Spotlight's Journey from Real to Reel

Home , Adonis Creed, Beau Willimon, Chip Johannessen, Drew Goddard, Sasha Stone (blogger), Sharon Waxman

THE INSIDER’S GUIDE TO ALL THINGS OSCARS SPECIAL SAOIRSE BEHIND THE SCENES & BELOW QUENTIN PLUS ANIMATION RONAN GOES THE LINE WITH SICARIO, TARANTINO SAG Awards and SECTION EX MACHINA, CRIMSON PEAK GOES WEST Golden Globes by the HOME & MORE numbers, Creed, docs and our critic’s picks

NOMS I SAG I GLOBES I DECEMBER 23, 2015

SPOTLIGHT’S JOURNEY FROM REAL TO REEL INSIDE THE YEAR’S BEST DRAMA WITH THE PEOPLE WHO INSPIRED IT & MADE IT

Left to right: actors Liev Schreiber, Brian D’Arcy James, John Slattery, Michael Keaton, Rachel McAdams and Mark Ruffalo, journalists Mike Rezendes, Sacha Pfeiffer, Walter Robinson, Ben Bradlee Jr., Matt Carroll and Marty Baron TheWrap S.2260 Centinela Ave. Suite 150 Los Angeles, CA 90064 THE INSIDER’S GUIDE TO ALL THINGS OSCARS SPECIAL SAOIRSE BEHIND THE SCENES & BELOW QUENTIN PLUS ANIMATION RONAN GOES THE LINE WITH SICARIO, TARANTINO SAG Awards and SECTION EX MACHINA, CRIMSON PEAK GOES WEST Golden Globes by the HOME & MORE numbers, Creed, docs and our critic’s picks

NOMS I SAG I GLOBES I DECEMBER 23, 2015

SPOTLIGHT’S JOURNEY FROM REAL TO REEL INSIDE THE YEAR’S BEST DRAMA WITH THE PEOPLE WHO INSPIRED IT & MADE IT

Left to right: actors Liev Schreiber, Brian D’Arcy James, John Slattery, Michael Keaton, Rachel McAdams and Mark Ruffalo, journalists Mike Rezendes, Sacha Pfeiffer, Walter Robinson, Ben Bradlee Jr., Matt Carroll and Marty Baron TheWrap S.2260 Centinela Ave. Suite 150 Los Angeles, CA 90064 “SCOTT’S FILM VERSION OF THE BESTSELLING DEBUT NOVEL BY SPACE NERD ANDY WEIR FIRES ON ALL CYLINDERS, FUELED BY A HEROICALLY ENTERTAINING PERFORMANCE FROM MATT DAMON... BEST PICTURE THE MARTIAN, WITH A YOU-ARE-THERE SCRIPT BY DREW GODDARD, WORKS YOU OVER WITHOUT A HINT OF DYSTOPIAN DOOM IN ALL OF MUSICAL OR COMEDY ITS BRACING 142 MINUTES. THIS SUSPENSEFUL SURVIVAL TALE, SMARTASS TO ITS CORE, SLAPS A SMILE ON YOUR FACE THAT BEST ACTOR YOU’LL WEAR ALL THE WAY HOME.” MATT DAMON PETER TRAVERS, BEST DIRECTOR RIDLEY SCOTT

4 AWARDS BEST DIRECTOR RIDLEY SCOTT BEST ACTOR MATT DAMON BEST ADAPTED SCREENPLAY DREW GODDARD TOP FILMS

FOR YOUR INSPIRATION IN ALL CATEGORIES

LEGEND FINAL SIZE 40623 / THE MARTIAN - THE WRAP - GATEFOLD - PANELS 1 & 2 / FOX / 12.10.15 FINAL MECHANICAL 12959 CORAL TREE PLACE / LOS ANGELES, CA 90066 / T. +1 310 315 6300 / F. +1 310 315 6301 / WWW.IGNITIONCREATIVE.COM Live: Live: 18.9375” W x 11.5” H Trim: Trim: 19.4375” W x 12” H Bleed: Bleed: 19.9375” W x 12.5” H “SCOTT’S FILM VERSION OF THE BESTSELLING DEBUT NOVEL BY SPACE NERD ANDY WEIR FIRES ON ALL CYLINDERS, FUELED BY A HEROICALLY ENTERTAINING PERFORMANCE FROM MATT DAMON... BEST PICTURE THE MARTIAN, WITH A YOU-ARE-THERE SCRIPT BY DREW GODDARD, WORKS YOU OVER WITHOUT A HINT OF DYSTOPIAN DOOM IN ALL OF MUSICAL OR COMEDY ITS BRACING 142 MINUTES. THIS SUSPENSEFUL SURVIVAL TALE, SMARTASS TO ITS CORE, SLAPS A SMILE ON YOUR FACE THAT BEST ACTOR YOU’LL WEAR ALL THE WAY HOME.” MATT DAMON PETER TRAVERS, BEST DIRECTOR RIDLEY SCOTT

4 AWARDS BEST DIRECTOR RIDLEY SCOTT BEST ACTOR MATT DAMON BEST ADAPTED SCREENPLAY DREW GODDARD TOP FILMS

FOR YOUR INSPIRATION IN ALL CATEGORIES

LEGEND FINAL SIZE 40623 / THE MARTIAN - THE WRAP - GATEFOLD - PANELS 1 & 2 / FOX / 12.10.15 FINAL MECHANICAL 12959 CORAL TREE PLACE / LOS ANGELES, CA 90066 / T. +1 310 315 6300 / F. +1 310 315 6301 / WWW.IGNITIONCREATIVE.COM Live: Live: 18.9375” W x 11.5” H Trim: Trim: 19.4375” W x 12” H Bleed: Bleed: 19.9375” W x 12.5” H LEGEND FINAL SIZE 40623 / THE MARTIAN - THE WRAP - GATEFOLD - PANEL 3 / FOX / 12.10.15 FINAL MECHANICAL 12959 CORAL TREE PLACE / LOS ANGELES, CA 90066 / T. +1 310 315 6300 / F. +1 310 315 6301 / WWW.IGNITIONCREATIVE.COM Live: Live: 9.5” W x 11.5” H Trim: Trim: 10” W x 12” H Bleed: Bleed: 10.5” W x 12.5” H Contents NOMS I SAG I GLOBES PREVIEW DECEMBER 23, 2015 FEATURES 20 “It’s the type 20 IN THE NEWS of story you want Sitting down with the journalists to get perfectly right, and actors from Spotlight and be as honest as possible.” 30 IRISH ROSE —Rachel McAdams on Spotlight Saoirse Ronan goes home again— Photographed by to New York City? Corina Marie Howell

36 HATEFUL TWO Quentin Tarantino and Samuel L. Jackson get bold and bloody once again

40 TOON TIME Inside the year’s top animated films, from Inside Out to Anomalisa to Peanuts

40 LOOKING GOOD Behind the scenes and below the line with Ex Machina, Crimson Peak and more

DEPARTMENTS

6 AWARDS BEAT Oscar’s surprising glut of female films

8 BY THE NUMBERS Golden Globe and SAG Awards nominations

10 CRITIC’S CHOICE Alonso Duralde advises the voters

12 WHAT’S UP? DOCS Oscar shortlists the distinctive voices of Marlon Brando and Laurie Anderson

16 A FIGHTING CHANCE How Ryan Coogler gave Rocky a new complexion

18 SHINDIGS & SOIREES Holiday cheer means campaign ops

52 OSCAR’S BACK PAGES When Rocky KO’d the heavyweights FREEDOM. LIBERTY. REVOLUTION. FOR YOUR CONSIDERATION

THE WRAP SINGLE PAGE, REVISION 1 NETFLIX: WINTER ON FIRE PUB DATE: 12/23/15 TRIM: 10” X 12” BLEED: 10.5” X 12.5” SAFETY: 9.5” X 11.5” FRONT & CENTER / Contributors

THE WRAP MAGAZINE

EDITOR-IN-CHIEF Sharon Waxman

EDITOR CREATIVE DIRECTOR Steve Pond Ada Guerin

SHARON WAXMAN STEVE POND TIM APPELO DEPUTY EDITOR The founder, CEO and Steve Pond, TheWrap’s Tim Appelo was a found- Tim Appelo Editor in Chief of TheWrap, awards editor, has been ing senior writer and video VICE PRESIDENT, SALES Sharon Waxman is an writing about film, music critic for Entertainment SALES Nicole Winters, award-wining journalist and the entertainment Weekly, and Amazon’s Caren Gibbens Mattie Reyes and bestselling author. She industry for more than 30 founding entertainment DISTRIBUTION CREATIVE ASSISTANTS served as the Hollywood years for the Los Angeles and digital video editor. Trevor Tivenan Laura Geiser, Eric Hernandez correspondent for the New Times, New York Times, He has worked for the York Times and was a Washington Post, Premiere, Hollywood Reporter and correspondent for eight Rolling Stone and others. Billboard, and contributed THEWRAP.COM years for the Washington He is the author of The Big to the New York Times, Los DEPUTY MANAGING EDITOR Post. She is the author of Show: High Times and Dirty Angeles Times, Wall Street Thom Geier two books, including Dealings Backstage at the Journal, Rolling Stone and DEPUTY EDITOR Rebels on the Backlot. Academy Awards. Premiere. Anita Bennett

DIRECTOR OF AUDIENCE DEVELOPMENT Andrew Curry

EDITORS FILM Greg Gilman, Jordan Jeff Sneider, Burchette, Tim Todd Cunningham, Kenneally, Debbie Matt Donnelly Emery, Dionne Clarke

REVIEWS EDITOR BLOGGER/ Alonso Duralde REPORTERS Joe Otterson, SASHA STONE ALONSO DURALDE CORINA MARIE TELEVISION Beatrice Verhoeven, Sasha Stone is the Alonso Duralde, HOWELL Daniel Holloway, Reid Nakamura Tony Maglio, Linda Ge, founder and editor of TheWrap’s lead movie Corina Marie Howell is Itay Hod Awards Daily, which critic, has written about film a commercial photographer VIDEO she started in 1999 as for Movieline, Salon and and visualist specializing MEDIA Chuckie Fuoco, Oscarwatch, one of the MSNBC.com. He co-hosts in entertainment, beauty Jordan Chariton, Eric Piwowar, Joan E. Solsman Matt Turner first Oscar-related sites on the Linoleum Knife podcast and advertising. She began the web. She contributes and is a senior program- her career as a magazine EVENTS film reviews to TheWrap mer for the Outfest Film photo editor and producer Haley Davis from the Cannes Film Festival in Los Angeles. working for Movieline’s AD OPS Festival and Telluride Film He has written two books, Hollywood Life. Her Brittany Lawrence Festival. She is a member Have Yourself a Movie Little cover shoots for TheWrap The Wrap News Inc. is the leading digital news organization covering the business of the Alliance of Women Christmas and 101 Must-See magazine include Jeffrey of entertainment and media. Founded by award-winning journalist Sharon Waxman in 2009, The Wrap News Inc. is comprised of the industry-leading website with its Film Journalists. Movies for Gay Men. Tambor and Viola Davis. high-profile newsbreaks, investigative stories and authoritative analysis; premium magazines distributed to entertainment industry professionals; Wrap Events, a series of high profile gatherings of thought leaders including the Power Women breakfast series, Oscar season screening series and TheGrill, an executive leadership conference centered on the convergence of entertainment, media and technology; and PowerGrid Pro, the most current, relevant film development database. The Wrap News, Inc. is backed by Maveron, a venture capital firm based in Seattle, Washington and co-founded by Starbucks CEO Howard Schultz and Dan Levitan.

