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The State of the Race: Circling Monsters, Looking for Redemption

There are still four movies pushing to the center of this year’s Oscar race. They can be divided into two distinct pairs – the epics and the character dramas. Three ...

The State of the Race: Hunting Down the Most Powerful Oscar Narrative

The current Oscar race seems very much like two races in one. Usually, there are two films that dominate and go head-to-head. This year, it feels like there are two ...

The State of the Race: A Long Time Ago in a Galaxy Far, Far Away

The time has come to humbly admit that some of us may have been wrong about Star Wars: The Force Awakens. First, by not seeing how fast it would overtake ...

The State of the Race: Inside the Doomsday Machine

“I think this was a nice idea we had in this country and a nice landscape to experiment with. But I think there comes a time in almost any experimentation ...

The State of the Race: Breaking the Story, Breaking the World

Telluride seems to be the premiere launching pad for the Oscar winning Best Picture.  With very little time for opinions to settle, the earlier films tend to be the ones ...



It might not seem exciting to the average person, but here in awards world we’re waiting on one movie to break up many of the stats upon which we rely to figure out what will win Best Picture. There are two schools of thought when it comes to Oscar predicting. The first is to go on gut and intuition — or to sometimes pad that by speaking to actual voters (which can often be misleading). Intuition says that you jut feel the buzz. You can’t really explain why. You either feel it or you suspect it or you want it really really bad. The second method is to go by stats. Not just any stats, but the informative stats that are based on things like the number of people voting, the kinds of people voting, and the reasons why they are choosing what they choose. I have to admit that this year has confounded both methods. Intuition, because the pundits have been mostly wrong from the outset. And stats, because if pundits are right, this could be the year the stats all went to shit. Like credit default swaps shit.

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Awards Daily: Congratulations on your second nomination. How does it feel to have your work celebrated like this?

Paco Delgado: I’m very very happy. It’s always a surprise because you never know what’s going to happen and you don’t expect it to happen. It was a very nice surprise and it’s fantastic.

AD: How do approach a character as complex as Lili?

PD: The first thing Tom Hooper told me was, he wanted me to think that Lili was a person trapped in a body that didn’t belong to her. Therefore the body was like a prison for her, on one side she was trapped, on the other, she was protected from the outside because to be transgender in that time would have been such a shock to society. So, that was the first point of departure.

I think that was the point that made me create her world. We also had to do fine research on Denmark, the period and the life of both Gerda and Lili because we can’t forget that they are real people, and we had a lot of material already with pictures and the paintings that they did of each other. Especially Gerda’s paintings of Lili, and that was more or less what we tried to do.

The most important thing was we had to portray this special character with a lot of respect, to make the woman that she was believable and not like a caricature or anything like that.

AD: You mentioned the paintings. How much of that was a reference point for you?

PD: We didn’t really copy anything 100% except the dress that Gerda is painting at the beginning of the movie of her friend with a dress for the ballet. That was it, a reproduction. The rest was more trying to get the feeling of their relationship.

We didn’t really copy much 100%. What was more important was creating dresses that were suitable for Eddie (Redmayne) to look good as a woman.  From very early on, we were playing with Eddie to see what was more suitable for him in terms of what areas of the body we had to hide, what areas of the body we had to show. Most of the Lili paintings were really revealing and that wouldn’t have worked with Eddie. He has male bone structure. I was worried about his shoulders.

AD: Was the scarf used to hide Eddie’s Adam’s apple or was there more to it?

PD: The scarf was in the script as a metaphor of Gerda and Lili’s relationship. If you see in the movie, it goes from one hand to another, and by the end it floats in the air as if Lili’s soul is free. It was a big help as well for hiding Eddie’s Adam’s apple too.

When we were doing our research, there wasn’t much surgery to change your body in the ways we have available today. There wasn’t hormone therapy that exists today. We asked ourselves, how would Lili hide the Adam’s apple? That was the clue as to how we worked with Eddie.

AD: What other challenges did you have when have to go through dressing a character who was going through a transition in 1926?

