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>>> TIME TO GO MAKE A MOVIE.
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♪
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♪
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>> LIGHTS.
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>> MOVIES ARE DREAMS THAT YOU
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NEVER FORGET.
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>> CAMERA.
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♪
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>> ACTION!
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>> AHH!
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♪
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>> ARE YOU READY TO FLY?
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>> I'M READY.
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>> RUN!
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>> YES!
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>> WHEREVER WE GO -- THIS FAMILY
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IS OUR FORTRESS.
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>> SHOW THEM WHO WE ARE.
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>> PEOPLE ARE AMAZING.
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>> OF ALL THE PLACES I COULD BE,
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I WILL ALWAYS WANT TO BE HERE
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WITH YOU.
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>> I WANT TO BE TRAPPED HERE
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FOREVER AND EVER AND EVER!
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>> SO, LET'S JUST CALL IT QUITS.
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>> WE WON'T CALL IT QUITS.
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WE'LL CALL IT THE START.
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>> WE CAN'T OUTRUN THIS GUY.
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WE GOT TO EJECT.
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>> WHAT?
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>> WE NEED ALTITUDE.
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>> NO, WE DON'T.
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>> PULL THE EJECTION HANDLES THE
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SECOND I TELL YOU.
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>> I DON'T WANT TO PULL THE
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HANDLES.
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I DON'T WANT TO PULL THE
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HANDLES.
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I'M NOT PULLING -- WHAT'S WRONG
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WITH THIS GUY?
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>> THERE'S NO OTHER WAY.
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EJECT!
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EJECT!
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>> WHY ARE YOU LIKE THIS, TOM?
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♪
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>> Announcer: LADIES AND
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GENTLEMEN, YOUR HOST FOR THIS
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EVENING, JIMMY KIMMEL.
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♪
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>> THANK YOU, THANK YOU.
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WOW.
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THANK YOU, THANK YOU.
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THANK YOU.
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THANK YOU.
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GIVE ME A SECOND TO ADJUST MY
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DANGER ZONE HERE.
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ALL RIGHT.
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I'M GOOD.
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WELCOME, AND CONGRATULATIONS,
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WELCOME TO THE 95th OSCARS!
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IT IS YOU M-- YOU MADE IT.
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CONGRATULATIONS.
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I KNOW THAT BEING HERE TONIGHT
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IS A DREAM COME TRUE.
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THANK YOU FOR INVITING ME TO BE
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APART OF IT, ESPECIALLY THIS
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YEAR, WHEN THE FINALLY GOT OUT
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OF THE HOUSE TO SEE THE FILMS
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YOU WORKED SO HARD TO MAKE, THE
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WAY YOU INTENDED THEM TO BE
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SEEN, IN A THEATER.
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AND I -- I ALSO WANT TO SAY THAT
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I AM HAPPY TO SEE THAT NICOLE
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KIDMAN HAS FINALLY BEEN RELEASED
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FROM THAT ABANDONED AMC -- WHERE
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SHE HAS BEEN HELD CAPTIVE FOR
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ALMOST TWO FULL YEARS NOW.
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GOOD TO HAVE YOU, BACK, NICOLE.
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AND THANK YOU FOR ENCOURAGING
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PEOPLE WHO WERE ALREADY AT THE
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MOVIE THEATER TO GO TO THE MOVIE
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THEATER.
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YOU LOOK GREAT.
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EVERYBODY LOOKS SO GREAT.
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WHEN I LOOK AROUND THIS ROOM, I
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CAN'T HELP BUT WONDER, IS
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OZEMPIC RIGHT FOR ME?
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SO MANY FIRST-TIME NOMINEES
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HERE.
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IN THE ACTING CATEGORIES ALONE,
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THERE ARE 16 FIRST-TIME
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NOMINEES, INCLUDING JAMIE LEE
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CURTIS, INCLUDING COLIN FARRELL,
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MICHELLE YEOH.
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BRENDAN FRASER.
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I -- THIS IS, I THINK, A GREAT
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PIECE OF OSCAR TRIVIA.
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31 YEARS AGO, IN 1992, BRENDAN
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FRASER AND KY WERE IN A MOVIE
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TOGETHER -- YOU REMEMBER WHICH
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MOVIE WAS IT?
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"
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"ENCINO MAN."
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TWO ACTORS FROM "ENCINO MAN" ARE
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NOMINATED FOR OSCARS.
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WHAT A -- WHAT AN INCREDIBLE
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NIGHT THIS MUST BE FOR THE TWO
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OF YEAR AND WHAT A VERY
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DIFFICULT NIGHT FOR PAULIE
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SHORE.
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MAYBE IT'S TIME TO REBOOT
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"BIODOME."
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ALL THE TOP-TEN HIGHEST GROSSING
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FILMS THIS YEAR WERE SEQUELS OR
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FRANCHISES.
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THEY SAY HOLLYWOOD IS RUNNING
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OUT OF IDEAS.
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POOR STEVEN SPIELBERG HAD TO
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MAKE A MOVIE ABOUT STEPVEN
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SPIE
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SPIELBERG.
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CONGRATULATIONS, STEVEN.
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LOOK AT THIS, BY THE WAY.
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I WANT TO SAY, RIGHT HERE, THIS
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IS MY FAVORITE DUO OF THE YEAR.
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STEVEN SPIELBERG AND SETH ROGEN.
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WHAT A PAIR.
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THE JOE AND HUNTER BIDEN OF
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HOLLYWOOD.
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SETH, WHAT ARE YOU ON RIGHT NOW?
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BE HONEST.
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NOTHING?
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MUSHROOMS, RIGHT?
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DID YOU GIVE ONE TO STEVEN?
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GIVE HIM ONE.
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LET'S SEE WHAT HAPPENS.
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MAYBE HE'LL MAKE SOMETHING
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CRAZY.
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STEVEN CLAIMS HE HAS NEVER
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SMOKED WEED.
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YOU MEAN TO TELL ME YOU WERE
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SOBER WHEN YOU MADE A MOVIE
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ABOUT AN ALIEN THAT EATS REESE'S
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PIECES ALL DAY AND CAN'T
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REMEMBER HOW TO PHONE HOME?
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STEVEN IS THE FIRST DIRECTOR TO
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BE NOMINATED IN SIX DIFFERENT
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DECADES FOR AN OSCAR.
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REMARKABLE.
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THIS TIME, AS YOU KNOW, HE IS
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NOMINATED FOR "THE FABLELMANS."
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THEY SAY WRITE WHAT YOU KNOW,
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AND ALSO WRITE WHAT YOU KNOW
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YOUR MOM DID WITH YOUR DAD'S
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BEST FRIEND.
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AND STEVEN DID THAT, AND THE
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RESULT WAS YET ANOTHER OSCAR
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NOMINATION FOR THE GREAT
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MICHELLE WILLIAMS, WHO IS RIGHT
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THERE.
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MICHELLE.
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AND "THE FABELMANS" WASN'T AN
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EASY SHOOT.
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AFTER ALMOST EVERY TAKE,
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SPIELBERG WOULD RUSH UP TO HER
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WITH TEARS IN HIS EYES, HE WOULD
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SCREAM, THAT'S NOT HOW MOMMY
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SAID IT!