THE INSIDER’S GUIDE TO ALL THINGS OSCARS SPECIAL SAOIRSE BEHIND THE SCENES & BELOW QUENTIN PLUS ANIMATION RONAN GOES THE LINE WITH SICARIO, TARANTINO On the Cover SAG Awards and EX MACHINA, CRIMSON PEAK SECTION HOME & MORE GOES WEST Golden Globes by the TheWrap was nominated as the best entertainment website in 2012 and named the numbers, Creed, docs and our critic’s picks The cast of Spotlight, and the NOMS I SAG I GLOBES I DECEMBER 23, 2015 best online news site in both 2012 and 2009 at the National Entertainment journalists they portray in the film, Journalism Awards by the Los Angeles Press Club. It has won many other awards for investigative reporting, columns, criticism and feature writing. TheWrap was were photographed by Corina Marie named one of the “100 Most Important Online Publishers” in 2010 by OMMA, the Howell for TheWrap at Milk Studios in magazine of online media, marketing and advertising. New York City on Nov. 30, 2015. Left to SPOTLIGHT’S JOURNEY right: actors Liev Schreiber, Brian D’Arcy FROM REAL James, John Slattery, Michael Keaton, GO TO THEWRAP.COM TO REEL For more of our coverage of awards season and all other INSIDE THE YEAR’S Rachel McAdams and Mark Ruffalo, and BEST DRAMA WITH THE PEOPLE WHO INSPIRED IT & MADE IT facets of the entertainment industry visit us at Left to right: actors Liev journalists Mike Rezendes, Sacha Pfeiffer, Schreiber, Brian D’Arcy James, John Slattery, Michael Keaton, Rachel McAdams and Mark Ruffalo, journalists Mike Rezendes, Sacha Pfeiffer, Walter Robinson, Ben Bradlee Jr., Matt Carroll and Marty Baron Walter Robinson, Ben Bradlee Jr., Matt TheWrap.com. For advertising inquiries, contact

TheWrap S.2260 Centinela Ave. Suite 150 Los Angeles, CA 90064 Carroll and Marty Baron. [email protected] or call (424) 248-0662

4 THEWRAP DECEMBER 23, 2015 FOR YOUR CONSIDERATION

A FILM BY LIZ GARBUS #NinaNow

THE WRAP SINGLE PAGE, REVISION 2 NETFLIX: NINA PUB DATE: 12/23/15 TRIM: 10” X 12” BLEED: 10.5” X 12.5” SAFETY: 9.5” X 11.5” FRONT & CENTER / Awards Beat

8.3095 in (w)

WOMEN ON TOP? Films with central female characters haven’t been this prominent in the Oscar race in years, but problems still run deep

BY SASHA STONE ILLUSTRATED BY CHRIS MORRIS

or the first time since 1943, there is the possibility that five a central male figure—and since 2004, not one of them has had a Best or more films led by women—Inside Out, Mad Max: Fury Actress nominee, let alone a winner. Road, Carol, Joy, Room and Brooklyn—could crash the male- But this year, women are at the center of many films, successful both dominated Best Picture race. Why this, why now? with critics and the public, that could be heading straight for the Best The answer to that might have something to do with Picture race. And films flipped genders for iconic roles. Mad Max handed Fthe recent spate of complaints by women that there aren’t enough itself over to a woman to save humanity. Star Wars: The Force Awakens movies about them, written by them or directed by them. But that put a female in the young-apprentice role occupied by Luke Skywalker doesn’t explain why so many movies with women in them are doing in the original. David O. Russell made Joy, his first movie with a female so well with groups that have traditionally favored male-driven protagonist, and did the unthinkable: He left out a love story. storylines, at least for the past decade or so. So what’s it going to take for a film about a woman to win Best Hollywood’s depiction of women in film, after all, has degraded Picture again? That’s a different story. This year, the films leading drastically over the past few decades. Gone are the days of Best Picture contenders, like Spotlight or The Martian, still mostly revolve around winners like Gone with the Wind in the ‘30s, Rebecca and Mrs. Miniver their male leads. The demographics of the Academy have changed in the ‘40s, All About Eve and Gigi in the ‘50s, My Fair Lady and The somewhat, but the problem is deeper than the makeup of industry Sound of Music in the ‘60s, Annie Hall in the ‘70s, Terms of Endearment voters. It has more to do with the way films are made, how women are and Out of Africa in the ‘80s, and Silence of the Lambs, The English regarded overall in Hollywood, and the way popular tastes are shaped Patient, Titanic and Shakespeare in Love in the ‘90s. before films ever ever get into the hands of Oscar voters. In this millennium, there have only been Chicago and Million Dollar These are bigger problems than can be solved by simply having Baby. Big studio movies that hold women in esteem are no longer made, more women voters in the industry. It will require an overhaul praised or celebrated with Oscar nominations. Movies, we hear, are too of attitudes. Perhaps the election of the first woman President of expensive to make. Women buy tickets to movies about men, but not the United States might go a long way towards helping people in as many men or boys buy tickets to movies about women. Men save Hollywood think differently about women as protagonists, capable of the day, while women are the supportive sidekick, the beautiful trophy solving complicated problems and even saving the day. W or the nurturing mother figure always cheering her man on from the sidelines. Since 2005, every Best Picture winner has revolved around Sasha Stone is the founder and editor of AwardsDaily.com.

6 THEWRAP DECEMBER 23, 2015 THE WRAP MATERIALS DUE: MONDAY, 12/14 SINGLE PAGE BLEED ISSUE DATE: WEDNESDAY, 12/23 BLEED: 10.5" X 12.5" TRIM: 10" X 12" LIVE AREA: 9.5" X 11.5" 4F 4/C, 133 LINE SCREEN 2886-35 12/14/15 PDF/X-1a:2001 + Proof SJB_Wrap_1223_4CFP_4F FRONT & CENTER / Do the Math

GOLDEN GLOBES & SAG AWARDS BY THE NUMBERS

Golden Globe Awards

Performer with 2 film acting nominations this year: Alicia Vikander, 1 The Danish Girl and Ex Machina 3 Performers with separate Globe nominations for film and television acting: Lily Tomlin, Grandma and Grace and Frankie; Idris Elba, Beasts of No Nation and Luther; Mark Rylance, Bridge of Spies and Wolf Hall

16 Movies that received 2 or more Golden Globe nominations

24 Movies that received 1 Golden Globe nomination

2 2015 Golden Globe winners also nominated this year: Eddie Redmayne, Alejandro G. Inarritu

5 Lead drama actor nominees who played real people on screen

1 Lead drama actress nominee who played a real person on screen 24 Years since the lead drama actress category had two nominees from the same movie: Geena Davis and Susan Sarandon in Thelma & Louise then, Cate Blanchett and Rooney Mara in Carol now

Movies that have grossed more than $100 million in the Outstanding 3 Motion Picture – Comedy or Musical category: The Martian, Trainwreck and Spy

Movies that have grossed more than $100 million in the Outstanding 1 Motion Picture – Drama category: Mad Max: Fury Road

$150 MILLION

Approximate budget of each of the drama nominees The Revenant and Mad Max: Fury Road

$40 MILLION

Approximate combined budget of drama

nominees Carol, Room and Spotlight SIMON DARGAN BY ILLUSTRATIONS

8 THEWRAP DECEMBER 23, 2015 GOLDEN GLOBES & SAG AWARDS

BY THE NUMBERS Screen Actors Guild Awards

2 2014 SAG Award winners also nominated this year: Eddie Redmayne (Male Actor in a Leading Role both years), Michael Keaton (ensemble both years)

1 Lead actor nominee who has never won a SAG Award: Leonardo DiCaprio, The Revenant

3 Actors in smallest nominated SAG movie ensemble, Beasts of No Nation

11 Actors in largest SAG movie ensemble, The Big Short

4 Actors with both SAG movie and TV nominations this year: Idris Elba, Louis C.K., Mark Rylance and John Slattery

9 SAG nominations for Bleecker Street, A24, Broad Green and Open Road

Total SAG 14 Cate Blanchettt, Carol nominations 13 Helen Mirren, Trumbo and Woman in Gold (individual and 12 Kate Winslet, Steve Jobs ensemble), 11 Bryan Cranston, Trumbo including 9 Leonardo DiCaprio, The Revenant this year: 6 Christian Bale, The Big Short 5 Johnny Depp, Black Mass 4 Idris Elba, Beasts of No Nation Michael Fassbender, Steve Jobs Eddie Redmayne, The Danish Girl 3 Rachel McAdams, Spotlight Michael Shannon, 99 Homes 2 Saoirse Ronan, Brooklyn Mark Rylance, Bridge of Spies 1 Brie Larson, Room Rooney Mara, Carol Sarah Silverman, I Smile Back Jacob Tremblay, Room Alicia Vikander, The Danish Girl

Previous SAG 5 Helen Mirren wins for this 4 Bryan Cranston year’s nominees: 3 Cate Blanchett Kate Winslet 2 Christian Bale Michael Shannon 1 Johnny Depp Michael Fassbender Eddie Redmayne ILLUSTRATIONS BY SIMON DARGAN BY ILLUSTRATIONS

NOMS I SAG I GLOBES 9 FRONT & CENTER / One Man’s Opinion

The Alternative Oscars Wishlist TheWrap’s film critic shares the achievements he’d call to the (red) carpet

BY ALONSO DURALDE

It’s the season when observers turn from “What a terrible year for movies” to “How can I possibly narrow down my list of favorites?” on a dime, so it’s inevitable that the Academy of Motion Picture Arts and Sciences is going to leave some deserving honorees off its shortlists. Here are some noteworthy entries from 2015, mentioned in the hopes of upping their chances to make it to the big show.

BEST PICTURE Ex Machina This directorial debut from “Brit pack” BEST ACTRESS BEST SUPPORTING novelist-turned-screenwriter Alex Garland Juliette Binoche, ACTRESS faces a number of hurdles, from its early-in- Clouds of Sils Maria Rose Byrne, Spy the-year release to the fact that if only one Kristen Stewart deserves all the praise Comic turns are generally ignored genre film makes it, it’s most likely going to she’s gotten from critics groups (and the by this august body, but this category be Mad Max: Fury Road. But if there can be Césars) for her work in Olivier Assayas’ occasionally honors great practitioners room for a second non-Oscar-bait movie, gorgeous drama, but the film’s lead is no of the craft. After stealing scenes in it should certainly be this one; the writing less captivating in a role that’s just as Bridesmaids and Neighbors, Byrne is taut and unpredictable, the three lead complex. There have been many movies explodes with full force here, snarling performances are outstanding and the film about aging actresses, but Binoche finds with villainy while exchanging brutally incorporates visual effects as an invisible yet new tones and insights for her barbed banter with Melissa McCarthy. indispensable element of the storytelling. performance.

BEST ACTOR BEST SUPPORTING ACTOR BEST DIRECTOR David Thewlis, Anomalisa Sam Elliott, Grandma Andrew Haigh, 45 Years There has never, ever been a nominated For decades, Sam Elliott has walked on Haigh has established himself as a performance from an animated film, screen and played Sam Elliott brilliantly, skilled observer of the human not even when Disney/Pixar mounted a but here’s a film in which he’s asked heart, from the gay love stories of campaign for Ellen DeGeneres in Finding to portray someone entirely different. Weekend and HBO’s Looking to this Nemo. But Thewlis—as a character who’s It’s a powerful, vulnerable, subtle piece subtle, devastating observation of a relatable even when he’s despicable—merits of acting that reaffirms this reliable lengthy heterosexual marriage that award-season attention. (As do his co-stars supporting player as one of the real threatens to become unglued by new

Jennifer Jason Leigh and Tom Noonan.) treasures of American movies. revelations and old regrets. W PUSHER PIXEL BY ILLUSTRATION PHOTO

10 THEWRAP DECEMBER 23, 2015 GOLDEN GLOBE® AWARD NOMINEE COMEDY BEST ACTRESS Maggie Smith

©HFPA “ACTING LEGEND MAGGIE SMITH’S TOUR DE FORCE.” -Lou Lumenick, New York Post “MAGGIE SMITH COULD EARN YET ANOTHER OSCAR® NOMINATION FOR HER GREAT PERFORMANCE. THIS IS ONE OF THE BEST FILM PERFORMANCES FROM AN ACTRESS WHO’S UNIVERSALLY ADMIRED.” -Tim Gray, VARIETY IN BEST ACTRESS THE LADYTHEVAN Maggie Smith

GOLDEN GLOBE® AWARD NOMINEE BEST FOREIGN LANGUAGE FILM

“THE BEST PICTURE OF THE YEAR”. ©HFPA Eric Kohn, INDIEWIRE Anne Thompson, THOMPSON ON HOLLYWOOD

WINNER WINNER WINNER WINNER WINNER WINNER WINNER NEW YORK FILM LOS ANGELES FILM NATIONAL BOARD GRAND PRIX NEW YORK FILM BOSTON ONLINE FILM WASHINGTON AREA CRITICS CIRCLE CRITICS ASSOC. OF REVIEW CANNES CRITICS ONLINE CRITICS ASSOC. FILM CRITICS ASSOC. BEST FIRST FILM BEST FOREIGN BEST FOREIGN BEST FOREIGN BEST FOREIGN BEST FOREIGN LANGUAGE FILM LANGUAGE FILM FILM FESTIVAL LANGUAGE FILM LANGUAGE FILM LANGUAGE FILM

ALL CATEGORIES INCLUDING BEST DIRECTOR BEST ACTOR BEST ORIGINAL SCREENPLAY BEST PICTURE László Nemes Géza Röhrig Clara Royer and László Nemes SONSON OFOF SAULSAUL

“THE MOST FULLY REALIZED—AND MOST MEMORABLE— GOLDEN ROLE IN HER STORIED AND ECLECTIC CAREER.” ® -Ben Dickinson, ELLE MAGAZINE GLOBE AWARD “LEGEND LILY TOMLIN GIVES THE NOMINEE ©HFPA PERFORMANCE OF HER CAREER.” BEST ACTRESS COMEDY LILY TOMLIN -Lou Lumenick, NEW YORK POST “LILY TOMLIN IS AT THE HEIGHT OF HER POWERS. FUNNY, ACERBIC, TOUCHING— BEST ACTRESS AND ULTIMATELY EXHILARATING.” Lily Tomlin -David Lewis, SAN FRANCISCO CHRONICLE GRANDMA WRITTEN AND DIRECTED BY PAUL WEITZ