PD: First you have to do the research to find the tools that Lili had. They didn’t have the surgery such as breast implants, all they had were corsets. So, we used that to create a waisted figure for Eddie. They didn’t have the hormone therapy to start injecting or taking to change your gender. We tried to follow the lines of what Lili could do. That was really how we did it.

Eddie is really tall. I don’t think Lili was that tall. We had to do things like put Eddie in really low heels, and Alicia as the partner Gerda in higher heels to create a better balance.
The camera had to be at a certain angle to hide the fact that Eddie was a tall man and he was playing a woman who wasn’t meant to be that tall.

The other thing is we had to work with and find shapes to make Eddie as realistic as possible. What colors made for softer shoulders and would soften the silhouette as Eddie is much more angular than a woman should be. We found that pastels were much better for him.

The Adam’s apple as we discussed, which I had to hide with a scarf because we didn’t want high collars all the time. We used high collars at the beginning of the movie when he was Einar. We wanted to see more flesh when he was Lili.

We followed our instincts and went with what worked.

AD: Talk to me about dressing Alicia Vikander’s character Gerda

PD: Alicia’s character is dressed really well. She’s dressed as well as Einar, in tailored suits, woolen fabrics that were stiff and restrained. When Lili gets liberated, Alicia gets liberated too. It’s a journey of two people, it’s not just Lili liberating herself, but also Gerda is liberating herself with her. I don’t think Lili would have been capable of doing what she didn’t have Gerda by her side, as a help and support. We always thought that the two characters have to go hand in hand and have the same journey. It’s not just because you get freer that the people around you don’t.  It’s quite the opposite. If Lili gets freer, so does Gerda. We have to remember that another theme is the amazing love story. That someone, out of love, that Gerda does, gives herself up for the other person to become the person she wants to be. Lili has to break her mold but Gerda too, she has to break her own too, to go against something she didn’t want to happen.

AD: So, how much of the wardrobe did you create and how much was bought?

PD: For Eddie, as we’ve been saying, is really tall. It was impossible to find things for him. We created a lot for him. I think about 80% of his outfits were made. We sourced a lot of old dresses, took them apart and made new dresses with the fabric. It’s hard to create those 20’s dresses with the fabrics we have nowadays because they were different.  The chiffons and silks are different now to what they were so we did a lot of recycling.

For Gerda, that was different, because Alicia is not very tall. She’s average in height. We could fit her in more existing costumes.

AD: Do you have a favorite costume?

PD: I love the cream suit that Eddie wears in the park when he’s beaten up by the two Parisian rogue boys. I love it. It represents the road of no return for Lili, it’s when she decides to become who she thinks she is.

AD: You’ve worked with Almodovar, who’s considered one of the greatest film makers in Spanish history. What was that like?

PD: It’s amazing. He’s a guy who loves the visual aspects of movies. He has a particular way. He creates such a world that we now have Almodovarian. When we want to say something looks like the world of Almodovar, he’s already an adjective existing.  I’ve been very lucky to work with amazing directors.


There have been many tales of immigration, but few of Irish-American immigrants. Adapted by Nick Hornby from Colm Toibin’s novel, Brooklyn tells the tale of a young Irish immigrant girl torn between two lovers in the ’50s.

Saoirse Ronan has earned a Best Actress nomination and the film has been honored with a Best Picture nomination, as well as Best Adapted Screenplay for Nick Hornby. Revisit the interviews with Ronan, director John Crowley, and the case for Brooklyn below.

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The nominees for the 88th Academy Awards gathered at the Beverly Hilton Hotel for the annual Oscars luncheon and Awards Daily was there to cover the event.  A few protesters had gathered outside the hotel calling for a boycott of the Oscars by holding up placards with the hashtag #Oscarssowhite. Anthony Breznican of Entertainment Weekly tweeted this photo:

The nominees began arriving, and inside the interview room the world’s press had gathered waiting for the nominees to come in and field questions. They’re not obligated to come to the Interview room but many did.
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day-one-directed-by-henry-hughes.47.36-PM (1)

Henry Hughes has served two tours in Afghanistan. With a thousand stories to tell, Hughes decided to focus on the story of a female translator who is working with the U.S Military in Afghanistan.

