTS

AUTHOR’S DECLARATION ...... v COPYRIGHT DECLARATION ...... vi ACKNOWLEDGEMENTS ...... vii ABSTRACT ...... ix ABSTRAK ...... x TABLE OF CONTENTS ...... xi

CHAPTER I : INTRODUCTION ...... 1 1.1 Background of The Study ...... 1 1.2 Problems of The Study ...... 2 1.3 Objectives of The Study ...... 3 1.4 Scope of The Study ...... 3 1.5 Significance of The Study ...... 4

CHAPTER II : REVIEW OF LITERATURE ...... 5 2.1 Semantics ...... 5 2.1.1 Cognitive Semantics...... 5 2.2 Metaphor ...... 9 2.3 Conceptual Metaphor ...... 11 2.3.1 Structural Metaphor ...... 11 2.3.2 Orientational Metaphor ...... 12 2.3.3 Ontological Metaphor ...... 13 2.4 Metaphorical Mapping ...... 14 2.5 Previous Studies ...... 14

CHAPTER III : RESEARCH METHOD ...... 18 3.1 Research Design ...... 18 3.2 Data and Source of Data ...... 18 3.3 Technique of Collecting Data ...... 18 3.4 Technique of Data Analysis ...... 19

CHAPTER IV : DESCRIPTION AND FINDING ...... 20 4.1 Data Description ...... 20 4.2 Data Analysis ...... 23 4.2.1 Structural Metaphor ...... 23 4.2.2 Orientational Metaphor ...... 39 4.2.3 Ontological Metaphor ...... 41

Universitas Sumatera Utara 4.3 Finding ...... 50 4.3.1 The Kinds of Conceptual Metaphor ...... 50 4.3.1.1 Actor in A Supporting Role Category ...... 51 4.3.1.2 Actress in A Supporting Role Category ...... 51 4.3.1.3 Production Design Category ...... 52 4.3.1.4 Best Picture and Directing Category ...... 52 4.3.1.5 Actor in A Leading Role Category ...... 53 4.3.1.6 Cinematography Category ...... 53 4.3.1.7 Costume Design Category ...... 54 4.3.2 The Meaning of Conceptual Metaphor ...... 54

CHAPTER V : CONCLUSION AND SUGGESTION ...... 56 5.1 Conclusion...... 56 5.2 Suggestion ...... 56

REFERENCES ...... 58 APPENDICES

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Universitas Sumatera Utara CHAPTER I INTRODUCTION

1.1 Background of The Study In the daily life, people communicate to each other using a language without realizing that their utterance may contain metaphor. People in general think that in order to find metaphor, it can be seen through literary works. Common-sense traditional teaching often presents metaphor as an anomaly, an unusual, or deviant way of using language, a minority interest, or something that is only done in literature class. Taking a similar view, philosophers have often wanted metaphor strictly confined to literature, rhetoric and art, because of its supposed dangers to clear thinking. In accordance with Locke (Goatly, 1997:1), for example, denounced figurative language as follows:

“But yet, if we would speak of things as they are, we must allow that all the artificial and figurative application of words eloquence hath invented, are for nothing else, but to insinuate wrong ideas, move the passions, and thereby mislead the judgement, and so indeed are perfect cheat.”

(Essay concerning Human Understanding, Book 3, ch.10, p.105)

He is explicit about the desirability of metaphorless language, and implicitly assumes the possibility of a philosophical language without metaphor.

Over the last thirty years, however, philosophers, psychologists, and linguists have begun to agree that metaphor is not something that can be easily confined, but is an indispensable basis of language and thought. The quote from Locke paradoxically provides evidence for this. Arguably ―move‖, ―mislead‖, and ―cheat‖ are being used metaphorically, ―eloquence hath invented‖ is a case of personifying metaphor, ―insinuate‖ depends upon a metaphor borrowed from Latin, where its literal meaning is ―works its way in, penetrate‖, and literally we ―allow‖ actions rather than propositions.

Universitas Sumatera Utara Metaphor and the mental processes it entails, are basic to language and cognition, then a clearer understanding of its working is relevant, not just to literature students, but to any students.

Metaphor demonstrates, in an exaggerated way, how all linguistic classification constructs a representation of experience on the basis of selective perception and selective ignoring of aspect of the world. The difference between literal language and metaphorical language is that, in literal use, we adhere to conventional criteria for classification, whereas in metaphorical use, the similarities, the criteria for interpretation are relatively unconventional. According to Goatly (1997: 3), Metaphor is important to be studied because, consciously or not, we are employing metaphors all the time.

Metaphor is not only be found in literary works, but also in the conversation of the daily life. In cognitive semantics, metaphor is seen as an essential element in our categorization of the world and our thinking process. According to Lakoff and Johnson (2003:6), human conceptual system is metaphorically structured and defined. They have also classified the conceptual metaphor into three parts, which are structural metaphor, orientational metaphor, and ontological metaphor.

The researcher decided to choose conceptual metaphor as the topic of the research because as a phenomenon, metaphor is only seen as a part of figurative language that can only be found in literary works, which is not right based on the theory of conceptual metaphor by Lakoff and Johnson. The other reason why conceptual metaphor is chosen as the topic of the research because it is one of the topics of metaphor which is a part of figurative language. Conceptual metaphor then becomes the suitable topic for the data. The interview transcript of Oscar Award winners is chosen as the source of data because based on the theory of conceptual metaphor, metaphor is pervasive in everyday language and thought, whereas the everyday language is contained in the interview transcript. The source of data consists of 7 categories, which are Actress in Supporting Role, Production Design, Actor in Supporting Role, Best Picture and Directing, Actor in a

Universitas Sumatera Utara Leading Role, Cinematography, and Costume Design. The seven categories are chosen as the data because based on the comparison with the other categories, the seven categories contain the most suitable metaphor based on the theory of conceptual metaphor.

1.2 Problems of The Study Based on the explanation in the background of study, the problems that need to be answered in this research are : 1. What kinds of conceptual metaphors are found in the interview transcript of the Oscar Award winners? 2. What are the meanings of conceptual metaphors in the interview transcript of the Oscar Award winners?

1.3 Objectives of The Study This research aims : 1. To identify the kinds of conceptual metaphors in the interview transcript of the Oscar Award winners. 2. To explain the meanings of the conceptual metaphors in the interview transcript of the Oscar Award winners.

1.4 Scope of The Study In this research, the researcher focuses and analyzes on the conceptual metaphor which is contained in some of the interview transcripts of the Oscar Award winners. The categories of which the interview transcript will be taken are Actress in Supporting Role, Production Design, Actor in Supporting Role, Best Picture and Directing, Actor in a Leading Role, Cinematography, and Costume Design. The seven categories out of 24 categories are chosen as the scope of the study because each of the conceptual metaphor in the 24 categories has been compared and the seven chosen categories contain more relevant conceptual metaphor.

Universitas Sumatera Utara 1.5 Significance of The Study Theoritically, this research is done in order for the readers to enrich their knowledge about metaphor, especially each kind of the metaphor. Practically, the readers are expected to do another research about metaphor with a different object.

Universitas Sumatera Utara CHAPTER II REVIEW OF LITERATURE

2.1 Semantics The word semantics comes from Greek, which means to signify or interpret. As a technical term, semantics contains the meaning of "study of meaning". Assuming that meaning is part of language, semantics is a part of linguistics. Just like the sound and the grammar of a language, the components of meaning in this case also occupy a certain level. If the sound component is at the first level, the grammar is at the second level, then the component of meaning occupies the last level. The relationship of the three components is in accordance with the fact that (a) language is originally abstract sounds that refer to the existence of certain symbols, (b) symbols are a set of systems that have certain settings and relationships, (c) a set of symbols has a form and relationship that associates the existence of a particular meaning (Palmer, 1981: 5) According to Leech (1981), semantics (as the study of meaning) is central to the study of communication; and as communication becomes more and more crucial factor in social organization, the need to understand it becomes more and more pressing. Semantics is also at the centre of the study of the human mind – thought processes, cognition, conceptualization, which are intricately bound up with the way in which we classify and convey our experience of the world through language. Another point of view of semantics comes from Bréal, whom has stated that semantics is the science the subject matter of which was study of the cause and structure of the processes of changes in meanings of words: expansion and contraction of meanings, transfer of meanings, elevation and degradation of their value, etc. (Schaff, 1962: 4)

2.1.1 Cognitive Semantics Cognitive semantics represents an approach to the study of mind and its relationship with embodied experience and culture. It proceeds by employing

Universitas Sumatera Utara language as a key methodological tool for uncovering conceptual organization and structure (Evans, 2006: 153). In understanding the cognitive semantics, there are four guiding principles that collectively characterize the collection of approaches that fall within cognitive semantics (Evans, 2006: 157-162). These principles can be stated as follows: 1. Conceptual structure is embodied. A fundamental concern for cognitive semanticists is the nature of the relationship between conceptual structure and the external world of sensory experience. In other words, cognitive semanticists set out to explore the nature of human interaction with and awareness of the external world and to build a theory of conceptual structure that is consonant with the ways in which we experience the world. Let‘s illustrate this idea with an example. Imagine a man in a locked room. A room has the structural properties associated with a bounded landmark: it has enclosed sides, an interior, a boundary and an exterior. As a consequence of these properties, the bounded landmark has the additional functional property of containment: the man is unable to leave the room. Although this seems rather obvious, observe that this instance of containment is partly a consequence of the properties of the bounded landmark and partly a consequence of the properties of the human body. Humans cannot pass through minute crevices like gas can, or crawl through the gaps under doors like ants can. In other words, containment is a meaningful consequence of a particular type of physical relationship that we have experienced in interaction with the external world. The concept associated with containment is an instance of what cognitive linguists call an image schema. In the cognitive model, the image-schematic concept represents one of the ways in which bodily experience gives rise to meaningful concepts. 2. Semantic structure is conceptual structure; This principle asserts that language refers to concepts in the mind of the speaker rather than to objects in the external world. In other words, semantic structure (the meanings conventionally associated with words and other linguistic units) can be equated with concepts. There are two important caveats that follow from the principle that semantic structure represents a subpart of conceptual structure. Firstly, it is important to point out that cognitive

Universitas Sumatera Utara semanticists are not claiming that language relates to concepts internal to the mind of the speaker and nothing else. Let‘s look at an example. Consider the concept BACHELOR. This concept, which is traditionally defined as an ‗unmarried adult male‘, is not isolated from ordinary experience because we cannot in fact apply it to all unmarried adult males. We understand that some adult males are ineligible for marriage due either to vocation or to sexual preference (at least while marriage is restricted to occurring between members of the opposite sex). It is for this reason that we would find it odd to apply the term bachelor to either the Pope or a homosexual male, even though they both, strictly speaking, meet the ‗definition‘ of BACHELOR. The second caveat concerns the notion of semantic structure. We have assumed so far that the meanings associated with words can be defined: for example, BACHELOR means ‗unmarried adult male‘. However, we have already begun to see that word meanings,which we are calling lexical concepts,cannot straightforwardly be defined. Indeed, strict definitions like ‗unmarried adult male‘ fail to adequately capture the range and diversity of meaning associated with any given lexical concept.For this reason,cognitive semanticists reject the definitional or dictionary view of word meaning in favour of an encyclopaedic view. 3. Meaning representation is encyclopaedic; The third central principle of cognitive semantics holds that semantic structure is encyclopaedic in nature. This means that words do not represent neatly packaged bundles of meaning (the dictionary view), but serve as ‗points of access‘ to vast repositories of knowledge relating to a particular concept or conceptual domain. Below is the example of this principle : (1) a. The child is safe. b. The beach is safe. c. The shovel is safe. In this context, the interpretation of (1a) is that the child will not come to any harm. However, (1b) does not mean that the beach will not come to harm. Instead, it means that the beach is an environment in which the risk of the child coming to harm is minimized. Similarly,(1c) does not mean that the shovel will not come to harm, but that it will not cause harm to the child. These examples illustrate that there is no single fixed property that safe assigns to the words child, beach and shovel. In order

Universitas Sumatera Utara to understand what the speaker means, we draw upon our encyclopaedic knowledge relating to children, beaches and shovels, and our knowledge relating to what it means to be safe. We then ‗construct‘ a meaning by ‗selecting‘ a meaning that is appropriate in the context of the utterance. Just to give a few examples, the sentence in (1b) could be interpreted in any of the following ways, given an appropriate context. Some of these meanings can be paraphrased as ‗safe from harm‘, and others as ‗unlikely to cause harm‘: (1) this beach has avoided the impact of a recent oil spill; (2) this beach is not going to be dug up by property developers; (3) due to its location in a temperate climate, you will not suffer from sunburn on this beach; (4) this beach, which is prone to crowding, is free of pickpockets; (5) there are no jellyfish in the sea; (6) the miniature model beach with accompanying model luxury hotels, designed by an architect, which was inadvertently dropped before an important meeting, has not been damaged. 4. Meaning-construction is conceptualization; The fourth principle associated with cognitive semantics is that language itself does not encode meaning. Instead, words (and other linguistic units) are only ‗prompts‘ for the construction of meaning. According to this view, meaning is constructed at the conceptual level: meaning construction is equated with conceptualization, a dynamic process whereby linguistic units serve as prompts for an array of conceptual operations and the recruitment of background knowledge. It follows from this view that meaning is a process rather than a discrete ‗thing‘ that can be ‗packaged‘ by language. Here is an example that illustrates the conceptual nature of meaning construction : (1) In France,Bill Clinton wouldn‘t have been harmed by his relationship with Monica Lewinsky. This kind of sentence is called counterfactual, because they describe a scenario that is counter to fact. This sentence prompts us to imagine a scenario in which Bill Clinton, the former US President, is actually the President of France, and that the scandal that surrounded him and the former Whitehouse intern, Monica Lewinsky, took place not in the United States but in France. In the context of this scenario, it is suggested that Bill Clinton would not have been politically harmed by his extramarital affair with Lewinsky.