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I ALSO WANT TO EXTEND
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CONGRATULATIONS TO STEVEN'S
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LONGTIME COLLABORATOR, THE
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MAESTRO JOHN WILLIAMS, WHO IS
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NOW THE OLDEST NOMINEE IN OSCAR
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HISTORY.
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AND HE LOOKS GREAT, HE'S -- JOHN
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TURNED 91 YEARS OLD LAST MONTH
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AND HE'S STILL SCORING, IF YOU
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KNOW WHAT I MEAN.
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AND BY THE WAY, IF YOU HAVE
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NEVER MADE LOVE TO THE SCORE
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FROM "RAIDERS OF THE LOST ARK,"
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DO YOURSELF A FAVOR.
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ANOTHER -- ONLY WALT DOES KNEE,
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THIS IS GREAT.
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ONTO WALT DISNEY HAS BEEN
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NOMINATED FOR MORE OSCARS THAN
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JOHN WILLIAMS.
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HE'S BEEN NOMINATED 53 TIMES.
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HE'S WON FIVE.
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WHICH HONESTLY IS NOT THAT
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GREAT.
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BUT GOOD LUCK TONIGHT.
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IT WAS A VERY GOOD YEAR FOR
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MOVIES.
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BUSINESS IS BOOMING.
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I KNOW PEOPLE LIKE TO DEBATE NOW
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WHICH IS BETTER, MOVIES OR TV,
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BUT HERE'S THE THING.
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NO MATTER HOW GOOD A SHOW IS,
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THERE ARE SOME THINGS THAT
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MOVIES CAN DO THAT TV JUST
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CAN'T.
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FOR EXAMPLE, A TV SHOW CAN'T
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LOSE $100 MILLION.
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IS THE GANG FROM "BABYLON" HERE?
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THEY KNOW.
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I WAS JUST ASKING IF THEY WERE
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HERE.
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I WAS WELCOMING THEM.
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AT LEAST "BABYLON" GOT RELEASED.
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"BAT GIRL" BECAME THE FIRST
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SUPERHERO TO BE DEFEATED BY AN
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ACCOUNTING DEPARTMENT.
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AND THEN WE HAD THE BIG ONE, THE
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LONG, LONG AWAITED "AVATAR: THE
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WAY OF WATER."
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JIM CAMERON, ANOTHER OPPORTUNITY
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TO DO WHAT HE LOVES TO DO MORE
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THAN ANYTHING ELSE -- DROWNING
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KATE WINSLET.
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THE SEQUEL TO "AVATAR" IS THE
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MOST EXPENSIVE MOVIE EVER MADE.
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DISNEY SPENT $2 BILLION ON THIS
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MOVIE.
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JUST TO BREAK EVEN, ALL OF NICK
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CANNON'S KIDS HAD TO SEE
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"AVATAR" FOUR TIMES.
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AND THEY DID, I GUESS.
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JAMES CAMERON IS NOT HERE, BY
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THE WAY, TONIGHT.
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YOU KNOW -- YOU KNOW A SHOW IS
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TOO LONG WHEN EVEN JAMES CAMERON
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CAN'T SIT THROUGH IT.
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SOME OF THE CYNICS ARE SAYING
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JIM CAMERON ISN'T HERE BECAUSE
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HE DIDN'T GET A BEST DIRECTOR
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NOMINATION AND WHILE I FIND THAT
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VERY HARD TO BELIEVE ABOUT A MAN
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WHO SUCH DEEP HUMILITY, HE DOES
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HAVE A POINT.
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I MEAN, HOW DOES THE ACADEMY NOT
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NOMINATE THE GUY WHO DIRECTED
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"AVATAR."
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WHAT DO THEY THINK HE IS -- A
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WOMAN?
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WHAT A -- THANK YOU, LADIES.
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IT WAS SOME YEAR FOR DIVERSITY
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AND INCLUSION.
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WE HAVE NOMINEES FROM EVERY
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CORNER OF DUBLIN.
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FIVE IRISH ACTORS ARE NOMINATED
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TONIGHT.
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WHICH MEANS THE ODDS OF ANOTHER
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FIGHT ON STAGE JUST WENT WAY UP.
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AND WHILE WE'RE ON THE SUBJECT
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OF DIVERSITY, I WANT TO SAY,
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ESPECIALLY THOSE WATCHING AT
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HOME, THERE ARE A NUMBER OF
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EXCELLENT FILMS AND PERFORMANCES
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NOT NOMINATED TONIGHT, INCLUDING
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"TILL", BASED ON A TRUE STORY.
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VERY WORTHY OF YOUR TIME, IF YOU
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HAVEN'T SEEN THEM.
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AS IS A SMALL FILM CALLED "TOP
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GUN: MAVERICK."
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THE MOVIE THAT SAVED THE MOVIES.
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EVERYONE LOVED "TOP GUN."
268
00:10:48,270 --> 00:10:50,170
EVERYBODY.
269
00:10:50,170 --> 00:10:54,610
I MEAN -- TOM CRUISE WITH HIS
270
00:10:54,610 --> 00:10:59,180
SHIRT OFF IN THAT BEACH FOOTBALL
271
00:10:59,180 --> 00:10:59,380
SCENE?
272
00:10:59,380 --> 00:11:01,080
L. RON HUBBA HUBBA, YOU KNOW
273
00:11:01,080 --> 00:11:04,680
WHAT I'M SAYING?
274
00:11:04,690 --> 00:11:06,860
YOU KNOW, TOM AND JAMES CAMERON
275
00:11:06,850 --> 00:11:08,190
DIDN'T SHOW UP TONIGHT.
276
00:11:08,190 --> 00:11:09,960
THE TWO GUYS WHO INSISTED WE GO
277
00:11:09,960 --> 00:11:11,330
TO THE THEATER DIDN'T COME TO
278
00:11:11,330 --> 00:11:14,600
THE THEATER.
279
00:11:14,600 --> 00:11:15,970
SO IF YOU ARE HOPING TO GET A
280
00:11:15,960 --> 00:11:18,000
LOOK AT TOM CRUISE, HE'S NOT
281
00:11:18,000 --> 00:11:20,070
HERE, OR MAYBE HE IS HERE, MAYBE
282
00:11:20,070 --> 00:11:22,170
THAT'S TOM CRUISE RIGHT THERE
283
00:11:22,170 --> 00:11:24,970
WEARING A JUDD HIRSCH "MISSION
284
00:11:24,970 --> 00:11:26,710
IMPOSSIBLE" MASK.
285
00:11:26,710 --> 00:11:28,450
THERE'S ONLY ONE WAY TO FIND OUT
286
00:11:28,440 --> 00:11:30,010
FOR SURE.
287
00:11:30,010 --> 00:11:31,050
JUDD, WE ARE GOING TO NEED YOU
288
00:11:31,050 --> 00:11:32,550
TO DRIVE A MOTORCYCLE OFF THE
289
00:11:32,550 --> 00:11:33,520
ROOF OF THE THEATER.
290
00:11:33,510 --> 00:11:35,810
YOU KNOW WHO ELSE IS HERE?
