Oscar night has finally arrived! Live updates will take place here throughout the parade of little gold men handouts. The official show starts tonight at 7PM EST / 4PM PST on ABC, with Jimmy Kimmel hosting for the fourth time. Awards Daily (see staff predictions here) is holding down their annual post in the official Interview Room, where winners will stride in, give us their reactions, and we will quote and characterize them for posterity and instant gratification.
Refresh throughout the night for the latest updates.
3:32 PST:
Can I just say, before I get to anything important (like what they fed us for lunch), there’s nothing quite like taking the press shuttle bus over to the venue while your ride plays “Axel F.” That’s Hollywood as hell, boys and girls. Harold Faltermeyer 4EVA. #bananainthetailpipe
3:42 PST:
The spread in the hallway has made us all spread. I think everyone needs a bigger chair now than when they arrived. Or, maybe this is a personal issue. (I ate a lot of shrimp).
3:55 PST:
Ariana Grande losing her cool at the sight of Michelle Yeoh on the red carpet is all of us.
4:00 PST:
The venue comes with “Academy Librarians.” Walking cinematic encyclopedias of Oscar knowledge that you can call upon to fact check historical data, or simply to ask for trivia from. Google need not be bothered.
4:07 PST:
HERE. WE. GO.
4:08 PST:
Host Jimmy Kimmel’s open: References to the SAG/WGA strikes, a shot taken at Madame Web, noting the snub of Greta Gerwig (and then reminding those in attendance that THEY are the ones who didn’t vote for her), then moves on to Oppenheimer with sweet-natured jabs at Nolan, Murphy, and then a joke about this maybe not being Downey’s HIGHEST moment ever. We have been Barbenheimered.
4:14 PST:
Great note of trivia by Kimmel: Jodie Foster and Robert De Niro were both nominated for Oscars in 1977 (Taxi Driver), and then again over 45 years later for Nyad and Killers of the Flower Moon. And then pointing out that she was too young to date De Niro then, and she’s too old to date him now. Laughter and groans equally matched in the press room.
4:17 PST:
Kimmel pointing out that 3 non-english language films have been nominated for Best Picture. and, of course, Killers of the Flower Moon has a lot of indigenous dialogue.
4:21 PST:
Jamie Lee Curtis, Mary Steenburgen, Lupita Nyong’o, Rita Moreno, and Regina King warmly introduce each of the best supporting actress nominees. Us hardened press folk all have something in our eyes.
4:25 PST:
Had anyone other than Da’Vine taken the title, I think everyone at the press tables would have face-planted into their laptops. What a remarkable performance she gave in The Holdovers.
4:27 PST:
“Thank you for seeing me.” – Da’Vine Joy Randolph. The room feels it.
4:28 PST:
Hard to say if Da’Vine’s win is a harbinger for things to come for The Holdovers. She was such a frontrunner in this category. As far as I’m concerned, this was also a makeup by the Academy for snubbing her work in Dolemite is my Name!
4:38 PST:
Animated feature and animated short presented by young Furiosa and Thor. The winners are War is Over: Inspired by the Music of John and Yoko, Animated short. The Boy and the Heron.
4:40 PST:
The Boy and the Heron is the first surprise of the night. Everyone I talked to thought this one was in the webslinger’s bag. Even good Marvel falls short tonight.
4:44 PST:
Best Original, and Best Adapted Screenplay:
The late-surging Anatomy of a Fall scores a modest upset in the Best Original Screenplay category. Justine Triet and Arthur Harari’s win should not be considered a stunner though. Anatomy has been building momentum for some time now. For a while, this awards seemed like The Holdovers to lose.
In a rare instance where all 5 nominees in a category seemed to have at least some shot of winning, Cord Jefferson takes home the Best Adapted Screenplay prize for his brilliant, satirical, and somehow heartwarming, American Fiction. Jefferson’s spread the wealth, make more modestly budgeted films plea was extremely well received.
4:52 PST:
The Holdovers plagiarism story broke just yesterday, so obviously had no impact on the voting. Expect a lot of high-pitched scrutiny, regardless, in the following days, if not weeks and months.
4:54 PST:
Just a note here while Billie Eilish performs “What Was I Made For?” from Barbie, if she wins the Oscar for best song tonight, it will be here second after winning for “No Time To Die” in 2022. She is all of 22.
5:00 PST:
Da’Vine Joy Randolph did not join us in the Interview Room, but hey, I did chat her up for FX’s High Fidelity a few years ago.