Universitas Sumatera Utara 2.2 Metaphor For over 2,000 years, metaphor was studied within the discipline known as rhetoric. This discipline was first established in ancient Greece, and was focused on practical instruction in how to persuade others of a particular point of view by the use of rhetorical devices. Metaphor was one of these devices, which were called tropes by rhetoricians. Due to its central importance, metaphor came to be known as the master trope. Within this approach, metaphor was characterized by the schematic form: A is B, as in Achilles is a lion. As a consequence, metaphor has been identified since the time of Aristotle with implicit comparison. According to Keraf in Diction and Style (2001: 139), metaphor is a kind of analogy that compares two thing, but in the form of a short. Metaphor as a comparison is not using the word: like, as, such, and so on, so that the first subject directly connected to the second principal. Barnhart (1995: 118) says, ―A metaphor is figure of speech which a word or phrase is taken out of its usual setting and placed with another word to suggest a likeness‖. In other words, metaphor is one of the figurative languages that shows a similarity between two things but its comparison is shown in an implicit way. Unlike simile, one of the figurative languages that compares two things which share a similarity, metaphor doesn‘t use conjunction such as ―like‖, or ―as‖. For example, in simile, the sentence ―My love is like a star‖ shows a clear comparison between love and star by using the word like. Their similarity is show where star is portrayed as a shiny thing, which is the same like his/her love. In metaphor, the conjunctions are not needed. As an example, the sentence ―My love is like a star‖ can be transformed into ―My love is a star‖.

As the general role, there are two traditional positions of metaphor in language. The first is called as the classical view since it can be traced back to Aristotle‘s writings on metaphor, sees metaphor as a kind of decorative addition to ordinary plain language; a rhetorical device to be used at certain times to gain certain effects. For Aristotle, the main function of metaphor is as a stylist or rhetorical ornament,

Universitas Sumatera Utara especially figurative language. In other words, Aristotle emphasized metaphor as a linguistic expression, not as a concept of thinking that produced that expression. The second traditional approach is called the romantic view since it is associated with eighteenth and nineteenth century romantic views of the imagination, which takes a very different view of metaphor. In this view, metaphor is integral to language and thought as a way of experiencing the world. In cognitive semantics, metaphor is the central role in thought and language (Saeed 1997: 304). Metaphor is a part of figurative language that studies about hidden comparison between two things that are unrelated, but which share some common characteristics. In other words, a resemblance of two contradictory or different objects is made based on a single or some common characteristics.

There are four characteristics of metaphor in cognitive semantics: First, conventionality (Saeed 1997: 305), is related to the novelty of ideas in it. This feature is used by cognitive semanticists to refute the notion of the concept of dead metaphor, a metaphor which, due to its frequent use, means to move from a metaphorical meaning to a literal meaning. Second, sistematicity (Saeed 1997: 305-306), is concerned not only with the way metaphors take a point of comparison between various kinds of objects, but also about how metaphor builds a logical framework for itself. Third, asymmetry (Saeed 1997: 306), metaphors do not compare two objects in two directions, but one direction, and the comparison is not comparable. Metaphors only encourage listeners to attach the source's characteristics to the target. Fourth, abstraction (Saeed 1997: 307), related to its asymmetry, metaphors try to move the traits contained in something more concrete to something more abstract.

People tend to find for metaphor in something that has a relation with art, which is literary works. Metaphor does not only appear in literary works, as what Lakoff and Johnson have said in their conceptual metaphor theory (2003:8), metaphor is pervasive in everyday life, not just in language, but in thought and action.

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2.3 Conceptual Metaphor Conceptual metaphor is a metaphor (or figurative comparison) in which one idea (or conceptual domain) is understood in terms of another. According to Lakoff and Johnson (1980: 2003) in analyzing metaphors, there are two main components that are used: the target domain and the source domain. To understand the intentions contained in the metaphor, similarities in characteristics have to be found in both target and source domain. By comparing the characteristics, the basic using of metaphor can be found. There are some differences between target and source. In the target domain, it is seen to be more abstract, and implicit. Meanwhile, the source domain seems to be found in everyday life, intimate to the readers, and explicit. It is crucial to recognize that questions about the nature of meaning, conceptualization, reasoning, and language are questions requiring empirical study; they cannot be answered adequately by mere a priori philosophizing. We systematically use inference patterns from one conceptual domain to reason about another conceptual domain because that is a phenomenon of conceptual metaphor and it is called as the systematic correspondences across such domains metaphorical mappings. This leads to a further empirical question: Are those metaphorical mappings purely abstract and arbitrary? The empirical answer is "no." They are shaped and con-strained by our bodily experiences in the world, experiences in which the two conceptual domains are correlated and consequently establish mappings from one domain to another. (Lakoff and Johnson, 2003: 246) As in the book of Metaphors We Live By, Lakoff and Johnson have divided the conceptual metaphor into three parts, which are structural metaphor, orientational metaphor, and ontological metaphor.

2.3.1 Structural Metaphor Structural metaphors provide the richest source of such elaboration. It allows us to do much more than just orient concepts, refer to them, quantify them, etc., as we do with simple orientational and ontological metaphors; they allow us, in addition, to use one

Universitas Sumatera Utara highly structured and clearly delineated concept to structure another. Structural metaphors are grounded in systematic correlations within our experience and its meaning is analyzed based on the metaphorical mapping. (Lakoff and Johnson, 2003: 246)

Example : ―You are wasting my time‖

The sentence ―You are wasting my time‖ consists of the metaphor ―wasting my time‖ which uses the concept of TIME IS MONEY. ―Time‖ has a similar figurative meaning as ―Money‖, which is valuable. Below is the metaphorical mapping of the concept TIME IS MONEY :

TIME MONEY Can be spent Can be spent Valuable Valuable

2.3.2 Orientational Metaphor Orientational metaphor is organizes a whole system of concepts with respect to one another. It has to do with spatial orientation, such as up-down, in-out, front-back, on-off, deep-shallow, central-peripheral. The meaning behind orientational metaphor is analyzed based on the physical basis and cultural experiences. (Lakoff and Johnson, 2003: 15)

Example : ―Wake up‖ and ―He fell asleep‖ are the orientational metaphor that uses the concept ‗CONSCIOUS IS UP, UNCONSCIOUS IS DOWN‘.

As in the phrase ―wake up‖, it means that the person is in a conscious state of mind. Meanwhile, ―fell asleep‖ shows that the person is unconscious, which happens when sleeping. The meaning behind the conceptual metaphors ―Wake up‖ and ―He fell asleep‖

Universitas Sumatera Utara is analyzed based on the physical basis that humans and most other mammals sleep lying down and stand up when they are awake.

2.3.3 Ontological Metaphor Spatial orientations like up-down, front-back, on-off, center-periphery, and near-far provide an extraordinarily rich basis for understanding concepts in orientational terms. But one can do only so much with orientation. Our experience of physical objects and substances provides a further basis for understanding—one that goes beyond mere orientation. Understanding our experiences in terms of objects and substances allows us to pick out parts of our experience and treat them as discrete entities or substances of a uniform kind. Once we can identify our experiences as entities or substances, we can refer to them, categorize them, group them, and quantify them—and, by this means, reason about them. An ontological metaphor is a metaphor in which an abstraction, such as an activity, emotion, or idea, is represented as something concrete, such as an object, substance, container, or person. The meaning behind ontological metaphor is analyzed based on the physical object experiences which then provides a wide variety of ontological metaphor, that is, ways of viewing events, activities, emotions, ideas, etc., as entities and substances. (Lakoff and Johnson, 2003: 26) Ontological metaphor is divided into two parts, which are container and personification. Container metaphor is an abstract entity which is considered to have a physical container, or a kind of space that has an "IN" entrance and "OUT" exit. In this case, when an object enters the container, the container is filled, and vice versa. For example, "He fell in love", "We‘re out of trouble now", etc. Personification metaphor is the entities in the form of inanimate objects, both abstract and concrete objects are used and treated like human beings with all aspects and activities. For example, "Inflation is eating up his profits", "Inflation has attacked the foundation of our economy". Based on those examples, the inflation entity is considered capable of doing something like human, which are 'eating' and 'attacking'. Another example is ―It will take a lot of patience to finish this book‖. The sentence ―It will take a lot of patience to finish this book‖ consists of the metaphor ―a lot of patience‖ that uses ‗QUANTIFYING‘ as a concept. The quantity of the abstract

Universitas Sumatera Utara object (patience) is represented with the word ―a lot of‖. The meaning behind the conceptual metaphors "He fell in love" and "We‘re out of trouble now" are analyzed based on the physical object experience because human is a container with a bounding surface and an in-out orientation. Meanwhile, the meaning behind the conceptual metaphor ―It will take a lot of patience to finish this book‖ is analyzed based on the other variety of ontological metaphor, which is quantifying the entity, patience.

2.4 Metaphorical Mapping The meaning behind conceptual metaphor cannot be made only based on personal perception. In making a decision whether a word, phrase, or sentence contains conceptual metaphor, metaphorical mapping is needed. In accordance with Lakoff and Johnsen (2003 : 246), it is crucial to recognize that questions about the nature of meaning, conceptualization, reasoning, and language are questions requiring empirical study; they cannot be answered adequately by mere a priori philosophizing. The nature of metaphor also is not a matter of definition; it is a question of the nature of cognition. Do we systematically use inference patterns from one conceptual domain to reason about another conceptual domain? The empirically established answer is "yes". We call that phenomenon conceptual metaphor, and we call the systematic correspondences across such domains metaphorical mappings. This leads to a further empirical question: Are those metaphorical mappings purely abstract and arbitrary? The empirical answer is "no". They are shaped and constrained by our bodily experiences in the world, experiences in which the two conceptual domains are correlated and consequently establish mappings from one domain to another.

2.5 Previous Studies The researcher has collected several researches about the same topic, which is conceptual metaphor. Lestari (2017) has conducted the research entitled Metaphors in The Song Lyrics of Greenday. The aim of her research is to find out the types of metaphorical expression in the Green Day lyrics and to convey the meaning of metaphors in the Green Day lyrics. In doing the research, the method used by Lestari is

Universitas Sumatera Utara qualitative method. The result of her research is that all the types of conceptual metaphor have been found in the song lyrics, and the meaning behind the metaphors is revealed, which shows the condition of the country that has a bad condition, criticism to the government, where they do not stand up for the society. This research is different with Lestari‘s research because the object of this research is the interview transcript, meanwhile the research done by Lestari uses song lyrics as the object.

Nurjannah (2018) has done the research entitled The Lakoffian Conceptual Metaphor Analysis of Ernest Hemmingway‟s The Old Man and The Sea Novel. The aim of the research is to find out the types of Lakoffian conceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway and to analyze the most dominant types of Lakoffian conceptual metaphors found in The Old Man and The Sea novel by Ernest Hemingway. The method used is the quantitative method. The result of the research is that in the research, the types of Lakoffian conceptual metaphor can be classified as 8 types, which are ―PERSON IS ALARM CLOCK―, ―LIFE IS STRUGGLE‖, ―LIFE IS SUFFERING‖, ―PEOPLE IS A LANDSCAPE‖, ―KNOWING IS SEEING‖, ―TIME IS AN INDIVIDUAL‖, ―PERSON IS FORTUNE―, and ―LIFE IS A JOURNEY‖. Meanwhile, the most dominant type is ―LIFE IS STRUGGLE‖. This research is not the same as the writer‘s research because this research analyzes the types and the most dominant Lakoffian conceptual metaphor, besides, the object of the research is the novel The Old Man and The Sea. Meanwhile, the writer identifies the kinds of metaphor and explains the meaning of the conceptual metaphor with interview transcript as the object.

Yuliana (2015) has done the research with the title Conceptual Metaphor Analysis in George W. Bush and Barack Obama Inaugural Address. The aim of the research is to elaborate the conceptual metaphors that leads to understand the meaning and also to convey their function of George W. Bush and Barack Obama‘s Inaugural address. The method of this research is qualitative method. The result of this research shows that the using of metaphor is very flexible. There are 9 concepts in inaugural address are revealed through the analysis of conceptual metaphor using mapping process. They are nation is person, crisis is sick, nation as family, problem is storm, fire is attack, spirit is

Universitas Sumatera Utara fire, life is journey, relationship is planting, and time is person. This research is different from what the writer studies because research only analyzes from the type of structural metaphor and the function used in the speech, whereas the writer analyzes the three types of conceptual metaphor.

