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IT’S A REMARKABLE STORY of personal and professional friendship, all the more so because it plays out within the notoriously volatile realm of show business. Two young men skip university to become chartered accountants. They run a partnership for almost two decades, serving and representing many of the preeminent musical attractions of their time. After deciding to go separate ways, they remain the best of friends, and almost 60 years after they met are reunited as co-executive producers on “Judy,” an awards season front-runner. And it all happened on the strength of a handshake. “We never had a piece of paper,” claims Laurence Myers. “We never signed a contract or anything,” Ellis M. Goodman confirms. Myers left school early. “I wanted to be a Latin-American percussionist, but if I’d told my mother that at 16, I wouldn’t have made it to 17.” He and Goodman met in 1962 while studying for their accounting certification. The latter was drawn to Myers’ outgoing personality, while Myers recalls that “Ellis had dark suits, he looked like he’d been to a great school.” Goodman also had briefly listed Petula Clark as a client, which appealed to the other’s entertainment bent. Goodman Myers and Co. was born. “Neither of us were very good accoun- tants,” the top-billed partner confesses, but they had a knack for management. And luck too, such as a chance encounter with a gent hoping to do business with influential record producer Mickie Most. Would Goodman happen to know anything about that field? “And I said, ‘Oh yes, Petula Clark, Petula OLD SCHOOL Clark, Petula Clark,’ and he said, ‘Well, “Judy” reunited you’ve got to act for me because nobody producers and friends knows much about this stuff.’ So we were in Ellis M. Goodman and Laurence Myers after on the ground floor.” decades apart. A client who inherited a distillery soon got Goodman preoccupied with the liquor business, but Myers dove into attracting music clients. Big ones. Mick Jagger asked him to set up a pension, “because I’m not going to be singing rock ’n’ roll when Showbiz Tale I’m 60.” (As he told the pair!) Legendary executive Allen Klein, who taught Myers to go toe-to-toe with record execs, brought him in to help structure the Beatles’ Apple Goes the Distance Corp. The Animals, Jeff Beck, Led Zeppelin, Donovan, David Bowie all came through the doors. A record label, Gem, evolved into FOR 60 YEARS, TWO OF THE ‘JUDY’ PRODUCERS KEPT GTO Records and was eventually sold to A PROFESSIONAL RELATIONSHIP ALIVE — AND LUCRATIVE CBS. Forays into film production (“The Greek Tycoon”) and distribution (“Picnic By Bob Verini at Hanging Rock”) followed. DAVID HINDLEY/ROADSIDE ATTRACTIONS HINDLEY/ROADSIDE DAVID

6 VARIETY.COM ACADEMY AWARD® NOMINATIONS BEST ADAPTED SCREENPLAY BEST ACTOR BEST SUPPORTING ACTOR ANTHONY McCARTEN JONATHAN PRYCE ANTHONY HOPKINS

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“Riveting. Anthony Hopkins and Jonathan Pryce, two of our greatest actors, demonstrate absolute mastery of their craft. They are both quite mesmerizingly and movingly brilliant.”

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And each man shared 50% of his business “YOU HAVE TO HAVE — WHICH LAURENCE DID — Goodman in spirits, Myers in showbiz — HAVE — HUMOR, KNOWLEDGE, CONFIDENCE ... ” with the other. Today, both enjoy reminiscing about the Ellis M. Goodman U.K. record explosion of the ’60s and ’70s. Myers calls it “the Wild West,” and Goodman says, “It was like tech is now. It was a moving target, because the pop music industry was booming.” Corona Beer, and supports the local theater troubled engagement at the Talk of the Town Legends and one-offs alike shared similar scene, including the Writers Theater, whose nitery. “I was old enough to go, but I had issues in a brand-new field, Goodman recalls. “Trevor: The Musical” will open Off Broadway friends that went and they said, ‘Don’t spend “How you treated their income. Whether this spring. the money. She’s awful. She came on, she they would spend all their money before they Remaining in the U.K., Myers has found was drunk’ — so I didn’t go. That resonated earned it. And then they had big tax prob- satisfaction producing successful West End with me.” lems. … Then after a few months, often they musicals and tours. He took pride, even up to Goodman, too, passed up the chance to fell out with each other, and we were trying the premiere, in declining an offer to invest in catch Garland in that engagement. But he to be mentors and solve problems. You have a dicey-sounding Andrew Lloyd Webber show loved Quilter’s play in London. He readily to have — which Laurence did have — humor, about felines. (As he writes in his candid, accepted Myers’ invitation to come on board knowledge, confidence and be able to deal highly amusing memoir “Hunky Dory (Who as a producer for Broadway and assemble an with the different personalities. Because Knew?),” “Those bloody cats’ eyes advertising investor group. After several years of conver- some became divas and some weren’t. And the show follow me around at every airport.”) sations, fundraising and talent wrangling, it’s the same today. Managing people is the A night at the theater in Australia in 2005 the movie was finally brought home (they biggest part of success.” led to the most recent turn in the men’s applaud producer David Livingstone) with Myers greatly enjoyed helping creative careers. Myers was enthralled by Peter Quil- an acclaimed star performance from Renée artists, underpaid and underappreciated at ter’s “End of the Rainbow,” dramatizing Judy Zellweger. that time, earn their due in money and con- Garland’s troubled final days in London mere Let Goodman have the final word on a pair sideration. Aside from the drinkers and months before her death. In co-producing of young men from similar backgrounds, druggies (“the biggest nightmare”), he recalls the West End and Broadway productions, he breaking new ground in an exciting era: “It’s his clients with affection. “They’re creative retained the film rights because “it was Judy a lesson in today’s world, which is so tied and they’re nervous. They’re terrified, which Garland, and it was a really good story. Obvi- up with legal fights and litigation. You can is a human trait. And they have to be handled ously not for kids, but to a certain market, I have business relationships on the shake of a in the nicest way.” Bowie, he notes, “had two thought it’d be of great interest.” hand, if you have the right integrity and your personalities. When he would be in my office Much of the film “Judy” focuses on her word means something.” and we’d just be talking, he was a nice boy from South London. The minute he would be exposed to the public in any shape or form, he became DAVID BOWIE, with an attitude and all the things that made him successful and, indeed, an icon.” The team came to a crossroads as the ’80s were about to dawn and Goodman’s liquor interests were to go public. “I was going to Glasgow and he was going to Cannes. Lau- rence had the much better deal on the visits and the parties,” he chuckles. Meanwhile, the punk revolution was exploding when Myers brought his wife to see a band he’d signed. “The fans had all the [Mohawks] and the chains and they were spitting over at the artists, which was how you showed your appreciation. “The guy next to me was the archetypal punk, the whole thing, with Mrs. Punk next to him. He was drinking beer, and he started to vomit. The vomit sort of dripped down to his Doc Martins, bouncing onto my Gucci loafers, but he didn’t look up. He looked down to his feet and my feet, and he didn’t move. And I thought: ‘It’s time to quit.’” The split was predictably amicable. Good- man explains, “We decided, OK, you take STAGE ACT all the entertainment stuff, and I’ll take all “Judy” is based the whisky, beer and wine and spirits stuff.” on a play Ellis M. Goodman and Laurence He and his wife settled in Chicago, where Myers helped bring he has produced award-winning documen- to Broadway. taries, written two novels and a history of DAVID HINDLEY/ROADSIDE ATTRACTIONS HINDLEY/ROADSIDE DAVID

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LEGAL EAGLES

The Braun brothers are repping doc “The Fight,” about legal battles the ACLU is engaged in, at Sundance.

is also behind the sale of two other Brains and Braun Oscar-nominated docs: Julia Reichert and Steven Bognar’s “American Factory” and Petra Costa’s “The Edge of Democracy.” Josh Braun served as an executive pro- Power Top Docs ducer “The Edge of Democracy.” Submarine sold both films after their Sundance 2019 premieres to Netflix. Last year, Submarine also brokered a SUBMARINE BROTHERS’ KNACK FOR NONFICTION HAS LED TO OSCARS deal with Amazon for the rights to Nanfu By Addie Morfoot Wang and Lynn Zhang’s “One Child Nation,” which made the doc Oscar shortlist. About China’s previously enforced one-child pol- icy, “One Child Nation” garnered the 2019 Sundance U.S. documentary grand jury prize. It marked the fifth time in five years HEADING INTO SUNDANCE 2020, twin Josh, all those inquiring are “of course buy- that a Submarine film won the category. The brothers Josh and Dan Braun keep fielding ers who passed on ‘Honeyland’ last year.” four previous winners were Derek Doneen’s the same question: “What is this year’s Directed by Ljubomir Stefanov and “The Price of Free,” Dan Sickles and Anto- ‘Honeyland?’” Tamara Kotevska, “Honeyland,” about nio Santini’s “Dina,” Elyse Steinberg and It’s not a surprising question because a nomadic Macedonian beekeeper, gar- Josh Kriegman’s “Weiner” and Crystal the Braun brothers are the co-founders and nered three 2019 Sundance awards. Ear- Moselle’s “The Wolfpack.” co-presidents of Submarine Entertainment, lier this month, the doc made history when Launched in 1998, Submarine has the New York-based sales, production and it became the first nonfiction feature to be become the go-to sales company for non- distribution company that sold Oscar-nom- nominated for documentary and interna- fiction films. Their criteria are the films inated “Honeyland” to Neon 12 months ago tional film Academy Awards that “hit us in a visceral way,” the broth- after its Sundance premiere. in the same year. ers say. Music, pop culture and true crime What is surprising is that, according to In addition to “Honeyland,” Submarine are just a few of the subject matters the SABRINA LANTOS/SUNDANCE INSTITUTE LANTOS/SUNDANCE SABRINA