I sat down to talk to Hughes who scored an Oscar nomination for Best Live Action Short, to talk about his choices behind the subject and find out what it’s like having George Lucas as a mentor.

Awards Daily: Before we even start talking about the film, you trained yourself in Afghanistan, like twice, right?

Henry Hughes: Yeah, I did two tours with the 173rd Airborne [Brigade Combat Team], which is like airborne infantry or paratroopers. I did two tours, I was an officer. That’s like the resume of it [laughs].

AD: Obviously with that kind of background you must have thousands of stories. What made you want to tell this particular story?

HH: You know, it’s hard to capture what it feels like to go to war, like in a movie or in a book. A part of the issue is that we kind of see the same story over and over again, which is my story. A young white man goes to war, very idealistic, and comes back and tries to figure out what to make of it all. Or doesn’t come back. I felt like we’re not getting anywhere new with this territory, we’re not illuminating things different. Then, when I met my interpreter, it didn’t hit me right away that I would make a story about her. We were just friends for a year and then I got out of the army and we kept calling each other and you start to realize that this person has a lot of inherent conflict and that she had to find her own way in the world. She is having to bridge two cultures and gender. No one is supporting her to go there, she had to do it on her own. Having that sort of integrity is the stuff of movies and the stuff of inspiration, I guess.

AD: How long did it take for you, from writing the script to directing and then getting it made. How long was that process?

HH: The script was kind of rushed into production actually because I was at the American Film Institute and this was my thesis film. We were going to make a different thesis about something else entirely, but we ended up losing the life rights. I had done an exercise in my year at AFI where you shoot like two or three days and you cut it together and it’s all like internal; you don’t show it to other people. It’s a way for us to practice our craft. I had done something [for that] with the character of my interpreter and I thought that if I have to do something very quickly, I can do this because I know this person and I know that world. We started writing the script around seven or eight weeks before production.

Henry Hughes winner of the Gold medal in the Narrative category for "Day One" attends the 42nd Student Academy Awards Ceremony at the Samuel Goldwyn Theater on Thursday, Sept. 17, 2015 in Los Angeles. (Photo by Paul A. Hebert/Invision/AP)

AD: One thing that is so refreshing is that you tell it from her point of view. There are so many viewpoints you could have told it from. What was the decision behind that? 

HH: Certainly, and part of it is that I think the female point of view, in that environment, is far more interesting. My mother was in the army, for instance, and I grew up with my mom and two sisters, and much later we had a little brother. I grew up around a lot of women and you see things differently. The electronic voices for all the military equipment, like in a tank or in a cockpit or even Siri, it’s always a woman’s voice. It cuts through all of that stuff. It’s totally happened where I’ve had an interpreter who is a woman where you say something and you hear her say it back to you and there’s something about having the other gender say it that just tamps down, somewhat, that Lord of the Flies, boy’s club stuff. It gets closer to what the truth is, I think.

AD: There are two important scenes are so powerful. The first one is, obviously, the first scene and then the second is when she’s going to the toilet. What can you tell me about those two scenes?

HH: Sure, the toilet one is a combination of a few things that actually happened to us; one where she was using the restroom and we’re like out in the middle of a mission and her whole thing for a long time was like, “try not to use the bathroom while we’re out on mission.” But it was like five hours and you need to drink water and so, I remember, it just got to a point where she couldn’t take it anymore and said, “I have to go.” I was like, “I didn’t know you had been holding it in for weeks of missions, what are you doing, man, just go [laughs]! We’ll find a spot!” It made me think about how she had to hide that.

Then there was another event where we had gone out and found four IED roadside bombs and I knew there was more on the route because you could just tell. It was like we were still going that way, we haven’t seen this land for while, there is going to be more. But it was getting dark and so we realized that the next one would find us, so we stopped searching. We circled the wagon, fuck the night. So it was my turn and I was using the restroom and I saw this motorcyclist driving on the road that we were just on, he passed me, and then about 100 meters or so down the road he blew up. That was obviously a crazy and interesting feeling to sit with because I regret not saying anything. Why didn’t I think to? I was tired and it slipped my mind. It didn’t even occur to me to say, “Hey stop.” In the film, it somewhat comes across, not as well as I had hoped it would, that her stopping to pee stopped them from getting hit.