Putri (2013) has done the research entitled Metaphorical Expressions in Andre Hirata‟s and John Colombo‟s Edensor. In general, this research is intended to know how the metaphorical expression in Bahasa Indonesia is translated into English. The method of the research is the qualitative approach. The researcher uses from Andrea Hirata‘s novel entitled Edensor in Bahasa Indonesia and its English version translated by John Colombo. The results of this research show that there are two kinds of metaphor found in Andrea Hirata‘s Edensor. They are a dead metaphor and live metaphor. This research is different from the writer‘s research because this research aims to describe the types of the Metaphorical Expressions which exist in Andrea Hirata‘s Edensor, to describe the translation techniques used by the translator in translating the metaphorical expressions found in Andrea Hirata‘s Edensor, and to analyze the translation quality of the translated Metaphorical Expressions found in Andrea Hirata‘s Edensor in terms of accuracy and acceptability. Meanwhile, the writer‘s research is to identifies the kinds of metaphor and explains the meaning of the conceptual metaphor based on the theory of Lakoff and Johnson.

Borčić (2016) has conducted the research journal with the title Conceptual Metaphor in Political Communication. The aim of this research is to analyse the conceptual metaphor through the prism of a synergic effect of the topic of the statement, the affirmative and negative approach to the topic in the political argumentation and the type of claim used to express the main idea. A quantitative and qualitative content analysis of the political interviews was performed. The result of this study is conceptual metaphor used in the political interview. Those include the concept of A PARTY IS A PERSON, and MOVEMENT/ TRAVEL. The dominant takes part in the original domains of personifications, reification and movement. This research only focuses on the dominant conceptual metaphor which belongs to structural metaphor which is

Universitas Sumatera Utara different from what the reseacher studies, because the researcher analyzes the types of conceptual metaphor, not only structural metaphor, but also the three types of metaphor.

Kartal, and Uner (2017) have made the journal research entitled The Effects of Conceptual Metaphors on The Acquisition of phrasal Verbs by Turkish EFL Learners. The aim of this research is to investigate the effects of conceptual metaphors on learning of phrasal verbs by English as foreign language learners. A pre and post-test quasi- experimental research design was used. The results of this study are that conceptual metaphor teaching improved phrasal verb knowledge of elementary and pre- intermediate level students, and conceptual metaphors were more beneficial than traditional method for learners to guess the meaning of unexposed phrasal verb items. This research focuses on the effects of conceptual which is different from what the reseacher studies, because in this research, the writer analyzes the types of conceptual metaphor and the meaning behind the conceptual metaphor.

The previous studies have contributed for the researcher‘s future research theoretically. Each of the study has used the same theory as this research which is the conceptual metaphor by Lakoff and Johnsen.

Universitas Sumatera Utara CHAPTER III RESEARCH METHOD

3.1 Research Design In this research, the appropriate method used in analyzing the data is qualitative descriptive method. According to Bogdan and Taylor (1975: 5), qualitative method is research procedures that produce descriptive data in the form of written or verbal words from people and observable behavior.

Qualitative research is rooted in a natural setting as a whole, relying on humans as a research tool, utilizing qualitative methods, conducting data analysis inductively, being descriptive, prioritizing the process rather than results, limiting the study to focus, having a set of criteria to check the validity of the data, the design of the research is temporary, and the results of the research are agreed by both parties: the researcher and the research subjects.

3.2 Data and Source of Data In this research, the data are phrases and sentences from the interview transcript of Oscar Award winners. The data source of this research is taken from the interview transcript of Oscar Award winners, which is published on January 23, 2018 on https://www.oscars.org/press/transcript. The interviewer interviews the winners of the seven chosen categories in which their utterances contain conceptual metaphor. The names of the interviewee will be written in the data analysis.

3.3 Technique of collecting data Data collecting is the way that is used by the researcher to collect the data. In this research, the data collection is using the documentation method. Document analysis is a form of qualitative research in which documents are interpreted by the researcher to give voice and meaning around an assessment topic (Bowen, 2009). In this research , the documentation method is done by the researcher such as the following :

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1. Reading the data sources 2. Choosing 4 categories of the transcript 3. Downloading the interview transcript from https://www.oscars.org/press/transcript

3.4 Technique of data analysis According to Miles, Huberman and Saldana (2014), the process of data analysis in qualitative research is done in four steps which are data collection, data condensation, data display, and conclusion drawing.

The data condensation is done by the following procedures : 1. Selecting the metaphor in the interview transcripts of Oscar Award winners. 2. Classifying the metaphor into three types: structural, orientational, and ontological. The transcript are analyzed based on the theory of conceptual metaphor by Lakoff and Johnson on their book Metaphor We Live By. 3. Underlining the data which have been classified as the structural, orientational, and ontological metaphor. 4. Explaining the conceptual metaphor found in the interview transcript of Oscar Award winners.

Furthermore, the data display and data verification is done in the following steps : 1. Transforming the data into the form of table. 2. Drawing the conclusion based on the result.

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CHAPTER IV DESCRIPTION AND FINDING

4.1 Data Description In this research, the technique of collecting data is documentation method. The data are collected by using written sources from interview transcript of American Oscar Award Winners. The chosen data that will be analyzed in this chapter are 36. The 36 data will be classified based on the theory of conceptual metaphor. The data will be analyzed by using qualitative method by explaining the similarities in each concept that lead to understanding the meaning based on the metaphorical expression. The conceptual metaphor theory by Lakoff and Johnson will be applied in the analysis. In identifying the meaning of metaphorical expression, Oxford Learner‘s Dictionary will be used as the reference. This reference is functioned to find the lexical meaning and then to be compared with metaphorical meaning from metaphorical expression which contained in the interview transcript.

Structural Metaphor

No. Data 1. “I‟m freezing” 2. ―Great writing is key.‖ 3. ―She‟s got this great head for business‖ 4. ―but the thing is, that‟s if you have luxury – the luxury of time‖ 5. ―the pallete is a very Guillermo‖ 6. ―We are links in a chain‖ 7. ―It was a no brainer‖ 8. “the whole journey we've been through is

Universitas Sumatera Utara extraordinary‖ 9. ―I haven't figured out what, but I've got to get him a good present. That‟s a start at least.‖ 10. ―Craig's just -- he killed this movie. He just killed it. And I mean killed in a good way. ― 11. I think every time we can demonstrate in any forum, be it sports, science, art, culture, anywhere, what we have to bring to the world discourse, to the world conversation, is extremely important, and it's extremely important when we do it to remember where we're from, because it's honoring your roots” 12. ‖We feel like it's a real watershed moment” 13. ―You walk in those shoes‖ 14. ―I have lost my train of thought.‖ 15. ―a dark character, like Reynolds in London, who uses rich colors” 16. ―He knows this world very well‖

Orientational Metaphor

No. Data 1. ―to wake up‖

2. ―In working with Daniel, you up your game‖

3. ―I‘m going to take my shoes off‖

4. ―I‘m going to have a big crash down after this‖

5. ―The idea of following up that film was a little scary‖

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Ontological Metaphor

No. Data 1. ―that‘s what my very good friend, Steven Rogers did for me‖ 2. ―He says he did it – wrote this for me to just that, to show a different side of me.‖ 3. ―I fell in love with one of the primal trilogies in cinema‖ 4. ―the business grow in Toronto‖ 5. ―We have world-class technicians‖ 6. ―You know, the -- the clothes, makeup and clothes are the things that -- are the closest things to the actor. And they actually touch the actor.‖ 7. ―I would like to give people the benefit of the doubt and say that they are motivated by a good heart.‖ 8. ―A big part of me was saying, „Please, please, no‟.‖ 9. ―There‘s a little bit of pressure.‖ 10. ―If their shoes work and make them move a certain way, then the rest is – rest follows .‖ 11. ―He had a lot of ideas.”

12. ―They have a lot of work to do‖ 13. ―When I read a script as an actress that I get excited about like I, TONYA or AMERICAN BEAUTY or JUNO, things that -- or WEST WING I've gotten to do. That just gets me so -- it makes me want to come alive” 14. ―I have a lot of cousins.‖

Universitas Sumatera Utara 15. ―that little voice talking to me‖

4.2 Data Analysis The analysis begins with the categorization of the kind of conceptual metaphor which is made in the form of subtopic of the data analysis point, and then the analysis continues with the explanation of the meaning of conceptual metaphor based on the metaphorical mappings.

4.2.1 Structural Metaphor a. ―I‟m freezing.‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : OBJECT IS EMOTION Source : ice (unmentioned) Target : freezing

The concept OBJECT IS EMOTION is used in order to show the suitability with the data. If they are being compared, the word ice and freezing have a similarity, which is cold. The sentence I‟m freezing is considered as structural metaphor because it contains source domain, which its metaphorical meaning is used as the reference to understand the metaphorical meaning behind the target domain. The metaphorical mapping can be seen below :

OBJECT EMOTION Concrete Abstract Can be seen Can be felt Can be owned (physically) Can be owned (emotionally)

The word ice becomes the source domain because that is where the metaphorical expression comes from, and it also has a physical and concrete concept. Ice is the word which has a similarity of the characteristic with the target domain, which is the word freezing. The word freezing is related with human emotion. Human emotion is an

Universitas Sumatera Utara abstract entity therefore it becomes the target domain. When the speaker said that she was freezing, that doesn‘t mean that she is turning into an ice, because the thing that can freeze has always formed into ice. In the speaker‘s utterance, freezing means that she is feeling really cold as ice that she chooses to use the word freezing rather than cold.

b. ―Great writing is key.‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : OBJECT IS SUCCESSFULNESS Source : Key Target : Great writing

The data is considered as structural metaphor because it contains source domain and the target domain in order to understand one another. The metaphorical mapping of OBJECT IS SUCESSFULNESS can be seen below :

OBJECT SUCCESSFULNESS Concrete Abstract Can be used to gain success Can be gained after the process of reaching it

The word key is considered as the source domain because that is where the metaphorical expression arise. Meanwhile, the phrase great writing becomes the target domain because it is the one that needs to be understood by looking at the source domain. The word key and the phrase great writing have a kind of similarity if it is viewed from the function point of view, which is to open or unlock something. In this case, what the speaker really mean when she said that great writing is key is that in order to unlock a door of successful movie, it starts with a great writing (of the plot). Just like when we are about to unlock a door, the first thing that we start to do is looking for the

Universitas Sumatera Utara key. The concept OBJECT IS SUCCESSFULLNESS draws a similarity with the concept great writing is key because key is an object which has a physical form and successfulness can be gotten by creating a great writing.

c. ―She‟s got this great head for business‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : HUMAN BODY IS SUCCESSFULNESS Source : Great head Target : Well qualified (unmentioned)

The data is classified as structural metaphor because it provides information about target domain‘s metaphorical meaning which is in the source domain. The relation between the source domain and the target domain can be seen in the mapping below :

HUMAN BODY SUCCESSFULNESS Concrete Abstract Can be used to gain success Can be gained after the process of reaching it Owned by human (physically) Owned by human (emotionally)

The conceptual metaphor lays on the phrase great head for business. In that phrase, well qualified becomes the source domain because it is the one that will be compared with the target domain, which both of them have an equal meaning. When the speaker said that her friend has got a great head for business, this doesn‘t mean that her friend has a large size of head. Great head means that the person who has been mentioned by the speaker has a well qualification in business. The coherence between the concept and the data is that both of them has a similarity in terms of concept. HUMAN BODY represents the metaphorical expression great head and it is considered as the source domain because

Universitas Sumatera Utara one of the characteristics of source domain is concrete. Meanwhile, the concept of successfulness is drawn in the target domain which is well qualified. The term well qualified becomes the target domain because it is abstract.

d. ―but the thing is, that‟s if you have luxury – the luxury of time‖ (Sam Rockwell, Winner of Actor in a Supporting Role category)

Concept : TIME IS A VALUABLE COMMODITY Source : Time Target : Luxury

The data is seen as structural metaphor because each domain serves information to understand each metaphorical meaning. The mapping of the concept TIME IS A VALUABLE COMMODITY can be seen below :

TIME VALUABLE COMMODITY Can be spent Can be spent Valuable Valuable

The concept of TIME IS A VALUABLE COMMODITY can be applied in the data above. To understand the metaphorical expression that is in the source domain (time), the concept of luxury needs to be understood first. The things which are luxurious must be expensive. The equality of meaning between time and luxury can be seen through the word expensive. Looking through the culture point of view, the speaker must think that time is as expensive as the luxurious things that shouldn‘t be wasted.

e. ―the pallete is a very Guillermo‖ (Paul Denham Austerberry, Winner of Production Design category)

Universitas Sumatera Utara Concept : OBJECT IS A PERSON Source : Pallete Target : Guillermo

The sentence the pallete is a very Guillermo is seen as structural metaphor because it provides source domain and target domain. The relation between source and target domain will be shown in the form of mapping below :