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JojoRabbitFYC.com

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brothers gravitate toward. (Submarine is came out of the music industry — said as business comes from sales while 40% behind true crime hits including we were driving from one condo to another stems from production and distribution “The Keepers,” “Wild Wild Country” at 5 a.m., ‘I’ve never seen somebody do via Submarine Deluxe, the company’s bou- and “Evil Genius.”) business like this. Are you telling me that tique distribution platform. With a robust slate consisting of 13 if we don’t sell it tonight, we’re missing The brothers have also worked exten- documentaries seeking distribution, this something?’ And Josh said, ‘Tonight, we’re sively in the narrative fiction space and year the company may have more than the one documentary that’s for sale and found homes for Debra Granik’s “Winter’s one “Honeyland” up its sleeve. Prior to we’re the belle of the ball and everybody’s Bone,” Lena Dunham’s “Tiny Furniture” Sundance, the Braun brothers sold David interested. But tomorrow there are 30 and back in 2015 were behind Mark and France’s doc “Welcome to Chechnya,” about more great films opening and the day after Jay Duplass’ seven-picture distribution a group of activists risking their lives to there will be 30 more. If we don’t sell this deal with the Orchard. confront the ongoing anti-LGBTQ persecu- film tonight we are missing a huge oppor- But, “we inevitably veer towards the tion in the Russian republic of Chechnya, to tunity.’ In that moment Josh brought his docs,” Josh says. “So I guess it’s becoming HBO Documentary Films. The duo also pre- expertise and he was 100% right.” more of a trend that it’s an all-doc lineup.” sold “Crip Camp” to Barack and Michelle Radius-TWC won out that night when it This year’s Submarine sales lineup Obama’s Higher Ground Prods. and Net- bought the film’s North American rights. includes the political coming-of-age doc flix. “Crip Camp,” which tells the story of a Following that experience, Neville hired “Boys State”; “The Fight,” about ACLU’s camp for disabled teenagers in upstate New the Braun brothers to sell his 2015 docs egal battles; and Ryan White’s “The Assas- York, opened Sundance this year. It marks “The Music of Strangers: Yo-Yo Ma and the sin” (co-repped with Endeavor), about the the eighth time in eight years that a Sub- Silk Road Ensemble” and “Best of Enemies: mysterious murder of North Korean leader marine-repped doc, including Academy Buckley vs. Vidal.” WME co-sold “Best of Kim Jong-un’s brother in Malaysia. Award winners “Searching for Sugar Man” Enemies” with Submarine. “I’ve worked with Josh since the (2012) and “20 Feet From Stardom” (2013), “The documentary community is small beginning of my career,” says White. “We opened Sundance. and there are only a few people who are usually begin strategizing the distribution “It’s a weird thing,” Josh says. [Opening exceptionally good at navigating that [sales] path for my films before anything has even night] is not something we have ever world,” Neville says. “Josh and Dan are both been shot. So, for me, [Josh] is not your lobbied for.” film nerds in the best possible way. They stereotypical sales agent that swoops in at Morgan Neville, helmer of “20 Feet From aren’t slick. They are very unorthodox and the end and represents a film when it gets Stardom,” remembers that night. aren’t selling for a big agency. They love art, into Sundance. He’s part of the process “After having this incredible screening, music and they love weird, so they take on from the beginning.” Josh, Dan and I spent the next 12 hours films that are not just slam dunks, but films The brothers’ understanding of nonfic- traveling from condo to condo meeting that can also be tough to sell.” tion films’ shifting market as well as the with different distributors who were mak- In addition to sales, the Braun broth- genre’s fickle trends is unrivaled. ing offers on the film,” Neville says. “It ers produce and develop. Submarine has This year, with the need for content was this old-school Sundance experience, two projects in production and about at an all-time high due to new streamers but one of my producers — somebody who 15 in development. But Dan says 60% of hitting the scene, including Apple, Disney and HBO Max and WarnerMedia, Dan says Sundance 2020 will be the testing ground

LIQUID GOLD for the health of the doc market. And despite Submarine sold the corporations backing many streamers, double-Oscar nominee as well as Apple’s recent decision to drop “Honeyland” to Neon Kirby Dick and Amy Ziering’s sexual-assault last year. docu, “On the Record,” the Braun brothers reject the idea that the nonfiction space has moved to a corporate age in which all fare must be “safe.” White’s “Assassin” is one of many geopolitical films heading to Sundance, but despite selling his past films to Netflix and Hulu, Josh and Dan aren’t sure if his latest doc will appeal to streamers due to the film’s North Korea focus and the 2014 Sony hack. “We would completely understand if any company interested in that film would be hesitant,” says Josh. “But it’s an incredible story with gripping material. So I think maybe the biggest, most corporate companies would have to think twice, but at the same time they also might say, ‘Well this film is good enough that we want to take a chance.’ But that is absolutely a perfect example of a film that has some potential controversy baked in and maybe the right distributor would actually embrace that and take advantage of it.” NEON

12 VARIETY ACADEMY AWARD® NOMINEE BEST ORIGINAL SONG BEST ACTRESS “STAND UP” CYNTHIA ERIVO

“A rousing and powerful drama anchored by Cynthia Erivo’s precise and passionate performance.” THE NEW YORK TIMES, A.O. SCOTT

“The song ‘Stand Up’ is a rousing civil rights anthem.” VARIETY, KATE ARTHUR WINNER BEST ORIGINAL SONG “STAND UP” Cynthia Erivo and Joshuah Brian Campbell The Society of Composers & Lyricists Awards

WINNER WINNER WINNER BEST ORIGINAL SONG BEST ORIGINAL SONG BEST ACTRESS “Stand Up” “Stand Up” Hollywood Breakout Actress Award Cynthia Erivo and Joshuah Brian Campbell Cynthia Erivo and Joshuah Brian Campbell Cynthia Erivo Hollywood Music in Media Awards Las Vegas Film Critics Society Hollywood Film Awards

Untitled-6 1 1/27/20 2:10 PM the Trenches Women in A COMPELLINGSTORY DEFY STEREOTYPES WHENTELLING DIRECTORS, PRODUCERS ANDWRITERS Mendes andCaro Newling formed StreetProds.,Neal whichHarris, Ann Tenggren. HarrisandJayne- Pippa producers it withdirectorSamMendes, and Wilson-Cairns,Krysty whoco-wrote Thelist included roles inthefilm. that women played key creative withthefact fascinated seemed have reporters “1917” debuted, VARIETY 14 EVER SINCE The surprise is surprising. The surpriseissurprising. Nicoletta Mani. and scriptsupervisor Wilson-Cairns (right) co-screenwriter Krysty location for“1917”with Director SamMendeson ON THEFRONTLINES Universal-DreamWorks’ VAULT VREY VARIETY

By TimGray things dealing withWorldthings dealing War I. was onallson-Cairns theexpert writers,came fromboth whileWil- were nota“feminine touch” but types, thefilm’s strong emotions ment,” says Harris. amachoenviron-of ‘1917’tobe Plus, Samdidn’t want production a 50-50gender balance. in 2003,hasalways maintained Further confounding stereo- “It’s inourcompany’s DNA. “Hobbit” trilogies. Though “LOTR”“Hobbit” Lordof theRings”and “The behind and acreative force producer by Franroll isled Walsh, writer, the decades. TheOscarhonor over topicscontinued tackling rugged writer towintwo Academy Awards. Champ” (1931),becoming thefirst picture,” tocallthem. asthey used beyond thedefinitionofa“woman’s afilmthatcan create way goes knew 90years ago that awoman matter that excites.” Hollywood andsubject characters that arereal sincere dramawith well-done really a …instead, backstage flapdoodle offering nohokum, no “No bunk, in anovercrowded prison. conditions at brutal (1930), alook writing award BigHouse” for “The world. Frances Marionwon the duced Rudolph Valentino tothe Apocalypse,” epicthat intro- aWWI Four“The Horsemenof the films ever. some of thegreatest “male-driven” create with women whohelped isfilled history Hollywood because The traditionof women Marion won again for “The thefilmas MGM advertised In 1921,June Mathis scripted This shouldn’t ashock be It’s about recognition.” butdon’tthis work, patronize them. It’sthis film. vitaltotake noteof ofwomen whowere thebedrock just They’re two of themanyport. a constant facilitator andsup- suchamazingwork, does Pippa First World War isencyclopedic. ethic, andherknowledge of the about awar. Shehasagreatwork that would Krysty writing be told me, “Idon’t think it’s strange never applicable. were andstereotypes of talent, a matter of gender; it’s amatter that filmmaking isnot people reminding on aproudtradition, the entirebunch! in and notachickflickorrom-com Tailor“Tinker SoldierSpy.” and Bridget O’Connor, of co-writer Jima”; Terri Tatchell, “District 9”; Paul Haggis) of “Letters From Iwo Dog”; IrisYamashita, (with co-writer the savage satire “Wag political the of co-writer Henkin, cops; Hilary of theCity,” at thegritty N.Y. look Presson of “Prince co-scripter Allen, pandemonium?) opegate upstagedafter being by theenvel- forspeeches that 2016winner, to finallygive theiracceptance Romanski andJeremy Kleinerget light.” (Andwhendoshe, Adele for “12Years aSlave” and“Moon- “Moneyball” and“Vice,” winning picture nomsfor suchfareas “District 9.” and Carolynne Cunningham, “Inception” and“Dunkirk”; Will BeBlood”; EmmaThomas, Driver”; JoAnne Sellar, “There include Julia Phillips, on“Taxi which shealsodirected. producer of “Zero DarkThirty,” Locker,” andwas nominatedasa Hurt a producerof the2009“The Oscar winner, asthedirectorand Horse” and“Lincoln.” SixthSense,”“The “Munich,” “War has eightnomsfor suchfilmsas include Kathleen Kennedy, who (two noms, onewin). BoyensOscar wins)andPhilippa the contributions of Walsh (three isthefirstproducer toacknowledge thewriter-director-Jackson, films aresynonymous withPeter As “1917”actorGeorge MacKay iscarrying So the“1917”team Just think:All films thosegreat As for writers, thereareJay hassixbest- Gardner Dede Oscar-nominated producers BigelowKathryn was adouble Other notable producers

FRANÇOIS DUHAMEL/UNIVERSAL PICTURES BRIGITTE LACOMBE/NETFLIX ‘Our motto was, “We the ordinary.”’ lengths to bring you extraordinary to go days, withseveral day. each locations Jimmyboss 108shooting Hoffa. Theepicentailed Frank Sheeranandhisrelationship withTeamsters at U.S.looks throughthe eyes mafia hitman history Irishman.” designerfor “The as production Thefilm Bob Shaw BOB SHAW HAS SCORED TALK/SHOW

By Tim GrayTim

his first Oscarnomination,

In ourjob, the first question straight? complicated tokeep things With somany was sets, it quickly.focus very this.” But thisprojectcameinto “Idon’tthink, know how todo when they get ajob, Ioften Usually Ido. Like most people you have amomentofdoubt? agreeingAfter todoit,did seen for afew moments. a lotof that locations areonly all over theplace. There were were Ourlocations sets inall. We built28setsandhad 295 years. Whatdidthatentail? “The Irishman” spans50 Wilfordnamed Leach. wonreally directorderful Broadway, working witha with LindaRondstadt on Pirates of Penzance”“The was 20,thenat 23,Idesigned whenIthe PublicTheatre Mandrake” “The atdesigned I was thinkingtheater. I wanted todesignscenery; atI decided age 16that I How didyou start? Bob Shaw(left)with his teamontheset of “TheIrishman.”