5:05 PST:
Makeup and Hair might have been a spot to give Maestro a nod, but nope. It’s Poor Things. And that feels right. (BTW, I have no hate for Maestro like some of you crazies out there).
5:07 PST:
While Barbie and Oppenheimer were the consistent frontrunners here, I thought there was an outside chance that Poor Things might sneak in here and win for Production Design, and look at me. Keep this on the down low, but among our staff, I’m the WORST at picking the Oscars.
5:09 PST:
Complete transcript of Da’Vine Joy Randolph’s acceptance speech for Best Supporting Actress – The Holdovers:
God is so good. God is so good. You know, I — I didn’t think I was supposed to be doing this as a career. I started off as a singer. And my mother said to me, “Go across that street to that theater department. There’s something for you there. And I thank my mother for doing that. I thank you to all the people who have stepped in my path and has been there for me, who has ushered me and guided me. I am so grateful to all of you beautiful people out there. For so long I’ve always wanted to be different, and now I realize I just need to be myself. And I thank you. I thank you for seeing me. Ron Van Lieu, I thank you when I was the only black girl in that class, when you saw me and you told me I was enough. And when I told you I don’t see myself, you said, “That’s fine. We’re going to forge our own path. You’re going to lay a trail for yourself.” I’m so grateful to all the women who have been by my side: Colleen Camp, Barbara Broccoli, Tracey Brennan, Sarah Fargo. I have to give a special shout-out to my publicist. And I know y’all said don’t say nothing about no publicist, but you don’t have a publicist like I have a publicist. You have been by my side for the entire thing, and I am forever grateful. I pray to God that I get to do this more than once. I thank you for seeing me. Have a blessed night. Thank you so much.
5:12 PST:
Maybe an obvious place to award Barbie something for the perceived snubs in the director and actress categories. At minimum, it was the MOST costume designing. My eyes will never register pink the same way (and before you come for me, Barbie’s costume design was on point for the movie). But it’s another win (already its 3rd) for Poor Things!
5:19 PST:
Wondering if this Poor Things tryptich of Oscar wins means more outside of the crafts categories. Could there be a Best Actress surprise?
5:21 PST:
Had anything other than Jonathan Glazer’s stark, austere, and horrific The Zone of Interest had taken home the prize, we’d have us a story. As it turns out, we do not. Glazer’s unique take on a Nazi’s desire to lead a quaint normal life next to the extermination camp he was managing next door was one of the true locks of the night. Glazer could have started his walk to the podium once the category was announced.
5:23 PST:
Sidenote: Johnathan Glazer has directed just 4 films in 24 years. Can we get him to pick up the pace?
5:27 PST:
Complete transcript of the Oscar winning speeches for WAR IS OVER! INSPIRED BY THE MUSIC OF JOHN & YOKO Dave Mullins and Brad Booker
DAVE MULLINS: Okay. Intimidating. We want to thank the Academy for this incredible award. John Lennon and Yoko Ono wrote a song this inspired us. There’s an anti-war message that we tried to honor with this film. We want to thank our executive producer and creative partner, Sean Ono Lennon, who was amazing to work with.
SEAN ONO LENNON: Thank you.
DAVE MULLINS: Our team at ElectroLeague. ElectroLeague, we love you. Thank you so much for your hard work and dedication. I want to thank Thomas Newman for his incredible score. And I want to thank my family. I love you all so much. My kids, my wife, Lisa. I love you sweetie. And, Mom, Dad, we did it.
BRAD BOOKER: I want to get in here really quickly. I want this guy to talk really quickly. Peter Jackson, thank you so much. This film would not have happened without you. What all — the amazingly talented team at Wētā FX, the amazingly talented team at Lights From Entertainment. Epic Games, Lisa Zambri, Roman Hudson watching at home. I love you very. And, Mom and Dad, I love you.
SEAN ONO LENNON: Thank you. I just want to quickly say my mother turned 91 this February. And today is Mother’s Day in the UK. So everyone please say Happy Mother’s Day, Yoko. Happy Mother’s Day.
5:34 PST
Robert Downey Jr. wins for best supporting actor (Oppenheimer). Not just because he was incredible as Robert Oppenheimer’s stealth nemesis (he was), but also because he reminded us how great he can be when he’s playing someone not named Tony Stark.