OBJECT PERSON Concrete Abstract Representation of a person Representation of an object Have similar characteristics with a person Have similar characteristics with an object

The word pallete is considered as the source domain because that is the source information of metaphorical expression comes from. Pallete is a thin board or slab on which an artist lays and mixes colors. Having said the pallete is a very Guillermo, it is concluded that Paul Denham is a production designer in movie industry, the one who is in charge for the design style for sets, locations, graphics, props, lighting, camera angles and costumes, and also making sure that the palette is colour coordinated in order to give a great design outcome. The target domain lays on the word Guillermo. Guillermo is the first name of Guillermo del Toro, a Mexican filmmaker, author, actor, and former special effects makeup artist. Guillermo is well known for his perfectionist side in making film, one of them is when it comes to choosing the palette. The palette and Guillermo have a similarity, which is colour coordinated. The palette which is offered to Guillermo and Guillermo‘s taste in the pallete is colour coordinated. When Paul Denham said the pallete is a very Guillermo, that doesn‘t mean that the pallete looks like Guillermo, but it means that the pallete suits Guillermo‘s taste, which is colour coordinated. Therefore, the concept OBJECT IS A PERSON is suitable with the data because the concept of OBJECT is coherent with the source domain pallete, and

Universitas Sumatera Utara the concept of PERSON can be seen through the target domain, Guillermo, because Guillermo is a Mexican filmmaker. f. ―We are links in a chain‖ (Gary Oldman, Winner of Actor in a Leading Role category)

Concept : OBJECT IS A RELATIONSHIP Source : Links in a chain Target : Connection

The data is considered as structural metaphor because there is a systematic relation between the source domain and the target domain. The relation will be drawn in the form of metaphorical mapping below :

OBJECT RELATIONSHIP Concrete Abstract Representation of a relationship Representation of an object Have similar characteristics with a Have similar characteristics with an object relationship

The metaphorical expression can be found in the target domain, which is links in a chain. Looking at the concept of links in a chain, they are all connected to one another, which lead to an equal meaning to the source domain, which is connection. To understand the sentence We are links in a chain, the concept of links in a chain and the source domain need to be understood, so it won‘t make any misunderstood for the listeners. When Gary Oldman said that they are links in a chain, that doesn‘t mean that they are looking or formed like links in a chain, but it means that he (Gary Oldman) and the people that he has mentioned are all connected together in doing their job. In understanding the coherence between the concept OBJECT IS A RELATIONSHIP and the data, the concept OBJECT is drawn in the source domain links in a chain because it

Universitas Sumatera Utara is concrete. Meanwhile, the concept RELATIONSHIP can be seen through the target domain connection because it is abstract.

g. ―It was a no brainer‖ (Roger A. Deakins, Winner of Cinematography category)

Concept : IDEA IS LEVEL Source : No brainer Target : Easy (unmentioned)

Structural metaphor is applied in this data because the sentence It was a no brainer has a related source domain and a target domain. The relation between both of the domains can be seen below :

IDEA LEVEL Requires stages Requires stages Able to be developed Able to be developed

To add some more information of the meaning of the phrase no brainer, the literal meaning can be used. Literally, no means not one; not any, meanwhile brainer in this case means brain. The meaning behind no brainer literally is not using brain. The meaning of conceptual metaphor is the one that is looked for in this analysis. The target source lays on the phrase no brainer. To understand the target domain, the source domain, which is the word easy needs to be understood first. In the way of thinking, human use their brains to control and process their thoughts, especially when human need to decide something which requires a long time of thinking that is quite a difficult thing to do. But when it comes to deciding simple things, human tend to spend a short time of thinking which is an easy thing to do. The concept of the word easy is that it is not difficult, which leads to a likeness with the phrase no brainer.

Universitas Sumatera Utara So when the speaker said that it was a no brainer, that means that the thing that the speaker has done is an easy thing to do. The concept IDEA IS LEVEL is suitable with the source domain and the target domain of the data. The concept IDEA can be seen through the source domain no brainer because it is concrete, and the concept of LEVEL can be seen through the target domain easy because it provides the information of the metaphorical expression in the source domain.

h. “the whole journey we've been through is extraordinary‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : LIFE IS A JOURNEY Source : Journey Target : Experience

The data is considered as structural metaphor because both of the domains can give each other information about the metaphorical meaning. The mapping can be seen below:

LIFE JOURNEY The means of achieving purpose The means of reaching a destination Offers experiences Offers experiences

The word journey in the phrase the whole journey generally means the act of travelling from one place to another. A person who have been through a journey means that they have been through several places or experiences in order to reach their destination. In terms of conceptual metaphor, the general meaning and the metaphorical meaning of the word journey has a similarity which is experience, which then makes the word journey becomes the source domain because that is where the metaphorical

Universitas Sumatera Utara expression comes from. The similarity then leads into a further explanation about the target domain which is experience. The sentence the whole journey we've been through is extraordinary, in this case, doesn‘t mean that the speaker has gone through several places while travelling. The metaphorical meaning behind the whole sentence is that the speaker and their crew have been through several extraordinary experiences in the process of making the film. Thus, the concept LIFE IS A JOURNEY is suitable with the data because the concept of LIFE shows the similarity of characteristic with the source domain journey, which is offering a lot of path in the process of getting experience, and the concept JOURNEY shows the similarity of characteristic with the target domain experience because in getting through a journey, there will be a lot of experiences.

i. ―I haven't figured out what, but I've got to get him a good present. That‟s a start at least.‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : ACTIVE IS BETTER Source : Start Target : Act of beginning

The data above is classified as structural metaphor which its validity can be seen through the metaphorical mapping below :

ACTIVE BETTER Requires movement (activity) Requires movement (activity) Doing more than one activity Gaining better result

Apart from the metaphorical meaning, the word start usually means the beginning of something, or the first thing of doing something. Such concept makes the source domain, the word start, to have the same meaning as the metaphorical meaning which

Universitas Sumatera Utara lays in the target domain, or the phrase the act of beginning. The intention of the speaker in saying that‟s a start at least is that she wants to get her friend, Steven Rogers, a good present. Such an action is considered as the act of beginning of her to thank her friend. The concept ACTIVE IS BETTER is coherent with both source domain and target domain. In the concept ACTIVE, its realization can be seen through the source domain start because generally it is understood as the first step of doing something where human body is in an active physical state. Meanwhile the concept BETTER is shown through the target domain act of beginning because generally when we start to do something in terms of positive things, it will make us to become a better version of ourselves.

j. ―Craig's just -- he killed this movie. He just killed it. And I mean killed in a good way.‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : ACTIVE IS BETTER Source : Kill Target : Finish the movie

The structural metaphor is drawn in the data above. It can be seen in the metaphorical mapping below :

ACTIVE BETTER Requires movement (activity) Requires movement (activity) Doing more than one activity Gaining better result

In general, the literal meaning of the word kill is the action of making someone or something to die. Along with the concept of the word kill in general, it has something to do with the end of a life, blood, bad, etc. it is very contrastive with the speaker‘s intention when they said the word kill, which refers to the metaphorical meaning. The true meaning that the speaker wants to deliver is that her friend, Craig, has completed an

Universitas Sumatera Utara act of ending something, which is finishing the movie. This means that Craig has taken every aspect of the movie and finish it in an incredible way as a movie director. The source domain kill is related with the concept ACTIVE because both of them have a similarity of character which shows an activity done in an active physical state. Meanwhile, the target domain finish the movie suits the concept BETTER because based on the data, the actor has done his acting job until the end of the movie and it makes the movie even better.

k. ―I think every time we can demonstrate in any forum, be it sports, science, art, culture, anywhere, what we have to bring to the world discourse, to the world conversation, is extremely important, and it's extremely important when we do it to remember where we're from, because it's honoring your roots” (Guillermo del Toro, Winner of Best Picture and Directing category)

Concept : PLANT IS A HEREDITY Source : Roots Target : Heredity

The data is considered as structural metaphor because the source domain, roots, provides the information about the metaphorical meaning behind the target domain, heredity. Below is the metaphorical mapping of the source domain and the target domain:

PLANT HEREDITY One of the parts of the plant, root, The passing on of physical or mental represents heredity characteristics genetically from one generation to another The plant (root) is where the whole plant The beginning of physical or mental starts to grow characteristics where it will be followed by the next generation

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The similar meaning and concept of the source domain roots and the target domain heredity is that both of them means the basic. In this case, the concept of PLANT is coherence with the source domain roots, and also the concept HEREDITY is applied in the implicit target domain heredity. The word roots becomes the source domain because in order to understand the metaphorical meaning of the word itself, the target domain needs to be understood first. Both of the words roots and basic have shown a similarity, and the metaphorical meaning that the speaker wants to deliver is that every time people want to demonstrate in any forum, be it sports, science, art, culture, anywhere, it is very important if people do it to remember where they‘re from, or in other words, to represent where they‘re from. It is important because it means the same as respecting our heredity.

l. ‖We feel like it's a real watershed moment” (Guillermo del Toro, Winner of Best Picture and Directing category)

Concept : MOMENT IS TRANSFORMATION Source : Watershed moment Target : Turning point

The data is a structural metaphor because both of the domains provide information to make each metaphorical meanings understandable. The metaphorical mapping of the concept MOMENT IS TRANSFORMATION can be seen below :

MOMENT TRANSFORMATION Changeable Changeable Can be classified as good or bad Can be classified as good or bad

The phrase watershed moment has a contrastive meaning metaphorically. Usually people will imagine the word watershed as the limitation of the river flow, but the limitation of the river flow is not something that the speaker means. When the water in

Universitas Sumatera Utara the river reaches the watershed, the water will either flow to the left, right, or down. This shows that the source domain of where the metaphorical meaning comes from shares the same concept as the target domain, which is turning point. The moment where the water flows to the left, right, or down, it is also called as the turning point. In this case, the meaning that the speaker wants to say is that in the process of the filmmaking, they have come to a turning point whether the process will turn into good or bad. The concept MOMENT IS TRANSFORMATION suits both the source domain and the target domain of the data. The realization of the concept MOMENT is seen through the source domain watershed moment because that is where the metaphorical expression comes from and the concept TRANSFORMATION is realized through the target domain turning point because it is abstract and has explanation for the metaphorical expression in the source domain.

m. ―You walk in those shoes‖ (Gary Oldman, Winner of Actor in a Leading Role category)

Concept : OBJECT IS A CIRCUMSTANCE Source : Shoes Target : Circumstances

Structural metaphor is applied in this data because the data contains source and target domain. The source and target domain is related based on the mapping below :

OBJECT CIRCUMSTANCE Can be used Can be felt Means of feeling the circumstance Means of classifying a condition

In this case, both the source domain and the target domain have a similarity of the meaning and the concept. Having said the phrase You walk in those shoes, the speaker wants to show the meaning behind the word shoes, which is circumstances. If it is seen

Universitas Sumatera Utara from the function of the word, shoes are used by people as the thing to make them feel comfortable while they are going to places. If the shoes were alive, it might be considered as a person who has gone through a lot of places, experiences, and circumstances. Such concept is applied in the meaning of the metaphor, which is circumstances. Metaphorically, the word shoes means that the speaker indirectly saying that he has to go through the circumstances of Winston, the real character, in the process of making the film. Therefore, the concept OBJECT IS A CIRCUMSTANCE suits the concept in both source domain and the target domain of the data because the concept of OBJECT is seen through the concrete object shoes and the concept of circumstance can immediately be seen through the target domain circumstances.

n. ―I have lost my train of thought.‖ (Roger A. Deakins, Winner of Cinematography category)

Concept : OBJECT IS CONNECTION Source : Train of thought Target : Line of words

The data above is classified as structural metaphor. The validity of its classification can be seen through the metaphorical mapping below :

OBJECT CONNECTION Can be used Can be felt Representation of connection Representation of an object Relatable Relatable

The concept of both source domain and the target domain are the same, which something connected to each other just like the train, which is connected from one to another. When the speaker says the sentence I have lost my train of thought, it means that the speaker has lost their line of words in the process of delivering their thoughts.