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15 FASHION 16 ACTRESS PICTURE ACTOR/ BEST OCT. 29 “THE HARRIET “THE much excitement.” Christmas Day,andthat of theChristmastreeon little girlsittinginfront and shelookslikethis this dress,shesitsdown you canimaginethesizeof trying itonsaidall:“If one. Erivo’sreactionto sent inlieuofadifferent premiere wasoneMarcJacobs Erivo woretotheL.A. The cascadingfloraldress colorful, happyvibration.” have thisreallyfantastic, strong. “Allofthoselooks for bold,impactfuland says JasonBolden,whowent would Harrietdoacarpet?” talk aboutforHarriet:How Cynthia [Erivo]andIalways so thisisthemomentthat story thatneedstobetold, is veryintense,andit’sa

VREY VARIETY STYLIST JASON BOLDENWANTED TUBMAN story FEARLESS FASHIONFEARLESS TO BE‘AS BIGANDBEAUTIFUL JAN. 2 to wearit.” to wear,themoreshewants art. Theharderthedressis really, reallylovethe needs —weneedpeoplethat literally iswhatfashion what criticsthink.She But shedoesn’tcareabout really hardlookstowear. towards becausethey’re normally wouldn’tgravitate wear thethingsthatpeople couture girl—shelovesto her range.“Sheissucha Bolden, whofeltitshowed ‘Bodyguard’ moment,”says her ‘QueenoftheNight’ an ongoingjokethatthisis in “TheBodyguard.”“Wehad inspired byWhitneyHouston Film FestivalGalawas wore tothePalmSprings that awardrecipientErivo Haute Couturehoodeddress The navySchiaparelli

By

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OCT 29, JAN 12: MATT BARON/SHUTTERSTOCK; JAN 2: BROADIMAGE/SHUTTERSTOCK; JAN 5: SHUTTERSTOCK PARTNER CONTENT

A CLASS OF THEIR OWN

FOR YOUR CONSIDERATION

0130 EE Neon PARASITE - INTERNAL_CVR1.indd 1 1/27/20 3:34 PM 0130 EE Neon PARASITE - INTERNAL_CVR2.indd 1 1/27/20 3:36 PM BREAKING HISTORY

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The Mysterious Genius ‘Parasite’ Proves Living Spaces Spin a Korean All-Stars of Bong Joon Ho 2019’s Most Vital Film Story in Themselves Conquer the World Thanks to the helmer’s Director Bong’s master- The “Parasite” family The actors of “Parasite” are dueling impulses, he’s piece nails the desperation homes, from sunny to fast becoming as celebrated your favorite director’s of the poor — and the squalid to hellish, hammer worldwide as they are favorite director. obliviousness of the rich. home a cultural metaphor. back home in Korea. PHOTO NEON © PHOTO

variety.com/parasitefyc 17

Parasite_FINAL.inddUntitled-23 1 17 1/27/20 4:076:57 PM : BREAKING HISTORY Duality Drives Director Bong’s Singular Genius

Bong Joon Ho is torn between imagination and observation, control and freedom. He’s a celebrity who lurks in coffee shops. In ‘Parasite,’ those dueling impulses manifest as mirrored homes, familes and fates — to astonishing effect. By James Linhardt

ong Joon Ho, visionary director of “Para- BVLWHª LV D ERQD ²GH FHOHEULW\ LQ KLV KRPH country of South Korea, but he still prefers to do his writing tucked in the corner of a coffee shop. Sometimes he has headphones on to con- FHQWUDWHEHWWHURQDWKHPDWLF³LJKWRIIDQF\EXW sometimes, he says, he’ll hear a conversation at an adjacent table and feel the need to eavesdrop. To retreat into a private vision or to connect with real life: “Parasite” is the marriage of competing impulses. It’s both an auteur project, presenting a hermetic world where Bong had his hand in every detail, and a sharply observed satire of capitalism, classism and inequality. %RQJ¬V²OPVPDWFKDEROGQHVVRIYLVLRQDQG²OP- making mastery with insight into present-day political unrest. With them, the man referred to as “Director Bong” has clearly entered the SDQWKHRQRIJUHDWPRGHUQ²OPPDNHUV Bong’s cinematic education began early. “I ZDVD²OPJHHNªKHVD\V$VD\RXWKKHGLVFRY- ered the American Forces Korea Network, which showed movies on Friday and Saturday nights. “It was the 1970s, and Korea was under military dictatorship,” he says. “It was a very conservative mood, but on Friday night we could see some sex and violence. I was a little kid, but I came out to the living room by myself when my family was sleeping and watched those movies.” He ORYHG WKH $PHULFDQ VWXGLR ²OPV RI WKH HUD EXW also “many B pictures,” those more committed to great storytelling than prestige or polish. Three of his own movies — “Okja,” “Snow- Bong Joon Ho piercer” and “The Host” — are recognizable as, directing “Parasite.” UHVSHFWLYHO\DQDGYHQWXUHVWRU\DVFLHQFH²FWLRQ dystopia and a monster movie, but Bong mashes up genres in unexpected ways. He rearranges seemingly familiar story beats with a watchmaker’s precision and an undercurrent of pitch-black KXPRU VR KLV ²OPV DGG XS WR PXFK PRUH WKDQ their individual style elements. “I always try to familiarize myself with genre conventions,” Bong says. “I feel more excitement when I break genre conventions and subvert I have this desire to have full mastery them — but in order to break the rules, you need to be aware of the rules.” over the space and control even the He recognizes “Parasite” as a kind of genre ²OP©EXW>LW¬VRQHWKDW@WDONVDERXWRXUFXUUHQW tiniest increments, like half an inch.” reality.” It’s a literal upstairs/downstairs fable that compares the plight of two families on either side Bong Joon Ho, director, “Parasite”

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tiniest increments, like half an inch. So I have these two contradicting desires.” He has even been known to show performers a storyboarded version of a shot before they step into the scene. Cho Yeo Jeong as posh Mrs. Park in (YHQ WKH FDVW RI ©3DUDVLWHª ²QGV %RQJ HQLJ- her spacious bathroom retreat. matic. Choi Woo Shik, who plays the son of the poor but devious Kim family, calls Bong “a truly mysterious person.” Lee Jung Eun, who plays the housekeeper the Kims displace, says, “Director of Seoul’s class divide, linking them in a kind of ment home where this poor family is enjoying a Bong is very funny and weird. He is always the grand battle royale. Its astonishing success in meal, and they see a man urinating on the street VDPHDQGRQO\WKLQNVDERXW²OPDOOGD\ª the U.S., France, Denmark, Japan — pretty much outside, which brings them a lot of fear.” “On the set,” says Choi, “I hear more casual HYHU\ZKHUH ¨ VXJJHVWV WKH ²OP¬V GHVSDLU RYHU Bong methodically controls every step of HYHU\GD\ WDON RU IXQQ\ VWRULHV >IURP KLP@ WKDQ class inequality is a global occurrence. WKH²OPPDNLQJSURFHVV+HVWRU\ERDUGVPHWLFX- FRPPHQWVDERXWWKHDFWXDO²OP%XWDWWKHVDPH “This time, I didn’t want to tell the story in a lously, and on “Parasite” he recognized that the time, he is extremely sharp. He seems to know the VFL²IRUPDWª%RQJVD\V©,ZDQWHGLWWRIHHOOLNH story depended on creating the perfect houses limits to an actor and helps his charms pop out.” a story that surrounds us on a daily basis, some- for the two families. “Because I’m so obsessed The smash success of “Parasite” coincides thing more realistic and natural.” One could say it’s with space,” he says, “usually I spend a long ZLWKWKHFHQWHQQLDORI.RUHDQ²OPZKLFKEHJDQ almost like something overheard in a coffee shop. time location scouting. I’m very persistent with with the 1919 movie “Fight for Justice.” Says For “Parasite,” he adds, “the story began with ²QGLQJ WKH VSDFHV EXW EHFDXVH ZLWK «3DUDVLWH¬ Bong, “Korean cinema has a long history, and WKH FRQFHSW RI LQ²OWUDWLRQ LQ LWVHOI WKLV LGHD RI 90% of the story happens in the two houses, we there are many masters that have yet to be intro- DIDPLO\RIIRXUDSRRUIDPLO\LQ²OWUDWLQJDULFK built the sets from scratch.” duced to the Western audience.” KRXVHRQHE\RQHOLNHKRZDSDUDVLWHZRXOGLQ²O- The director knows that even a constructed %RQJLVQRW³XHQWLQ(QJOLVKEXWXQGHQLDEOH trate a host. And so the idea began with two set is never a perfectly controlled environment, command of his medium, combining a careful families — one rich, one poor, each with four and no matter how inventive Bong’s staging, the deployment of special effects with a canny, members — and the poor sort of seeping into the VXFFHVVRIKLV²OPVGHSHQGVODUJHO\RQKLVZRUN ground-level understanding of human behavior, lives of the rich. I was very excited by that idea.” with actors. “My priority is always to make my KDVPDGHKLPRQHRIWKHZRUOG¬VPRVWLQ³XHQWLDO From that seed came an idea that Bong actors feel comfortable and free,” he says, “but auteurs. His cinematic universe is a richly imag- FRXOGQ¬W VKDNH ©7KH ²UVW LPDJH , WKRXJKW RI at the same time I have this desire to have full ined, obsessively detailed environment — an