CARDINAL COMMUNICATIONS GRAPHICS STUDIO CGA PROOF TRAFF A.E. Made in InDesign CC Client: File Page: < > AE: JP Publication:THE WRAP SONY Full Page / 4C SPELLING Prepared by : Cardinal Job #: Date To Run:WEDNESDAY, DEC. 23, 2015 GRAMMAR SONY-SO15-53_WRAP Trim 10” x 12” ARTWORK Communications Type: Specs:SAU F. TIMES Movie: COMBO Bleed 10.5” x 12.5” Version: 85 THEATRES Line Screen: Safety 9.5” x 11.5” AD SIZE Last Rev: JE Date/Time: 12/11/15 3:50 PM READER E FRONT & CENTER / What’s Up? Docs The Wild One Listen to Me explores the actor’s legacy — in his own words

BY STEVE POND DOCUMENTARY VOICES

tevan Riley would probably most of his life, and he was so analytical. He other luminaries and stuck with Brando. not have been the first choice if once said that the main hobby of his life was “They were interesting people,” he said, “but you were hiring somebody to observing behavior—so what if he applied this was about Marlon’s interior space.” channel Marlon Brando’s con- that to himself? That was the premise.” Riley assembled a first cut made up almost sciousness on screen. “I followed When he started looking through the entirely of the audio tracks, with very little Shim only insofar as I loved his films,” said the audiotapes provided by the Brando estate, video. Showtime, which was distributing British documentary filmmaker who made Riley didn’t know if there would be enough the film, didn’t balk. “They could have Listen to Me Marlon. “I heard that he was the material to support the Brando-by-Brando panicked at any stage, but they were very greatest actor of all time, but I couldn’t intuit approach he’d pitched when he landed the supportive,” said Riley. “I had ideas about the why and I didn’t try to analyze it, and I didn’t job. As some 300 hours of those audiotapes visuals, but every time I got bogged down know his story beyond what I’d read in the were taken out of Hollywood stor- in visuals, I’d just park it and go back tabloid press.” age facility and transcribed, the to the audio. And they were very But from those unlikely beginnings came director started interviewing much on board.” an Oscar-shortlisted documentary that tells people who knew Brando— In the end, Riley did won- Brando’s story in Brando’s words, putting a not on camera, but as an der about constructing a film restless, questioning, contradictory intelli- “exit strategy” in case he out of often private tapes in gence under a microscope of Brando’s own had to go with a more con- which Brando openly dis- construction. No friends, family, colleagues ventional talking-heads cussed his doubts, his failings or scholars attempt to explain the titanic approach. “But when I got and the tragedies in his life. actor in Listen to Me Marlon; instead, Brando 10 or 15 minutes into the “I thought this might be his does it, talking to himself and about himself edit, I relaxed and realized worst nightmare—somebody on self-hypnosis tapes, conversations with the material was there,” he said. going through his personal effects,” friends and interviews. The material is some- “One of the first six or seven tapes he said. “Who would necessarily enjoy times revealing, sometimes confounding and I listened to was a self-hypnosis tape, which that? But at one point he was prepping a doc- often shockingly intimate. was very important.” umentary on himself that he was going to “He was in a desperate search for mean- Envisioning the film as “a dialogue direct and edit, and I suppose I took a degree ing,” said Riley of the man who revolution- Marlon was having with himself and his of confidence from that. ized screen acting with A Streetcar Named audience,” Riley assembled a cut out of “I thought that if I could somehow under- Desire and On the Waterfront, and went on Brando’s own words; even when the tapes stand Marlon, my film might approximate a to make landmarks like The Godfather, Last were of the actor in conversation with film he thought would represent him. I tried Tango in Paris and Apocalypse Now, along people like Michael Jackson, Martin Scorsese to answer the questions I suspect he would

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DOCUMENTARY VOICES

scramble mode. And I try to make very wide jump cuts early in what I’m doing. THE STORYTELLER “It’s a film about up, about sky, about writing and also about fear. It’s about very rapidly Laurie Anderson explores her art shifting points of view. You’re looking through a dog’s eyes, and then through the and life in Heart of a Dog. lens of a surveillance camera, and then you’re BY STEVE POND floating about in the bardo [the Buddhist soul’s transitional afterlife state]... That dislo- ver the last five decades, few film is sort of about her dog, sort of about her cation is very important.” voices in music, art and per- childhood, sort of about America’s surveillance Like Anderson’s music and her stage formance have been quite as culture and mostly about Laurie Anderson’s performances, the result is elusive and distinctive and rich as Laurie musings on art, life, death, creation and lots of meandering but potent, an utterly singular Anderson’s. The 68-year-old other things. “I approached it like everything visual essay that can be wise, whimsical and OIllinois-born, New York-based artist has been else I do,” she said. “You sit back and say, ‘Is it at times unexpectedly touching. Anderson an idiosyncratic and inspiring presence since complex enough? Is it unbalanced enough? Is it touches on events from her childhood, tugs the ‘70s, with a brief touch of pop stardom beautiful enough?’” at the heartstrings as she deals with the when her single “O Superman” made it to No. Heart of a Dog is all three of those things, death of Lolabelle, ends the film with an 2 in England in 1981, along with collabora- which makes it the most delightfully uncon- elegiac song from her late husband, and even tions with the likes of William S. Burroughs, ventional film on the Oscar doc shortlist. It tosses in some of the last scenic footage she Spalding Gray, Brian Eno, Philip Glass and her grew out of a commission from the French TV was able to take from her apartment in New late husband, Lou Reed. network Arte, which airs a series of mostly York’s West Village. She brought her distinctive storytelling voice low-budget, short essay films. “They asked me “I used to have a great view of the Hudson to film this year with Heart of a Dog, a mixture to do one, and I thought it’d be a good chance River,” she said. “And then the Trump Tower of live-action, animation and home movies. The to ask myself why I do things,” Anderson said. came in next door, and I had to brick up my “And then I thought I needed a hook. Lassie, own windows. So harsh.” A shrug. “But it’s a Rin Tin Tin—dog films are always great.” good painting studio now. It’s got a big wall.” But her piano-playing dog, Lolabelle, is She returns to musing about the experi- only a small part of the film, which she said ence of creating Heart of a Dog. “It’s really proceeded slowly over a period of years. “I good when nobody cares what you’re doing, think after Arte asked me to do it, they forgot,” when nobody’s going, ‘How’s the film com- she said. “Because they never checked on it. ing?’ Not to be pretentious, but that ultimately Being really casual doesn’t always work for meant this was about freedom. Freedom to me, but in this case it helped me a lot. It devel- make the film the way that you see it.” oped in a very, very organic way.” And when she finally finished, was She started, she said, the way she usually Heart of a Dog what Arte had been looking starts any kind of art project: “I always make for? “It was four times as long as they asked a big diagram of how things could relate for, and two years late,” she said. “But other- to each other, and then I try to really trust wise, perfect.” W

14 THEWRAP DECEMBER 23, 2015

FRONT & CENTER / Boxing Day

The Good Fight With Creed, Ryan Coogler puts a different face on the Rocky franchise

BY STEVE POND

t took some persuading before Sylvester Stallone agreed to hand the reins to his Rocky franchise to a 29-year-old African-American director, Ryan Coogler, who didn’t even have one film under his belt when he first approached Stallone. But Coogler, who was Iabout to make the acclaimed 2013 indie Fruitvale Station, about a young, unarmed black man gunned down by a transit cop in Oakland, eventually won over Stallone. And then he made Creed, which rebooted the franchise in a fresh and exciting way, reinforced Michael B. Jordan’s stardom in a powerful role as the son of longtime Rocky nemesis Apollo Creed, and brought Stallone his best reviews ever as the aging and ailing boxer-turned-trainer. ↑ Top, Ryan Coogler with Sylvester Stallone on the set You started trying to get Creed off the ground before you of Creed, his reboot even made Fruitvale Station, didn’t you? Rocky fandom from him, you know, and those movies have a of Stallone’s Rocky franchise; right, I had the idea of it, yeah, around the time that Fruitvale was lot of meaning to me. They represented my father to me. So Michael B. Jordan as starting. That was when my father got sick. I’m very close when my dad got sick and his muscles were atrophying and Adonis Creed. with my father, and he’s a big Rocky fan. I kind of inherited we thought we were gonna lose him, I had an emotional crisis.

16 THEWRAP DECEMBER 23, 2015 my dad watching that scene with me and my brothers and my family, it’s got a little extra.

So here you are, on the set directing Sylvester Stallone as he plays a character he created before you were born. Do you have the nerve to give him notes? Well, I have to. I knew from the moment I met him that he was a crazy talented actor, and my deal with him was, “Sly, when you’re normally making movies, you wrote it, you’re acting, producing, directing. In this situation, I’m gonna take all this other stuff off your shoulders and you can act.” He was still a producer, and he was there for support when he saw something in the script or something in a fight scene that could be better. But I wanted him to put all the talent and experience and charisma into his performance—and man, he did it. He’s so eager, he’ll do 100 takes if there’s 100 ways to make a scene better. And then throw in the fact that this dude was 68, you know what I mean? He had no reason to be doing this. He doesn’t need the money, he doesn’t need this addition to his body of work.

The central character isn’t Rocky—it’s Adonis Creed, the son of the bad guy in the first movie. It’s interesting—as a black man growing up, Apollo was never the villain. For me, Apollo was awesome even when he was purely structurally an antagonist in the first Rocky. From the moment Carl Weathers steps onscreen as Apollo Creed in Rocky, I thought, “This guy is awesome.” He’s like Muhammad Ali, who was like a god to black culture and to black athletes. He was articulate, he had a business head and he was surrounded by other black people, unapologetically. I found the character to be revolutionary in many ways, and that was a perspective that I didn’t want to get away from in making this.

Does it feel significant that you were able to take a franchise built around a white hero and put a young black

© 2015 WARNER BROS. ENTERTAINMENT INC. AND METRO-GOLDWYN-MAYER PICTURES INC. PICTURES AND METRO-GOLDWYN-MAYER INC. ENTERTAINMENT BROS. WARNER © 2015 man at its center? Does it feel significant to me? Oh, wow! How could it not? It’s exciting, man, for so many reasons. To be able to give not just black folks but America, to give them Apollo back in this version is And out of that came this idea of, what if this happened to incredibly exciting. And to have Sly’s blessing and [producer] Irwin my father’s hero? And what if there was a young guy in his [Winkler]’s blessing, and to be able to work with actors as outland- life, and we were following their relationship? I was question- ishly gifted as Mike—to be able to do that, man, it’s profound. ing masculinity. Is your manhood defined by your strength and your ability to protect all you love? I was watching my Since you made Fruitvale Station, the incident that led you to father, who was the best man I knew, losing those things. And make that film has been repeated. that was around the time I was working on Fruitvale, and a lot All the time. of it was guilt ‘cause I couldn’t be around my dad as much as I wanted to be. Do you feel like there’s been any progress since then? No. No. I don’t. I think there’s progress in people’s willingness to What was it like showing him Creed for the first time? record those situations when they see them unfolding. But as It was emotional, man. You know, these are the only far as these situations stopping? Nah. movies where I would see my dad cry watching them. And there’s so much of me and him in the movie. For instance, So what’s it going to take? when my dad was sick, he had trouble walking, but he had too I wish I had that answer. Systemic change, I think, because it’s a much pride to use a cane. He would have me and my younger systemic problem. And hey, I think art can help too. Art can do its brothers walk in front of him, and he’d put his hand on our part. Having a more diverse perspective means more three-dimen- shoulders and lean on us. So in a lot of scenes when Rocky sional characters that look like these kids that are getting mur- comes out of chemo, that’s how he walks with Adonis. For dered. I think that’s what our industry can do. W

NOMS I SAG I GLOBES 17 PARTY REPORT / Mikey Glazer

2. END OF THE BEGINNING AS THE CALENDAR HEADS FOR JANUARY, CONTENDERS PREPARE FOR THE ACADEMY TO WEIGH IN—BUT FIRST, HOLIDAY PARTIES MAKE FOR NOT-SO-SILENT NIGHTS BY MIKEY GLAZER

1. Escorting his Danish Girl costar 1. Alicia Vikander, Eddie Redmayne dressed for Christmas at his hometown premiere in Leicester Square. 2. Good news for Sarah Silverman: She was nominated for a SAG Award for her dramatic performance in I Smile Back. 3. The Gotham Awards attracted Helen Mirren and Julianne Moore to Cipriani Wall Street. 4. With the Presidential Medal of Freedom, Steven Spielberg gets one notch closer to the first ever EGOT/PMOF awards shelf. 5. U.N. Messenger of Peace for the Climate Leonardo DiCaprio logged 3. in to the Paris Climate Conference ahead of European promotion for The Revenant. 6. Saoirse Ronan and Kate Winslet both went home winners at the British Independent Film Awards on Dec. 6. 7. Bradley 4. 5. Cooper, David O. Russell and Edgar Ramirez mixed with other awards season contenders at GQ’s Men of the Year Bash at the Chateau Marmont. 8. The ninth face in The Hateful Eight, Channing Tatum, joins Goldie Hawn, Kurt Russell and Jennifer Jason Leigh at Arclight for the Quentin Tarantino film’s world premiere. 6.