Universitas Sumatera Utara In this case, the concept OBJECT IS CONNECTION is drawn in both source domain and target domain. In understanding the application of the concept OBJECT in the phrase train of thought, the word train is generally understood as the concrete object, which then being added the extra information in the words of thought. Meanwhile the concept CONNECTION is also drawn in the target domain line of words because in order to deliver proper and understandable intention, it has be to be delivered in a connected words which are formed as a sentence which then will be uttered.

o. ―a dark character, like Reynolds in London, who uses rich colors” (Mark Bridges, Winner of Costume Design category)

Concept : OBJECT IS A SYMBOL Source : Rich colors Target : Symbol of richness

Structural metaphor is applied in the data above and it can be seen through its metaphorical mapping :

OBJECT SYMBOL Has a specific meaning Has a specific meaning Representation of a symbol Representation of an object

The coherence between the concept OBJECT IS A SYMBOL with both source domain and target domain appears because there is a similarity of character between them. The concept of OBJECT is realized through the phrase rich colors. The phrase rich colors becomes the source domain because it is concrete and that is also where the metaphorical expression comes from. The concept of SYMBOL is realized through the target domain symbol of richness because it is abstract and provides information about the source domain. The concept which is generally understood of the word rich is a great number of wealthiness. In the phrase rich colors, the intention of the speaker is to say the

Universitas Sumatera Utara colors which shows the symbol of richness. The symbol of the richness becomes the target domain because the concept of the source domain leads into the similarity of the concept with the target domain. Instead of understanding that rich colors means a great number of colors, the rich colors actually means the colors which show the symbol of richness.

p. ―He knows this world very well‖ (Mark Bridges, Winner of Costume Design category)

Concept : WORLD IS INFORMATION Source : This world Target : Designer things

The data is considered as structural metaphor because each domain provides information to complete each of its metaphorical meaning. The metaphorical mapping can be seen below :

WORLD INFORMATION Contains information Contains information Varied to be talked about Varied to be talked about

The general concept of the phrase this world is the whole aspect of this world. This concept is surely different with the metaphorical concept in the target domain designer things. But in order to understand the source domain, the target domain has to be understood first. Starting from the concept of the word world, it contains a lot of aspects. Just like in terms of design, there are a lot of aspects that it can offer. The world which has been uttered by the speaker means the designer things and it also contains a lot of things. In understanding the concept WORLD IS INFORMATION related with the data, the phrase this world becomes the source domain because it is concrete and suitable with the concept WORLD, and the concept INFORMATION is coherent with the target

Universitas Sumatera Utara domain designer things because besides of its abstractness, the things related with the term design offer a lot of information.

4.2.2 Orientational Metaphor

a. ―to wake up‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : CONSCIOUS IS UP

The phrase wake up has followed the concept of CONSCIOUS IS UP in the conceptual metaphor because it deals with spatial orientation, which is ―up‖. Wake up is a phrase which is commonly used in stating that somebody is in an awake or conscious state of mind. In the phrase to wake up which has been said by Allison Janney, the metaphorical expression is in the phrase wake up, and that doesn‘t mean somebody has to stop sleeping (wake) and then going up (up), or jumping up, or anything else which makes the activities that requires to go up appear in the reader or speaker‘s mind. The metaphorical phrase wake up means that somebody is conscious and consciousness only happen when somebody is not sleeping. The meaning behind the conceptual metaphor is based on the physical basis that humans and most other mammals sleep lying down and stand up when they are awake.

b. ―In working with Daniel, you up your game‖ (Mark Bridges, Winner of Costume Design category)

Concept : GOOD IS UP

Following one of the concepts in orientational metaphor, the sentence you up your game is included in the concept GOOD IS UP. The phrase doesn‘t mean that the speaker has to go up in or while playing a game. The important point lays on the word up and game, which means that the speaker is indirectly saying that she is improving (up) her

Universitas Sumatera Utara quality in the relatable thing, which is designing (the game). The relation between the concept and the data besides it has something to do with spatial orientation is that the data shows the metaphorical meaning that in order to be good, she has to improve herself. The meaning of the conceptual metaphor is based on the physical basis for personal well-being: Happiness, health, life, and control—the things that principally characterize what is good for a person—are all up.

c. ―I‘m going to take my shoes off‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : RELEASE IS OFF

The phrase take my shoes off is suitable with one of the concepts in orientational metaphor which is RELEASE IS OFF. Literally, the word off as the preposition means to remove something. Looking back at the definition of the orientational metaphor, the basic understanding of it lays in both physical and cultural experience. It relates with the physical and cultural experience because when we want to remove something from our bodies, we do it physically. In terms of cultural experience, the phrase take my shoes off shows that it has been a habit of the people around the speaker so that the speaker uses the phrase to show that they want to remove their shoes from their feet.

d. ―I‘m going to have a big crash down after this‖ (Allison Janney, Winner of Actress in a Supporting Role category)

Concept : SAD IS DOWN

The concept of SAD IS DOWN relates with the cultural basis of the orientational metaphor. People who is in the negative emotional state typically goes along with sadness. When the speaker says the sentence i‘m going to have a big crash down after

Universitas Sumatera Utara this, the correlation between the cultural basis and the metaphorical meaning of the phrase crash down is that the phrase itself is understandable in terms of its concept, at least around the people or society that surrounds the speaker. The phrase crash down shows that the speaker is going to be in a negative state of emotion which is sadness.

e. ―The idea of following up that film was a little scary‖ (Roger A. Deakins, Winner of Cinematography category)

CONCEPT : ACTIVE IS UP

The correlation between the metaphorical meaning of the phrase following up with the concept ACTIVE IS UP is the physical basis. The phrase shows the physical act which is done by the speaker. Meanwhile, the definition of the metaphorical expression of the phrase following up is not the act of following the film to the top or upward, but it is the act of following or getting the information up to the newest information about the film.

4.2.3 Ontological Metaphor

a. ―that‘s what my very good friend, Steven Rogers did for me‖ (Allison Janney, Winner of Actress in a Supporting role category)

Concept : REFFERING

In the ontological metaphor, there is a concept called referring. Based on the theory, this concept explains that an entity can be reffered, quantified, identified, and to be believed that the readers understand it. In this data, the entity can be seen through the phrase my very good friend because it is an entity that has to be understood by the readers or speakers. In order to understand it, further information has to be known,

Universitas Sumatera Utara which is then to be spoken by the speaker. The meaning behind metaphorical expression my very good friend, Steven Rogers is analyzed based on the referring to an entity. The entity or the phrase my very good friend refers to the further information which has been uttered by the speaker, which is Steven Rogers. b. ―He says he did it – wrote this for me to just that, to show a different side of me.‖ (Allison Janney, Winner of Actress in a Supporting role category)

Concept : SETTING GOALS

The concept of SETTING GOALS in ontological metaphor can be seen through the sentence he did it and the phrase to show a different side of me. The pattern of the concept SETTING GOALS, logically, is when something is done in order to reach the goal. The sentence he did it shows that the person (he) has done something, which is writing (the movie script), and it is considered as the first thing of the pattern. The goal of the person (he) when he has done the mentioned activity can be found in the sentence to show a different side of me. The person (he) realizes that the speaker (Allison Janney) has got another kind of quality in acting within herself. The meaning behind metaphorical expression he did it is analyzed based on the setting goals.

c. ―I fell in love with one of the primal trilogies in cinema‖ (Guillermo del Toro, Winner of Best Picture and Directing category)

Concept : EMOTIONS ARE CONTAINERS

Human are the creation who are created with emotion in themselves. One of the emotions that human can feel is happy, which is commonly related with the word and the concept of love.

Universitas Sumatera Utara In the phrase I fell in love, it is portrayed as if love is an entity which can be functioned to hold things, which then lead to a correlation between the concept EMOTIONS ARE CONTAINERS. The metaphorical expression I fell in love means that the speaker is really keen on something, which is one of the primal trilogies. The meaning behind metaphorical expression I fell in love is analyzed based on the other variety of ontological metaphor, which is viewing emotion (love) as a container which has an ―IN‖ entrance (in).

d. ―the business grow in Toronto‖ (Paul Denham, Winner of Production Design category)

Concept : ENTITY IS A PERSON

The phrase the business grows is where the metaphorical expression can be found. Looking at the definition of ontological metaphor, this means that the phrase the business is treated just like a human being, although it is an entity. Having said that, the speaker has created the understanding in the listener or reader‘s mind that the business can grow as human do. The phrase doesn‘t mean that the entity (the business) is alive and can grow, but that means that the business has developed or has shown a good result in a town called Toronto. The meaning behind metaphorical expression the business grow is analyzed based on the other variety of ontological metaphor, which is viewing entity (the business) as a person (grow).

e. ―We have world-class technicians‖ (Paul Denham, Winner of Production Design category)

Concept : REFERRING

Universitas Sumatera Utara The phrase world-class technicians is related to the concept REFERRING because the phrase world-class is being explained clearly by the extra information of the word technicians. When the speaker said that they have the world-class technicians, the phrase world-class refers to the technicians that have worked together with the speaker‘s team. This explains that the technicians whom have worked with the speaker‘s team are the people who have a great quality in technician world. The meaning behind metaphorical expression world-class technicians is analyzed based on the referring to an entity. The entity or the phrase world-class refers to the further information which has been uttered by the speaker, which is technicians.

f. ―You know, the -- the clothes, makeup and clothes are the things that -- are the closest things to the actor. And they actually touch the actor.‖ (Gary Oldman Winner of Actor in a Leading Role category)

Concept : ENTITY IS A PERSON

In the ontological metaphor, the abstract or concrete object that are used and treated just like human being is called personification. In the sentence they actually touch the actor, the word they refers to the clothes and makeup, which has been mentioned by the speaker before. Relating to the concept, both clothes and makeup are concrete object that are treated like a human, which can ―touch‖ the actor. The metaphorical expression can be found specifically in the word touch because it shows that the (concrete) objects can touch the actor, as if they have hands like human do. The metaphorical meaning that the speaker wants to deliver is that both makeup and clothes are the things that have an impact to the actors‘ soul, especially the speaker‘s soul, because the speaker then said that both makeup and clothes are the closest things to the actor. The meaning behind metaphorical expression they actually touch the actor is analyzed based on the other variety of ontological metaphor, which is viewing entity (the clothes, makeup) as a person that can touch (touch).

Universitas Sumatera Utara g. ―I would like to give people the benefit of the doubt and say that they are motivated by a good heart.‖ (Gary Oldman Winner of Actor in a Leading Role category)

Concept : ENTITY IS A PERSON

Connecting the concept with the sentence they are motivated by a good heart, the word heart is the most important point to be understood because that is where the metaphorical expression lays. If the word heart is seen from the physical point of view, it is definitely classified as an concrete entity. Literally, heart is an organ that pumps blood around the body. The concept and the sentence they are motivated by a good heart is coherent because each variable, which is entity and person, is shown clearly. As what has been explained above, the entity can be seen through the word heart, and processing the entity into a person can be seen through the whole sentence they are motivated by a good heart. What the speaker means when he delivers the sentence they are motivated by a good heart is that metaphorically, a person who has a good heart can motivate them (the people) to do the good deeds as well, even if they may feel doubt within themselves. The meaning behind metaphorical expression they are motivated by a good heart is analyzed based on the other variety of ontological metaphor, which is viewing entity (a good heart) as a person that can motivate (motivated).

h. ―A big part of me was saying, „Please, please, no‟.‖ (Roger A. Deakins, Winner of Cinematography category)

Concept : ENTITY IS A PERSON

The phrase a big part of me is seen as an abstract entity which suits the definition of the personification in ontological metaphor. In the first place, the readers or listeners may not understand the phrase it if they do not understand about the metaphorical

Universitas Sumatera Utara expression. In the whole sentence, the speaker doesn‘t specifically mentioned that his mouth is saying, ―please, please, no‖. Instead, the speaker uses the phrase A big part of me which is abstract. In this case, the phrase A big part of me refers to the speaker‘s soul, because generally, the concept of human consists of physic and soul is understood and seems familiar to the society. The activity of speaking can only be done by one of human‘s part of body, which is mouth. The soul cannot literally speak to another human because by relating it with the logical way, it can only be done through human‘s physical form, not the soul. The metaphorical expression which is trying to be delivered by the speaker is that his soul is trying to communicate, like a human, by saying ―please, please, no.‖. The meaning behind metaphorical expression A big part of me was saying, „Please, please, no‟.is analyzed based on the other variety of ontological metaphor, which is viewing entity (a big part of me) as a person who can talk (saying).

i. ―There‘s a little bit of pressure.‖ (Mark Bridges, Winner of Costume Design category)

Concept : QUANTIFYING

As in the book of Metaphor We Live by (Lakoff, 2003 : 27), both abstract and concrete objects in ontological metaphor can be quantified. QUANTIFYING is one of the concepts in ontological metaphor because it can show that the object is measurable. Connecting the concept QUANTIFYING with the objects in the ontological metaphor, the abstract object or abstract entity refers to the word pressure because the word itself doesn‘t have an abstract entity. The word pressure then is being quantified by the speaker by adding the phrase ―a little bit‖. The speaker wants to deliver the meaning that behind the phrase a little bit of pressure that the pressure that the speaker faces doesn‘t appear in a large number, or in

Universitas Sumatera Utara other words, a little bit. The meaning behind metaphorical expression a little bit of pressure is analyzed based on the quantifying to an entity. The entity or the phrase a little bit of refers to the further information which has been uttered by the speaker, which is pressure.

j. ―If their shoes work and make them move a certain way, then the rest is – rest follows.‖ (Mark Bridges, Winner of Costume Design category)

Concept : ENTITY IS A PERSON

The concept ENTITY IS A PERSON is found in the phrase If their shoes work and make them move. In that phrase, the word work and make refer to the shoes. Following the concept, shoes is the concrete entity which is treated like a human. In the phrase, shoes is shown as something that can make people (them) move, which is classified as the activity that can only be done by a person or human being. To make a person move their body, it needs at least something that can trigger them to do the move, and that would be impossible for an entity, whether abstract or concrete, to directly make a person make a move. The metaphorical meaning of the phrase If their shoes work and make them move is that if the concrete entity (shoes) has functioned well on the person who uses it, then the speaker‘s job, which is designing the costume for the actors, will be done easily because the first thing that the designer judge from the actor is their taste in choosing the shoes.