PHOTOS COURTESY OF NEON COURTESY PHOTOS for ‘Parasite’ was the window in the semi-base- mastery over the space and control even the environment that feels frighteningly real. Q

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Parasite_FINAL.inddUntitled-23 1 19 1/27/20 4:086:57 PM : BREAKING HISTORY ‘Parasite’ is a one-of-a-kind, record-breaking smash. Maybe LW¬VWLPHWRPDNHWKDWRI²FLDO

The Movie of Our Year

When he arrived in Cannes with ‘Parasite,’ Bong Joon Ho hoped for awards only for his actors. Instead, his suspenseful dramedy SURYHGWREHWKH\HDU¬VPRVWLPSRUWDQW²OPOD\LQJEDUHIHDUVDQGWHQVLRQVVKDUHGE\PLOOLRQVBy Bob Verini

rom the moment it screened to an extended LIQRWWKHEHVW²OPRIWKHGHFDGH7KHPRYLHLVD most dramatic and urgent divide of the present Fstanding ovation at the 2019 Cannes Film dual portrait of two vastly different yet eerily moment: Rich versus poor, lucky versus unlucky, Festival and became a rare unanimous jury FRQQHFWHGIDPLOLHV¨WKHDI³XHQWEXWGLVWUDFWHG XS YHUVXV GRZQ OLWHUDOO\  WKRVH ZLWK LQ²QLWHO\ choice for the coveted Palme d’Or, Bong Joon Parks and the impoverished but resourceful Kims, more than they need versus those who struggle Ho’s “Parasite” has been working its magic on who see an opportunity to insinuate themselves for the barest minimum to survive. opinion makers and moviegoers everywhere. It into a fortress of domestic privilege and, sure 0DQ\ ²OPPDNHUV H[SUHVV SXEOLF FRQFHUQ IRU has racked up more than $160 million in world- enough, do so to hilarious then suspenseful then the international underclass. Every year a few wide grosses, an impressive take for any indepen- heartbreaking results. Director and co-writer ²OPVWRXFKRQLWLILQGLUHFWO\6HYHUDORIWKLV\HDU¬V GHQW²OPOHWDORQHRQHIURP6RXWK.RUHD$QG %RQJ-RRQ+RKDVFUDIWHGQRWMXVWDULYHWLQJ²OP Academy Award nominees, in multiple categories, it’s become only the 11th feature in a language but a seriously vital one. do so. “Parasite,” however, confronts the issue of other than English to achieve dual Academy Bong is famous for refusing to be bound by inequality head-on. Even its culinary details — the Award nominations for Best Picture and, as it’s genre tropes and narrative rules, choosing wealthy matriarch adding sirloin to her ramen dish now called, Best International Film. instead to follow his stories wherever they may because plain chajang noodles are déclassé — What accounts for the spell woven by this, for lead. So a scene crackling with Hitchcockian carry an economic subtext. lack of a better description of such an original and PHQDFH¨DVSHRSOHOLH³DWXQGHUDFRIIHHWDEOH Much of the affection for “Parasite” surely audacious work, twisty, genre-defying, full-of- no less — is followed by a feat of slapstick a stems from the way it combines its trenchant surprises satirical dramedy? And how is it that an master farceur would be proud to execute. At VRFLDOFRPPHQWDU\ZLWKEUDYXUD²OPPDNLQJDQG overseas effort is contending for the Academy’s the same time, Bong’s work effortlessly makes sheerly exuberant entertainment. One never highest honor amidst a notable array of home- room for meaningful themes, such as the indict- knows what’s going to happen next, once patri- grown behemoth studio contenders? ment of animal abuse in 2017’s winsome “Okja” arch Kim Ki Taek — played by Asian acting icon Simply put, the insightful themes, masterful or, earlier, the climate crisis bubbling up through Song Kang Ho — installs himself, his wife and ²OPPDNLQJ DQG ZRUOGZLGH LPSDFW RI ©3DUDVLWHª the heart-stopping action of “Snowpiercer.” This their children as essential hired help who push KDYHPDGHLWWKHPRVWLPSRUWDQW²OPRIWKH\HDU time his thematic concerns are rooted in the the boundaries of service to the Parks to outra-

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Parasite_FINAL.inddUntitled-23 1 20 1/27/20 4:086:57 PM The Journey of ‘Parasite’

WORLD PREMIERE Debuts at Cannes, gets extended SHOOTING BEGINS NEON ACQUIRES standing ovation and Seoul, South Korea, DISTRIBUTION RIGHTS ²QLVKHVDWRSFULWLFV production takes four months American Film Market in poll at the festival 0D\ Los Angeles Oct. 31 0D\

PALME D’OR 7KH²UVW.RUHDQZLQQHU of the jury’s top prize at Cannes, it’s also QDPHGWRS²OPE\WKH critics — a rarity THREE GOLDEN GLOBE 0D\ NOMINATIONS )LUVW.RUHDQ²OPWRJHW that many Dec. 6 OPENS IN RELEASED IN NORTH AMERICA SOUTH KOREA Has highest per-screen Becomes a hit at GOLDEN GLOBES Wins Best Foreign HIGHEST METACRITIC average of the year home 0D\ Language Film SCORE OF 2019 Oct. 11 -DQ

“PARASITE” AWARDS

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geous extremes. Never before has “make yourself at home” taken on such a sinister interpretation. Best Best Best %HVW)RUHLJQ Picture Director Screenplay Language 7KDW DIIHFWLRQ LV UH³HFWHG LQ D FDVFDGH RI )LOP critics circles naming “Parasite” the year’s best — PRUH WKDQ DQ\ RWKHU  ²OP 7KH ²OP LV  rated for the year on Rotten Tomatoes, Metacritic and Letterboxd (ahead of “The Irishman,” “1917,” “Once Upon a Time in Hollywood” and other Best Picture contenders). It walked off with the Golden Globe for Best Foreign Film and the ACE Eddie $ZDUG IRU %HVW (GLWHG 'UDPD DQG LW¬V WKH ²UVW QRQ(QJOLVKVSHDNLQJ²OPWRZLQ%HVW(QVHPEOH the Screen Actors Guild’s highest award. 2QH FRXOG VSRW DI²QLWLHV ZLWK VRPH RI WKH Motion Picture Academy’s past Best Picture ACE EDDIE SIX ACADEMY winners: the moody evocation of the inner city SAG AWARDS GOLDEN REEL AWARDS AWARD Lands top prize from NOMINATIONS it shares with “The Shape of Water”; its narrative )LUVW.RUHDQ²OPWR AWARDS Best Picture — First twists, as delightful as those in “The Sting”; and take top prize, for Wins top prize from American Cinema Best Ensemble Motion Picture Sound Editors Jan. 17 Korean nominee — the cheeky photographic and editing touches Jan. 19 Editors Jan. 18 International Feature, that conjure up “Tom Jones,” an earlier honoree Director, Screenplay, Production Design, from across the seas. Film Editing Jan. 13 Still, when all is said and done, Bong’s master- ZRUN LV OLNH DQ\ JUHDW ²OP VXL JHQHULV RULJLQDO unto itself, less a readily recognizable descendant than a likely future role model. be found. It would validate a celebrated line from Then again, no one needs an elaborate ratio- Having made history as South Korea’s most DQ$FDGHP\$ZDUGZLQQLQJ²OPRIDGR]HQ\HDUV nale to acknowledge “Parasite.” Just recall what prominent cinematic export ever, “Parasite” offers ago: “A great artist can come from anywhere.” it’s like to watch the movie in a theater: the shrieks Academy members a chance to make history And it would recognize that cinema itself is a of laughter, the shudders of dread, the dazed yet WKHPVHOYHV UHFRJQL]LQJ D ²OP LQ D ©IRUHLJQ universal language, foreign nowhere. delighted faces in the lobby afterward and the language” as best of 2019. In a time of fragile Even more important, recognition for “Para- feverish post-screening conversations about fate, international alliances and surges of nativism, site” would signify that concerns over unequal income inequality, tenuous Wi-Fi connections and DFNQRZOHGJLQJ D QRQQDWLYH ²OP DV WKH \HDU¬V resources and unbalanced opportunities are the proper recipe for ram-don. best would send a signal of fellowship across the genuinely felt by those at the highest levels of the “Parasite” is a one-of-a-kind, record-breaking

PHOTOS NEON ©; ILLUSTRATION BY SUNDAY BÜRO SUNDAY BY NEON ©; ILLUSTRATION PHOTOS globe, to resonate wherever movie lovers are to ZRUOG¬VPRVWLQ³XHQWLDO²OPFRPPXQLW\ VPDVK0D\EHLW¬VWLPHWRPDNHWKDWRI²FLDOQ

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Parasite_FINAL.inddUntitled-23 1 21 1/27/20 4:096:57 PM : BREAKING HISTORY That Park Place!