7. 8. EAMONN M. MCCORMACK/GETTY IMAGES (1); KEVIN WINTER/GETTY IMAGES FOR TREVOR PROJECT (2); SARA JAYE WEISS/STARTRAKSPHOTO.COM (3); ALEX WONG/GETTY IMAGES (4); THIERRY CHESNOT/GETTY IMAGES (5); (5); IMAGES CHESNOT/GETTY THIERRY (4); IMAGES WONG/GETTY ALEX (3); WEISS/STARTRAKSPHOTO.COM JAYE (2); SARA PROJECT TREVOR FOR IMAGES (8) CO WEINSTEIN WINTER/GETTY THE (1); KEVIN FOR IMAGES IMAGES MCCORMACK/GETTY EAMONN M. GALLAY/GETTY (7); CHARLEY MAGAZINE GQ FOR IMAGES WINDLE/GETTY MIKE (6); AWARDS FILM BRITISH INDEPENDENT THE MOET FOR IMAGES BENETT/GETTY BENETT/DAVE M. DAVID

18 THEWRAP DECEMBER 23, 2015 ¤ WHEN JOURNALISM MET HOLLYWOOD

FOUR DECADES AFTER ALL THE PRESIDENT’S MEN, TOM MCCARTHY’S SPOTLIGHT HAS PUT NEWSPAPER REPORTING BACK ON SCREEN

BY SHARON WAXMAN PHOTOGRAPHED BY CORINA MARIE HOWELL WHEN JOURNALISM MET HOLLYWOOD The Boston Globe’s investigation into pedophile priests in the Catholic TChurch in 2002 is the subject of Spotlight, an ambitious drama that brings together a high-powered cast led by Michael Keaton and a high- risk topic involving power, religion and sexual abuse. Editor-in-chief Sharon Waxman sat down with the film’s co-writer and director, Tom McCarthy, and with Marty Baron, editor at the Boston Globe at the time of the Pulitzer Prize-winning investigative series, and now executive editor at The Washington Post.

22 THEWRAP DECEMBER 23, 2015 Who would ever think reporters and editors would have their life rights bought? It’s a beautiful day. MARTY BARON I discovered my life isn’t worth that much Reading actually and depreciated over time, by the way. [Laughs]

through the Most stories about newspaper journalists are the opposite of records, it’s exciting. It’s basically people sitting at typewriters or comput- ers or on their phones. So isn’t that the challenge? How do you incredibly make it into a narrative story that you can show on screen? McCARTHY Probably. It’s funny—I felt somewhat immune disturbing to see to that when we were starting this project, and maybe that’s the back-and- because we had a sense of how rich the material was. By that I mean the actual investigation, the process, the Catholic Church, forth between the cover-up. There was just so many elements to it that we the Archdiocese thought, “Wow what’s our in?” And our in was obviously through the eyes of the reporter. and some of And then we had the good fortune to spend a lot of time with these victims.” these guys, who were very generous in that way. We had to sit with them and interview and piece this investigation together and in doing so, we just became charged with the idea of committing to the procedure and the craft of journalism. I think — Tom McCarthy that was our gamble. If we find it exciting, if we commit to it as director of Spotlight faithfully as possible, as authentically as possible, hopefully our audience will also connect with it.

Marty, there’s a line in the movie in which you’re described as an unmarried guy of the Jewish faith who hates baseball—not meant as a compliment, clearly. Were you aware that you would be regarded so thoroughly as an outsider? BARON I was aware of the fact I would be perceived as an outsider in Boston. This city, a wonderful city, had a reputation of being insular in many different ways, and after I arrived it was clear people perceived me to be an outsider, and in fact they used that very term. Coming in from the outside, it did give me a fresh perspective. I was looking at a story as if I’d never seen it before. In fact, I had not seen it before when I first became aware of this. I was kind of stunned: Here was this priest who was accused of abusing as many as 80 kids, and yet I hadn’t heard of this story in Miami. And so I was really curious about it, and then I raised the question about whether we couldn’t seek confidential court documents that had been kept under seal. And I was surprised, frankly, that the Globe and no other media outlet in Boston had actually sought to have those documents made public.

One of the things that is so striking about the story is the pressure that’s brought to bear on editors and others who are Catholic or have deeper ties through school. Was that going on? BARON It’s hard for me to say, because I didn’t know anybody Tom, you’ve done so many different kinds of movies as a writer, at the paper, really. I didn’t know anybody in town, and I didn’t actor, director. You’ve contributed the story to Up, you did Win really have any sources on the staff, actually. It’s an unusual Win—this seems really off your beaten path. Tell us why you circumstance for an editor to have essentially no one who would became interested in this story to begin with. tell you what’s really going on. TOM McCARTHY I self-generate most of my projects, especially the ones I write and direct. But this particular story was brought So you were an outsider in the Globe and in the city. to me by two producers, Nicole Roklin and Blye Faust, who had BARON Inside the Globe and inside the city as well. Absolutely. tracked down the idea and got the life rights to the reporters and the editors. There was something at first blush that was so com- That sounds kind of lonely. pelling about this story that it was tough to resist. The idea of BARON To be honest, it was lonely. It was a very tense time. Marty Baron coming from the Miami Herald to Boston, and then There were people on the staff who wanted the job I was given, on day one igniting conversation about what they had or hadn’t they reported directly to me, and we had launched this very done in terms of their investigation into the Catholic Church. serious investigation.

NOMS | SAG | GLOBES 23 Right to left, Marty Six weeks after I arrived there were the Baron and Brian D’Arcy attacks of 9/11, the first real attack on our James at TheWrap’s cover shoot; the movie’s country since Pearl Harbor. And then we had Spotlight team meets; the anthrax scare, if you remember that. So TomMcCarthy on it was not a time full of mirth. Someone on location in Boston; the original Boston Globe the staff had told the Boston Phoenix anon- story that launched the ymously that my time at the Globe should be explosive series; Rachel known as the joyless pursuit of excellence. McAdams and journalist Sacha Pfeiffer. Which I always thought was better than the joyful pursuit of mediocrity. Nonetheless, it was sort of an assessment.

At any point did it occur to you to maybe ease into the job without taking on the Catholic Church? BARON Not really. I viewed it in very work- manlike terms. The question I raised during my very first meeting of my very first day was: We have one side saying the Cardinal himself knew of this abuse and yet repeatedly reassigned this priest from one parish to the next without any notification to anybody. And then you had the lawyers for with the journalists to be able to learn about their process and the church saying that this was absolutely untrue, these were then tell the story. baseless and false and irresponsible charges. And in this column McCARTHY It felt like we had almost unlimited time with these written the day before I started by Eileen McNamara, a Pulitzer people. They were incredibly generous. They’re all very busy, as Prize-winning columnist, she said the truth may never be we know. They were really not just supportive but collaborative known because these documents are under seal. in an effort to tell the story and tell it right. To me, a statement like that should be chum to journalists. We This happened 14 years ago from when we started researching should be going after that. I said, “We have an opportunity here it. So sitting with them and hearing their different sides to the story, to find out what really happened. Have we thought of actually we had to triangulate and re-create as best as we could. I think that going to court to unseal the documents?” I wasn’t really so much access that we had really started to rub off on us. [Co-writer] Josh thinking, “OK, I want to take on the Catholic Church.” This is [Singer] and I and then the rest of my creative team really grew to what journalists do. respect the hard work these people do, and you’re right, in most cases it’s completely anonymous and selfless. It seems to me the film is more about journalism than about the Church scandal. You take us in a very authentic BARON It took seven months from the time we launched until way through the process of investigative journalism, the first story ran on January 6, 2002. And then we investigated which is slow, expensive, painstaking and often thankless. over the course of the following year and even beyond that. We Talk a little bit about the unique interaction you had published 600 stories in the first year, several hundred more the

24 THEWRAP DECEMBER 23, 2015 year after that. I calculated conservatively that it cost us over a million dollars to do that investigation when you look at staff, legal expenses, all of that. But well worth it. What did Marty say when he saw the movie the first time? The investigative team had the goods on 80 or 90 priests, but McCARTHY We showed it to Marty and his friend, and his you wanted to wait until you could prove it was something friend had two comments. He said, “First of all, I think you got that was permitted to continue by the institution itself. reporting right,” and that was a big “phew.” Secondly, he said, BARON What I wanted us to show was in fact there was a policy “Marty is a much happier guy than that. He comes across very and practice within the Church that they knew about abuse and serious. He’s much more pleasant to spend time with.” And then reassigned priests from one parish to the next where these Marty just looked at him and said, “I wasn’t then.” And we felt priests were then allowed to abuse again and again. This would like, “Well all right, we got that right.” represent a violation of the core responsibility that any institution would have—particularly an institution like the Church, What was your reaction, Marty? which is supposed to be a refuge. That was the bigger story. And BARON I thought it was great. It’s remarkable to see a film about that in fact is what we were able to prove. something that happened 14 years before that you thought people had pretty much forgotten about. It was tremendously grat- You were really just on the cusp on the age of digital journalism ifying to see a film bring out these issues. It was a testament to in 2002. The Boston Globe must’ve had a website at that time. investigative reporting, to the need to hold powerful institutions BARON It was a big deal that it was going up on the web. It was and individuals accountable. It was a movie with a lot of nuance, one thing for a journalist to describe a document. It’s another which I really appreciated, because it did not turn us into super- thing for readers to read the actual document and see in that heroes. It showed that we are fallible, and we certainly are. instance how insensitive the church was in dealing with the Our profession is highly imperfect, and I thought it brought families. Particularly with mothers. It was shocking to read that that out, but notwithstanding the imperfections we performed language. I think that alone had a huge effect on people. a very important role in society. And I think the movie makes clear that had we not done that, these kinds of cover-ups would McCARTHY As a screenwriter, just a week after signing on continue, whether it’s in the Church or some other institution. these huge binders started showing up at my office. Not only They had a real seriousness of purpose. Any concerns we the records, but also the articles. Reading through them, it’s might’ve had at the beginning that we or the investigation or the incredibly disturbing to see the back and forth between the Church would be turned into a caricature were not warranted. Archdiocese and some of these victims, survivors or the families They did a tremendous job, and my reaction was one of really of victims. It’s heartbreaking. It really had an impact on me. profound gratitude. W

NOMS | SAG | GLOBES 25 REAL TO REEL SPOTLIGHT ACTORS ONE ON ONE BEN BRADLEE JR. I was of course flattered to entertain WITH THE REPORTERS THEY PLAY all your questions. They were, “How’d you get the story?” It probably ALL INTERVIEWS BY SHARON WAXMAN helped the story was a familiar landscape to you, having grown up in Boston and being a lapsed Catholic.

JOHN SLATTERY Yeah. There were priests who would just disappear from my high school, and it was a small high school, too. The headmaster, he went away.

BRADLEE Did people know why?

SLATTERY It was speculation. We never really heard any specific rumors about anybody in any kind of abusive situation, but there were several priests who just didn’t show up for school one day and never came back. GROOMING FOR MICHAEL KEATON; JORDAN LONG FOR EXCLUSIVE ARTISTS MANAGEMENT ARTISTS EXCLUSIVE FOR LONG JORDAN KEATON; MICHAEL FOR GROOMING

MIKE REZENDES I wondered how you got to MICHAEL KEATON become such a good reporter, because there There is a huge element of trust here. I’m going to are things that I would not share with you, if you be on a giant screen being you, and you never met recall. I got pretty comfortable with you, but I me—that’s a fairly big leap, even though we got to remember there was a day you found out with know each other pretty quickly. And then there’s no help from me that I can be a little bit, say, the really practical aspect of how am I going to be excitable. And then there was a day you came to me and said, “I wanna see you blow up.” [Laughs] portrayed? How I act, what my mannerisms are like. And I said, “No way. This cannot be good for me I know that’s a shallow aspect of it, but it would be if this ends up in a movie.” And you said, “Well, hard not to think about that. So what was that like? let me just tell you something: I have gathered evidence that you yell at your bosses—generally speaking, they don’t like it and it’s not good for WALTER “ROBBY” ROBINSON your career, OK?” So how’d you get it? I felt like I hit the lottery. First of all, another former altar boy, someone who studied journalism. And MARK RUFFALO I think after all the gathering you didn’t realize it at the time in 1994, but we of information that I had done up until that bonded because you were in The Paper, you played point, there was nowhere else to go but to that the metro editor. And I was the metro editor of the level. You know? I knew your relationship to the Church growing up. I knew how important you Globe at the time. And then you show up and get see reporting and investigative journalism. I knew my accent, and then you go on set and you got the the pressure that you’re under. I knew how much frowns down, the mannerisms, the gestures. And you cared about those kids. I knew that you were all my friends are calling me up and they say, “By passionate about the story. And so when you put the way, we liked the movie, but this guy nailed all that into the pot and turn up the heat a little you.” And I said, “Uh oh, I’m in trouble.” bit, something is gonna blow, you know?