291
00:11:35,820 --> 00:11:38,420
THE EXCELLENT RIHANNA IS WITH US
292
00:11:38,420 --> 00:11:38,650
TONIGHT.
293
00:11:38,650 --> 00:11:41,050
SHE GOT HER FIRST OSCAR
294
00:11:41,060 --> 00:11:43,530
NOMINATION FOR THE SONG "LIFT ME
295
00:11:43,520 --> 00:11:49,890
UP" FROM "BLACK PANT HER WHAT
296
00:11:49,900 --> 00:11:51,940
CACA
297
00:11:51,930 --> 00:11:53,200
WHAT CANADA FOREVER."
298
00:11:53,200 --> 00:11:55,770
SHE HAS A NINE-MONTH-OLD
299
00:11:55,770 --> 00:11:56,670
BACKSTAGE.
300
00:11:56,670 --> 00:11:57,570
HE'S VERY CUTE.
301
00:11:57,570 --> 00:12:01,510
HE POOPED DURING REHEARSAL.
302
00:12:01,510 --> 00:12:04,410
YOU KNOW WHO THE LAST PERSON WAS
303
00:12:04,410 --> 00:12:07,280
TO POOP BACKSTAGE AT THE OSCARS?
304
00:12:07,280 --> 00:12:10,650
THE ACCOUNTANT THAT MIXED UP THE
305
00:12:10,650 --> 00:12:11,120
ENVELOPES.
306
00:12:11,120 --> 00:12:12,590
RIHANNA IS HERE, LADY GAGA IS
307
00:12:12,590 --> 00:12:12,790
HERE.
308
00:12:12,790 --> 00:12:14,560
WONDERFUL.
309
00:12:14,560 --> 00:12:17,000
MY GOD, EVEN ELVIS IS IN THE
310
00:12:16,990 --> 00:12:18,320
BUILDING TONIGHT.
311
00:12:18,330 --> 00:12:18,630
THERE HE IS.
312
00:12:18,630 --> 00:12:20,060
AUSTIN BUTLER.
313
00:12:20,060 --> 00:12:24,000
AUSTIN -- AS YOU KNOW, A
314
00:12:24,000 --> 00:12:25,870
FIRST-TIME NOMINEE, HE WAS SO
315
00:12:25,870 --> 00:12:28,370
CONVINCING AS ELVIS, STILL IS.
316
00:12:28,370 --> 00:12:30,070
THIS IS A GOOD HOLLYWOOD STORY.
317
00:12:30,070 --> 00:12:32,070
BEFORE THEY STARTED SHOOTING,
318
00:12:32,070 --> 00:12:34,870
TOM HANKS GAVE AUSTIN A VINTAGE
319
00:12:34,880 --> 00:12:36,520
TYPEWRITER IN IT AND IN IT, TOM
320
00:12:36,510 --> 00:12:38,950
LEFT A NOTE WRITTEN FROM COME
321
00:12:38,950 --> 00:12:40,620
LELL TOM PARKER TO ELVIS, SO
322
00:12:40,610 --> 00:12:42,450
AUSTIN USED THE TYPEWRITER TO
323
00:12:42,450 --> 00:12:43,920
WRITE TOM BACK AS ELVIS PRESLEY
324
00:12:43,920 --> 00:12:45,520
AND THEY GOT TO KNOW EACH OTHER
325
00:12:45,520 --> 00:12:47,160
BY SENDING LETTERS BACK AND
326
00:12:47,150 --> 00:12:50,290
FORTH AS ELVIS AND TOM, WHICH
327
00:12:50,290 --> 00:12:51,990
JUST GOES TO SHOW HOW INCREDIBLY
328
00:12:51,990 --> 00:12:54,460
SILLY THIS ALL IS.
329
00:12:54,460 --> 00:12:56,230
YOU HAVE SILLY JOBS, BUT AUSTIN,
330
00:12:56,230 --> 00:13:03,070
YOU ARE SO KNOW ELVIS WOULD HA
331
00:13:03,070 --> 00:13:05,170
YOUR PERFORMANCE.
332
00:13:05,170 --> 00:13:08,470
ACCORDING TO MY QANON REDDIT
333
00:13:08,480 --> 00:13:09,280
PAGE, HE STILL IS.
334
00:13:09,280 --> 00:13:10,950
WE WANT YOU TO HAVE FUN, FEEL
335
00:13:10,940 --> 00:13:12,210
SAFE, AND MOST IMPORTANTLY, WE
336
00:13:12,210 --> 00:13:13,780
WANT ME TO FEEL SAFE.
337
00:13:13,780 --> 00:13:15,780
SO, WE HAVE STRICT POLICIES IN
338
00:13:15,780 --> 00:13:15,980
PLACE.
339
00:13:15,980 --> 00:13:17,350
IF ANYONE IN THIS THEATER
340
00:13:17,350 --> 00:13:18,850
COMMITS AN ACT OF VIOLENCE AT
341
00:13:18,850 --> 00:13:20,220
ANY POINT DURING THE SHOW, YOU
342
00:13:20,220 --> 00:13:21,060
WILL BE AWARDED THE OSCAR FOR
343
00:13:21,060 --> 00:13:28,530
BEST ACTOR AND PERMITTED TO GIVE
344
00:13:28,530 --> 00:13:30,770
A 19-MINUTE LONG SPEECH.
345
00:13:30,760 --> 00:13:32,760
BUT SERIOUSLY, THE ACADEMY HAS A
346
00:13:32,770 --> 00:13:34,010
CRISIS TEAM IN PLACE.
347
00:13:34,000 --> 00:13:35,540
IF ANYTHING UNPREDICTABLE OR
348
00:13:35,540 --> 00:13:36,870
VIOLENT HAPPENS DURING THE
349
00:13:36,870 --> 00:13:37,770
CEREMONY, JUST DO WHAT YOU DID
350
00:13:37,770 --> 00:13:38,070
LAST YEAR.
351
00:13:38,070 --> 00:13:40,410
NOTHING.
352
00:13:40,410 --> 00:13:41,040
SIT THERE AND DO ABSOLUTELY
353
00:13:41,040 --> 00:13:43,480
NOTHING.
354
00:13:43,480 --> 00:13:44,880
MAYBE EVEN GIVE THE ASSAILANT A
355
00:13:44,880 --> 00:13:46,780
HUG.
356
00:13:46,780 --> 00:13:48,650
AND IF ANY OF YOU GET MAD AT A
357
00:13:48,650 --> 00:13:51,520
JOKE AND DECIDE YOU WANT TO GET
358
00:13:51,520 --> 00:13:53,260
JIGGY WITH IT -- IT'S NOT GOING
359
00:13:53,250 --> 00:13:53,950
TO BE EASY.
360
00:13:53,950 --> 00:13:55,420
A FEW OF MY FRIENDS YOU HAVE TO
361
00:13:55,420 --> 00:13:56,360
GET THROUGH FIRST.
362
00:13:56,360 --> 00:13:58,330
YOU ARE GOING TO HAVE TO GET
363
00:13:58,330 --> 00:14:01,630
THROUGH THE HEAVYWEIGHT CHAMP,
364
00:14:01,630 --> 00:14:02,870
ADONIS CREED, BEFORE YOU GET TO
365
00:14:02,860 --> 00:14:03,030
ME.
