Innholdsfortegnelse for Award Special 6A February 2019 i The Hollywood Reporter

The movie debuted with a splash. Featuring a Marvel superhero who had never before had the full feature-film spotlight to himself, it was enthusiastically embraced by critics, scoring a roaring 97 percent on Rotten Tomatoes and then immediately took off at the box office. Even more significantly, it was praised for providing a winning protagonist with whom young moviegoers of color could identify. Kids soon began appearing on Twitter and Instagram dressed as the film’s titular hero. In short, it was hailed as a cultural breakthrough. We’re not talking Black Panther here, though all of the above certainly was true of the Marvel megahit. Instead, the subject at hand is Sony Pictures Animation’s Spider-Man: Into the Spider-Verse, which followed a similar trajectory, breaking some of the same ground in the…

The last time a black-and-white film won a cinematography Oscar was in 1994, when Polish cinematographer Janusz Kaminski won the category for lensing Steven Spielberg’s haunting Schindler’s List. This year could be the next if one of two cinematographer nominees — Alfonso Cuaron for Roma (Netflix) or Lukasz Zal for Cold War (Focus Features) — claims the prize. A cinematography Oscar was first handed out in 1928 — to Charles Rosher and Karl Struss for the silent film Sunrise: A Song of Two Humans. In 1939, the award was separated into two different categories, color and black-and-white. In 1968, cinematography again became a single category, and Schindler’s List has been the only black-and-white winner since. But there have been several black-and-white cinematography nominees during the past decade, including The White…

The five Oscar-nominated editors — John Ottman for Bohemian Rhapsody, Barry Alexander Brown for BlacKkKlansman, Yorgos Mavropsaridis for The Favourite, Patrick J. Don Vito for Green Book and Hank Corwin for Vice — have one big thing in common: They all worked on films inspired by true stories. But each faced unique challenges when crafting their tales, whether it was creating the perfect dynamic between a pair of awkward friends (or a pair of rivals) or telling a person’s life story in roughly two hours. Ottman and Corwin encountered the hurdles that come with working on a biopic that condenses decades of a subject’s life — in this case, late Queen frontman Freddie Mercury and former Vice President Dick Cheney — into a film’s limited run time. “I also had…

Robbie Ryan The Favourite The most striking aspect to Irish cinematographer Robbie Ryan’s work on Yorgos Lanthimos’ outrageous 18th century England set dramedy — which won the audience award this year at Camerimage — is the use of ultrawide fish-eye lenses. “Yorgos had used wide lenses in shooting The Killing of a Sacred Deer and was keen to explore using them on The Favourite,” says Ryan, who adds that the director also loves moving the camera. “So we researched wide lenses and discovered the 6mm, which was a lovely piece of glass that helped illustrate the distorted, absurdist world of the queen’s court. Her world was expansive but also quite claustrophobic.” Matthew Libatique A Star Is Born “It was a common goal for Bradley [Cooper] and me to make a…

The Favourite Queen Anne’s (Olivia Colman) bedroom — and many locations in the 18th century England-set The Favourite — were filmed at Hatfield House, a vast estate often used for films that was built in 1611 in the U.K. “We took over that room, emptied it and turned it into the bedroom,” explains production designer Fiona Crombie, adding that there were already some tapestries on the walls, and her team added more. They also dressed Queen Anne’s room with drapes, chandeliers and furniture including a custom-built bed. “It was a small film and a small budget, so the challenge was how to create the most exquisite bedroom — the ultimate in luxury and privilege,” says Crombie, who is nominated for her first Academy Award. “But also she’s trapped in that…

Black Panther SOUND EDITING Benjamin A. Burtt and Steve Boeddeker SOUND MIXING Steve Boeddeker, Brandon Proctor and Peter Devlin Sound Editing & Mixing Ryan Coogler’s Marvel hit has “an important message to kids and fans around the world of inclusion and acceptance and a sense of ‘what if?’ We all took this very seriously and tried to reflect that feeling with our work in sound,” says Steve Boeddeker, supervising sound editor and rerecording mixer, who is nominated for both sound editing and mixing. To immerse audiences in the fictional African nation of Wakanda, he says the team wanted to have sound that was “both modern/high tech and organic/natural.” Technology sounds were simultaneously based in African instruments and birds but also synthetic and futuristic sounds. “We wanted Wakanda to be high-tech…