k. ―He had a lot of ideas.” (Mark Bridges, Winner of Costume Design category)

Concept : QUANTIFYING

Universitas Sumatera Utara To quantify the abstract or concrete objects in the ontological metaphor, it needs more extra information that will be classified as the quantifier. In the sentence He had a lot of ideas, the abstract object lays on the word ideas, because the real form of ideas cannot be realized. It remains to be the object that can only be thought, not touched. The abstract object is then being quantified by the phrase a lot of. The phrase itself has shown that the idea which is owned (by the person) is in a great number, much, or large number. The meaning of metaphorical expression a lot of ideas is analyzed based on the quantifying to an entity. The entity or the phrase a lot of refers to the further information which has been said by the speaker, which is ideas.

l. ―They have a lot of work to do‖ (Sam Rockwell, Winner of Actor in a Supporting Role category)

Concept : QUANTIFYING

The word work is an abstract entity because nor the form of work cannot be seen or touched. Such understanding is suitable with one of the concepts in ontological metaphor, QUANTIFYING, because in the sentence they have a lot of work to do, the abstract entity is being quantified with the phrase a lot of. This means that the abstract entity which is the word work can also be transformed into concrete entity if the speaker shows the existence of the result which is done through the process of the activity, which is working. In this case, the word work remains an abstract entity because the speaker only quantifies the abstract entity. The meaning of metaphorical expression a lot of work is analyzed based on the quantifying to an entity. The entity or the phrase a lot of refers to the further information which has been said by the speaker, which is work.

m. ―When I read a script as an actress that I get excited about like I, TONYA or AMERICAN BEAUTY or JUNO, things that -- or WEST WING I've gotten to do. That just gets me so -- it makes me want to come alive”

Universitas Sumatera Utara (Allison Janney, Winner of Actress in a Supporting role category)

Concept : ENTITY IS A PERSON

The concept ENTITY IS A PERSON is realized through the sentence it makes me want to come alive. The previous sentences before it makes me want to come alive serve further information about the explaining behind that sentence. The word it refers to the script which the speaker has to read as an actress in doing a project of a film. In this case, the movie script is an concrete object which istreated as if it is a human. It is shown when the speaker says that the movie script makes the speaker want to come alive. The speaker indirectly want the readers to understand that the movie script can act like a human, which is by making the speaker to feel alive. The meaning behind metaphorical expression it makes me want to come alive is analyzed based on the other variety of ontological metaphor, which is viewing entity (a script) as a person who can make a person feels alive (makes me want to come alive).

n. ―I have a lot of cousins.‖ (Guillermo del Toro, Winner of Best Picture and Directing category)

Concept : QUANTIFYING

The word cousins is considered as the concrete object. Cousins is the term used for saying about a person in one's wider extended family, to whom one is not closely related, and it can be seen in real life. The phrase a lot of shows the number of the concrete object. It is suitable with the concept QUANTIFYING because the concrete object itself can be defined in terms of amount. The meaning of metaphorical expression a lot of cousins is analyzed based on the quantifying to an entity. The entity or the phrase a lot of refers to the further information which has been given by the speaker, which is cousins.

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o. ―that little voice talking to me‖ (Gary Oldman Winner of Actor in a Leading Role category)

Concept : ENTITY IS A PERSON

The concept ENTITY IS A PERSON is applied in the clause that little voice talking to me. In this case, the object or the voice is treated and considered as human being that can talk to another human. The intention of the speaker when the clause that little voice talking to me is uttered is that there is a voice that comes within the speaker‘s and be heard by the speaker, or in other words, it is called as intuition. The meaning behind metaphorical expression that little voice talking to me is analyzed based on the other variety of ontological metaphor, which is viewing entity (that little voice) as a person who can talk (talking to me).

4.3 Finding After analyzing all the data, the researcher finally finds out and arranges several finding. The findings are based on the kinds of conceptual metaphor in the selected interview transcript of Oscar award winners and the meaning of conceptual metaphor in the selected interview transcript of Oscar award winners.

4.3.1 The kinds of conceptual metaphor Each category in selected interview transcript of American Oscar Award winners contains conceptual metaphors, which are structural metaphor, orientational metaphor, and ontological metaphor. There are 36 conceptual metaphors found in the selected interview transcript of American Oscar Award winners and the findings in each category will be shown in the next point of categorization.

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4.3.1.1 Actor in A Supporting Role Category In this category, it has been found that there are 2 conceptual metaphors, which are structural and ontological. Each of the conceptual metaphor will be shown below :

Structural metaphor

―but the thing is, that‟s if you have luxury – the luxury of time‖

Ontological metaphor

――They have a lot of work to do‖

4.3.1.2 Actress in A Supporting Role Category Category There are 12 conceptual metaphors that can be found. It consists of 6 structural metaphors, 3 orientational metaphors, and 3 ontological metaphors.

Structural metaphor

“I‘m freezing” “The whole journey we've been through is extraordinary‖ ―I haven't figured out what, but I've got to get him a good present. That‟s a start at least.‖ ―Great writing is key.‖ ―She‟s got this great head for business‖ ―Craig's just -- he killed this movie. He just killed it. And I mean killed in a good way. ―

Orientational metaphor

―I‘m going to take my shoes off‖

Universitas Sumatera Utara ―to wake up‖ ―I‘m going to have a big crash down after this‖

Ontological metaphor

―that‘s what my very good friend, Steven Rogers did for me‖ ―He says he did it – wrote this for me to just that, to show a different side of me.‖ ―When I read a script as an actress that I get excited about like I, TONYA or AMERICAN BEAUTY or JUNO, things that -- or WEST WING I've gotten to do. That just gets me so -- it makes me want to come alive”

4.3.1.3 Production Design Category The conceptual metaphors found in this category are 3, which are 1 of the structural metaphor and 2 of the ontological metaphor. The findings will be shown below :

Structural metaphor ―the pallete is a very Guillermo‖

Ontological metaphor

―the business grow in Toronto‖

―We have world-class technicians‖

4.3.1.4 Best Picture and Directing Category In this category, there are 4 conceptual metaphors that can be found. It consists of 2 structural metaphors and 2 ontological metaphors.

Structural metaphor ―I think every time we can demonstrate in any forum, be it sports, science, art, culture, anywhere, what we have to bring to the world discourse, to the world conversation, is

Universitas Sumatera Utara extremely important, and it's extremely important when we do it to remember where we're from, because it's honoring your roots”

‖We feel like it's a real watershed moment”

Ontological metaphor

―I have a lot of cousins.‖

―I fell in love with one of the primal trilogies in cinema‖

4.3.1.5 Actor in A Leading Role Category There are 5 conceptual metaphors found in this category, which are 2 structural metaphors and 3 ontological metaphors.

Structural metaphor ―We are links in a chain‖

―You walk in those shoes‖

Ontological metaphor

―You know, the -- the clothes, makeup and clothes are the things that -- are the closest things to the actor. And they actually touch the actor.‖

―I would like to give people the benefit of the doubt and say that they are motivated by a good heart.‖

―that little voice talking to me‖

4.3.1.6 Cinematography Category Four conceptual metaphors have been found in this category, which are 2 structural metaphors, 1 orientational metaphor, and 1 ontological metaphor.

Universitas Sumatera Utara Structural metaphor ―I have lost my train of thought.‖

―It was a no brainer‖

Orientational metaphor ―The idea of following up that film was a little scary‖

Ontological metaphor

―A big part of me was saying, „Please, please, no‟.‖

4.3.1.7 Costume Design Category In this category, 6 conceptual metaphors have been found. It consists of 2 structural metaphors, 1 orientational metaphor, and 3 ontological metaphors. Structural metaphor ―a dark character, like Reynolds in London, who uses rich colors”

―He knows this world very well‖

Orientational metaphor ―In working with Daniel, you up your game‖

Ontological metaphor

―There‘s a little bit of pressure.‖

―If their shoes work and make them move a certain way, then the rest is – rest follows .‖

―He had a lot of ideas.”

4.3.2 The meaning of the conceptual metaphor

Universitas Sumatera Utara The research finding of conceptual metaphor meaning is that after the researcher finds the literal meaning and the metaphorical meaning behind the data, the researcher then compares the characteristics of both literal and metaphorical meaning and it has been found that there is a similarity of characteristics between the concept of the literal meaning and the metaphorical meaning from the data. The meaning of conceptual metaphor is proven to be easily understood through the process of metaphorical mapping.

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CHAPTER V CONCLUSION AND SUGGESTION

5.1 Conclusion Having analyzed the data, the researcher has drawn the conclusion about the kinds of conceptual metaphor found in selected interview transcript of American Oscar Award winners and the meaning behind each of the conceptual metaphor. In finding the kinds of the conceptual metaphor, the researcher concludes that in the 7 categories of the selected interview transcript of American Oscar Award winners, the three kinds of conceptual metaphors are found, which are structural metaphor, orientational metaphor, and ontological metaphor. The meaning of each of the conceptual metaphor in the data has been paired with the concept in the conceptual metaphor. It is concluded that the meaning of the conceptual metaphor in each data is suitable with the concepts in the theory of the conceptual metaphor, and each data shows that the conceptual metaphor can be delivered and understood based on the process of metaphorical mapping which have been explained in chapter 4.

5.2 Suggestion Based on the conclusion that has been stated, the researcher proposes the suggestion that may be beneficial to create other research about conceptual metaphor.

1. For the reader

The researcher hopes that this research is able to help the readers in improving the reader‘s knowledge about the theory of conceptual metaphor, especially about the kind and the meaning of each kind of the conceptual metaphor. This research explains about conceptual metaphor which offers deeper interpretation of the linguistic feature.

Universitas Sumatera Utara This research also can be the reference for the reader when they have an intention to make a research about conceptual metaphor.

2. For another researcher

The researcher hopes that this research helps other researchers in understanding the conceptual metaphor itself, especially with the using of conceptual metaphor theory by Lakoff and Johnson. Therefore, they will have background knowledge about Conceptual metaphor before they conduct the research which is related with Conceptual metaphor. The researchers can also use conceptual metaphor in the different research method. Furthermore, this research can be used as the previous study for the other researchers who will conduct the same topic to complete the research.

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Pamungkas, and Sri. 2010. Makna Figuratif (Metafora dan Metonimi). Retrieved from https://pusatbahasaalazhar.wordpress.com/hakikat-hakiki-kemerdekaan/makna- figuratif-metafora-dan-metonimi/

Putri, Y. C. Metaphorical Expressions in Andrea Hirata‟s and John Colombo‟s Edensor. 2013. Thesis. Yogyakarta: Faculty of Languages and Arts. State University of Yogyakarta

Saeed, J. L. 2009. Semantics; Third Edition. Oxford: Black Publisher Ltd.

Schaff, A and Wojtasiewicz, O. 1962. Introduction to Semantics. Oxford: Pergamon Press.

Universitas Sumatera Utara APPENDICES : INTERVIEW TRANSCRIPT OF OSCAR AWARD WINNERS 2018

 ACTOR IN A SUPPORTING ROLE CATEGORY

SPEECH BY : Sam Rockwell FILM : "THREE BILLBOARDS OUTSIDE EBBING, MISSOURI"

Q. Question from Bulgaria. Could you tell us more about the process? How you embodied the character? How you started working on that role? A. Oh, it's so boring, but if you want to hear it, I can tell you the whole -- you know, it's like a big soufflé or a stew. You throw in some potatoes and some carrots in there and you work with an amazing dialect coach like Liz Himelstein who worked with Gary Oldman and Margot and Terry Knickerbocker, my acting coach. And I did some ride-alongs with some cops, Josh McMullin in Southern Missouri. Liz Himelstein taped two cops, actually. There was a guy named Demer (phonetic) in L.A. I did a ride-along with him. And I met with this skin graft doctor who introduced me to some burn victims, actually. I mean, but the thing is, that's if you have luxury -- the luxury of time you know, which you don't always have for a part. And then I worked with Martin and -- but sometimes you get a part and you only have a week or a couple days to prepare. I heard that Jeremy Renner only had four days to prepare to play Jeffrey Dahmer, which is a lot, if you are playing Jeffrey Dahmer, you know. So I had the advantage that I had, like, two or three months. And so I got to indulge in all this research. And so it was a lot of fun. So that's the long answer to your short question.

Q. You said a wonderful thing about the arc of your character being Barney Fife going into Travis Bickle. A. Yes, yes. Q. I'd love to ask, in any way, was Barney Fife and the great Don Knotts any inspiration to you as an actor throughout your career? A. Absolutely. I mean that when I say Barney Fife and, you know, the town of Ebbing is very much like Mayberry, and Woody Harrelson's character is very much like the

Universitas Sumatera Utara Andy Griffith character. And, in fact, I could be wrong about this, check your facts, but I think we shot in Sylva, North Carolina and I think Mayberry was shot there, but I could be wrong about that. But, you know, the goofiness of Barney Fife, the kind of hapless thing of Barney Fife, and then his transition into somebody else was just sort of -- Travis Bickle was kind of a -- Barney Fife to Travis Bickle was kind of a generalization, but it's a lot more complicated than that, obviously, but, you know, yeah.