366
00:14:03,030 --> 00:14:04,600
YOU ARE GOING TO HAVE TO DO
367
00:14:04,600 --> 00:14:05,740
BATTLE WITH MICHELLE YEOH BEFORE
368
00:14:05,730 --> 00:14:07,530
YOU GET TO ME.
369
00:14:07,530 --> 00:14:10,570
YOU ARE GOING TO HAVE TO BEAT
370
00:14:10,570 --> 00:14:12,770
"THE MANDALORIAN" BEFORE YOU GET
371
00:14:12,770 --> 00:14:13,170
TO ME.
372
00:14:13,170 --> 00:14:14,770
YOU ARE GOING TO HAVE TO TANGLE
373
00:14:14,780 --> 00:14:18,220
WITH SPIDER-MAN.
374
00:14:18,210 --> 00:14:21,210
YOU ARE GOING TO HAVE TO -- YOU
375
00:14:21,220 --> 00:14:25,020
ARE GOING TO HAVE TO TANGLE WITH
376
00:14:25,020 --> 00:14:27,990
FABELMAN.
377
00:14:27,990 --> 00:14:29,460
AND THEN YOU'RE GOING TO HAVE TO
378
00:14:29,460 --> 00:14:31,230
GO THROUGH MY RIGHT-HAND MAN,
379
00:14:31,230 --> 00:14:32,360
GUILLERMO, IF YOU WANT TO GET UP
380
00:14:32,360 --> 00:14:33,190
TO THIS STAGE.
381
00:14:33,190 --> 00:14:36,160
OH, WAIT A MINUTE -- WELL, I
382
00:14:36,160 --> 00:14:40,160
SHOULD SAY -- THE OTHER
383
00:14:40,170 --> 00:14:40,440
GUILLERMO.
384
00:14:40,430 --> 00:14:41,830
NOT DEL TORO.
385
00:14:41,840 --> 00:14:42,170
YES, THAT ONE.
386
00:14:42,170 --> 00:14:44,410
OKAY, THERE YOU GO.
387
00:14:44,410 --> 00:14:46,610
I KNOW HE'S CUTE, BUT MAKE NO
388
00:14:46,610 --> 00:14:47,780
MISTAKE, YOU EVEN SO MUCH AS
389
00:14:47,780 --> 00:14:49,520
WAVE AT ME, THAT SWEET LITTLE
390
00:14:49,510 --> 00:14:52,510
MAN WILL BEAT THE LYDIA TAR OUT
391
00:14:52,510 --> 00:14:53,580
OF YOU.
392
00:14:53,580 --> 00:14:54,420
NO NONSENSE TONIGHT.
393
00:14:54,420 --> 00:14:56,290
WE HAVE NO TIME FOR SHENANIGANS.
394
00:14:56,280 --> 00:14:57,950
THIS IS A CELEBRATION OF
395
00:14:57,950 --> 00:14:58,550
EVERYONE HERE.
396
00:14:58,550 --> 00:15:00,320
YOU TOLD US YOU WANTED ALL THE
397
00:15:00,320 --> 00:15:01,390
CATEGORIES BACK IN AND WE
398
00:15:01,390 --> 00:15:01,660
LISTENED.
399
00:15:01,660 --> 00:15:05,160
THEY'RE ALL BACK IN.
400
00:15:05,160 --> 00:15:06,590
THAT'S RIGHT.
401
00:15:06,590 --> 00:15:11,530
WE WILL BE SHOWING ALL 23
402
00:15:11,530 --> 00:15:12,600
CATEGORIES LIVE TONIGHT.
403
00:15:12,600 --> 00:15:14,770
EXCEPT FOR ONE, EARLIER TONIGHT,
404
00:15:14,770 --> 00:15:17,270
BEST PICTURE WENT TO "ALL QUIET
405
00:15:17,270 --> 00:15:19,710
ON THE WESTERN FRONT."
406
00:15:19,710 --> 00:15:22,280
CONGRATULATIONS TO GERMANY.
407
00:15:22,280 --> 00:15:23,680
WE PUT ALL THE CATEGORIES BACK
408
00:15:23,680 --> 00:15:27,380
IN BECAUSE THE MOVIE COMMUNITY
409
00:15:27,380 --> 00:15:27,980
WANTED IT.
410
00:15:27,980 --> 00:15:29,950
ALMOST AS MUCH AS THE TELEVISION
411
00:15:29,950 --> 00:15:30,750
COMMUNITY DIDN'T WANT IT.
412
00:15:30,750 --> 00:15:32,420
NO COMPLAINING ABOUT HOW LONG
413
00:15:32,420 --> 00:15:33,020
THE SHOW IS.
414
00:15:33,020 --> 00:15:35,690
I SAW YOUR MOVIES, NOW IT'S MY
415
00:15:35,690 --> 00:15:37,030
TURN TO MAKE YOU SIT IN A
416
00:15:37,020 --> 00:15:38,420
THEATER FOR 3 1/2 HOURS.
417
00:15:38,430 --> 00:15:40,030
THAT DOESN'T MEAN WE DON'T WANT
418
00:15:40,030 --> 00:15:41,400
TO HEAR YOU SPEAK.
419
00:15:41,400 --> 00:15:43,200
WE WANT THE SPEECHES TO BE
420
00:15:43,200 --> 00:15:44,700
MOVING, WE ALSO WANT TO KEEP IT
421
00:15:44,700 --> 00:15:44,930
MOVING.
422
00:15:44,930 --> 00:15:46,130
SPEECH GOES ON TOO LONG, THIS
423
00:15:46,130 --> 00:15:47,360
YEAR, WE'RE NOT GOING TO PLAY
424
00:15:47,370 --> 00:15:49,740
YOU OFFSTAGE, INSTEAD, WE HAVE A
425
00:15:49,740 --> 00:15:51,840
GROUP OF PERFORMERS FROM THE
426
00:15:51,840 --> 00:15:54,480
MOVIE "RRR," WHO IS GOING TO
427
00:15:54,480 --> 00:15:56,220
DANCE YOU OFFSTAGE.
428
00:15:56,210 --> 00:15:59,510
IF YOU GO TO LONG, WE'RE GOING
429
00:15:59,510 --> 00:16:02,150
TO GONG SHOW YOU.
430
00:16:02,150 --> 00:16:03,620
PLEASE WELCOME OUR FIRST
431
00:16:03,620 --> 00:16:05,990
PRESENTERS OF THE NIGHT, DWAYNE
432
00:16:05,990 --> 00:16:11,730
JOHNSON AND EMILY BLUNT.
433
00:16:11,730 --> 00:16:20,210
♪
434
00:16:20,200 --> 00:16:22,570
>> DO YOU DO ANY OF THOSE MOVES?
435
00:16:22,570 --> 00:16:22,940
>> I CAN.
436
00:16:22,940 --> 00:16:24,680
>> I WOULD HAVE LIKED THAT.
437
00:16:24,670 --> 00:16:27,970
HELLO.