26 THEWRAP DECEMBER 23, 2015 PHOTOGRAPHED BY CORINA MARIE HOWELL SACHA PFEIFFER I remember our first phone call lasted an hour and a half. And I remember being amazed that you wanted to know everything, physical and psychological. It wasn’t just, “What did you wear, what was your haircut like?” But, “What was your family like, and what did you think, and did you cook dinner with your husband?” I mean, it was everything.

RACHEL McADAMS And you were so open about everything. I remember calling Tom right before I called you, and I was really nervous, and I said, “Is there anything I shouldn’t ask or anything that’s off limits?” And he said, “No, just go for it.”

PFEIFFER After I saw the movie for the first time, I realized that all that time we spent together, which I just thought of as dinner with Rachel or walking through Boston with Rachel—for you it was kind of research. Because I realized on screen that you were replicating mannerisms that in some cases

MARK TOWNSEND; MAKEUP: TYRON MACHHAUSEN TOWNSEND; HAIR: MARK MCADAMS RACHEL I didn’t even know I had.

BRIAN D’ARCY JAMES So, Matt Carroll, how many times has your life been turned into a movie?

MATT CARROLL (Laughs) Hm, let me think about this for a minute. Once that I know of. And it’s been totally fascinating. So many people have had an opportunity to see it and I’ve gotten emails and tweets and phone calls from so many people I haven’t seen in such a long time.

JAMES That’s the thing about this movie that’s really cool. It has such an impact. Obviously can be reminded of all the great work you guys did. But the people who maybe experienced abuse or know people who have, and can experience this story in a way that sheds new light or allows them to have a chance to heal—all these things are possible outcomes of this film, which I think is an extraordinary thing.

► GO TO THEWRAP.COM TO SEE EXCLUSIVE ONE-ON-ONE INTERVIEWS WITH THE CAST OF SPOTLIGHT AND THE JOURNALISTS THEY PORTRAY GROOMING FOR MARK RUFFALO; KUMI CRAIG KUMI RUFFALO; MARK FOR GROOMING

NOMS | SAG | GLOBES 27 GROOMING BY JASMINE LEE DOYLE BETTER CALL SAUL BLOODLINE THE GOLDBERGS GOLDEN GLOBE AWARDS GOLDEN GLOBE AWARDS CRITICS’ CHOICE AWARDS BEST PERFORMANCE BY AN ACTOR BEST PERFORMANCE BY AN ACTOR BEST ACTRESS IN A COMEDY SERIES IN A TELEVISION SERIES, DRAMA IN A SUPPORTING ROLE IN A SERIES, Wendi McLendon-Covey Bob Odenkirk LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION SAG AWARDS Ben Mendelsohn OUTLANDER OUTSTANDING PERFORMANCE BY WGA AWARDS GOLDEN GLOBE AWARDS A MALE ACTOR IN A DRAMA SERIES BEST TELEVISION SERIES, DRAMA Bob Odenkirk NEW SERIES Written by: Jonathan Glatzer, Carter Harris, BEST PERFORMANCE BY AN ACTRESS PGA AWARDS Glenn Kessler, Todd A. Kessler, IN A TELEVISION SERIES, DRAMA NORMAN FELTON AWARD FOR OUTSTANDING Addison McQuigg, Arthur Phillips, Caitriona Balfe PRODUCER OF EPISODIC TELEVISION, DRAMA Jeff Shakoor, Daniel Zelman BEST PERFORMANCE BY AN ACTOR Producers: Vince Gilligan, Peter Gould, Melissa IN A SUPPORTING ROLE IN A SERIES, Bernstein, Mark Johnson, Stewart A. Lyons, LIMITED SERIES OR MOTION PICTURE Thomas Schnauz, Gennifer Hutchison, Nina Jack, SHARK TANK MADE FOR TELEVISION Diane Mercer, Bob Odenkirk PGA AWARDS Tobias Menzies OUTSTANDING PRODUCER OF WGA AWARDS NON FICTION TELEVISION HOUSE OF CARDS DRAMA SERIES Producers: Mark Burnett, Clay Newbill, Yun Written by: Vince Gilligan, Peter Gould, Lingner, Max Swedlow, Jim Roush, Brandon GOLDEN GLOBE AWARDS Gennifer Hutchison, Bradley Paul, Thomas Wallace, Becky Blitz, Laura Roush, Shaun BEST PERFORMANCE BY AN ACTRESS Schnauz, Gordon Smith Polakow, Phil Gurin IN A TELEVISION SERIES, DRAMA Robin Wright NEW SERIES CRITICS’ CHOICE AWARDS Written by: Vince Gilligan, Peter Gould, BEST STRUCTURED REALITY SHOW SAG AWARDS Gennifer Hutchison, Bradley Paul, Thomas OUTSTANDING PERFORMANCE BY Schnauz, Gordon Smith A MALE ACTOR IN A DRAMA SERIES EPISODIC DRAMA THE RED TENT Kevin Spacey “Uno” – Written by: Vince Gilligan & Peter Gould WGA AWARDS OUTSTANDING PERFORMANCE BY A LONG FORM ADAPTED FEMALE ACTOR IN A DRAMA SERIES Written by: Elizabeth Chandler, Robin Wright THE BLACKLIST Based on the book Anne Meredith, OUTSTANDING PERFORMANCE BY AN SAG AWARDS The Red Tent by Anita Diamant ENSEMBLE IN A DRAMA SERIES OUTSTANDING ACTION PERFORMANCE BY A STUNT ENSEMBLE IN A COMEDY OR DRAMA SERIES SAINTS & STRANGERS PGA AWARDS THE NORMAN FELTON AWARD JEOPARDY! WGA AWARDS FOR OUTSTANDING PRODUCER OF LONG FORM ORIGINAL EPISODIC TELEVISION, DRAMA WGA AWARDS Written by: Seth Fisher, Walon Green, Producers: Beau Willimon, Dana Brunetti, QUIZ & AUDIENCE PARTICIPATION Chip Johannessen, Eric Overmyer John David Coles, Josh Donen, Written by: John Duarte, Harry Friedman, David Fincher, Eric Roth, Kevin Spacey, Mark Gaberman, Deborah Grifﬁ n, Michele Loud, CRITICS’ CHOICE AWARDS Robert Zotnowski, Karen Moore Robert McCleaghan, Jim Rhine, BEST MOVIE MADE FOR TELEVISION OR NOMINATIONS Steve D. Tamerius, Billy Wisse LIMITED SERIES 27 BEST ACTOR IN A MOVIE MADE FOR TELEVISION OR LIMITED SERIES ® THE LIZZIE BORDEN 6 GOLDEN GLOBE AWARDS CHRONICLES Vincent Kartheiser BEST SUPPORTING ACTOR IN A MOVIE ® SAG AWARDS MADE FOR TELEVISION OR LIMITED SERIES 6 SAG AWARDS OUTSTANDING PERFORMANCE BY A FEMALE Raoul Trujillo ACTOR IN A TELEVISION MOVIE OR MINISERIES 3 PGA AWARDS Christina Ricci 7 WGA AWARDS 5 CRITICS’ CHOICE AWARDS

41344_Awards Ad_Noms Spread_Wrap_A9_m1.indd All Pages 12/14/15 4:26 PM BETTER CALL SAUL BLOODLINE THE GOLDBERGS GOLDEN GLOBE AWARDS GOLDEN GLOBE AWARDS CRITICS’ CHOICE AWARDS BEST PERFORMANCE BY AN ACTOR BEST PERFORMANCE BY AN ACTOR BEST ACTRESS IN A COMEDY SERIES IN A TELEVISION SERIES, DRAMA IN A SUPPORTING ROLE IN A SERIES, Wendi McLendon-Covey Bob Odenkirk LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION SAG AWARDS Ben Mendelsohn OUTLANDER OUTSTANDING PERFORMANCE BY WGA AWARDS GOLDEN GLOBE AWARDS A MALE ACTOR IN A DRAMA SERIES BEST TELEVISION SERIES, DRAMA Bob Odenkirk NEW SERIES Written by: Jonathan Glatzer, Carter Harris, BEST PERFORMANCE BY AN ACTRESS PGA AWARDS Glenn Kessler, Todd A. Kessler, IN A TELEVISION SERIES, DRAMA NORMAN FELTON AWARD FOR OUTSTANDING Addison McQuigg, Arthur Phillips, Caitriona Balfe PRODUCER OF EPISODIC TELEVISION, DRAMA Jeff Shakoor, Daniel Zelman BEST PERFORMANCE BY AN ACTOR Producers: Vince Gilligan, Peter Gould, Melissa IN A SUPPORTING ROLE IN A SERIES, Bernstein, Mark Johnson, Stewart A. Lyons, LIMITED SERIES OR MOTION PICTURE Thomas Schnauz, Gennifer Hutchison, Nina Jack, SHARK TANK MADE FOR TELEVISION Diane Mercer, Bob Odenkirk PGA AWARDS Tobias Menzies OUTSTANDING PRODUCER OF WGA AWARDS NON FICTION TELEVISION HOUSE OF CARDS DRAMA SERIES Producers: Mark Burnett, Clay Newbill, Yun Written by: Vince Gilligan, Peter Gould, Lingner, Max Swedlow, Jim Roush, Brandon GOLDEN GLOBE AWARDS Gennifer Hutchison, Bradley Paul, Thomas Wallace, Becky Blitz, Laura Roush, Shaun BEST PERFORMANCE BY AN ACTRESS Schnauz, Gordon Smith Polakow, Phil Gurin IN A TELEVISION SERIES, DRAMA Robin Wright NEW SERIES CRITICS’ CHOICE AWARDS Written by: Vince Gilligan, Peter Gould, BEST STRUCTURED REALITY SHOW SAG AWARDS Gennifer Hutchison, Bradley Paul, Thomas OUTSTANDING PERFORMANCE BY Schnauz, Gordon Smith A MALE ACTOR IN A DRAMA SERIES EPISODIC DRAMA THE RED TENT Kevin Spacey “Uno” – Written by: Vince Gilligan & Peter Gould WGA AWARDS OUTSTANDING PERFORMANCE BY A LONG FORM ADAPTED FEMALE ACTOR IN A DRAMA SERIES Written by: Elizabeth Chandler, Robin Wright THE BLACKLIST Based on the book Anne Meredith, OUTSTANDING PERFORMANCE BY AN SAG AWARDS The Red Tent by Anita Diamant ENSEMBLE IN A DRAMA SERIES OUTSTANDING ACTION PERFORMANCE BY A STUNT ENSEMBLE IN A COMEDY OR DRAMA SERIES SAINTS & STRANGERS PGA AWARDS THE NORMAN FELTON AWARD JEOPARDY! WGA AWARDS FOR OUTSTANDING PRODUCER OF LONG FORM ORIGINAL EPISODIC TELEVISION, DRAMA WGA AWARDS Written by: Seth Fisher, Walon Green, Producers: Beau Willimon, Dana Brunetti, QUIZ & AUDIENCE PARTICIPATION Chip Johannessen, Eric Overmyer John David Coles, Josh Donen, Written by: John Duarte, Harry Friedman, David Fincher, Eric Roth, Kevin Spacey, Mark Gaberman, Deborah Grifﬁ n, Michele Loud, CRITICS’ CHOICE AWARDS Robert Zotnowski, Karen Moore Robert McCleaghan, Jim Rhine, BEST MOVIE MADE FOR TELEVISION OR NOMINATIONS Steve D. Tamerius, Billy Wisse LIMITED SERIES 27 BEST ACTOR IN A MOVIE MADE FOR TELEVISION OR LIMITED SERIES ® THE LIZZIE BORDEN 6 GOLDEN GLOBE AWARDS CHRONICLES Vincent Kartheiser BEST SUPPORTING ACTOR IN A MOVIE ® SAG AWARDS MADE FOR TELEVISION OR LIMITED SERIES 6 SAG AWARDS OUTSTANDING PERFORMANCE BY A FEMALE Raoul Trujillo ACTOR IN A TELEVISION MOVIE OR MINISERIES 3 PGA AWARDS Christina Ricci 7 WGA AWARDS 5 CRITICS’ CHOICE AWARDS

41344_Awards Ad_Noms Spread_Wrap_A9_m1.indd All Pages 12/14/15 4:26 PM SAOIRSE RONAN’S JOURNEY OF DISCOVERY SAOIRSE RONAN’S JOURNEY OF DISCOVERY FOR THE YOUNG IRISH-AMERICAN ACTRESS, THE IMMIGRANT TALE BROOKLYN WAS A BRIDGE BETWEEN TWO LANDS SHE CONSIDERS HOME