AD: That just gave me goosebumps! Something else I loved is the way it flows. There’s  a nice flow to the whole film. From the way you wrote it and envisioned it, there’s a final product on the screen; was that how you had envisioned it?

HH: Um, it’s hard for me to say. I was really trying to capture something that’s really hard to do and I can’t tell if maybe someone else can feel this or not. It’s after these sublime moments that are very particular to a conflict like this where you have things that are beautiful and things that are horrible and things that are both. Also, you don’t have the structure in how you view the world; this is now beyond that. You don’t have language to comprehend it. So, I feel that that was certainly a part of that and I wanted it to be a rush and somewhat of a roller-coaster of ups and downs. At the end, I can’t tell you what it was like to go to war. I haven’t figured that out yet and that’s what I’m trying. I can maybe take you on an emotional ride that’ll make you feel like how I felt. Over the course of a longer time, that’s certainly how I felt.

AD: How long have you been back now?

HH: Since 2011.

AD: Wow, that’s very recent.

HH: I suppose. I don’t know. It feels far away now [laughs].

AD: I have to ask, how does it feel to have the Oscar nomination?

HH: Sure, it’s unsettling [laughs]. All of a sudden there’s this thing other than you that people think you are, which is fine, except that’s not me. I got like weird with all that for a moment, I just tried to focus on how cool it’s going to be that my wife and I get to go to the Oscars.

AD: That’s incredible. And I read somewhere that George Lucas is your mentor!

HH: It’s totally right! He was very kind in volunteering to be a mentor for a veteran as a part of a veteran’s program called American Corporate Partner’s. I happened to get George because he saw some of my work; I assume other people submitted work. He’s just been incredibly supportive; I’ll show him my work and he’ll give me notes. Less on particular stuff and more about big picture, how you want to be a filmmaker, how you want to be an adult, how you want to be a husband, that kind of stuff. It’s cool. It’s interesting because obviously he’s this massive titan in the industry or iconoclast, but he’s also a  human. I appreciate that about him. He’s been very good to me.

AD: That’s so cool. How can we see Day One? I’ve had the honor of seeing it, but how can the public get to see the film?

HH: It’s in theaters presently, along with the other Oscar nominees. It’ll be out on iTunes and VOD and all that on demand stuff February 22nd or something. It’ll be on Amazon, iTunes, Verizon, and Google Play.

AD: That’s great!  What can we expect from you next?

HH: I definitely want to continue working in this area. It’s very integral to who I am and what I want to explore. I hope that I get to make a feature or series about this. I’m shopping around both ideas. Not for the same story, but for the same world. Something that we’ve really had a good look at is the way that we look at love or sex because of the sexual revolution. We haven’t had that kind of talk about what combat is for the modern day. Our stories and the way we look at it are kind of antiquated. I think we need to look at it from a new point of view.

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Contender Tracker


Best PictureNBR top ten/+winner*
NYFCC winner*
LAFC winner+
SAG nominee*
Globe winner+/nominee*
SEFCA winner+/topte*
Critics Choice nominee*
AFI Top Ten+
Ace Eddie noms*
Producers Guild winner+/noms*
ASC Nominations*
WGA nominations*
USC Scripter*
BAFTA nom*
CAS nominee*
DGA win+/Nominees+

The Big Short****+++****
The Revenant+******+
Mad Max: Fury Road+***++****
The Martian*+**+*****
Room**** +
Bridge of Spies***+*****

Best ActoRLeonardo DiCaprio, The Revenant++**
Bryan Cranston, Trumbo**+**
Michael Fassbender, Steve Jobs+ ****
Matt Damon, The Martian+* **
Eddie Redmayne, The Danish Girl ****