438
00:16:27,980 --> 00:16:28,450
WE KNOW THE SHOW JUST
439
00:16:28,440 --> 00:16:29,070
STARTED, SO WE'LL GET STRAIGHT
440
00:16:29,080 --> 00:16:29,680
TO THE POINT -- WE'RE HERE TO
441
00:16:29,680 --> 00:16:30,250
PRESENT THE AWARD FOR BEST
442
00:16:30,240 --> 00:16:32,140
ANIMATED FEATURE.
443
00:16:32,150 --> 00:16:34,550
>> AH -- YES.
444
00:16:34,550 --> 00:16:35,480
>> YEAH.
445
00:16:35,480 --> 00:16:38,780
>> YEAH.
446
00:16:38,790 --> 00:16:40,730
ANIMATION.
447
00:16:40,720 --> 00:16:43,220
BUT WHERE DOES ONE EVEN BEGIN TO
448
00:16:43,220 --> 00:16:45,920
ADEQUATELY CAPTURE THE MAGIC
449
00:16:45,930 --> 00:16:46,400
THAT IS ANIMATED FILM?
450
00:16:46,390 --> 00:16:47,060
>> UM -- I DON'T KNOW.
451
00:16:47,060 --> 00:16:47,590
BUT THAT'S WHY WE'RE HERE.
452
00:16:47,590 --> 00:16:48,190
SO THESE ARE THE NOMINEES FOR
453
00:16:48,200 --> 00:16:52,670
BEST ANIMATED --
454
00:16:52,670 --> 00:16:54,570
>> COME ON --
455
00:16:54,570 --> 00:16:56,540
>> COME ON, LONG NIGHT.
456
00:16:56,540 --> 00:16:58,110
>> THAT WORD, ANIMATION.
457
00:16:58,110 --> 00:16:58,740
LIKE MANY WORDS, IT COMES FROM
458
00:16:58,740 --> 00:16:59,370
THE MOTHER TONGUE, LATIN.
459
00:16:59,370 --> 00:17:01,970
>> OH, MY GOD.
460
00:17:01,980 --> 00:17:03,250
>> ITS ROOT MEANING, TO BESTOW
461
00:17:03,240 --> 00:17:04,040
LIFE.
462
00:17:04,040 --> 00:17:04,640
>> DWAYNE, WE'VE GOT TO KEEP
463
00:17:04,650 --> 00:17:06,420
THIS MOVING.
464
00:17:06,410 --> 00:17:07,810
YOU SEE, THEY'RE EXHAUSTED,
465
00:17:07,810 --> 00:17:08,340
EVEN --
466
00:17:08,350 --> 00:17:09,850
>> EMILY, YES, IT'S --
467
00:17:09,850 --> 00:17:11,720
>> NO, WE'RE JUST WASTING TIME.
468
00:17:11,720 --> 00:17:13,990
>> REALLY, THINK ABOUT IT, IS IT
469
00:17:13,990 --> 00:17:15,460
REALLY WASTING TIME TO SIGH THAT
470
00:17:15,460 --> 00:17:16,600
ANIMATION IS THE VERY DEFINITION
471
00:17:16,590 --> 00:17:18,790
OF FILM, ARTFULLY -- THANK YOU.
472
00:17:18,790 --> 00:17:19,790
>> YOU KNOW WHAT?
473
00:17:19,790 --> 00:17:20,720
>> SEE THAT.
474
00:17:20,730 --> 00:17:21,330
>> YEAH.
475
00:17:21,330 --> 00:17:23,100
>> ARTFULLY, THANK YOU, GUYS,
476
00:17:23,100 --> 00:17:26,340
ARTFULLY TELLING SOPHISTICATED
477
00:17:26,330 --> 00:17:28,430
NARRATIVES FRAME BY FRAME.
478
00:17:28,440 --> 00:17:29,070
THAT IT'S TIED TO THE ORIGIN OF
479
00:17:29,070 --> 00:17:29,700
CINEMA ITSELF AND ENCOMPASSES A
480
00:17:29,700 --> 00:17:30,530
WHOLE ARRAY OF VISUAL STYLES AND
481
00:17:30,540 --> 00:17:32,180
TECHNIQUES, AS DISPLAYED BY THE
482
00:17:32,170 --> 00:17:34,340
NOMINEES THIS YEAR?
483
00:17:34,340 --> 00:17:35,840
>> THAT WAS VERY, VERY NICE.
484
00:17:35,840 --> 00:17:37,840
>> THANK YOU.
485
00:17:37,840 --> 00:17:39,340
>> VERY, VERY NICELY PUT.
486
00:17:39,350 --> 00:17:39,980
AND I'M GOING TO GIVE YOU THAT
487
00:17:39,980 --> 00:17:42,420
ONE.
488
00:17:42,420 --> 00:17:43,850
>> HERE ARE THE NOMINEES FOR
489
00:17:43,850 --> 00:17:46,650
BEST ANIMATED FEATURE FILM.
490
00:17:46,650 --> 00:17:47,720
“GUILLERMO DEL TORO'S PINOCCHI”"
491
00:17:47,720 --> 00:17:51,360
GUILLERMO DEL TORO,
492
00:17:51,360 --> 00:17:51,990
MARK GUSTAFSON, GARY UNGAR AND
493
00:17:51,990 --> 00:17:53,590
ALEX BULKLEY.
494
00:17:53,590 --> 00:17:55,760
>> YOU MUST TRY YOUR BEST AND
495
00:17:55,760 --> 00:17:58,660
THAT'S THE BEST ANYBODY CAN DO.
496
00:17:58,670 --> 00:18:00,740
>> "MARCEL THE SHELL WITH SHOES
497
00:18:00,730 --> 00:18:01,700
ON."
498
00:18:01,700 --> 00:18:04,340
ELISABETH HOLM, ANDREW GOLDMAN,
499
00:18:04,340 --> 00:18:05,870
CAROLINE KAPLAN AND PAUL MEZEY.
500
00:18:05,870 --> 00:18:08,810
>> SOMETIMES PEOPLE SAY THAT MY
501
00:18:08,810 --> 00:18:11,580
HEAD IS TOO BIG FOR MY BODY AND
502
00:18:11,580 --> 00:18:14,450
THEN I SAY, COMPARED TO WHAT?
503
00:18:14,450 --> 00:18:17,120
>> "PUSS IN BOOTS: THE LAST
504
00:18:17,120 --> 00:18:18,050
WISH."
505
00:18:18,050 --> 00:18:20,420
JOEL CRAWFORD AND MARK SWIFT.
506
00:18:20,420 --> 00:18:20,950
>> FEAR ME!
507
00:18:20,950 --> 00:18:23,420
I YOU DARE.
508
00:18:23,420 --> 00:18:26,290
>> "THE SEA BEAST."
509
00:18:26,290 --> 00:18:27,930
CHRIS WILLIAMS AND
510
00:18:27,930 --> 00:18:28,400
JED SCHLANGER.
511
00:18:28,400 --> 00:18:29,800
>> YOU DIDN'T STOP ME, DID YOU?
512
00:18:29,800 --> 00:18:31,140
>> THAT'S NOT THE SAME THING.