Q. You dedicated your win to Phil Hoffman and I would just like -- A. Oh, you caught that, good.

Q. We could hear that. A. You heard that?

Q. Yes. A. Because I thought the music was going. Oh, good. I'm glad you heard that.

Q. So I'm curious, as a friend and as a colleague, tell me, you know, what he meant to you, how he inspired you. A. Well, I guess you want to start making me cry, but he's, yeah, he was an old friend of mine, and he directed me in a play at the Public Theater and, yeah, he was very close to me and he was an inspiration to all of my peers. You know, people like Jeffrey Wright, Billy Crudup, Liev Schreiber, you know, you know, everybody. Mark Ruffalo, Josh Brolin. I mean, whoever was in my age range, Phil Hoffman was the guy. And he was a great director and he believed in doing theater. In fact, he was -- he vowed to do a play a year, which I don't know if he got to do because he was very busy doing movies, but he was a great inspiration and a great theater director. And I don't know if anybody knows, he was a bit of a jock. He was a wrestler, and he played basketball, and he inspired me. And I could go on for an hour about Phil Hoffman. Philip Seymour Hoffman was a good friend and he was a huge, huge inspiration on me. Yeah.

Universitas Sumatera Utara Q. You know, I'm still counting, at 21, the awards that you won before the Academy Awards. So did you count them at all? A. I'm sorry. Could you say it one more time?

Q. I stopped counting at 21 the awards that you won. So do you count them at all and do you feel that those were like billboards saying, Sam, you're going to win the Oscars now? A. No, but that sounds like a really cool dream, but no, no.

Q. Obviously very -- A. I like your hair, dude.

Q. Thank you very much. Obviously very proud of Martin because we hail from Ireland. A. Saoirse?

Q. And Saoirse as well. [Indiscernible.] A. Colin in IN BRUGES.

Q. Loads, exactly. As a frequent collaborator of Martin, what is it about him that makes him such a great artist? A. Well, you know, he says -- Martin says that, you know, you couldn't set this in Ireland or England, but I actually think you could set this movie in almost any working class town all over the world, but he disagrees with that, but I think you could -- it could be anywhere almost. But there's obviously something very timely about it now, what's going on in this country, you know. Yeah.

Q. There's been some complaint, criticism about the film. A. Yes.

Q. Specifically as it relates to path of a betrayal and the relationships with African Americans. A. Yes.

Universitas Sumatera Utara Q. Can you talk about, specifically, your character and whether you take that criticism on or was that how you dealt with it and your sense of that? A. Well, yeah. I mean, it's a complicated issue, but, I mean, Kareem Abdul-Jabbar wrote an article that was really amazing sort of defending the movie as far as that goes and it was really eloquent. I didn't realize he's like a cultural professor, which I didn't know, in addition to being like a basketball icon, and that was a great article that articulated everything. And I think for me, you know, the whole thing is that, you know, they have a lot of work to do, Mildred and Dixon. It's not like they are like all of a sudden redeemed at the end of the movie. They have, you know, a lot of work to do and maybe some therapy, you know. It's an ongoing thing, you know. So, and it's also -- it's a movie and it's a dark fairytale of some sorts. And so it's like, it's not necessarily -- in real life we probably would have gone to prison, both of our characters, so, you know. That's -- that's sort of how I see it.

Q. Thank you so much and congratulations. A. Thanks. Thanks a lot. Thank you.

 ACTRESS IN A SUPPORTING ROLE CATEGORY

SPEECH BY : Allison Janney

FILM : "I, TONYA"

A. I'm going to take my shoes off. Usually the dress looks like this. Oh, my feet. I'm freezing. Q. So winning an Oscar by yourself with no one's help, that's an awesome feat. So now that you've won this big honor on your own, how are you going to change on a day-to-day basis? A. I have to be at a table read for MOM at 10:00 a.m. tomorrow morning. So I am going right back to work, and I will -- I am so happy that I have a job to go to

Universitas Sumatera Utara after something like this. Because it could go to your head, and then tomorrow to wake up and feel -- and have nothing to do and have this whole journey be over. Starting in September when we premiered at the Toronto Film Festival, and the whole journey we've been through is extraordinary. And it's going to be -- I'm going to have a big crash down after this. So I'm happy that I have MOM -- the people at MOM to lift me up and keep me -- keep me going and keep me focused. And I'm just happy to have a job to go to tomorrow. But this is extraordinary. Thank you.

Q. Hi. So where did trophies -- I mean, you have a ton of Emmys. You've got every award leading up to this one this year. Now you have an Oscar. Was that ever part of your fantasy of what your acting career was going to be like? Or is this like this great side effect? A. I certainly -- I kind of didn't dare to dream of things like this, because I didn't want to be disappointed. And I think at a certain point, I had given up thinking this would happen for me because I just wasn't getting the kind of roles in film that would give me attention like this, and that's what my very good friend, Steven Rogers did for me. He says he did it -- wrote this for me to do just that, to show a different side of me and show that I could -- what I could do, and I will never be able to repay him. It's an extraordinary gift he gave me. It's kind of overwhelming. I think I'm going to get him a Rolex. I don't know. What do you think? And engrave it on the back. I haven't figured out what, but I've got to get him a good present. That's a start at least.

Q. You've spoken about using your inner critic. A. Yes. (Indiscernible cross-talk.)

Q. But what is your inner voice saying right now? A. "Bravo. Good going, girl. I'm proud of you."

Q. We're asking what makes a great story? A. Oh, God. What makes a great story? Fully realized characters, characters

Universitas Sumatera Utara with -- who have big needs, wants, desires that butt up against people who don't want them to have them. Definitely great characters and great writing. Great writing is key. That's why I'm -- when I read a script as an actress that I get excited about like I, TONYA or AMERICAN BEAUTY or JUNO, things that -- or WEST WING I've gotten to do. That just gets me so -- it makes me want to come alive, and I feel like I come alive when I do all different roles I've gotten to do. And it's how I feel the most tethered to the earth, and I feel a communicator when I'm sit- -- telling others' stories. And great storytellers are great writers, and I like telling -- I like telling stories.

Q. Can you talk us through a little bit of what it was like working with Margot Robbie and director Craig Gillespie? A. Craig Gillespie? Yeah. I met them both -- well, I met Margot the day before I started shooting, and I really -- I only had eight days to shoot this role with them because I was doing MOM, and I was rehearsing for SIX DEGREES OF SEPARATION, the Broadway play I did last spring. I've never been more busy as I was last year, so when this came together, I had no time to do it, and all of the producers made it happen, the producers of MOM and SIX DEGREES and Margot and Tom and Bryan, Bryan Unkeless and Tom Ackerley of LuckyChap. They made it happen for me, and they're extraordinary.

Margot has -- she's kind of a phenomenon. Because I have no head for business whatsoever. All I know how to do was be emote [sic] and do my act. But she's got this great head for business and a beautiful heart and an artist's soul and a heart. And she's remarkable, and I cannot wait to see what she's going to accomplish in her career. She's, you know, 20-nothing, and she's done this unbelievable performance in I, TONYA, and she's going to do extraordinary things. They're both -- and Craig's just -- he killed this movie. He just killed it. And I mean killed in a good way. He just nailed it. He knew how to -- he knew how to get just -- was a running freight train. We had no time to shoot it, and he had the best sense of humor and best attitude, and knew how to grab things on

Universitas Sumatera Utara the fly. And he's just -- remarkable man. They're both -- I've never even been to Australia, but I've got to go now. Because, I -- yeah.

Q. Yeah, come on down. A. Good on ya.

Q. Shrimp on the barbie? A. Exactly. Q. Congratulations.

 PRODUCTION DESIGN CATEGORY

SPEECH BY : Paul Denham Austerberry (Production Design); Shane Vieau and Jeffrey A. Melvin (Set Decoration)

FILM : "THE SHAPE OF WATER"

Q. I'd love to hear a little bit about the process of how you arrived at what looks to be a kind of faded Piaf Parisian color palette mixed with that incredible noir sensibility. How in the world did you put those together? A. (Paul Denham) Well, it all really started with Guillermo. You know, he has a real visual eye and lots of good reference, so he had already picked before we even started a building that we used for the exterior which set the tone as a late Victorian building, and from there referenced a movie, THE RED SHOES for an arch window, and then we all worked together to develop that, and these guys brought beautiful wallpaper, kind of like that, to bring the scales into the room, and the palette is a very Guillermo thing. The first thing we did was deal with the palette. So that's why the movie is so color coordinated.

Universitas Sumatera Utara Q. You spoke about your Toronto team in your acceptance speech, and we'd just like to know how significant it was to have a team from Toronto working with you and how it feels right now. A. (Jeffrey Melvin) I have 35 years in the business now, and worked in Toronto almost exclusively. So I've worked with and watched the business grow in Toronto and go from children's television to Academy Award-winning films. It started with GOOD WILL HUNTING, CHICAGO, now us. We have world-class technicians, and we want to keep it that way and keep going. Build more studios, and we can do more.

A. (Shane Vieau) The other thing too is that what's amazing about this year with trades is that Toronto, above and beyond with everyone in North America, with THE HANDMAID'S TALE and THE SHAPE OF WATER, we really came out on top. So it's a really, really big thing for 873 and all of the other unions in Toronto.

Q. Congratulations. And in a way, this is a continuation, I guess, of the first question, but could you talk about some of the, sort of, the Cold War period aesthetic and the institutional aesthetic that you also used for the design? A. (Paul Denham) Yes. To contrast the, sort of, romantic notion of her apartment, the late Victorian apartment, Guillermo and I talked about institutional architecture, and we chose Brutalist-style architecture which was very prevalent in '50s, '60s, and '70s. And the reason why we wanted to do it, we wanted heavy contrast with the hard, harsh materials of the concrete and then we introduced that teal green color that was very, very important. It was very important to have that very, very visual contrast between the two worlds, the worlds where she meets her lover and when she brings him back to that wonderful decrepit, but beautiful, old apartment. Q. What was the toughest part of working with Guillermo del Toro? A. (Shane Vieau) You know, the really amazing thing about Guillermo is that he knows what he wants visually. So as long as you're in there with him, the guy is

Universitas Sumatera Utara with you. Like, he really -- you know, once you develop a language with the man, he lets you do your thing and lets you go above and beyond what he, sort of, has given you as a basic. But no one is more well-read than that man. No one knows more about things than that man. He'll reference everything and give it to you, and then you can go with it. A. (Paul Denham) And he doesn't forget anything. A. (Shane Vieau) And he forgets nothing.

 BEST PICTURE AND DIRECTING CATEGORY

SPEECH BY : Guillermo del Toro and J. Miles Dale

FILM : "THE SHAPE OF WATER"

Q. [Speaks in Spanish.] A. [Speaks in Spanish.]

Q. At the Golden Globes I asked you about how you balance the light and darkness and you said, "I met somebody." A. (Guillermo del Toro) Yes. Q. And you created a meme that's gone all around the world and affected millions of people. So the question is how do we keep that -- how do we help you keep that going? How do we stop the scapegoating of Mexico and really reaffirm your unique and magnificent culture? A. (Guillermo del Toro) I think every time we can demonstrate in any forum, be it sports, science, art, culture, anywhere, what we have to bring to the world discourse, to the world conversation, is extremely important, and it's extremely important when we do it to remember where we're from, because it's honoring your roots, honoring your country. Now I'm going -- my next stop is I'm going

Universitas Sumatera Utara to see my mom and my dad this week. I'm going back home with these two -- with these two babies.

Q. Love it. A. (Guillermo del Toro) Thank you.

Q. Congratulations. You spoke fondly about Fox Searchlight on stage, and I wonder if you know anything about the studio's future? Have you talked to anybody at Disney about it? Have they reached out to you? What can you say about that? A. (Guillermo del Toro) As they say here, it's above my pay rate. Way above my pay rate. But what I know is I'm continuing conversations with them about future projects, you know, and you form bonds with a studio, but you form bonds with individuals, with people that support you. And whatever that I ask for, it goes or stays, you continue creating.

Q. How is this a victory for Hollywood North and the production going on in Canada? So much of this was done in Toronto. A. (Guillermo del Toro) I will let Miles answer that, too. What I will say when we started this, Miles and I, we talked very, very seriously about creating this movie with heads of departments from Canada. We wanted to -- you know, I've been there working for more than half a decade continuously, and I wanted to -- we wanted to show the talent and showcase the talent of the HODs in Canada and make it something where you don't go and use a rebate and escape. You know, you go to use the talent, you go to have the artistry, you go to have the complicit creation with everybody there. A. (J. Miles Dale) Yeah. As Guillermo said, we're very proud of the Canadian talent. And, you know, 30 years ago when the business just started up there, the people up there began to learn from the best in the world, and now they are some of the best in the world. So we are committed to using those people all across the board on the film and we think it's a great moment for Canadian filmmaking.