A majority of ‘Parasite’ is set in the postmodern hilltop sanctuary of the Parks, the ZHDOWK\EXWJXOOLEOHIDPLO\WKDWLVLQ²OWUDWHGE\WKHVWUHHWVPDUW.LPV%XWWKH3DUNV¬ home isn’t a real house — it’s several meticulously designed sets. By Karen Idelson

ne character in “Parasite” is generat- 7KH VHFRQG ³RRU DQG EDVHPHQW ZHUH EXLOW Oing lots of buzz but can’t be seen at a RQDVRXQGVWDJHZLWKWKHVHFRQG³RRUH[WHULRU premiere or on a red carpet: the stunning shots added digitally. In fact, stitching the sets house belonging to the Park family. together took over 400 “invisible” visual-effects With its sleek, angular, postmodern lines and shots, production designer Lee Ha Jun tells deep hidden secrets, the set has become one Variety. Those shots were used to connect rooms of the last decade’s most talked about achieve- and even people, ments in production design. It’s not just where Above all, Lee knew he had to fashion a house all the action plays out. The palatial residence is that looked like something a famous architect woven tightly into the story and even contributes had conceived. In a Q&A with the director at Film to the actors’ characterizations. Its layered levels at Lincoln Center, Lee said through an intepreter, are a mirror for the power dynamics of the family ©'LUHFWRU%RQJSURYLGHGPHZLWKD³RRUSODQKH as well as its social status. was imagining. So that became the basis of our Lee Jung Eun, who plays Parks’ original house- design for the set. I fortunately have a friend who keeper, says the house is organically related to is an architect, and I was in consultation with him her character. “The house can keep secrets,” she throughout designing the set. says. “The basement is like the tale of the train in ©%XWZKHQ,²UVWVKRZHGP\IULHQGWKLVGHVLJQ «6QRZSLHUFHU¬>3HRSOH@EHFRPHOLNHEXJV¨OLNH he said it wasn’t a livable house ... not a real a real parasite — when they’re in the basement.” living space. But I still have to manage to bring Director Bong Joon Ho wanted the house this onto the screen because, as the production (well, most of it) to be the sort of place a wealthy designer, what’s most important to me is what is owner would show off, according to Architectural being shown on the screen. So there was a lot of Digest. But while it looks like a posh showcase, navigating to do there.” Q the design itself makes it possible for one member of the family to hide in a part of the home or creep down a hallway undetected. That GHVLJQ KHOSHG %RQJ H[HFXWH KLV YHU\ VSHFL²F ideas about blocking, which he uses to create OR tension — almost a haunted-house feeling. “The production designer and I shared a lot of conversations in detail about the design of the OPEN CLOSED house and spent a long time preparing for the sets, particularly with the rich house, because WKHVHWZRXOGRQO\EH²QLVKHGFORVHWRSURGXF- tion,” says Bong. “We created a virtual simulation of the house, where I could replicate the camera THE BASEMENT “This is still a place angles and positions and roam around the space where you use the virtually. Then we created a simple program that remnants of the UH³HFWHGWKHH[DFWGHVLJQRIWKHDFWXDOVHWª fanciness of the rich As it turns out, the Park house isn’t a set — it’s house. It leads to multiple sets, built in different places. To ensure the gates of hell.” — Bong Joon Ho WKHKRXVHZRXOGEHLGHDOIRU²OPLQJDWPXOWLSOH FDPHUDDQJOHVWKH²UVW³RRUDQGVHUHQHJDUGHQ were constructed in an empty lot. The crew tracked the sun’s movements so they could make the best use of natural lighting at all times, thus giving the home a more organic feeling.

THE SUB-BASEMENT “The bunker is where everyone didn’t want to end up. It’s the place no one wanted to face and the place we all feared in our subconscious, particularly the protagonist Kim Ki Taek. He’s a man who wanted to go up the stairs but ended up going down the bunker and facing the fears within.” — Bong Joon Ho

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Parasite_FINAL.inddUntitled-23 1 22 1/27/20 4:096:57 PM THE MAIN FLOOR “This is where the secret deals take place ... it’s sort of the main stage for a young group of the rich housewives.” — Bong Joon Ho

demand for workers as the economy heated up. These apartments were soon associated with laborers who weren’t able to take advan- tage of the economic opportunities available to more educated workers. And then the poor became stuck — literally half underground. Bong told NPR that those who couldn’t keep up with the fast-paced Korean economy quickly became lost, left without the chance to improve their lives. The Kims’ house is meant to be a kind of mirror of the wealthy Park house, he noted. Instead of an enormous picture window with a view to a lush private lawn, the windows of the Kim bunker offer a narrow view of a dirty city street — no green in sight — where the family has to watch drunks get sick and urinate. Drowning With the Kims There the Kims face indignities like not being able to get Wi-Fi but also the greater threat of In “Parasite,” says director Bong Joon Ho, and the Kim family’s squalid semi-basement. ORVLQJDOOWKH\KDYHLIWKHUHLVD³RRG “the main characters are confronted by the Such dank living spaces were built in South One visual detail of the set is telling: The mundane classism that we try not to acknowl- Korea after the Korean War to double as Kims’ living space is literally below the toilet, edge. Since the movie is about the rich and the bunkers in the event of an invasion. Apart- an apt metaphor for the status of the poor and poor, everyone around the world can relate.” PHQWVZHUHDW²UVWEDQQHGDVWKH\DUHSURQH the struggling — and not just in Seoul. That classism plays out in the contrast be- WR SHVW LQIHVWDWLRQV DQG ³RRGLQJ WKHQ ZHUH ©«3DUDVLWH¬LVDYHU\.RUHDQ²OPªVD\V%RQJ tween two homes: the Parks’ hilltop sanctuary cleared for habitation to accommodate the “but we’re all living under capitalism.” Q

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Parasite_FINAL.inddUntitled-23 1 23 1/27/20 4:096:57 PM : BREAKING HISTORY

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really needs no explanation in Korea or Asia,” the director says, adding that Song was excited to They’re a Perfect 10 step back from his usual leading everyman posi- tion to “focus on the harmony of the characters.” Song may have stepped back from being a Bong Joon Ho took popular Korean thesps, cast some against type, got them to mesh leading man, but he still demonstrated leader- ship. Park So Dam, who plays conniving daughter perfectly — and made them all famous around the world. By Tara McNamara Kim Ki Jung and is a winner of several break- through actress awards in her own right, says, ©>6RQJ@DOZD\VDFWHGLQXQH[SHFWHGZD\VVRRXU est Picture buzz enveloped “Parasite” after reactions would be spontaneous and different.” Bits unanimous Palme d’Or win at Cannes, The Kim family had an additional complexity: but Bong Joon Ho’s social-class commen- Their characters play characters. Each is recom- tary was the underdog at the Screen Actors mended to the Parks with traits they must then Guild Awards. There’s always a worry that great pretend to possess. Whenever the Kims are out foreign-language performances will get lost in The thing you really of sight of the Parks, the characters relax back translation, but not only did the movie win Best into their true skin. Acting Ensemble, SAG’s top prize, the audience “The only way for us actors to set the tone showed its appreciation for the cast with a enjoy as an actor and breathe in the exact air with such tone is with two-minute standing ovation. It’s an acknowledg- help from the production designer. The gestures ment of the elevated performances that make while working with or behaviors of our four family members changed ©3DUDVLWHªVL]]OH©,QWKLV²OPDOOFKDUDFWHUVDUH through production designer Lee Ha Jun,” says equally important,” Bong says, Director Bong is you Choi Woo Shik, who plays Kim Ki Woo. Lee Sun Kyun, called “The Voice” in Korea and %RQJ³LSSHGW\SHFDVWLQJIRUWKHFUXFLDOSDUW cast as wealthy Mr. Park for what Bong calls his can see your face of Mrs. Park with Cho Yeo Jeong, who had been “multifaceted charm,” agrees: “The various roles famous for bombshell roles. “When I read the DQGSRVLWLRQV²WWRJHWKHUOLNHDSX]]OHª2UPD\EH in a way that you screenplay, I was surprised,” says Cho. But Bong D²OPYHUVLRQRI-HQJD(DFKRIWKHFKDUDFWHUV enjoys asking his actors to stretch, and they enjoy supports and balances the others: When one never expected to.” the challenge. Lee Jung Eun, who plays house- makes a move, another bears the weight. keeper Gook Moon Gwang, says, “The thing With no lead talent, hero or villain, Bong Lee Jung Eun, actor, “Parasite” you really enjoy as an actor while working with drew from a swath of Korean cinema’s most Director Bong is you can see your face in a way well respected and adored faces, starting with that you never expected to and act something his frequent collaborator Song Kang Ho, who is that you’ve never expected to play. To see the

something of an icon. “He’s a great actor who ‘new’ me is truly delightful.” Q MICHAEL BUCKNER - VARIETY PHOTO:

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Parasite_FINAL.inddUntitled-23 1 24 1/27/20 4:106:57 PM 0130 EE Neon PARASITE - INTERNAL_CVR3.indd 1 1/27/20 3:37 PM ACADEMY AWARD® NOMINATIONS 6 BEST PICTURE OF THE YEAR BEST BEST BEST BEST BEST DIRECTOR ORIGINAL SCREENPLAY PRODUCTION DESIGN FILM EDITING INTERNATIONAL BONG JOON HO BONG JOON HO AND HAN JIN WON LEE HA JUN AND CHO WON WOO YANG JINMO FEATURE WINNER WINNER SCREEN ACTORS GUILD AWARDS® GOLDEN GLOBE® AWARD OUTSTANDING PERFORMANCE BY A CAST BEST FOREIGN LANGUAGE MOTION PICTURE MOTION PICTURE

BEST ORIGINAL WINNER BEST PRODUCTION SCREENPLAY BEST FILM EDITING DESIGN NOMINEE NOMINEE WRITERS GUILD OF AMERICA AMERICAN CINEMA EDITORS ART DIRECTORS GUILD THE BEST-REVIEWED FILM OF THE YEAR OVER 300 TOP TEN CRITICS’ LISTS “ ”

+++++TIME OUT • NY OBSERVER • USA TODAY • VOX “A MASTERPIECE” THE NEW YORK TIMES •LOS ANGELES TIMES•THE WALL STREET JOURNAL•COLLIDER INDIEWIRE•THE BOSTON GLOBE•NPR•ROLLING STONE•THE AUSTIN CHRONICLE•VOX GQ•THE PLAYLIST•NEW YORK MAGAZINE•LETTERBOXD “A PERFECTLY DIRECTED MOVIE FROM ONE OF THE GREATEST FILMMAKERS WORKING TODAY. IF YOU WANT TO KNOW WHAT CINEMA IS, WATCH THIS.” THE NEW YORK TIMES

FOR YOUR CONSIDERATION

0130 EE Neon PARASITE - INTERNAL_CVR4.indd 1 1/27/20 3:38 PM CONTENDERSCONTENDERS

ACADEMY AWARDS

Best Picture

Actor & Actress

VARIETY 25

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Untitled-10 1 1/27/20 12:46 PM CONTENDERS | BEST PICTURE