513
00:18:31,130 --> 00:18:32,060
>> ISN'T IT?
514
00:18:32,070 --> 00:18:33,240
>> "TURNING RED."
515
00:18:33,230 --> 00:18:37,130
DOMEE SHI AND LINDSEY COLLINS.
516
00:18:37,140 --> 00:18:39,580
>> I LIKE GYRATING.
517
00:18:39,570 --> 00:18:41,410
I'M 15, DEAL WITH IT!
518
00:18:41,410 --> 00:18:45,880
>> OKAY.
519
00:18:45,880 --> 00:18:50,450
AND THE OSCAR GOES TO --
520
00:18:50,450 --> 00:18:51,620
GUILLERMO TELL TORO'S
521
00:18:51,620 --> 00:18:57,190
"PINOCCHIO."
522
00:18:57,190 --> 00:19:00,560
>> GUILLERMO DEL TORO FIRST SAW
523
00:19:00,560 --> 00:19:01,600
"PINOCCHIO" AS A CHILD AND FELT
524
00:19:01,600 --> 00:19:03,140
IT WAS THE FIRST TIME SOMEBODY
525
00:19:03,130 --> 00:19:03,960
CAPTURED HOW SCARY CHILDHOOD
526
00:19:03,960 --> 00:19:08,430
COULD BE.
527
00:19:08,440 --> 00:19:09,540
>> WOW.
528
00:19:09,540 --> 00:19:12,880
THANK YOU.
529
00:19:12,870 --> 00:19:14,770
IT'S -- IT'S SO GOOD TO KNOW
530
00:19:14,780 --> 00:19:18,850
THAT -- THAT THIS ART FORM THAT
531
00:19:18,850 --> 00:19:21,950
WE LOVE SO MUCH, STOP MOTION, IS
532
00:19:21,950 --> 00:19:22,520
VERY MUCH ALIVE AND WELL.
533
00:19:22,520 --> 00:19:26,190
I WANT TO THANK SHADOW MACHINE
534
00:19:26,190 --> 00:19:27,990
AND THE CREW UP IN PORTLAND, I
535
00:19:27,990 --> 00:19:31,490
WANT TO THANK THE HENCEN COMPANY
536
00:19:31,490 --> 00:19:31,860
AND LISA.
537
00:19:31,860 --> 00:19:32,660
I WANT TO THANK MY BEAUTIFUL
538
00:19:32,660 --> 00:19:36,800
WIFE AND SEBASTIAN, AS WELL, AND
539
00:19:36,800 --> 00:19:38,800
THIS MAN, WHO WAS REALLY THE
540
00:19:38,800 --> 00:19:41,000
GENESIS OF EVERYTHING, INCLUDING
541
00:19:41,000 --> 00:19:44,640
MY DRINKING PROBLEM.
542
00:19:44,640 --> 00:19:50,550
>> ANIMATION IS CINEMA.
543
00:19:50,540 --> 00:19:54,610
ANIMATION IS READY TO BE TAKEN
544
00:19:54,610 --> 00:19:56,350
TO THE NEXT STEP.
545
00:19:56,350 --> 00:19:57,790
WE ARE ALL READY FOR IT.
546
00:19:57,780 --> 00:19:59,020
PLEASE HELP US.
547
00:19:59,020 --> 00:19:59,590
KEEP ANIMATION IN THE
548
00:19:59,590 --> 00:20:00,590
CONVERSATION.
549
00:20:00,590 --> 00:20:06,530
I WOULD LIKE TO THANK NETFLIX
550
00:20:06,530 --> 00:20:08,370
FOR THEIR FAITH TO MAKE THIS
551
00:20:08,360 --> 00:20:08,560
MOVIE.
552
00:20:08,560 --> 00:20:11,060
AND I WANT TO DEDICATE THIS TO
553
00:20:11,060 --> 00:20:13,530
THE LOVE OF MY LIFE, MY WIFE
554
00:20:13,530 --> 00:20:15,300
KIM, MY KIDS, AND MY MOM AND
555
00:20:15,300 --> 00:20:16,030
POP, THEY'RE NOT HERE ANYMORE,
556
00:20:16,040 --> 00:20:20,410
BUT THEY ARE HERE WITH ME, AND
557
00:20:20,410 --> 00:20:21,180
I'M YOUR SON AND I LOVE YOU.
558
00:20:21,170 --> 00:20:27,410
THANK YOU.
559
00:20:27,410 --> 00:20:30,580
♪
560
00:20:30,580 --> 00:20:31,610
>> Announcer: COMING UP,
561
00:20:31,620 --> 00:20:33,960
ARIANA DEBOSE, TROY KOTSUR, AND
562
00:20:33,950 --> 00:20:34,780
A PERFORMANCE BY SOFIA CARSON.
563
00:20:34,790 --> 00:20:35,820
AND LATER, THE AWARD FOR
564
00:20:35,820 --> 00:20:37,360
CINEMATOGRAPHY.
565
00:20:37,360 --> 00:20:39,530
TO LEARN MORE ABOUT OUR
566
00:20:39,530 --> 00:20:40,530
NOMINATED CINEMATOGRAPHERS, SCAN
567
00:20:40,530 --> 00:20:43,630
THE QR CODE ON YOUR SCREEN.
568
00:20:49,240 --> 00:20:53,210
>> Announcer: WELCOME BACK TO
569
00:20:53,210 --> 00:20:53,540
THE OSCARS.
570
00:20:53,540 --> 00:20:54,670
THROUGHOUT THE NIGHT, WE'LL
571
00:20:54,670 --> 00:20:56,670
PRESENT ALL OF OUR BEST PICTURE
572
00:20:56,680 --> 00:20:57,110
NOMINEES.
573
00:20:57,110 --> 00:21:02,280
HERE'S THE FIRST, WITH FOUR
574
00:21:02,280 --> 00:21:02,580
NOMINATIONS.
575
00:21:02,580 --> 00:21:03,750
THIS IS "AVATAR: THE WAY OF
576
00:21:03,750 --> 00:21:08,020
WATER."
577
00:21:08,020 --> 00:21:08,950
>> THE WAY OF WATER HAS NO
578
00:21:08,960 --> 00:21:14,200
BEGINNING AND NO END.
579
00:21:14,190 --> 00:21:18,590
LIFE TO DEATH.
580
00:21:18,600 --> 00:21:25,870
DARKNESS TO LIGHT.
581
00:21:25,870 --> 00:21:29,810
♪
582
00:21:29,810 --> 00:21:36,320
WATER CONNECTS ALL THINGS.
583
00:21:36,320 --> 00:21:42,190
>>> WELCOME BACK.
584
00:21:42,190 --> 00:21:45,130
THAT WAS "AVATAR: THE WAY OF
585
00:21:45,130 --> 00:21:45,700
WATER."
586
00:21:45,690 --> 00:21:48,160
THE THIRD HIGHEST-CROSSING MOVIE
587
00:21:48,160 --> 00:21:48,960
OF ALL TIME.