BY STEVE POND PHOTOGRAPHED BY CORINA MARIE HOWELL NOMS | SAG | GLOBES 31 City. She fights debilitating homesickness, finds a foothold and a new love in Brooklyn, and then has to return home and make a choice in the wake of family tragedy. It is quite deliberately one person’s story, but in her sad, sweet and triumphant performance is the echo of the many who have made that journey, and many other journeys like it. “Everyone has their own immigrant story,” said Ronan. “Thousands and thousands, millions of people have made that journey—and it goes beyond the situation you’re in when you leave your country, whether it’s for work or for school or because you’re desperate to get out of your mom and dad’s house. When Her movie is called Brooklyn, but you move away, the realization that you you know that New York City borough is not where Saoirse have, which you’re not prepared for, Ronan was born. No, she hails from another land across the is that you can never go back to how water—not the one you’re probably thinking of, but the one it was and you’ll never quite have the right across the East River: the Bronx. And that, strangely, same relationship with your home that is one of the reasons why Brooklyn is such a deeply personal you had. That is daunting, and it’s scary.” film for the 21-year-old actress, and such an affecting From the start, Brooklyn director experience for audiences. Crowley knew Ronan was the one to “My mom and dad traveled over to New York in the ‘80s, tell that story. “There was no looking and they had me there,” said Ronan, who grew up largely in around for actresses,” he said. “As soon Ireland, and who stars in John Crowley’s story of an Irish as the film came my way, Saoirse was immigrant in the 1950s. “And these two places, Ireland and the first offer that went out. She was New York, very much make up who I am. When the script at the exact right age, coming into that came along, I had been waiting for my first Irish project to be exact place as a young actress, and she involved in, and I really wanted it to be right. I read this, and had proven herself so ably from very you couldn’t get something that’s more perfect.” young as an incredible film actress. An actress since she was 9 and an Oscar nominee at 13 for “And she’s not just a great actress— Atonement, Ronan (her first name is pronounced sir-sha) may there’s something about the way that have dual Irish and American citizenship, but she speaks in a she looks past the camera, and how lush Irish brogue. Until Brooklyn, though, she’d never had the interesting it is to watch her watching chance to use it on screen; she’d been cast as a Brit (Atonement) something else. She would have been a an American (The Lovely Bones, Hanna), a Pole (The Way Back) great silent film actress.” and an entirely fictional European (The Grand Budapest Hotel). Crowley hired her, then waited a “I was always un-Irish,” she said with a laugh when she visited year before shooting began. It was a for- TheWrap offices in Los Angeles this fall. “And this time, I felt tuitous delay: “Between when I signed a real responsibility. There have been so many depictions of on to the movie and when we actually Ireland that are a bit of a caricature, or a bit watered down. made it, I had moved away,” Ronan said. “I went to London and Unless it’s Jim Sheridan or Lenny Abrahamson, not many peo- very much went through that state of homesickness myself.” Above, Ronan on the ple have captured that spirit.” The difference in his leading lady, Crowley said, was pro- Brooklyn set with director John Crowley. But the spirit of Brooklyn is universal, too. Understated but found. “Leaving home is a primal event, and she was right in “She would have been moving, gloriously emotional but never overly sentimental, the that space when we started shooting. She had a raw, vivid, a great silent film film tells the small-scale story of a young woman, Eilis, sent emotional relationship to the material that was accessible on actress,” he says. from a dead-end Irish town to find a better life in New York the set every day. I saw that, and let certain shots run longer

32 THEWRAP DECEMBER 23, 2015 Everyone has their own immigrant story— millions of people have made that journey.” I mean, there were moments where it so easily could have become melodramatic. But in every aspect, in every step of this journey—from how it was pitched, how it was written, how it was made, how it was publicized—we’re really lucky that we’ve got a group of people that I think had such a personal connection to this story.” In addition to drawing from her own experience with homesickness, Ronan said she leaned on her parents’ story of leaving Ireland in search of a more secure life in New York. “I talked to them about the jobs they had and the work they did and what the Irish community in New York was like,” she said. “I mean, I grew up knowing a lot of those stories, anyway. But I talked to my mom more in-depth about how it felt to leave home, which we hadn’t really talked about much before. And I talked to my Auntie Margaret, who bought my mom a plane ticket and said it was the hardest thing she ever had to do. It really brought home the sacrifice that a family makes when they’re being left behind as someone goes off to live a new life. They did it in a different time, but it was incredibly similar to what these characters go through.” In Ronan’s case, her parents only stayed in the Bronx until she was 3, when they moved back to Ireland. Her memories of her time in the States, she said, “aren’t specific to New York, but I know they happened in New York.” She remembers snacks she ate, and a box containing a fake spider that one of her dad’s friends had and the Christmas night she swears she saw Santa Claus from the window of their Bronx apartment. “I’m convinced to this day that I did see it,” she said with a grin. “Those memories are still so vivid to me, and it meant that when I went back to New York when I was older, the connection that I had was sort of instant. It felt right to be there, you know? I knew from the time I was a teenager that it was where I wanted to be.” In fact, she’s moved to New York to prepare to make her first-ever appearance on stage in a Broadway production of Arthur Miller’s The Crucible, which opens in February. And even after the play has run its course, she doesn’t anticipate leaving. “I’m probably going to stay there, I reckon,” she said. But before there’s Manhattan, there’s Brooklyn, the qui- et film that resonated with her and is now doing the same with audiences. “I’ve never been more invested in a film, and everyone else was kind of the same,” she said. “We had a group

Hair: Mark Townsend;Makeup: Mai Quynh of people that felt a huge responsibility to show the reality of a journey like this, without making a grim or edgy indie film. It’s than I had intended. I would think, ‘I only wanted three very traditional and very classic in the way it’s shot, the look of seconds of this, but what she’s doing is really interesting, and it. And to have people give you such a warm reception, it really there’s no reason to shut off the camera.’” felt like this is something that will only happen to you a couple Throughout the filming, Ronan knew that restraint would of times in your life, you know?” be one of the keys to the film. “The script wasn’t sentimental,” She paused, then summed up all that Brooklyn is, and all it she said. “Nick [Hornby] knows how to write simply about needs to be: “We weren’t trying to make it cool or anything. It’s someone’s life without becoming cartoonish or melodramatic. simply a story about a life.” W

NOMS | SAG | GLOBES 33

GloriousQuentin Tarantino and Samuel L. Jackson Basterds are back again in The Hateful Eight. Circle the wagons.

BY STEVE POND PHOTOGRAPHED BY JULIAN LE BALLISTER Glorious Basterds before it was released, Quentin Tarantino’s The Hateful Eight was enmeshed in a few controversies. An early draft of the script was Evenleaked online, causing the writer-director to vow that he would no longer make the movie; the vow lasted until a live reading of the film in downtown Los Angeles, at which point it was go time for the Western about an octet of shady figures trapped in a remote cabin called “Minnie’s Haberdashery” during a Wyoming blizzard shortly after the Civil War. The film has also stirred up talk for its typically generous use of the N-word, most of the time directed at Samuel L. Jackson’s bounty-hunter character, and also for its three-hour-plus running time (including intermission), its widescreen format and its director’s insistence on presenting it in limited, old-fashioned “roadshow” engagements for a

week before it opens in theaters that can’t show 70mm. Left to right: Jennifer And, of course, Tarantino drew the wrath of police Jason Leigh as the captured and battered unions around the country when he appeared at an Daisy Domergue; anti-police-brutality rally in the fall and called some Tarantino on the set of Minnie’s Haberdashery police “murderers.” with Kurt Russell, Tim Roth and other cast In the midst of all this is another bloody, perverse and crew members; and often brutally funny Tarantino extravaganza and Samuel L. Jackson surrenders his arms. twisted genre exercise, his third consecutive film (after Inglourious Basterds and Django Unchained) to end in a bloodbath.

What made you return to the Western genre But as much as I’m dealing with things have a rooting interest in. Basically, nobody for a second movie after Django Unchained? that are relevant to now, I also am not dealing trapped in Minnie’s Haberdashery should be QUENTIN TARANTINO I really like Westerns. with the entire issue of slavery, which I was in heroic. Maybe they’re not a bad guy, but maybe I always have. In the case of Django, I kind of Django. Here, I could just tell a genre story, and they are. And you shouldn’t be able to take learned how to do a Western, how to deal with I didn’t have to deal with the seriousness of that anybody’s word for anything. the horses and the wranglers and all that kind issue in a way that hung over everything. It was I was drawn to the idea of taking these of stuff. And I really enjoyed making Django— nice to just be able to be a little bit more Zane nefarious characters that you can’t trust, and but it was also really painful, too, creating that Grey about the whole thing. putting them in a landscape so brutal that they antebellum South and living in it for a year. It literally can’t leave or they will perish. Trap was hard on the soul and the psyche. So what was the seed of Hateful Eight, the them together in this room, turn up the pres- When that movie was over, the sadness and idea that started this? sure cooker and see what happens. And if you the sorrow of the ghosts that I was evoking It started off because I knew I didn’t want to do want to root for a character, go ahead, but the came to rest on me. And it actually put me in a movie sequel to Django. But I did like the idea movie’s not going to give you any signposts that a bit of a depression that I had to get out of. At that Django the character had become so iconic say, “This is the good guy.” the same time, that’s not the worst thing to be that there could be different paperback books depressed about, you know? with other adventures of his. I thought I’d give When an early version of the script leaked on So there was this aspect of, now that I it a try, writing my own paperback adventure of the Internet, you said that you were no longer know how to make a Western, I’d like to do Django. It was called Django in White Hell, and I going to make the movie. Were you serious? another one. I think I have something to say in wrote the first chapter, and maybe a bit into the I was pretty serious, at least for a little while. Westerns. The fact that I deal with the subject second chapter. It was basically just the stage- I wanted to do this movie different from my of white and black in America at that time coach stuff at the beginning of Hateful Eight. other films, insofar as not just work on a big has not been a subject that any of the great I decided that it was really good material, literary tome for a long period of time, and then Western directors have chosen as a theme. But and it should be my next movie. The only thing release it to the world when I felt it was done. it is something that I have chosen as a theme, wrong with it was Django. Django needed to go, I wanted to do a first draft, then do a second and I think I actually have something to offer as because the movie shouldn’t have a hero. There draft, then do a third draft, and let it evolve

38 THEWRAP DECEMBER 23, 2015 Back for More Quentin Tarantino said he doesn’t want audiences to have a rooting interest in any particular characters in The Hateful Eight, but that’s a problem: After five previous collabora- tions with Samuel L. Jackson, the sight of Jackson spouting Tarantino dialogue is so delicious that many audiences will automatically rally behind his character, bounty hunter Major Marquis Warren. “I know,” conceded the director. “It doesn’t matter what I say about Major Warren—short of showing him Gatling-gunning a dozen Indians in a flash- back, they’re going to be on his side no matter what.” (WARNING: SLIGHT SPOILER BELOW.)