5:39 PST:
Complete transcript of the Oscar winning speeches for Original Screenplay (Anatomy of a Fall) by Justine Triet and Arthur Harari
JUSTINE TRIET: Thank you so much. Whoa. It will help me through my mid-life crisis, I think. This is a crazy year. Anyway, this is glamour tonight. Contrasts slightly with only what it — to start before. We were stuck in the house with two kids. It was a lockdown. And we hook them up to cartoons for peace. And, yeah, there was no line, I think, between work and diapers.
ARTHUR HARARI: And then along came two other people, a woman and a man, the producers, Marie-Ange Luciani and David Thion. And — yeah. And they — actually, that’s when things got a little crazy. It was like a mix of ping-pong played by Marie — French or something. And — but there was nothing between us or above us, only total independence and freedom. And that’s the only way we could make that film so — as for that.
JUSTINE TRIET: I want to thank all the cast, of course, Sandra, Swann, all the cast for what you did on set. You killed the script on set. And that’s what we — that’s the best for why — just for directors. Thank you so much. Thank you. It’s such an honor. Thank you.
5:42 PST:
Maybe I shouldn’t have been surprised, but Cord Jefferson entered the Interview Room to more than a sizable round of applause. But I think it’s not just about how good American Fiction is, it’s also about how likable Jefferson is as a person. I interviewed him several years ago for Watchmen, and he was asking me as many questions about my life as I was his. I had to keep reminding him that the interview is about you, not me. Hard guy not to root for.
5:47 PST:
Many of us are still trying to figure out how Oppenheimer missed out on a nod here, but who isn’t taking some measure of joy in a movie about a nuclear-razed, big-ass water lizard taking home some gold to go with its green, armored epidermis? Go Go Godzilla!
5:50 PST:
Complete transcript of the Oscar winning speech for Best Adapted Screenplay (American Fiction) by Cord Jefferson:
My God. Look, this is — thank you so much. Thank you so much. This really -this means the world to me. Thank you so much to the Academy. Thank you so much to everybody who worked on the film. I have been talking a lot about how many people passed on this movie and discussing it. And I worry that that sometimes sounds vindictive, and I don’t want to be vindictive. I’m not a vindictive person anymore. I’ve worked very hard to not be vindictive anymore. And it’s more a plea. It’s a plea to acknowledge and recognize that there are so many people out there who want the opportunity that I was given. And this is a — I understand that this — I only got six seconds, please. I understand that this is a risk-averse industry. I get it. But $200 million movies are also a risk, you know. And it doesn’t always work out, but you take the risk anyway. Instead of making one $200 million movie, try making 20 $10 million movies or 50 — right? — 50 $4 million movies. You can — there are so many people — I just feel so much joy being here. I felt so much joy making this. I want other people to experience that joy. They are out there, I promise you. The next Martin Scorsese is out there. The next Greta is out there, both Gretas. The next Christopher Nolan is out there. I promise you. They just want a shot, and we can give them one, and this has changed my life. Thank you all for who worked on this movie, for trusting a 40-year-old black guy who has never directed anything before. It has changed my life. I love you all. Thank you so much.
5:52 PST:
It took a little while for Oppenheimer to get going, but now we are cooking with nuclear power! (Jesus, I’m sorry). Jennifer Lame’s win for editing Oppenheimer comes as no surprise. Sterling work, cutting a film that is mostly about people standing in rooms talking, yet somehow, still riveting for the entirety of its 3 hour running time.
5:55 PST:
The wildly talented Jon Batiste’s performance of “It Never Went Away” from the great documentary American Symphony about he and his wife was absolutely stunning. I thought the doc should have been nominated too. I was fortunate enough to chat with him about the song and the film.
5:58 PST:
The Interview Room is turning into a Poor Things parade. Production Design, Makeup and Hair, Costume Design. Good for them. Truly great work by all.
6:03 PST:
Best Documentary Short goes to The Last Repair Shop. The Film’s director, Ben Proudfoot, also won the same award for The Queen of Basketball in 2022.
6:06 PST:
The harrowing 20 Days in Mariupol takes the prize for Best Documentary Feature as expected. It’s not just a great film, it’s very of the moment too. I will say, I will probably never watch it twice. I mean that as a compliment. It’s almost too good at illuminating its subject. Director Mstyslav Chernov noted this is the first Oscar ever to be won by Ukraine. And then stated that he wishes he never had a reason to make the movie at all. You could have hears a feather hit the floor while he was speaking.