588
00:21:48,960 --> 00:21:51,360
JAMES CAMERON HAS DIRECTED THREE
589
00:21:51,360 --> 00:21:53,560
$2 BILLION MOVIES OR GIVEN HIS
590
00:21:53,570 --> 00:21:55,540
MARITAL HISTORY, THREE $1
591
00:21:55,540 --> 00:21:57,710
BILLION MOVIES.
592
00:21:57,700 --> 00:21:59,540
WE HAVE A LOT OF HISTORY IN THE
593
00:21:59,540 --> 00:22:00,940
MAKING TONIGHT, INCLUDING A MAN
594
00:22:00,940 --> 00:22:03,110
WHO COULD BECOME OUR OLDEST
595
00:22:03,110 --> 00:22:05,950
ACTING WINNER EVER, ONE OF MY
596
00:22:05,950 --> 00:22:07,990
FAVE R
597
00:22:07,980 --> 00:22:09,250
FAVORITES, JUDD HIRSCH.
598
00:22:09,250 --> 00:22:10,220
HE TURNS 88 YEARS OLD ON
599
00:22:10,220 --> 00:22:12,220
WEDNESDAY.
600
00:22:12,220 --> 00:22:13,890
88 YEARS OLD THIS WEEK.
601
00:22:13,890 --> 00:22:14,720
SO, WE'RE GOING TO DO HIS
602
00:22:14,720 --> 00:22:16,590
CATEGORY FIRST.
603
00:22:16,590 --> 00:22:17,320
LET'S DO IT.
604
00:22:17,320 --> 00:22:21,090
HERE TO PRESENT THE OSCAR FOR
605
00:22:21,090 --> 00:22:21,620
ACTOR AND ACTRESS IN A
606
00:22:21,630 --> 00:22:24,030
SUPPORTING ROLE, LAST YEAR'S
607
00:22:24,030 --> 00:22:26,170
WINNERS IN SUPPORTING ROLES,
608
00:22:26,170 --> 00:22:28,540
OSCAR WINNERS TROY KOTSUR AND
609
00:22:28,540 --> 00:22:34,310
ARIANA DEBOSE.
610
00:22:34,310 --> 00:22:47,820
>> HI, BABE.
611
00:22:47,820 --> 00:22:50,890
>> WE ARE THRILLED TO BE BACK TO
612
00:22:50,890 --> 00:22:51,460
PRESENT THE OSCARS FOR BEST
613
00:22:51,460 --> 00:22:52,090
SUPPORTING ACTOR AND SUPPORTING
614
00:22:52,090 --> 00:22:57,230
ACTRESS.
615
00:22:57,230 --> 00:22:59,330
BESIDES SHARING GROUNDBREAKING
616
00:22:59,330 --> 00:23:00,900
WINS LAST YEAR, WE ALSO SHARE A
617
00:23:00,900 --> 00:23:03,540
LOVE OF COLLABORATING WITH
618
00:23:03,540 --> 00:23:05,680
OTHERS TO CONNECT WITH AN
619
00:23:05,670 --> 00:23:10,040
AUDIENCE.
620
00:23:10,040 --> 00:23:10,640
>> AND WE ARE BOTH SO PLEASED
621
00:23:10,640 --> 00:23:12,010
AND ENCOURAGED THAT THE MOVIES,
622
00:23:12,010 --> 00:23:14,650
AND THE PEOPLE WHO MAKE THEM,
623
00:23:14,650 --> 00:23:16,250
ARE BECOMING MORE INCLUSIVE AND
624
00:23:16,250 --> 00:23:18,320
MORE OF A REFLECTION OF THE
625
00:23:18,320 --> 00:23:18,950
AUDIENCES THAT ARE INSPIRED BY
626
00:23:18,950 --> 00:23:26,720
THEM.
627
00:23:26,730 --> 00:23:28,800
>> IN MANY EARLIEST
628
00:23:28,800 --> 00:23:29,400
OPPORTUNITIES, MY ROLES WERE
629
00:23:29,400 --> 00:23:29,900
VOICED BY OTHER ACTORS
630
00:23:29,900 --> 00:23:35,070
OFF-STAGE.
631
00:23:35,070 --> 00:23:36,540
TONIGHT, IT DOESN'T MATTER WHERE
632
00:23:36,540 --> 00:23:38,280
THE SOUND COMES FROM -- THIS IS
633
00:23:38,270 --> 00:23:41,040
ME SIGNING.
634
00:23:41,040 --> 00:23:42,740
AND I AM DELIGHTED TO HONOR
635
00:23:42,740 --> 00:23:44,580
THESE ARTISTS.
636
00:23:44,580 --> 00:23:46,180
>> THOUGH THE CHARACTERS THEY
637
00:23:46,180 --> 00:23:47,780
PLAYED ARE NOT CONSIDERED LEADS,
638
00:23:47,780 --> 00:23:49,350
THEIR CONTRIBUTIONS TO A FILM
639
00:23:49,350 --> 00:23:51,450
AND THE IMPORTANCE OF THEIR
640
00:23:51,450 --> 00:23:51,950
ROLES ARE PIVOTAL.
641
00:23:51,950 --> 00:23:56,120
HERE ARE THE NOMINEES FOR
642
00:23:56,120 --> 00:23:56,720
PERFORMANCE BY AN ACTOR IN A
643
00:23:56,720 --> 00:24:02,990
SUPPORTING ROLE --
644
00:24:03,000 --> 00:24:03,500
BRENDAN GLEESON,
645
00:24:03,500 --> 00:24:05,870
“THE BANSHEES OF INISHERIN.”
646
00:24:05,870 --> 00:24:08,370
>> MUSIC LASTS.
647
00:24:08,370 --> 00:24:08,800
PAINTINGS LAST.
648
00:24:08,800 --> 00:24:11,700
AND POETRY LASTS.
649
00:24:11,710 --> 00:24:13,450
50 YEARS TIME, NO ONE WILL
650
00:24:13,440 --> 00:24:20,010
REMEMBER ANY OF US.
651
00:24:20,010 --> 00:24:22,480
>> BRIAN TYREE HENRY,
652
00:24:22,480 --> 00:24:24,680
“CAUSEWAY.”
653
00:24:24,680 --> 00:24:26,550
>> CAR ACCIDENT.
654
00:24:26,550 --> 00:24:28,790
MY NEPHEW, OUT ON THE CAUSEWAY.
655
00:24:28,790 --> 00:24:30,190
I JUST REMEMBER LOOKING IN HER
656
00:24:30,190 --> 00:24:35,160
EYES, LIKE HE WAS SAYING BYE.
657
00:24:35,160 --> 00:24:43,870
LIKE, SEE YOU LATER.
658
00:24:43,870 --> 00:24:46,140
>> JUDD HIRSCH, "THE FABELMANS."
659
00:24:46,140 --> 00:24:47,710
>> SO, YOU LIKE THE MOVIES?
660
00:24:47,710 --> 00:24:55,080
YOUR SISTER, YOUR MOTHER, YOUR
661
00:24:55,080 --> 00:24:55,450
PP
662
00:24:55,450 --> 00:24:56,350
APA PA.
663
00:24:56,350 --> 00:24:57,350
THIS, I GET.
664
00:24:57,350 --> 00:24:57,520
ART.
