We’re updating live as the winners are announced.
Note: Final phase of Awards Daily’s 8th Annual Simulated Oscar Ballot is now underway. Please go vote. Thanks!
- THE BIG SHORT Adam McKay, Charles Randolph
- MARK RYLANCE Bridge of Spies
THE EE RISING STAR AWARD (voted for by the public)
- JOHN BOYEGA
OUTSTANDING BRITISH FILM
- BROOKLYN John Crowley, Finola Dwyer, Amanda Posey, Nick Hornby
- THE HATEFUL EIGHT Ennio Morricone
- THE REVENANT Emmanuel Lubezki
- MAD MAX: FURY ROAD Margaret Sixel
- MAD MAX: FURY ROAD Jenny Beavan
- SPOTLIGHT Tom McCarthy, Josh Singer
- INSIDE OUT Pete Docter
- AMY Asif Kapadia, James Gay-Rees
MAKE UP & HAIR
- MAD MAX: FURY ROAD Lesley Vanderwalt, Damian Martin
BRITISH SHORT FILM
- OPERATOR Caroline Bartleet, Rebecca Morgan
SPECIAL VISUAL EFFECTS
- STAR WARS: THE FORCE AWAKENS Chris Corbould, Roger Guyett, Paul Kavanagh, Neal Scanlan
- KATE WINSLET Steve Jobs
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
- NAJI ABU NOWAR (Writer/Director) RUPERT LLOYD (Producer) Theeb
Final phase of Awards Daily’s 8th Annual Simulated Oscar Ballot is now underway. Please go vote. Thanks!
Dr Rob has streamlined the ballot so you should be able to fly through the drop-down menus in no time at all. Took me less than a minute. Thanks again for your indispensable participation!
Starts at 17:00 GMT
(that’s 8pm Moscow, 3pm Rio, 12 noon NYC, 10am LA, 2am Tokyo, 12 midnight Bangkok)
The WGA Awards are announcing now.
- bullet points indicate the winners as they come in.
We’re predicting The Big Short and Spotlight to win here. Anything else will be a big surprise in a season full of surprises. Stay tuned.
- Spotlight, Written by Josh Singer & Tom McCarthy; Open Road Film
- The Big Short, Screenplay by Charles Randolph and Adam McKay; Based on the Book by Michael Lewis; Paramount Pictures
One of the reasons we keep returning to 1976 is that it’s supposedly the one year that many people in the Oscar game point to as one of the worst Best Picture wins in Academy history, when a scrappy little movie called Rocky bested films as impressive as All the President’s Men, Network, Taxi Driver, and Bound for Glory. The more I’ve learned about the Oscars in the years I’ve been covering them, the more I’ve understood why that Rocky win represents a valuable a lesson: it was an inclusive, not an exclusive win. In that the Oscars are better, I think, when they take into account the public at large and do not turn too much inward — as they did pointedly last year, with Birdman — thus very nearly exiling themselves onto Oscar Island. Movies are made for everyday people in the real world. The further the Oscars get away from that, I think, the more they lose their value in terms of defining a snapshot in time of our cinematic culture overall.