You’re at the top of the list of Quentin’s most significant actors, even more than others like Tim Roth and Christoph Waltz. What does it take to be the right guy for Tarantino movies? SAMUEL L. JACKSON Don’t know! We all have very good linguistic skills. We all create characters that are individual and unique to every story he’s written—they’re not the same guy. And we also bring a level of professionalism and confidence to what’s going on that kind of makes the other people want to step their game up a little bit when they’re new to the Tarantino world. We are the constant— we’re the base flavor for that bouillabaisse he makes, we’re the tomato consommé or whatever. So when it was leaked, it seemed to film, the events in the news have con- ruin that idea. That made me despondent, spired to make the movie more relevant How does the process work when he has and I wanted to punish people for fucking than it was even when I was writing it. something new? up my plans, basically. But I kept working And actually, one of the interesting things He says, “I wrote a new script. I’m gonna send it to you. on the second draft. Basically, I just got about that first draft getting out there is Read it.” But when he sent me this one, he’d already told over it. that I’m on record as having written about me that he wasn’t going to make the movie. Somebody had Look, I don’t know if I overreacted. I this before the shit hit the fan in the last leaked the script and people were reading it online. He think I had a natural reaction to what year and a half on these issues. was planning on not making it, but he just wanted me to happened. But taking my blocks and going see what he had written. I read it and thought, “You’re home, and saying I’m going to punish the The shit also hit the fan when you really not gonna make this?” world by denying them my genius, might appeared at the anti-police-brutality ral- But during the rehearsal process for the reading that we not have been the smartest thing to do. ly. Does the backlash concern you? did downtown, it was kinda evident that we really needed What concerns me more than anything to be making this movie. It was like, “OK, let’s change the Earlier, you mentioned dealing with else is the fact that I know I had a lot of last act and we can do this.” issues that are relevant to now. When policemen who are fans of my work. And you write a line like, “The only time I like to think that they won’t follow the Did the last act change a lot? black folks are safe is when white folks boycott, they won’t just take the word of Yeah. It was the same people, they just ended up in are disarmed,” are you thinking of the the mouthpieces for the police unions who different circumstances. My character died earlier on. contemporary resonance? have slandered me by saying I hate cops. At the time I put pen to paper, I wasn’t. They might think I’m an out-of-touch So you must like the new ending better. I mean, it was not lost on me that a blue celebrity who doesn’t know what the fuck Of course. I always want to be there when the final state/red state dilemma that’s going on in he’s talking about, but I’m not coming word is spoken. this country was manifesting itself in this from a place of hatred. And I think I am piece. But that was just the argument that dealing with a reality that’s on the ground, What’s the difference between a Tarantino was going on in the scene, and the mind- and a reality that I would hope that they movie and one by somebody else? set of those characters in that coach. would agree with: that this stuff is sick- The majority of films we do are one-third dialogue and However, during the last year and a ening and it needs to stop. And if they’re two-thirds “go here, go there, jump over that.” Quentin’s half that we were in preproduction and part of the police force, they need to be films are two-thirds dialogue and one-third that other

NOMS | SAG | GLOBES 39 ANIMATION Special Section

Inside a girl’s head, or in the halls of a sterile Cleveland hotel. On an Earth FROM PENCILS where the dinosaurs never died out, or on a farm where the sheep are the smart ones. In the words of a celebrated poet, or in no words at all. If it’s hard to pin down TO PIXELS this year’s crop of animated films, that’s The directors of some of his year’s best because they’re a little bit of everything: animated films explain the techniques crowd-pleasing blockbusters, cerebral art and ideas behind their work movies and everything in between. In our

BY BEATRICE VERHOEVEN AND STEVE POND annual animation section, we look at the challenges of a vibrant art form. : COURTESY OF PIXAR ANIMATION PIXAR OF : COURTESY INSIDE OUT PICTURES : ©2015 PARAMOUNT ANOMALISA

40 THEWRAP DECEMBER 23, 2015 ANIMATION Special Section

40 THEWRAP DECEMBER 23, 2015 ANOMALISA It’s not often that the characters in stop-motion animation are supposed to look human, but that was the case with Charlie Kaufman and Duke Johnson’s Anomalisa, an odd and touching film that went to great lengths for a kind of twisted realism. “The puppets are based on real people,” said animation supervisor Dan Driscoll. “And once you put an inanimate object into human proportions, it moves in a way that doesn’t look right. It will scream at you. Finding a natural performance and not a Looney Tunes way of showing emotion was very challenging.” The voices of Jennifer Jason Leigh, David Thewlis and Tom Noonan were recorded first, and the animators matched every syllable and vowel sound with the cor- responding facial expression. “Everything you see in the ANOMALISA | Theentire Wrap world of the film has to be thought up, designed and fabricated by hand,” Johnson said. “You forget these are static objects that don’t possess any real life or soul, and they somehow seem to be infused with a soulfulness.” And then there was the sex scene, a challenge for live-action filmmakers and a painstaking chore in stop-motion. “It took six months to shoot,” writer-director Kaufman said. “It required a lot of complicated maneuvering in the puppets undressing and the covers being moved and the puppets ANOMALISA | Theinteracting Wrap sexually in a way that these hardbodied puppets are not designed to do. A lot of stuff had to be figured out in terms of physics.” —BV

INSIDE OUT Visualizing the world inside a young girl’s mind was a great idea but a daunting task for director Pete Docter and the Pixar team who made Inside Out. “John Lasseter said he loved the idea but138-ANOMALISA-079 he knew it was going to be hard,” said Docter, 136-ANOMALISA-039 whose previous films include Monsters Inc. and the Oscar-winning Up. “Weirdly, I didn’t know that. I just thought it would be a lot of fun to design the world—but within about four or five months I was realizing, ‘This is not going to be easy.’ “The idea is one thing, but an idea is just whistling on the steps of Carnegie Hall. You have to put in a lot of time to get it to a point where it means something. It really took us three and a half years before we were able to lock in the specifics of how we could design this world.” One of the trickiest parts was creating the main characters, who are the embodiment of different emotions:138-ANOMALISA-079 Joy, Sadness, Anger, Fear and Disgust. “Early 136-ANOMALISA-039 on,” said Docter, “I thought it would be great if these guys looked the way these emotions feel to us. Instead of making them out of flesh and blood and cloth, can we find some way to visualize energy?” The solution was to make the edges of the characters sparkly and evanescent, “particles in space” giving off energy. “That was the art department working hand and hand with the technical team,” said Docter. “It was easily said and hard to do.” Over the course of designing a mind, Docter said he also learned that he had to be judicious. “In the end, we realized that we didn’t have to design a world that accommodated everything that goes on in somebody’s mind,” he said. “We

NOMS | SAG | GLOBES 41

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1 ANIMATION Special Section

BOY AND THE WORLD Alê Abreu’s Boy and the World started in the simplest of ways: a small drawing of a boy that the director found in one of his sketchbooks while planning an animated documentary about 500 years of Latin American history. “I had the feeling he was waving to me, and calling me to discover his history,” said Abreu, who abandoned the doc to chart the boy’s journey from inno- cence to the chaos of modern life. The result is one of the most low-tech but striking of the category’s entries. Completely animated by the Brazilian director on computer and then painstakingly transferred to paper, the film is a wordless, surreal story that uses different styles to illustrate the collision between spirituality and technology. “The little boy starts from the abstract, spiritual world represented by white paper, and as he enters the world I added features, drawings and textures,” said Abreu. “The world created by human beings started covering the spiritual world, with collages from newspapers and magazines covering the canvas, until the moment when live-action images completely destroy the animation space, and the possibility to dream.” While Abreu said he’ll never again do every drawing himself, he is committed to the promise of animation. “To me, [live-action] movies are rooted in the power of words,” he said, “but animation can convey what cannot be said with words.” —SP

THE GOOD DINOSAUR Mother Nature isn’t just a driving force in Pixar’s latest, The Good Dinosaur. “Nature was something we wanted to push as a character in the film,” director Peter Sohn said. The movie follows Arlo, a young dinosaur who gets washed down river away from his family during a rainstorm, only to meet Spot, a Neanderthal boy who offers his help and friend- ship, although they don’t speak the same language. “By the time Arlo is with the human boy, he learned to become more comfortable within nature as well,” Sohn said. “The river becomes a kind of yellow brick road for his journey back home.” In fact, the river mirrors Arlo’s emotions as he treks through landscapes inspired by Oregon and Wyoming. “When Arlo is following the river and he is going through tough times, the river can be whitewatery,” said Soh. “And when he comes closer to Spot and more comfortable with nature, the river becomes peaceful and like glass. We put a lot of attention into creating a world that supports Arlo’s journey.” For example, every blade of grass was carefully defined, and the particular movements of the thousands of birds were metic- ulously built out. “Arlo and Spot are younger than most characters in Pixar movies, but they are going through a very adult-like journey where Arlo is looking to survive in the wilderness and Spot is helping Arlo through it,” said Sohn. “We’ve treated nature in this very visceral way, almost like an antagonist where it’s both

beautiful and scary at the same time.” —BV ANIMATION PIXAR OF : COURTESY DINOSAUR THE GOOD

42 THEWRAP DECEMBER 23, 2015

ANIMATION Special Section

KAHLIL GIBRAN’S THE PROPHET Filmmakers often have to jump through hoops to secure the rights to valuable properties, but it’s unlikely that any of them faced the task that fell to Steve Hansen and Jenny Jacobs when they wanted to make a movie from Kahlil Gibran’s The Prophet. The celebrated poet willed the rights to his international bestseller to the village where he grew up in Lebanon, where those rights were administered by a committee whose members changed year to year. But after years of trying, the producers landed The Prophet, which has now been turned into an animated film inspired by the approach of Disney’s classic Fantasia. With Salma Hayek also on board as a producer, eight different directors (or teams), including Paul and Gaetan Brizzi, Tomm Moore, Nina Paley and Bill Plympton, adapted Gibran’s poems in their own styles, while Roger Allers (The Lion King) wrote and directed a narrative that linked all the work together. “Originally it was going to be 20 poems, one after the other, but Salma felt that was a lot to ask people to sit through,” said Allers. “She felt it needed a narrative, so it was my job to figure out a story that would let us move in and out of the poems gracefully. It was a big challenge being simple enough to allow fairly straightforward movement to the end of the film, and also justify why these poems were being recited along the way.” (A bonus: He was able to use versions of Gibran’s own paintings on the walls of his main character’s room.) As for the other animators, he said, “the intention was to let them create their own vision, their own interpretation of the poems. I made a couple of suggestions to a few people, but I did so acknowledging that it was their film.” —SP

SHAUN THE SHEEP MOVIE Talk about the silence of the lambs—the biggest challenge for the filmmakers of Aardman Animation’s Shaun the Sheep Movie was telling a rich story without dialogue. S.A. “We worked a long time to find the right story to tell, and putting those ideas forward without dialogue was extremely challenging,” said Richard Starzak, who co-wrote and co-directed the movie with Mark Burton. They based the film on wooly characters that were intro- duced in Aardman’s Oscar-winning 1995 Wallace and Gromit short A Close Shave, and later spun off into their own British television series by Aardman’s Nick Park. In lieu of dialogue, Starzak and Burton decided to focus on music as a narrative device, which proved to be an extremely : © 2014 AARDMAN ANIMATIONS LTD AND STUDIOCANAL AND STUDIOCANAL LTD ANIMATIONS AARDMAN : © 2014 daunting task. “Because we haven’t got dialogue, music is important to set a mood,” said Burton. “It was one of the most difficult and diverse jobs because of the range of music, but also incorporating music

from the original series.” MOVIE THE SHEEP SHAUN

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Creating an entire movie in stop-motion, a process by which “everything is real, the set is real, the characters are real, and everything is shot on set,” was no walk in the park either. But while a stop-motion film usually requires a two- year process, the creators of Shaun the Sheep only took 10 months, aided by the fact that many of their characters and some settings had already been created by Aardman. “The great thing about stop frame is that everything exists,” said Burton. “Some people might think it’s old-fashioned, but it’s about the stories and the characters, and we hope people will carry on seeing them so we can continue

46 THEWRAP DECEMBER 23, 2015 MINIONS When the Minions first showed up in Despicable Me, one of the keys to the characters was the fact that they were completely interchangeable. All-purpose henchmen in search of an evil master to serve, they had a slapstick appeal without any individual personalities. But when Illumination Entertainment took note of the characters’ massive popularity and decided to make a movie that would put the diminutive sidekicks center stage, that one-personality-fits-all approach just didn’t work. “When you think about the Minions, they’re kind of like one character, and you couldn’t pick them out of a crowd,” co-director Kyle Balda said. “In this movie, we tried to distinguish between them, so we created a family unit. Kevin is sort of the parental figure, Stuart plays guitar and Bob is the more innocent youth—the baby of the family. That opened up a lot of story opportunities.” But the Minions also speak in a language all their own, which provided another challenge since they had to carry the film’s narrative. Co-director Pierre Coffin also provided the characters’ voices, and Balda said he’d take the descriptions of a scene in the script and “try to find a melody for the language, where you get the changes of emotions in the tone of his voice.” It also helped that Coffin was always around: “Normally, you get a few sessions with voice actors spaced out over the production,” said Balda. “But with Minions, the voice actor was always there—so if an animator had an idea for a change of emotion, Pierre could go back to his desk, do a little bit of vocalization and give it back to the animator on the same day.” —SP

THE PEANUTS MOVIE The Peanuts Movie director Steve Martino had unlimited access to make his update of the beloved comic strip as authentic as possible—including a password that gave him access to a searchable database of 18,000 comics in the archives of Peanuts creator Charles M. Schulz. “Whenever anybody had the desire to say, ‘I’m going to design such-and-such,’ I would remind them to go back to the source material,” said Martino. “Charles Schulz gave us the answers for everything.” Working with the late cartoonist’s son, Craig, also helped Martino stay true to the source’s “wonderful pen line.” “Craig would be the first person I would share it with because he knows his father’s work very well, and he knows what Peanuts fans would be looking for,” Martino said. “I thought computer animation would give us a richness to bring the world to life and invite the audience into that world, to make them believe it really exists. Every object put into the movie was based on the drawings that Charles created, and they had to be posed in the way that Charles presented them in the first place.” Even when the animators created rain, they scanned actual rain drawings from Schulz and used them as a model for rain in the film. And although the animation team didn’t stray too far from the original comic strip, Martino did briefly think about giving Charlie Brown a light blond crew cut. The idea was abandoned quickly. “When I was developing my skills as an animator, I looked : © 2014 TWENTIETH CENTURY FOX FILM CORPORATION FOX TWENTIETH CENTURY : © 2014 at Peanuts all the time because Schulz’s characters were simple but his characters’ expression were so great,” Martino added. “You knew how Snoopy felt, you knew how Charlie Brown felt. Schulz had such a great influence on my life as an artist