Best ActressBrie Larson, Room++++**
Saoirse Ronan, Brooklyn+****
Cate Blanchett, Carol****
Charlotte Rampling, 45 Years+*+
Jennifer Lawrence, Joy+*

Supporting ActorSylvester Stallone, Creed++*
Mark Rylance, Bridge of Spies***+*
Christian Bale, The Big Short**
Mark Ruffalo, Spotlight**
Tom Hardy, The Revenant*

Supporting ActresS
Alicia Vikander, The Danish Girl+*
Rooney Mara, Carol***
Kate Winslet, Steve Jobs*+* *
Jennifer Jason Leigh, The Hateful Eight+***
Rachel McAdams, Spotlight**

Alejandro Inarritu, The Revenant+**+
Adam McKay, The Big Short**
George Miller, Max Max: Fury Road+*+**
Tom McCarthy, Spotlight***
Lenny Abrahamson, Room

Original Screenplay
Spotlight, Tom McCarthy, Josh Singer+*+*+**
Straight Outta Compton, Jonathan Herman and Andrea Berloff*
Bridge of Spies, Charman, the Coens***
Inside Out, Meg LeFauve, Josh Cooley, Pete Docter**
Ex Machina, Alex Garland**

Adapted ScreenplayAdam McKay, The Big Short*****
Cariol, Phyllis Nagy++**
Room, Emma Donoghue****
The Martian, Drew Godard+***
Brooklyn, Nick Hornby***

EditingThe Big Short+*+*
Mad Max: Fury Road*+*
The Revenant***
The Force Awakens*
Spotlight *

The Revenant***
Mad Max: Fury Road++***
Carol +*+* *
The Hateful Eight *

Production Design
Mad Max: Fury Road**
The Revenant *
The Martian**
The Danish Girl
Bridge of Spies*

Sound Mixing
The Revenant**
Mad Max: Fury Road**
The Martian*
Bridge of Spies**
Star Wars

Sound Editing
The Revenant
Mad Max: Fury Road
The Martian
Star Wars: The Force Awakens

Costume Design
The Danish Girl**
Mad Max: Fury Road**
The Revenant

Original Score
The Hateful Eight+*
Star Wars: The Force Awakens*
Bridge of Spies

Foreign Language Feature
Son of Saul+++
Mustang (France)**
Columbia (Embrace of the Serpent)
Theeb (Jordan)
Denmark (A War)

Documentary Feature
Cartel Land
What Happened, Miss Simone?
The Look of Silence
Winter on Fire: Ukraine’s Fight for Freedom

Animated featureInside Out++++**+
Shaun the Sheep **
When Marine Was There
Boy and the World

Visual Effects
Mad Max: Fury Road**
Star Wars: The Force Awakens*
Ex Machina**
The Martian**
The Revenant*

The Revenant **
Mad Max: Fury Road **
The 100 Year-old-man

Til it Happens to you, The Hunting Ground (Lady Gaga)
Writings on the Wall, Spectre+
Earned it, 50 Shades
Manta Ray, Racing Extinction
Simple Song 3, Youth

Live Action ShortShok
Day One
Everything Will Be Okay
Ave Maria

Animated Short World of Tomorrow
Bear Story
Sanjay's Super Team
We Can't Live without Cosmos

Documentary ShortChau Beyond the Lines
Body Team 12
Claude Lanzmann: Spectres of the Shoah
Last Day of Freedom
A Girl in the River: The Price of Forgiveness

Wayman Wong
You're right, Andrew. Before Saturday night, most pundi ...
Ryan Adams
Yes. All this. Yes.
Ryan Adams
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Wayman Wong
Several years ago, BAFTA changed its schedule so it cou ...
A word on DGA. They liked TR so much that they broke th ...

The Case For


If you think back over Oscar history and wonder why no films about journalists have ever won Best Picture, it suddenly becomes all too clear how much things have changed. ...

– Sometimes…it’s better for a man just to walk away. – But if you can’t walk away? – I guess that’s when it’s tough. ― Arthur Miller, Death of a ...


Beasts of no nation




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