Bird,” to draw keen connections between obstacles to women artists in the distant past and those today. SURVIVAL STORY “1917” tackles Downshift and fast-forward a century to 1966 and “Ford v Ferrari” the brutalities of recognizes the role of big business in our nation’s dominating force war and the price around the world throughout the 1900s — and, come to think of it, soldiers pay. founder Henry Ford’s association with the term “American century.” James Mangold’s racing thriller critiques the mania to establish brand ID and crush competitors at any cost, especially those of the smug, out- of-touch Old World. The personal story of men risking everything — life, family, reputation — for the sake of career brings out the essential conflict between Ferrari management’s complacency, and Ken Miles and Carroll Shelby’s ballsy innovation. Critical 21st century economic phenomena, such as international trade wars and internet-fueled entrepreneurship, aren’t far from Mangold’s mind. Nor should they be from the viewer’s. The very title of Quentin Tarantino’s “Once Upon a Time in Holly- wood” implies a fairytale La La Land circa 1969, but this is no dewy- eyed stroll through a movie tchotchke store. Everything that plagues its characters hangs over industry types today. A star’s dread of aging and Global Conflicts marginalization. A secondary player’s low income and lower status. The exploitation of this year’s blonde. The peril from enraged have- nots and nutjobs hanging over the privileged. Resonate Stateside “Nostalgia isn’t what it used to be,” as Simone Signoret titled her autobiography; romanticizing the past isn’t going to help us much ‘1917,’ ‘JOJO RABBIT’ AND ‘PARASITE’ when we’re still suffering from the same diseases. Small wonder Taran- STRIKE A CHORD WITH MODERN AUDIENCES tino winds it all up with an alternative-reality take on a genuine L.A.- based tragedy. The good win out. Isn’t it pretty to think so? By Bob Verini Martin Scorsese’s epic “The Irishman” is also fixed on the past, but not the glory street crime days of “GoodFellas” or the Vegas boom of “Casino.” Instead, old men who’ve spent their time on earth betraying A CENTURY AFTER World describe Jews are so ridiculous, and murdering, without apparent consequences, look back and real- War I ended, “1917” reminds us so outrageous, so violently over- ize the existential emptiness of it all. In a telling moment in Scorsese’s of the cost of official policies the-top that the spectator falls “The Departed,” a ruthless, amoral mob boss wonders how some guy’s that figure the best conflict reso- on the floor in hilarious disbe- lution calls for young people lief, while betting that the most ma is doing. “Oh, I’m afraid she’s on her way out.” to slaughter each other. As diehard white supremacist, hav- “We all are,” the kingpin sagely replies. “Act accordingly.” two angelic-looking, not- yet- ing heard them, would instantly Too bad the decrepit Irishman Frank Sheeran, now on his way out, cynical Tommies trudge through mend his ways. Not to mention never acted accordingly — never realized that if you want to wind up no-man’s land to deliver a life- the tin-pot Adolf Hitler conjured in a state of grace, you have to live in one. It’s not too late for the rest of or-death warning, the carnage up in the youthful title charac- us, however. they encounter demands we be ter’s mind, who may remind the The dystopia of Todd Phillips’ “Joker” perfectly captures the grimy mindful of similar missions being audience of a certain orange- carried out by similar innocents haired political leader closer to reality of New York, aka Gotham, in the 1980s. But it recognizes Arthur somewhere on the globe, every home, another narcissist with a Fleck as a casualty of our time, as much as (and maybe more than) his single day. The previous major fondness for dictating minions to own. The movie understands that some psychic wounds never heal, film crafted to appear as one do his bidding. particularly for those less well-off or less capable on whom society has uninterrupted shot, 2014’s “Bird- And then there’s “Parasite,” turned its back. In a meeting with the social worker who will shortly be man,” employed magical realism the modern-day genre-defier (is forced to dump him, Arthur inquires, “Is it me, or is it getting crazier out to dramatize a protagonist’s it a horror movie? a tragedy? a there?” When people become disconnected from their institutions and epiphany and ended up winning farce?) currently making jaws the best picture trophy. In direc- drop worldwide. Taking on class those who love them — when they’re left to themselves to be pummeled tor Sam Mendes and DP Roger division more directly than most by impossible, mass media-fueled fantasies of power and affluence — Deakins’ hands, that bravura other movies have in a decade the only proper response is, “Both, Arthur. Both.” technique leads to ultrarealism, or more, it sets oblivious 1 per- On the surface, plenty of healing seems to have happened by the and the epiphany is ours: the centers against the impoverished time we arrive at the present-day “Marriage Story,” whose nice, privi- sudden revelation of war’s but enterprising Kim family, who leged people live in comfortable digs and wear fashionable clothes and unconscionable waste. latch onto their hosts and dig in. seek balance between career and family. But of course it’s all an illu- By contrast with the dark Yet just as director Bong Joon “1917” style, Taika Waititi’s Ho upends genre conventions, sion, as Noah Baumbach is out to expose the stresses and fault lines cheeky “Jojo Rabbit” offers a he also undercuts our narrative threatening a relationship’s stability. Some of them are quite modern: witty, crisply satirical portrait expectations: Far from the salt people’s inability to communicate either with or through their attor- of World War II, the Father- of the earth, the overreaching neys, for instance. But others resonate as more universal: one spouse’s land cheerfully painted in clean Kims start to behave every bit as fear of change, the other’s fear of failure; the difficulties when a couple primary colors. The look is badly as the exploiters on whom tries to work on projects together; the strains on a child when parents bright, the wit droll and dead- they’ve been feeding. And when stop seeing eye to eye. pan throughout, and somehow another character reappears Waititi makes sentimental sub- with a surprising tale of woe, Nicole is struggling to express herself on her own terms, without plots fit in seamlessly. Yet none we’re given a stinging reminder continually sublimating her wishes for a man’s vision. What is the price of those trappings are able to that no matter how badly off you of agency for these women? Or for Frank Sheeran in “The Irishman,” mask the film’s ferocious attack are, there’s always somebody for that matter? These are conflicts, like those in all the best picture on race hatred. The terms used else worse off to whom you may contenders, that life never really resolves. by the movie’s slapstick Nazis to feel superior. FRANÇOIS DUHAMEL/UNIVERSAL PICTURES FRANÇOIS DUHAMEL/UNIVERSAL

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SUPPORTING PARTNERS MEDIA PARTNERS Characters Their to Connection Visceral CONTENDERS |ACTOR &ACTRESS 30 THEIR FAVORITE SCENES OSCAR-NOMINATED ACTORS DISCUSS “Harriet.” the formerslavein bility inportraying bravery andvulnera- with HarrietTubman’s Cynthia Erivoconnected SHE SHALLOVERCOME VARIETY.COM

By CourtneyHoward ACTRESS ACTOR & ACTOR Jewell Kelly. andMegyn includingRichardriet Tubman, orreviled, who have suchasHar- revered, eitherbeen makersrestore luster tothelegacyof history in awards seekto contention thisseason do theextraordinary. All threeof thesefilms woman to challenged events andanordinary women theircareersafterhorrific debating foremphatic plea herson’s innocence, three amothermakinganformer inthespotlight, involveon theperformers afamousper- within. sequences holdsomethingspecial Academy toshowcase theirnominees, these not necessarily theclipschosenby the be ence, butalsofor theactors. Whilethey may film comes intofocus notonlyfor theaudi- themovingThey’re momentsinwhicha ing sequence, Bates didherresearch. vulnerability andstrengthtion, inthisexact- wouldperformance have robotic.” been the Otherwise Bobi. and notmimicthereal ant toplay thecharacterofBobiIhadlived in and would likely executed. be Itwas import- convicted, hewould face penalty thedeath chance tosave herson’s life,” Bates says. “If the press conference when Bobihasonelast writing stage tothefinalcut. acter’s bigmomentcametogether, fromthe mother, genuinely valued Bobi, how herchar- “Richard Jewell” asthetitularcharacter’s I’ve ever experienced.” tory. Oneof collaborations themost special there onthestage together. Itwas celebra- feltit camedown like toit, was everyone day was andwhen joyful, every departments of Judy’s legacywithallthedifferent crew and exploring andsharingthematerials culty,” shesays. withmusic timespent “The think of theexperience intermsof diffi- the Hackney EmpireTheatre, butIdidn’t and tophysically buildtoward that week at informationtime tocollect thenecessary didn’t thinkof itthat way. some “Ittook are well-defined.” many ofas apublicperson, theparameters cess, they arebuiltaroundJudy andbecause centrifugalscenes tobe inthepro- seemed and withthemusic,” Zellweger says. “Those tional inthestory, there focusing sowe began the Town’ nightclubmomentswere founda- ing momentsfromtheshow. Talk “‘The of Town” That inLondon. involved re-creat- forming show “Talk acabaret called of the of Garland’s attempt at acomeback by per- “Judy”did herown singing. tellsthestory the challenge of playing butalso thelegend, andRenéeland, Zellweger on notonlytook THEY’RE THESCENES Few icons areasbeloved asJudy Gar- This year’s momentsthat madeanimpact To of themother’s get totheheart dedica- “I knewmy most difficultscene would be Oscar winnerKathy Bates, whostars in Though thechallenge Zellweger was high, that get ustalking.