Universitas Sumatera Utara Obviously, you know, many more Oscar nominations than any other film for Canadians. So, we feel like it's a real watershed moment and we're very proud.

Q. In Toronto when we talked before the movie was released, you said that you didn't dare to dream about the Oscar, but if you had the chance you wouldn't dare to write a speech and prepare that. So my question is: Did you do it? Did you write it? Did you think about doing it? And what did you have left to say? A. (Guillermo del Toro) The only time I wrote a speech was on the beginning, and I pulled out the paper and I couldn't read it and, you know, I was sweating into my eyes, and I started just speaking from the heart. So, what I wanted to do -- what I did here is the same. I thought, you know, I'm going to get there, and if I have a little piece of paper and I count down, it's horrible because you see the numbers. So just talk about what you're feeling at that moment.

Q. Do you have anything left to say that you have? A. (Guillermo del Toro) Oh, yes. I have a lot. I have a lot of cousins, man. Q. You can thank all of them. A. (Guillermo del Toro) Yeah, I did.

Q. Guillermo, congratulations on your victory. A. (Guillermo del Toro) Thank you.

Q. I work for the Baltimore Sun, and while we're very happy and proud to have been the setting for your movie, I'm wondering why it is -- why did you choose Baltimore? A. (Guillermo del Toro) You know, I fell in love -- when I was a kid I fell in love with one of the primal trilogies in cinema for me, Barry Levinson's Baltimore trilogy, you know, and I loved the setting. And I know we screwed up with the accent. I'm very, very, very aware with that, but what I wanted was to capture that flavor. You know, it's such an interesting mixture, the Catholic, the industrial, how near is to the ocean, all those things, and for me it was mythical. Levinson invented so many things in those films, and particularly important for

Universitas Sumatera Utara THE SHAPE OF WATER was the TIN MEN and the Cadillacs in TIN MEN and how they represent America, and that isn't there. You know, I think that those three films, AVALON, DINER and TIN MEN are fabulous landmarks of American cinema. And then the John Waters, man.

 ACTOR IN A LEADING ROLE CATEGORY

SPEECH BY : Gary Oldman

FILM : "DARKEST HOUR"

Q. You asked Kazu makeup artist to work with and why do you think he's special? Computer graphic can't replace his work. A. Do I think the computer graphic can replace his work?

Q. Yeah. A. I hope not. You know, the -- the clothes, makeup and clothes are the things that -- are the closest things to the actor. And they actually touch the actor. And they are the first people that you meet in the morning and they are really -- they are vital individuals that you interact with to -- I've done motion capture and you are in a gray void with no costume, and they then CG it on you later. So to lose that kind of connection, you know, we really -- we worked as a team. And plus, it's always easier, I think, to throw something out because something new comes along. You know, just because you can. I mean, he's a consummate artist and it was really my -- once I had stepped off the ledge, as it were, with Joe Wright, I said to Joe, it's contingent on getting Kazuhiro because, for me, he was really the only person on the planet that could have -- that could have pulled it off. I mean, I think he delivered. Yeah.

Q. It's been almost a year since we were in Vegas, and you said if you -- if they will offer the Oscar, you wouldn't say no. So what it really means to finally get it? A. I didn't say no.

Q. What it means, what it means for you an Oscar, to win an Oscar? A. I think for this role, it's got a sort of special -- it feels like it has a special significance. I can't say what it would be like to win an Oscar in any other year. But winning an Oscar for playing arguably one of the greatest Britons who ever lived. To win it for playing Winston makes it doubly special. Does that make sense? And this film and this company of actors and Joe, working again with

Universitas Sumatera Utara Sarah Greenwood and Jacquie Durran and those actors on the set, it was a very -- it's been an unforgettable experience and a highlight of my career.

Q. What is it like for you meeting so many young actors and young filmmakers that have looked up to you in their youth and throughout their career and are getting to share the stage with you tonight? A. I think we are -- the thing that I -- one of the lessons that I learned from -- from John Hurt, the late John Hurt, God bless him. When I was a younger man, went to the cinema, I looked up at, you know, Albert Finney and Tom Courtenay and Alan Bates and Peter O'Toole, and Alec Guinness, Peter Sellers, they were all sort of my heros. We are links in a chain you know. I'm thrilled for Chalamet. He's a lovely kid. I mean, he really is. He's a kid. And he's a charmer. Hugely talented. And I said to him tonight, in the words of Armie, You will be back. You know, he's got -- this is probably it for me. He's got years. He's got years yet.

Q. Hello. A. I feel like I'm playing bingo. One and four, 14, two and two, or 22. One, one, legs 11 (whistles). Go on.

Q. This movie seems to be a lot about facing up to great fears and great obstacles. Do you think people can relate to that in their lives apart from, like, politics and stuff like on a personal level so they connect to it in the movie? A. We all have -- I think we can all relate to -- I mean, Joe has said that there's part of the movie that is about doubt. But those insecurities and fears, we do things -- we want to do things with the best intentions. I would like to give people the benefit of the doubt and say that they are motivated by a good heart , and, you know, they have the best intentions. You know, but when you are in a position like, I think, Winston is in like he was in 1940, we see in the movie he sends 4,000 men to their death to save 300,000. And when you are in that big chair, making those decisions, though in war, those are the types of things -- those are the types of decisions that you have to make, and then of course I don't know how you then sleep soundly in your bed on the evening of the day when you sent 4,000 innocent men to their death. But you walk -- you walk in those shoes. And I think that we can all -- we -- not that extent, but, you know, most people, I think, you know, in the audience, they have got financial worries. They have got children. They are trying to put the kids through college or they have illness or sickness in their family. We've all got -- and certainly, I know that I, you know, there are regrets and things. And you -- you know, that's the worst thing you can do as an artist is you can edit yourself and second guess, but I still sometimes have that little demon on my -- that little voice talking to me like that kid, you know, Mrs. Torrance.

Q. If Winston Churchill were alive today, what advice would you think he would give the leaders of the world? A. Oh, my heavens. He would probably --

Universitas Sumatera Utara Q. Impeach Trump? A. He would what?

Q. Impeach Trump? A. Maybe. My God, he would give him a good talking to, wouldn't he?

Q. What would he say? A. Well, none of them look at history. He was a big believer that you've learned -- that you've looked at history to move forward. There's an -- actually, there's an interesting thing. There was sort of a survey done, and the children were asked about Winston Churchill, and not just -- I'm not talking about nine or ten-year-olds, I'm talking about, you know, young, young sort of college people. And a great many of them thought that he was either a soldier in the First World War or he was a dog in a TV commercial in Britain, and there is a TV commercial called Churchill, and it's a bulldog, and he talks. It's an insurance company called Churchill. And we don't -- we don't teach history anymore, do we? They don't know anything about it.

Q. Thank you for making it come alive. A. Thank you, yeah.

 CINEMATOGRAPHY CATEGORY

SPEECH BY : Roger A. Deakins

FILM : ―BLADE RUNNER 2049‖

Q. So congratulations on this -- the wait being over. Talk about that wait, I mean, starting the era of film stock, ending in the era of digits, and what's that meant for the craft, and also following the classic in this instance? A. I was just -- when we were coming to the Academy this evening -- or this afternoon, I was just reminded that one of the early films I did was SID AND NANCY with Gary Oldman, and it's so wonderful to be here tonight with -- and Gary to be in the same space. You know? I don't know. What can I say?

Q. I know there has been a lot of talk about sort of putting your own creative stamp on a movie that's a sequel of something that's become sort of iconic in the genre. I was wondering in BLADE RUNNER 2049 if you had also, beyond putting your own stamp on this movie, if there were parts of the film where you paid homage to the previous film? A. I think you do in a way because it's all part of your kind of film memory, if

Universitas Sumatera Utara you like. But this is very much -- it was very much Denis' film, you know? And, you know, whether you're aware of the film that went before it, it's like I couldn't light like Jordan. I mean, I think what he did on that film was stunning, but I'm a different person, and I kind of see things slightly differently. So I have lost my train of thought. I'm sorry. I'm kind of...

Q. One of the most visually stunning sequences I think of the year was the fist fight between Ryan Gosling and Harrison Ford and all the glitchy holograms going on in the background in the movie. What was the challenge of lighting and lensing in that particular sequence? A. Well, the challenge that got me -- obviously, the holograms, they're sort of elements that I put in later. The challenge was kind of syncing all of those elements together, creating a lighting pattern in which they would fit. You know, so we really had to kind of prep how the beats of that song were going to go, and how the pace of the fight was going to go. But it's funny, that was one of the least challenging of all of them.

Q. You seem remarkably calm as always, but -- A. Not up there, I wasn't.

Q. But what did it feel like to go up there? A. You know, I mean, a big part of me was saying, Please, please, no . I find it very, very hard. But it's great. I mean, I think it's great because it's -- I've now worked with a lot of the same people on my crew for years and years, and I feel it's recognition for their work, you know? I really do. And I know they're all kind of watching and, you know, in New York and London and Budapest, and I would like to have mentioned every one of them, because they were just -- it's just great for them, I think.

Q. What was your reaction when Denis first told you about BLADE RUNNER? A. Well, you kind of do a double take on it, really. But, I mean, because I've worked with him twice before it was a no-brainer. I was going to do it. I mean, I love Denis. I love the way he sees things, and the way he works. But, yeah, that kind of -- the idea of following up that original film was a little scary, to say the least, yeah.

Universitas Sumatera Utara

 COSTUME DESIGN CATEGORY

SPEECH BY : Mark Bridges

FILM : ―PHANTOM THREAD‖

Q. I know you're a frequent collaborator with Paul Thomas Anderson. A. Yeah.

Q. So, I'm curious. When he reached out to you about this movie, how excited were you to work on a picture where you get to do this sort of couture and also the more contemp- -- well, not contemporary, but sort of traditional clothing as well? A. Right. Well, I always am excited when Paul calls because, as you know, over 22 years we've done everything from porn stars, to oil drilling, to hippie detectives. You know, so this is just another one of the bag of tricks that Paul has. But, you know, you feel like there's -- there is a little bit of a pressure. You know, will I be able to do justice to the era, and, of course, working with Daniel, you up your game . And Paul always -- and Daniel -- always makes me be a better designer. You know, so I proceeded with the research the way we always do and just try to tell a story. And then we -- of course, we had the luxury of working in London, too, where there are makers and fabrics and access to Europe that we don't have here.

Q. So, but what is it like to design costumes for a film that is, in a sense, partly about the act of designing costumes? How was that different? A. It was -- it was a little different than I usually do, and it was kind of two levels. One of it is: Tell the story of the real people. And then when we had to do a fashion show or the fashions of Reynolds Woodcock, I had to go into another mindset of, you know, what would this man be like? Paul said, Oh, can we have a spring fashion show? Can the fashion show be spring? And I'm thinking, like, hmm, a dark character, like Reynolds in London, who uses rich colors and sort of dark fabrics. What would a spring collection be for him? So I had to get into the mindset of somebody else. It was -- it was different and challenging, in a cool way, for me.

Q. Something that I hear a lot in common with costume designers and their relationships with actors is that they discover their character from the bottom up

Universitas Sumatera Utara once -- A. Yeah.

Q. -- they get in the shoes, they know who they are. Can you share with us some kind of -- some instance -- A. It's actually really, really true. I don't know whether it's because I started in theater. Theater actors are very much like that. If their shoes work and make them move a certain way, then the rest is -- rest follows. And certainly working with Daniel Day-Lewis, both on THERE WILL BE BLOOD and this one, his shoes were very important to him, and a -- it's a way -- it makes you walk in a certain way or carry yourself in a different way that then sort of feeds up into the rest of the physicality of the role, is what I discover, and helps them become who they need to become.

Q. Can you talk a little bit about collaborating with Daniel Day-Lewis, especially as his character actually had to drape a gown in the movie? A. Well, you know, Daniel did an amazing amount of homework. He's the consummate artist preparing. I hooked him up with a cutter in New York, and he studied, and actually made a -- quite a nice garment at the end of his tenure there.

Collaborating with him, you know, he had a lot of ideas about what this man should be like. You know, his idea was to go to Anderson Sheppard, Savile Row, to have his clothes tailored, and he knows this world very well. He grew up with it. His father had bespoke clothes, his grandfather. So it was -- it was a learning experience for me, but we worked together. We went shopping together, actually, on German Street in London, which was amazing. And -- but I was always there and collaborating about, like, I know I need this many suits to be able to make this costume plot. But he did not want to plan ahead what he was going to wear, so we created a closet for him, and Paul wanted him to choose daily what he would pull from his closet and wear it.

So that was -- that was a new one on me, a little nerve-wracking at first. But we all trust each other so much at this point that -- and the fact that I had been in on creating that wardrobe, I was fine with it. And I think as long as Paul felt we were feeding Daniel nourishment for his character, it was fine, and that's why I'm there too, to help aid that performance.

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