THE PEANUTS MOVIE THE PEANUTS and as someone who likes to laugh.” —BV THE LOOK

CREATURE COMFORTS The production design of Crimson Peak

uillermo del Toro is known for the fan- was truly a titanic labor.” ciful beasts in his movies, but in Crimson In the design stage, del Toro gave detailed Peak the monster is made of wood and character biographies to production designer brick, not flesh and blood. “The house is a Thomas E. Sanders and asked him to trans- Gcreature, the house is a monster,” del Toro late those biographies into visual detail. “We said of the enormous, foreboding mansion did a very elaborate exercise of coding the in which a young bride played by Mia Wasi- movie, with the shapes on the wallpaper, the kowska goes to live with her new husband woodwork, the floor patterns all supporting a (Tom Hiddleston) and his creepy sister (Jessica theme,” he said. “I felt we needed to design the ↑ Allerdale Hall, Chastain). “That’s the key to the movie, in a house for visual melodrama, because the tone the Crimson Peak house in which way.” of the movie needed to be operatic and melo- characters played So del Toro insisted on building the entire dramatic and a couple of notches above reality. by Mia Wasikowska, mansion in Toronto, putting up a complete “And in my opinion, the actors feel sup- Tom Hiddleston and Jessica three-and-a-half-story structure in one of the ported and real if they arrive and see a set, as Chastain dwell, was largest soundstages in North America. “We opposed to a green screen. And the director designed for “visual built every piece, from the cellar to the top and the cinematographer, we get inspired and melodrama” and built as a full-scale working floor,” he said. “We had a working elevator, light that set in a way that is far more tender set on a huge Toronto working tap water, working fireplaces. It took and careful and loving than if you know it is soundstage. about six or seven months to build it, and it going to be CG.” —STEVE POND

48 THEWRAP DECEMBER 23, 2015 Designing Women The costumes of Carol

andy Powell had never read For Cate Blanchett’s title character, anything by Patricia Highsmith Powell wanted the clothes to “place her in S when she picked up the author’s her world” of privilege. “But I also wanted Carol while looking for something to read to use a paler palette for her—she doesn’t before boarding a train several years ago. ever wear black or anything too dark. “I thought I was going to get a thriller,” she And for the first time that Therese sees said, surprised to find that the book was her in the department store, it was really instead a semi-autobiographical tale of important to me that Carol be wearing a two women who fall in love in 1950s New pale fur coat, and not a brown fur coat. York, originally published as The Price of That was one of the few things that was Salt under a pseudonym. “But after I definite to me from the start.” read it, I said, ‘This has to be a film.’ Powell talked a lot with Blanchett I even thought at that time, ‘It about the look of the character should be a Todd Haynes film.’” during the seven months the two And now Carol is a Todd were working on Cinderella, and Haynes film, starring Cate Blanchett credits those conversa- Blanchett and Rooney Mara tions with helping her understand and featuring the cos- the character. “I don’t design clothes tumes of three-time to put on bodies, I design clothes Oscar winner to make a character come to Powell, life,” said Powell. “The real who also designing happens with designed the actor. In an ideal Haynes’ world, it’s a collabora- Velvet tion.” —SP Goldmine and Far From Sandy Powell Heaven. “He’s designed Cate Blanchett’s clothes incredibly visual, and to reflect a world meticulous to the point of of privilege, while obsession, in a good way,” Rooney Mara’s leaned to darker colors and she said of the director, more modest means. who provided the cast and crew with an extensive “look book” of the film’s visual style. For Mara’s character, Therese, Powell said she looked for clothing that leaned to dark colors and wouldn’t have cost a lot of money. “She’s a shop- girl, probably recently out of art school—she dresses practically, for comfort, but with a touch of bohemi- an-ness. And then at the end of the film, when she gets a good job, I assumed that she spent her first wage packet on a

UNIVERSAL PICTURES new outfit.” 2015 THE WEINSTEIN COMPANY

NOMS | SAG | GLOBES 49 THE LOOK

MORE BANG FOR YOUR BUCK The visual effects of Ex Machina

he last movie Andrew White- hurst worked on before serving as visual-effects supervisor on Alex Garland’s Ex Machina was Ta little James Bond production called Skyfall. The Bond film had a budget more than 10 times as big as Garland’s story of two men and a comely female robot, which makes the achievement of Ex Machina even more remarkable; on a relative shoestring, Whitehurst and his crew at Double Negative created when we were adding the CG in greenscreen leotard, but in a sleek a film in which the lead character, post-production.” gray suit similar to what is seen played by Alicia Vikander, is a The key, he added, was simple: in the finished film. “There was a believable cyborg named Ava. “What is gonna give Alex the big- very conscious decision not to go “This was massively different in gest bang per buck on screen? with the green-bodystocking-cov- scale from Skyfall, but that can be But tracking Vikander’s move- ered-with-markers look,” he said. as much of a good thing as a hin- ments wasn’t always easy, particu- “Fundamentally, the film is a series drance,” Whitehurst insisted. “The larly when she was barely moving. of conversations—and for the greater the financial constraints “There’s a lot of time where she conversations to work dramatically, you have, the more it encourages appears not to be moving at all,” he you need to have two actors who everybody to work together.” The said. “But human beings are never are able to fire off one another, result was extensive collaboration not moving, and it’s much easier to and you need to allow the camera between teams: “One example is copy the movement of something department to shoot it as they ↑ The actors playing cyborgs in Ex Machina that Ava has these sort of rubber very action-centric than something would any other dialogue scene. didn’t wear usual O-rings around her ankles and very subtle. That was the single “We felt that the less weird greenscreen leotards, wrists, with brass stubs on them. hardest thing we had to do.” and distracting we could make but donned gray suits that were digitally We asked for them to be put As the before-and-after photos what Alicia was wearing, the replaced by sections there, because they were able to show, Vikander delivered her better for her and for whoever is of robotic innards.

help us track Alicia’s movements performance clad not in the usual acting with her.” —SP FEATURES GIRL : 2015 FOCUS THE DANISH

50 THEWRAP DECEMBER 23, 2015 irector Denis Villeneuve keeps hiring 12-time Oscar-nominated cinematographer The Perfect Roger Deakins: He did it for 2013’s Prisoners, the 2015 drug war epic Sicario and the Dforthcoming Blade Runner reboot. One reason is that both loathe the idea of multi- ple-camera cinema. “Producers say, ‘Let’s get 10 cameras on it and something’s bound to Angle happen,’ but it doesn’t work,” said Deakins. “Coming from documentaries, I like to put the The cinematography of Sicario audience in the main character’s point of view.” Or, as Villeneuve puts it, “There’s one angle that’s perfect—Deakins perfect.” Lots of great filmmakers can tell you about “Deakins perfect.” The 66-year- old Brit is celebrated for shooting some of the best films by Martin Scorsese, Sam Mendes and the Coen brothers, and he’s won three American Society of Cinematographers awards (plus their Lifetime Achievement Award). He’s unquestionably the greatest living cinematographer not to win an Oscar, but he’s all about telling the story at hand, not using film as a canvas for self-expression. For Sicario’s style touchstone, Villeneuve had Akira Kurosawa in mind, but Deakins was thinking of the ‘60s French filmmaker Jean-Pierre Melville. “The idea of [Kurosawa’s] Seven Samurai is you get these long-held moments and suddenly there’s action: boom, boom, boom!” he said. “Melville is quite similar, especially Red Circle. The tension builds from something that seems very normal. It’s about composition, holding the shot. The pacing and action are very naturalistic, because it’s so fast and brutal.” He is sad but philosophical about losing a Sicario scene he loved, the film’s original opening scene. It didn’t feature the film’s lead character, FBI agent Kate Macer, played by Emily Bunt, but focused on Benicio Del Toro’s mysteri- ous operative Alejandro. “There was a scene shot on Veracruz beach, where Alejandro was torturing this officer, drowning him in the ocean,” said Deakins. “It was wonderful, very evocative. But what it didn’t do is put the audience in Kate’s head.” “I still would have liked to see [the torture scene] as a little teaser in the opening credits, but it didn’t go anywhere. It’s much stronger that you meet Alejandro and not know straightaway what he is. Whether it’s discovering a location or a character, it’s always nice to allow the audience to evolve their picture of it rather than say, ‘Oh, here we are with a great big establishing shot.’” In Sicario as seen through Deakins’ camera, action strikes as it does in life, without warning; Caught within the character’s POV, the audience gets an emotional jolt, not an action-flick spectacle. “I love movies that are about characters, personal dilemmas that have a relationship to bigger issues,” Deakins said. “I don’t really like action movies.” —TIM APPELO

trans movement.” To create the important did a test just with photographs about seven visuals for Redmayne’s character of Einar months before with lots of different wigs, EASING THE TRANSITION Wegener, who became one of the first but he looked great in the dark one. He’s a recorded gender reassignments when he handsome, beautiful man so it made sense to The makeup of The Danish Girl transitioned into LIli Elbe in the early 20th stick with his coloring and not fight it.” century, Sewell started with a passion Lili Sewell also drew from several trans actors an Sewell thought she was getting a gig regarded almost as sacred: painting. in the production who played supporting to transform her friend Eddie Redmayne Einar had been an artist, though he largely and background roles. “These supporting Jinto Stephen Hawking for what would stopped when he became Lili; his wife, Gerda artists would sit with us in makeup truck, be the actor’s Oscar-winning turn in The Wegener, played by Alicia Vikander, was also talk about their process,” she said. “We were Theory of Everything. But that film led her an illustrator and painter who frequently keen to hear it. The whole process was straight to a second film, The Danish Girl, used Lili as a subject. “Tom in particular said, enlightening.” which proved to be an education in the trans ‘Look at the paintings,’” said Sewell. “So that’s Most rewarding was guiding Redmayne experience and the artists and people at its where we got the color palette. Especially the on his journey through feminization. “A forefront, courtesy of director Tom Hooper. red wig.” hyper-feminization tends to happen after “Eddie and Tom were very keen and Though Lili’s hair was actually closer to people first transition,” she said. “And slowly responsible,” Sewell said of the process. blonde, Gerda painted her with red hair. they become more natural. Even when Eddie “Eddie especially brought me everything “The inspiration started there,” Sewell said, had to dress as Einar, we progressively femi-

: 2015 FOCUS FEATURES GIRL : 2015 FOCUS THE DANISH I didn’t know, and opened my eyes to the “and also the 1920s coloring and looks. We nized that too.” —MATT DONNELLY

NOMS | SAG | GLOBES 51 OSCAR’S BACK PAGES / Punch Lines The Night Rocky Got a Shot at the Title Almost four decades ago, the first installment in Sylvester Stallone’s franchise-to-be faced a lineup of heavyweights on Oscar night

BY STEVE POND

Clockwise from top left: Sylvester Stallone arrives at the Oscars, spars with co-presenter Muhammad Ali and poses backstage with director John G. Avildsen.

t’s safe to say that Creed isn’t a Best pumpkin is waiting. I’ll see you later.” acting winner in Oscar history. (He’s since Picture favorite this year—but that’s Early in the show, he presented the Best been joined by Heath Ledger.) Writer Paddy OK, because the entire Rocky franchise Supporting Actress award with the help of a sur- Chayefsky was designated to accept in case of a started as a scrappy underdog. And it prise guest, Muhammad Ali, who shouted, “I’m Finch win, but he called Finch’s widow on stage ended up the champ on March 29, 1977, the real Apollo Creed!” and threw a few punches to accept the award; the move infuriated Oscar Iwhen the low-budget crowd-pleaser about a in Stallone’s direction. When they got down to show producer William Friedkin, who had asked working-class boxer scored a knockout over the business, Beatrice Straight won the award for Chayefsky to accept because he didn’t want an formidable trifecta of Network, All the President’s her 5-minute, 40-second role in Network, setting overly sentimental show. Men and Taxi Driver to win the Academy Award a record that still stands for the shortest perfor- Finally, at the end of the night, Rocky was for Best Picture. mance ever to win an Oscar. named Best Picture. Dragged to the stage by Sylvester Stallone, a struggling 30-year-old Later, the Best Director award went to Rocky producers Robert Chartoff and Irwin Winkler, actor who’d written the script in three director John G. Avildsen, who beat Sidney Stallone shouted, “To all the Rockys of the world, and a half days because nobody was offering Lumet (Network), Ingmar Bergman (Face to Face), I love ya!” Although the writer-actor didn’t win him good roles, showed up at the Dorothy Alan J. Pakula (All the President’s Men) and Lina any personal Oscars, his film ended the night Chandler Pavilion in a ruffled shirt, sans Wertmuller (Seven Beauties), the first woman with three awards. All the President’s Men and tie—and according to the book Inside Oscar, ever nominated for Best Director. Then Network Network won four each. Martin Scorsese and he greeted the screaming fans by saying, “My star Peter Finch became the first posthumous Taxi Driver were shut out completely. W

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