GLEN WILSON/FOCUS FEATURES BOMBSHELL: HILARY B GAYLE/LIONSGATE; RICAHARD JEWELL: CLAIRE FOLGER/WARNER BROS. scene tome, how captured asIthinkitreally skepticism. It’s powerful aheartbreakingly what claustrophobic senseof and distrust andsome- contributed tosuchapervasive fromoneanother—andhoware isolated this women working insucha toxic environment demonstrated how anditreally the story these threewomen. Itwas of a pivotal part depicting thecomplicated dynamicbetween Ackroyd of got totheheart really DP Barry at thatstood timeinthecompany,” shesays. little dialogue. emotionswithvery palpable of thechallengebecause of conveying the man andMargot Robbie.” stuck inanelevatorbe it’s with, Nicole Kid- ifthereareany two I’dmean, people want to comeitself was true,” adream Theronsays. “I three of usareonscreentogether, andthat in elevator canmove at all. these ladies’shoulders, it’s astounding the Considering theweight of theworld rests on Roger Ailes’office, iskinetic. buttheirenergy ontheridetoFoxfairly hushed chairman The conversation between thetrioremains thefilm’sman that crystallized quietgravitas. set inanelevator Nicole withco-star Kid- Charlize itwas scene Theron, theirshared on thefirst take.” scene together withnootherwords. We got it Ican’t… well, putitintowords. We madethat that tome. hasnever happened Hiswisdom Leave heralone.’ In50years of doingthisjob, ‘Leaveto me, out, heralone, hecalled now. whensomeonecameup Iremember focused. my space tostay Ineeded stood quietand invaluable “Clint asset. under- [Eastwood] my clear son’splease name!’” toPresident ‘Mr.a plea Clinton, President, down thiswall!’tear Bobi’s finalsentence was Reagan spoke toGorbachev, ‘Mr. Gorbachev, Wood that hadafinallinelike wroteaspeech herson’s whohadruined the people life. Lin ton despitethecamerasandpress, all Clin- to[President] onherappeal I focused we shotthescene,historical “When event. victim of theAtlanta bombing.’” 113th Bobias‘the asheintroduced powerful heart-wrenching appeal. for me.” clue Thatto get was throughit. animportant “Finally, nomatter sherealized shehad what, get throughitwithoutcrying,” Bates says. Wood worked butshecouldn’t withBobi, [Jewell’s lawyers] Watson andLin Bryant me theweekend before theconference, Suspect,’Salwen, authorsof ‘The whotold Theron elaborates: “Jay [Roach] and our “It was of wherethewomen sosymbolic Robbie says it’s herfavorite scene aswell “It’s theonlyscene inthefilmwhereall For “Bombshell” stars Margot Robbie and Having anactorasherdirectorproved an inspirationBates fromanother alsotook “We Watson’s added linethat Ifound so videoof shestudied theIn addition, “I metwithKent Alexander andKevin very first take.”very into sucharhythm otherfromthe witheach standing ofwhat thisscene shouldbe. We fell innate senseof collaboration andunder- experience.”real admire tremendously, soitwas quiteasur- same time, withNicole andCharlize whomI chance letaloneat the tosharethescreen, never thoughtinmy careerIwould have the pany of thesepowerhouses. “Personally, I ing forward.” moment andhow muchthey risked incom- were of thesewomenalone each inthe truly played by CynthiaErivo, overcoming and fear ring sequences showing theiconic figure, of aslave Soul-stir- abolitionist. turned tor Kasi Lemmons’“Harriet,” aheroictale Jewell.” as Bobiin“Richard center) dugdeep Kathy Bates(right, in “Bombshell”; sional relationships complicated profes- her character’s (above) tappedinto Charlize Theron COMPLEX WOMEN A similarcharacterdrive pushesdirec- was suchanTheron concurs: “There Robbie alsofeltinthecom- tobe blessed hands.” Iknow theroleisbetter leftinotherning, the scriptfor thefirst time. Ifthere’s nolight- connections that lightupwhenreading sory All aresen- andtheheart. thehead stomach, their character. of theseOscarnomineesfeltnection each to she was able todo.” helps dilate how fierce shewas todothework someone whowasn’t invincible, whichIthink of herhumanity.heart Itshowed shewas whenheleavesband] her. Ifelt itgot tothe Tony scene withJohn [herhus- winner:“The say sheloves. goodbye totheperson life she’storturous onaplantation, forced to self-doubt envelop thenarrative. Bates sums it up best: “The work isinthe Bates “The sumsitupbest: isthevisceralThe common con- thread This momentspoke theloudest tothe scene,In onesearing asHarrietfaces a VARIETY.COM 31 CONTENDERS | ACTOR & ACTRESS Choosing From the Final Five EACH CATEGORY HAS FRONT-RUNNERS BUT WILL THERE BE OSCAR NIGHT SURPRISES?

BestLEAD ACTOR Actor

ANTONIO BANDERAS PAIN AND GLORY Sony Classics

Finally an Academy Award nominee, Banderas won the actor prize at Cannes for his role as a director reflecting on his legacy, based on the film’s writer-director and his frequent collaborator Pedro Almodóvar. The actor earned Critics’ Choice and Golden Globe nominations, but missed out on SAG and BAFTA noms.

LEONARDO DICAPRIO ONCE UPON A TIME IN HOLLYWOOD ADAM DRIVER MARRIAGE STORY Sony Netflix

DiCaprio landed his sixth Oscar nom for acting, having also been Nominated last year for “BlacKkKlansman” in the supporting category, S.; PRYCE: PETER MOUNTAIN/NETFLIX PRYCE: S.; nominated as producer for “Wolf of Wall Street.” He also received Driver scored a lead nom for playing one half of the fractured couple in nominations from BAFTA, Critics’ Choice, Golden Globe and SAG for his Noah Baumbach’s drama. He’s already won a Gotham Award and landed funny, fierce portrayal of fading star Rick Dalton. BAFTA, Critics’ Choice, Golden Globe and SAG noms for his performance.

JOAQUIN PHOENIX JOKER JONATHAN PRYCE THE TWO POPES Warner Bros. Netflix

Phoenix landed his fourth Oscar nomination for his turn as a troubled, The veteran stage and screen star landed his first Oscar nomination frayed man who may become the Dark Knight’s nemesis. Even those who for his funny, spry portrayal of Cardinal Jorge Mario Bergoglio, the man didn’t praise the movie had raves for Phoenix, who is leading the pack, who would be Pope Francis. Though he landed BAFTA and Golden having already won Critics’ Choice, Golden Globe and a SAG Award, with a Globe noms, he missed out on Critics’ Choice and SAG, which made his BAFTA nomination on top of that. placement in a very competitive field uncertain. BANDERAS: SONY CLASSICS; DICAPRIO: ANDREW COOPER/SONY PICTURES; DRIVER: WILSON WEBB/NETFLIX; PHOENIX: NIKO TAVERNISE/WARNER BRO TAVERNISE/WARNER NIKO PHOENIX: WEBB/NETFLIX; WILSON DRIVER: PICTURES; ANDREW COOPER/SONY DICAPRIO: SONY CLASSICS; BANDERAS:

32 VARIETY.COM BestLEAD ActressACTRESS

CYNTHIA ERIVO HARRIET

Focus

The Tony winner became both a first-time and a dual Oscar nominee; in addition to playing Harriet Tubman, she was nominated for co-writing the film’s song “Stand Up.” Though she missed out on BAFTA, Erivo scored Critics’ Choice, Globe and SAG nominations.

SCARLETT JOHANSSON MARRIAGE STORY SAOIRSE RONAN LITTLE WOMEN Netflix Sony

Johansson is also a first-time, double nominee, for her supporting turn At the age of 25, the actor has landed her fourth Oscar nomination, as ONSGATE; ZELLWEGER: DAVID HINDLEY/ROADSIDE ATTRACTIONS HINDLEY/ROADSIDE DAVID ZELLWEGER: ONSGATE; in “Jojo Rabbit” and playing a woman who initiates a painful divorce and well as BAFTA, Critics’ Choice and Globe noms, for playing Jo March, the custody battle in “Marriage Story”; though Gothams failed to nominate heroine of Louisa May Alcott’s classic. her, she made the cut with BAFTA, Critics’ Choice, Globes and SAG. RONAN: WILSON WEBB/SONY PICTURES; THERON: HILARY B. GAYLE/LI HILARY THERON: PICTURES; WEBB/SONY WILSON RONAN:

CHARLIZE THERON BOMBSHELL RENÉE ZELLWEGER JUDY Lionsgate Roadside Attractions

A previous Oscar winner for “Monster,” Theron transformed herself to Zellweger blew audiences away playing Judy Garland in the last year of play Fox News host Megyn Kelly during a challenging period in her life; her life; she looks to be unstoppable, having been rewarded with wins the actress has snagged Critics’ Choice, BAFTA, Golden Globe and two from Golden Globes, Critics’ Choice and SAG Awards, as well as landing SAG noms — one for the “Bombshell” ensemble. Indie Spirit and BAFTA noms. ERIVO: GLEN WILSON/FOCUS FEATURES; JOHANSSON: WILSON WEBB/NETFLIX; WEBB/NETFLIX; WILSON JOHANSSON: FEATURES; GLEN WILSON/FOCUS ERIVO:

VARIETY.COM 33 Netflix Netflix CONTENDERS |ACTOR &ACTRESS snagged BAFTA, Critics’ Choice,Golden Globeandtwo SAG nominations. type asthevoice ofreason inthemobsterdrama. He’s beenmissed; he’s Pesci returned tothebigscreen for thefirsttimesince2010, castagainst troubled Pope Benedictinhisfinaldays before steppingdown. Choice andGoldenGlobenominationsfor embodyingtheserious, Though hemissedoutonSAG, theOscarwinnerlandedBAFTA, Critics’ JOE PESCI ANTHONY HOPKINS ACTOR SUPPORTING ACTOR SUPPORTING T HE IRISHMAN THE TWO POPES Sony Netflix Sony Globe andSAG nominations. Oscar nomsince2000’s “Cast Away,” alongwithCritics’ Choice,Golden icon Fred Rogers tothebigscreen. Hanks hasbeenrewarded withhisfirst It tookthelegendarytwo-time OscarwinnerHanks tobringthebeloved endearing theentire time. nominated for aBAFTA Award. Andhis speeches have beenfunny and he’s already won Critics’ Choice, Golden GlobeandSAG Awards andis win hisfirst actingOscarfor hischarmingturn asstuntmanCliffBooth; Already anOscarwinnerfor producing “12Years a Slave,” Pittislikely to noms (one for ensemble) for thepart. has already earnedBAFTA, Critics’ Choice,GoldenGlobeandtwo SAG of aWoman” in1993 asJimmy Hoffa inMartinScorsese’s epic;thethesp Pacino returns totheOscarrace for thefirsttimesincehiswinfor “Scent TOM HANKS BRAD PITT AL PACINO