6:11: PST:
Complete transcript of the Oscar winning speech for Best International Feature by the film’s director Jonathan Glazer:
Thank you so much. I’m going to read, I’m afraid. Thank you to the Academy for this honor and to our partners A24 Films for access and Polish Film Institute, to the Stead Museum for their trust and guidance, to my producers, actors, collaborators. All our choices were made to reflect and confront us in the present, not to say look what they did then, but rather look what we do now. Our film shows where dehumanization leads at its worst. It’s shaped all of our past and present. Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people. Whether the victims of October — whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist? Alexandria, the girl who glows in the film as she did in life, chose to. I dedicate this to her memory and her resistance. Thank you.
6:13 PST:
5 truly great nominations. Oppenheimer has been the frontrunner for some time, but any of the other 4 would have been worthy recipients. Go easy, insanely passionate haters of Maestro, it was a beautifully shot film. That being said, Hoyte Van Hoytema’s win was not only an easy choice, but, I think, a predictor for the rest of the night.
6:18 PST:
We Anderson finally wins an Oscar for The Wonderful Story of Henry Sugar in the category of Live Action Short Film. Anderson had been nominated 7 times previously.
6:20 PST:
The visual effects team of Godzilla Minus One are in the room and talking about how you can do great work on a limited budget. Hollywood should take note. These folks did a lot with a little. They seem to be open to helping out the studios over here with their budgetary bloat.
6:26 PST:
Complete transcript of the Oscar winning speech for Best Supporting Actor by Robert Downey Jr. (Oppenheimer):
Thank you. Thank you. Thanks, Sam. Thanks, fellas. It’s amazing. You only flubbed one line. I would like to thank my terrible childhood and the Academy, in that order. I would like to thank my veterinarian — I mean wife, Susan Downey, over there. She found me a snarling rescue pet, and you loved me back to life. That’s why I’m here. Thank you. Here’s my little secret. I needed this job more than it needed me. Chris knew it. Emma made sure that she surrounded me with one of the great cast and crews of all time: Emily, Cillian, Matt Damon, Blunt. It was fantastic. And I stand here before you a better man because of it. You know, what we do is meaningful, and the stuff that we decide to make is important. So back to my publicist. My agent, Philip Raskind is here, and Andrew Dunlap. My den mother, Joy Fehily. Thank you very much. I want to thank my stylist in case no one else does. Thanks, Erica. Thank you very much. And I’m just going to say this: My entertainment lawyer, Tom Hansen, of 40 years, the half of which he spent trying to get me insured and bailing me out of the hoosegow. Thanks, bro. Avri, Exton, and Indio, this one’s for you.
I love the movie TWINS It’s amazing. So it’s bananas I get to do this. Sorry. Take a deep breath. Okay. Emma Thomas, you amaze me. You’re a badass producer, and you make these complicated beautiful films, and you’re unflappable and I’m in awe of you. Chris Nolan, you’re okay too. I was terrified, like I am right now, when I first got hired to work with you, and you hired me. And it felt like you took a huge risk on me, but you never made me feel that way. And you instilled so much confidence in me, and I looked forward to going to work with you every day. And it’s so exciting to collaborate with you. And I can’t thank you enough. My husband, Craig, I love you. My two children, Tony and Nicki, I love you so much. “Gone for gone for,” which means good night. I don’t know.
Oh, silly. To all the aspiring filmmakers out there, I would like to say please try shooting that incredible new hip thing called celluloid. It’s much easier than you think. And it makes things look so much better. Thank you to the Academy. Big thank you to my whole crew led by Keith Davis, Adam Chambers, and Carlo Corbin. Thank you, Chris Nolan. Thank you, Emma Thomas. You are by far the best thing that could have happened to my career, obviously. This wouldn’t have happened without you. Thank you, Universal. Thank you to my wife and daughter, Mia and Bonnie, for keeping me sane and anchored through this wacky circus called filmmaking. Thank you, Aunt Gail, for the candy apples. Thank you.
We also learned something we probably already knew, but maybe forgot: Giving a great performance and being the sentimental favorite (Giamatti and Gladstone) is no guarantee of victory. One need only recall Anthony Hopkins beating out the late Chadwick Boseman in 2021.
![2025 Oscars: Can a Late-Breaker Still Win Best Picture? [POLL]](https://www.awardsdaily.com/wp-content/uploads/2024/10/gladiator-350x250.jpg)