On Jan. 12, Shameik Moore woke up to a flood of congratulatory messages. The night before on The Tonight Show, Michael B. Jordan had read a text the actor had sent him and cited Moore as “the next generation” of young talent to host Jimmy Fallon. That’s just one swirl of the whirlwind that Moore has experienced in the wake of Spider-Man: Into the Spider-Verse, which has scored $339 million at the global box office, won the Golden Globe for animated film and is nominated for best animated feature at the Oscars. Moore, 23, broke out with the 2015 Sundance drama Dope and starred on Baz Luhrmann’s Netflix drama The Get Down before voicing Miles Morales, an Afro-Latino teenager who dons the mantle of Spider-Man. The actor-musician spoke with THR…

BlacKkKlansman editor Barry Alexander Brown — who has also worked as a director and writer on both documentaries and features through his 30-year career — met Spike Lee in New York during the mid-’80s, and since then he has cut many of Lee’s feature films, including Do the Right Thing, Malcolm X and Inside Man. BlacKkKlansman marks Brown’s first Academy Award nomination as an editor, though he was also Oscar-nominated for his 1979 documentary The War at Home. Arguably one of the most powerful scenes in BlacKkKlansman — made all the more affecting through Brown’s editing — is one featuring undercover cop Flip Zimmerman’s (Adam Driver) KKK initiation ceremony, which is cross-cut with Civil Rights icon Harry Belafonte, as Jerome Turner, talking with student activists. Turner describes the horrific true…

When Steven Spielberg decided to use Stanley Kubrick’s 1980 horror classic The Shining as the backdrop for a key scene that takes place in Ready Player One’s virtual reality world of the Oasis, VFX supervisor Roger Guyett of Industrial Light & Magic initially thought he’d use ILM’s Forrest Gump approach by inserting the film’s CG avatars into pre-existing shots. But it quickly became apparent that Guyett’s plan wouldn’t suffice, since new shots were needed that weren’t in the original movie. So the VFX team built the sequence for the Warner Bros. film in the digital realm, knowing that each setting had to be indistinguishable from those in the original. “As a very specific detail, we digitally matched the performance of the original lenses from the film and also the grain…

1. Roma Jan. 5, San Vicente Bungalows, West Hollywood Details Host Angelina Jolie (right) welcomed (from left) Alfonso Cuaron, Yalitza Aparicio and Marina de Tavira. 2. The Guilty Jan. 3, Scandinavia House, NYC Details Jake Gyllenhaal (left, with helmer Gustav Moller) also hosted an event for Free Solo in January. 3. The 12th Man Dec. 6, Cinepolis Pacific Palisades Details Princess Martha Louise of Norway with AMPAS voters at the new theater complex. 4. The Favourite Jan. 4, NeueHouse Hollywood Details Ryan Murphy and Matt Bomer hosted “an evening of revelry” for Olivia Colman, Emma Stone, Yorgos Lanthimos and Joe Alwyn (left, with Bomer). 5. Won’t You Be My Neighbor? Jan. 9, Tribeca Screening Room, NYC Details At a Locanda Verde reception, from left: host David Cross, Nicholas Ma, Caryn Capotosto, host Michael Shannon and…

William J. Tuttle had a career in makeup that stretched from 1939’s The Wizard of Oz to 1981’s Zorro: The Gay Blade, included marriage in 1943 to the young starlet Donna Reed and, in 1965, peaked with Rosalind Russell handing him the first honorary Academy Award presented for makeup. (The Oscar category for “best makeup and hairstyling” wasn’t put in place until 1981 when Rick Baker won for An American Werewolf in London.) “He ran a very tight department at MGM,” says Kathryn Blondell, the Academy of Motion Picture Arts and Sciences governor for the makeup artists and hairstylists branch, who once worked with Tuttle. “They were always coming up with something special.” What finally brought Tuttle the Oscar recognition he’d long deserved was his work in transforming Tony Randall…