ONCE UPON ATIMEINHOLLYWOODONCE UPON THE IRISHMAN A BEAUTIFUL DAY INTHENEIGHBORHOOD

HANKS: LACEY TERRELL/SONY PICTURES; HOPKINS:PETER MOUNTAIN/NETFLIX; PACINO: NETFLIX; PESCI: NIKO TAVERNISE/NETFLIX; PITT: ANDREW COOPER/SONY PICTURES BATES: CLAIRE FOLGER/WARNER BROS.; DERN: WILSON WEBB/NETFLIX; JOHANSSON: LARRY HORRICKS/FOX SEARCHLIGHT PICTURES: PUGH: WILSON WEBB/SONY PICTURES; ROBBIE: HILARY B. GAYLE/LIONSGATE Sony Netflix Choice nomsfor therole. youngest oftheMarch sisters. She alsoscored BAFTA andCritics’ Pugh landedherfirst Oscarnominationfor playing Amy, the and SAG Awards; she’s alsonominatedatBAFTA. so far hasbeentheonetobeat,winningCritics’ Choice,GoldenGlobe Dern landedherthird nominationfor playing asharpdivorce lawyer and FLORENCE PUGH LAURA DERN ACTRESS SUPPORTING ACTRESS SUPPORTING MARRIAGE STORY

L ITTLE WOMENITTLE Fox Searchlight Lionsgate Warner Bros. after beingerroneously listedaslead. by theNationalBoard ofReview andmighthave missedoutonaSAG nom wrongly accusedRichard Jewell. Shewas alsonamedsupportingactress Oscar winnerBateslandedaGoldenGlobenomfor playing themotherof “Once UponaTime inHollywood.” earned bothGoldenGlobeandSAG noms; extra pointsfor herturnin Robbie never hitsafalse noteasarising producer atFox Newsandhas Choice andSAG nomsfor theperformance. —asthemotherofaNazi youth;Story” shealsoscored BAFTA, Critics’ Johansson snaggedasecondnom—she’s nominatedinleadfor “Marriage KATHY BATES MARGOT ROBBIE SCARLETT JOHANSSON RICHARD JEWELL

BOMBSHELL

JOJO RABBIT top races tohelpwithyour Oscarpool. Nevertheless, of the withanoverview ourbest we’ll try what willtake homefilmdom’s topprizes onFeb. 9. and gutinstincts, butthereisnoscience inknowing time for afinalpushfromfilms. Thereareprecursors is now for throughFeb. open final balloting 4,soit’s after “LaLaLand” was mistakenly announced). Voting was as thewinner(eventually, revealed “Moonlight” was over named “Brokeback Mountain” orwhen or worse, willalways people when“Crash” remember agony andthejoy of theAcademy Awards. For better UNPREDICTABLE CONTESTS MAJOR CATEGORIES COULDBEINFLUX IN VOTERS GUIDE 36 the Finish A Race to TRYING TO PREDICT Oscar’s topprize. the front-runnerfor awards andisconsidered been winningaslewof Late entrant“1917”has CHARGING FORTH VARIETY.COM

the unpredictable is part of the the unpredictable ispart “PARASITE” “ONCE ATIMEINHOLLYWOOD” UPON “MARRIAGE STORY” “LITTLE WOMEN” “JOKER” “JOJO RABBIT” “THE IRISHMAN” “FORD VFERRARI” “1917” voting body withtheAcademy,voting body whichthe (Italsosharesa of anOscarwin. predictor America —longconsidered thestrongest the topprize fromtheProducers Guild of for picture. best “Once” alsolande musical/comedy, respectively. Aweek later, Hollyw a Upon to ode “Once a bygone era, “1917,”epic, War I andQuentinTarantino’s At theGoldenGlobes, SamMendes’World have practicallywhiplash-inducing. been weeks few last The anyone’sgame. feels like picture thisyear, butinmany ways, itstill Best Picture A Nail-Biter for Ninefilmswere nominated for best But thena few days later, “1917” took ood,” tookbe d theCritics’ Choice Award st picture for dramaand

Time in

FRANÇOIS DUHAMEL /UNIVERSAL NEON tion between “1917”helmerSamMendes shapingupasacompeti- one seemstobe emojihere). shrug Book,” didn’t get adirectornomination (insert last year’shelmed picturewinner, best “Green ture areinextricably Peter linked, Farrelly, who 2018. Whileonewould thinkdirectorandpic- Toro’s of Water” Shape in “The both claimed once,only corresponded whenGuillermodel sionate fan base and on and on. andonon. sionate fanbase “Once aTimeinHollywood” hasapas- Upon Scorsese; Martin comes fromthelegendary Irishman”more thanany otherfilm;“The $1 billionworldwide andhas11nominations, things going for them:“Joker” hasmadeover “1917” and“Parasite.” But allthefilmshave knows. arace tobe between nobody Itappears front-runner. Mendes, astheperceived putting “1917”back tors Guildof Americaawarded itstopprize to the airagain. Academy voters. upin seemed Andeverything as theactingbranchislargest branchof a strong indicator of picturefavorite, abest take hometheSAG filmensembleaward —also thefirst by foreign being filmtomade history set:“1917”wasseemed thefront-runner. Sothings andcritics’orgsdonot.) Globes A Direct Path Since pictureanddirectorhave 2015,best Much like thebestpicturerace, this What does it all mean? Thesimplefactis, itallmean? What does But thefollowing weekend, theDirec- Less “Parasite” than24hoursafterthat, Oscar night. and couldmakehistoryon with SamMendes’“1917,” has beentradingawards Bong JoonHo’s“Parasite” CRAFTY CONTENDER shy actorshowed uptocollect andletvoters Further hiscase?Thefamouslypress- boosting score winsat Critics’ Choice, andSAG. Globes andhewent histurn, onto praised gritty story “Joker.” Even thosewhoweren’t afanof the it’s hardtodisputethepower and of Phoenix and Jonathan Two Popes”). Pryce (“The Oscars for AntonioBanderas(“Pain andGlory”) won butwere aGlobe) ultimately leftoutof the andSAG atscored both Globes (Egerton even v Ferrari”) andTaron Egerton (“Rocketman”) Award andOscarnoms. Christian Bale(“Ford nix (“Joker”) landingBAFTA, GoldenGlobe, SAG andJoaquin Phoe- Driver (“Marriage Story”) (“Once aTimeinHollywood”),Adam Upon actorrace,lead withonlyLeonardoDiCaprio Taking the Lead thing. thing. Thestatsnight? say yes, butnothingisasure Mendes for “1917.” Will onOscar herepeat tino (“Once Upon Irishman”)Scorsese (“The andQuentinTaran- areToddthe running Phillips(“Joker”), Martin most unpredictablefilmsof theyear. Also in get intospoilers, butheprovided one of the Bong Joon Hofor …well,in oneshot, let’s not Mendesfor hisfilmasifing open: shooting with emotionalheftthat leftourjaws hang- fornod “Parasite.” Bothdirectorsmadefilms and BongJoon Ho, enjoying hisfirst director (a previouswinnerfor “American Beauty”) It was aninsanelycrowded year for the While allthenomineeshave theirfans, Ultimately, theDGA gave itstopprize to a TimeinHolly wood.”) about itself. about Big.”big stretch. loves movies AndHollywood off, anddoesn’tshirt get onwithhiswife. It’s a takes guywhogets high, his faroff: “The too — at theSAG Awards therolewasn’t hequipped Pitt’sPhoenix, have speeches memorable been Oscar despitethreepreviousnominations. Like “12 Years aSlave” buthasnever won anacting DeNiro.)Robert Pitt hasanOscarfor producing the bigscreen(andreunionwithScorsese and actively forbeen campaigning hisreturn to ofcritics’awards,picked upanumber hehasn’t and Joe Pesci Irishman”). (“The WhilePesci has Two Popes”),(“The Al Irishman”) Pacino (“The Day intheNeighborhood”), Anthony Hopkins previous winners:Tom Hanks(“A Beautiful unbeatable. equally looks He’s upagainst four thejuggernaut. to be looks Dern WhileanythingRabbit”). canhappen, Jewell”) anddoublenomineeJohansson (“Jojo arepreviouswinnerKathygory Bates (“Richard Women” have theirfans. Rounding outthecate- bie in“Bombshell” and Florence Pughin“Little MirrorHasTwo Faces”),“The andMargot Rob- English Patient” winningover LaurenBacallfor andWives” bands orJuliette in“The Binoche Cousin Judy besting Vinny” Davis in“Hus- their freshfaces (thinkMarisaTomei in“My forinated anOscar. Ofcourse, Oscarsdolove Jennifer in“Hustlers,” Lopez wasn’t even nom- herstiffestson perceived tobe competition, divorce attorney. theper- herodds: Increasing and SAG Award winsfor herturnasasharp collected Critics’already Choice, GoldenGlobe Oscar aftertwo previousnominations —she’s tionally happens. asurprise, whereittradi- be thisisthecategory Oscars—thoughifthere’sperformance going to Support System loves, it’s acomeback. Ifthere’stus fromacting. onethingHollywood forthe spotlight sometime, having taken ahia- Zellweger Judy outof Garland, hasbeen endary inadditiontoplaying theleg- backstory: a great andSAG.Globes Shealsohastheadvantage of the majorprecursorsthusfar—Critics’ Choice, for “Little Women.” and ultimatelyherfourth nomination landed outat butmissed SAGnom, toLupita Nyong’o at BAFTA). SaoirseRonan aGlobes garnered SAG nominations (andallbutErivo scored ger (“Judy”) allreceived and GoldenGlobe lize Theron(“Bombshell”) andRenée Zellwe- Char- Scarlett Johansson (“Marriage Story”), a little morefixed: Cynthia Erivo (“Harriet”), nees inafunny andlovely speech. he went outofhisway topraisehisfellow nomi- know how hewas. honored At theSAG Awards, Two beloved actors aresettowintheirfirst On the supporting actorside,On thesupporting BradPitt settolandherfirst LauraDernlooks Still, Much like Phoenix, ZellwegerMuch like Phoenix, hasswept all actress,Over inlead thenomineeshave been VARIETY.COM 37 FINAL CUT

High Times In January 1928, exhibitors who showed MGM’s box-office hits could apparently just sit around and party all day. The Jan. 28, 1928, Variety ad epitomized the optimism linked to easy money to be made — not only through MGM’s hits but on MGM’s also through Wall Street bets. The promotion of drinking till drunk seems hilar- ious now, but the Roaring ’20s — soon to come crashing down the next year — were a jazz-and-gin-infused reaction to the previous decades of war, repressive Easy Street Victorian mores and social turmoil.

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