665
00:24:57,520 --> 00:25:03,330
IT WILL TEAR YOU IN TWO.
666
00:25:03,320 --> 00:25:07,890
>> BARRY KEOGHAN,
667
00:25:07,890 --> 00:25:09,760
“THE BANSHEES OF INISHERIN.”
668
00:25:09,760 --> 00:25:13,260
>> PROBABLY WANT EVERYONE TO
669
00:25:13,270 --> 00:25:14,610
FALL IN LOVE WITH A BOY LIKE ME,
670
00:25:14,600 --> 00:25:15,470
WOULD YOU?
671
00:25:15,470 --> 00:25:16,240
>> YEAH, NO.
672
00:25:16,240 --> 00:25:17,570
>> I DIDN'T THINK SO.
673
00:25:17,570 --> 00:25:22,910
WELL, THERE GOES THAT DREAM.
674
00:25:22,910 --> 00:25:25,950
>> KE HUY QUAN,
675
00:25:25,950 --> 00:25:26,620
“EVERYTHING EVERYWHERE ALL AT
676
00:25:26,610 --> 00:25:28,050
ONCE.”
677
00:25:28,050 --> 00:25:30,290
>> THERE'S A GREAT EVIL THAT IS
678
00:25:30,280 --> 00:25:32,080
IN MY WORLD AND IT'S SPREADING
679
00:25:32,090 --> 00:25:34,630
ITS CHAOS TO THE MANY VERSES.
680
00:25:34,620 --> 00:25:36,520
ALL THOSE YEARS OF SEARCHING
681
00:25:36,520 --> 00:25:45,460
HAVE BROUGHT ME HERE TO YOU.
682
00:25:45,470 --> 00:25:50,310
>> AND THE OSCAR GOES TO --
683
00:25:50,300 --> 00:25:56,640
>> KE HUY QUAN.
684
00:25:56,640 --> 00:25:59,980
>> KE HUY QUAN MADE HIS BIG
685
00:25:59,980 --> 00:26:03,250
SCREEN DEBUT IN "INDIANA JONES
686
00:26:03,250 --> 00:26:07,560
AND THE ITEMPLE OF DOOM" AND
687
00:26:07,550 --> 00:26:10,950
HOLDS A DEGREE IN CINEMATIC
688
00:26:10,960 --> 00:26:11,690
ARTS.
689
00:26:11,690 --> 00:26:25,370
HE'S WORKED AT A STUNT DIRECTOR.
690
00:26:25,370 --> 00:26:34,450
>> OH, MY GOD!
691
00:26:34,450 --> 00:26:42,730
THANK YOU.
692
00:26:42,720 --> 00:26:49,130
THANK YOU.
693
00:26:49,130 --> 00:26:51,930
MY MOM IS 84 YEARS OLD.
694
00:26:51,930 --> 00:26:56,200
AND SHE'S AT HOME WATCHING.
695
00:26:56,200 --> 00:27:07,610
MOM, I JUST WON AN OSCAR!
696
00:27:07,610 --> 00:27:10,450
MY JOURNEY STARTED ON A BOAT.
697
00:27:10,450 --> 00:27:12,950
I SPENT A YEAR IN A REFUGEE
698
00:27:12,950 --> 00:27:13,890
CAMP.
699
00:27:13,890 --> 00:27:16,390
AND SOMEHOW, I ENDED UP HERE ON
700
00:27:16,390 --> 00:27:20,360
HOLLYWOOD'S BIGGEST STAGE.
701
00:27:20,360 --> 00:27:24,260
THEY SAY STORIES LIKE THIS ONLY
702
00:27:24,260 --> 00:27:26,160
HAPPEN IN THE MOVIES.
703
00:27:26,170 --> 00:27:27,570
I CANNOT BELIEVE IT'S HAPPENING
704
00:27:27,570 --> 00:27:27,770
TO ME.
705
00:27:27,770 --> 00:27:30,540
THIS -- THIS IS THE AMERICAN
706
00:27:30,540 --> 00:27:38,150
DREAM.
707
00:27:38,140 --> 00:27:40,380
THANK YOU SO MUCH.
708
00:27:40,380 --> 00:27:42,020
THANK YOU SO MUCH TO THE ACADEMY
709
00:27:42,020 --> 00:27:44,290
FOR THIS HONOR OF A LIFETIME.
710
00:27:44,280 --> 00:27:46,220
THANK YOU TO MY MOM FOR THE
711
00:27:46,220 --> 00:27:46,820
SACRIFICES SHE MADE TO GET ME
712
00:27:46,820 --> 00:27:48,260
HERE.
713
00:27:48,250 --> 00:27:52,990
TO MY LITTLE BROTHER WHO CALLS
714
00:27:52,990 --> 00:27:54,890
ME EVERY DAY JUST TO REMIND ME
715
00:27:54,890 --> 00:27:55,860
TO TAKE GOOD CARE OF MYSELF, I
716
00:27:55,860 --> 00:28:00,500
LOVE YOU, BROTHER.
717
00:28:00,500 --> 00:28:03,370
THANK YOU TO KEN FOR ALL YOUR
718
00:28:03,370 --> 00:28:03,640
SUPPORT.
719
00:28:03,640 --> 00:28:05,210
THANK YOU TO A-24.
720
00:28:05,210 --> 00:28:09,250
TO DANIEL, JONATHAN, JAMIE,
721
00:28:09,240 --> 00:28:13,040
MICHELLE, AND MY "GOONIES"
722
00:28:13,050 --> 00:28:19,620
BROTHER FOR LIFE, JEFF COHEN.
723
00:28:19,620 --> 00:28:22,020
I OWE EVERYTHING TO THE LOVE OF
724
00:28:22,020 --> 00:28:30,700
MY LIFE, MY WIFE ECHO, WHO --
725
00:28:30,700 --> 00:28:31,970
WHO MONTH AFTER MONTH, YEAR
726
00:28:31,970 --> 00:28:36,070
AFTER YEAR FOR 20 YEARS TOLD ME
727
00:28:36,070 --> 00:28:39,940
THAT ONE DAY, ONE DAY MY TIME
728
00:28:39,940 --> 00:28:43,610
WILL COME.
729
00:28:43,610 --> 00:28:45,080
DREAMS ARE SOMETHING YOU HAVE TO
730
00:28:45,080 --> 00:28:46,510
BELIEVE IN.
731
00:28:46,510 --> 00:28:48,950
I ALMOST GAVE UP ON MINE.
732
00:28:48,950 --> 00:28:50,690
TO ALL OF YOU OUT THERE, PLEASE
733
00:28:50,680 --> 00:29:02,030
KEEP YOUR DREAMS ALIVE.
734
00:29:02,030 --> 00:29:04,870
THANK YOU, THANK YOU SO MUCH FOR
735
00:29:04,860 --> 00:29:05,630
WELCOMING ME BACK.
736
00:29:05,630 --> 00:29:06,400
I LOVE YOU.
737
00:29:06,400 --> 00:29:15,480
THANK YOU, THANK YOU, THANK YOU!
738
00:29:15,480 --> 00:29:30,030
>> OH, MY LORD, I'M A BIG OLD
739
00:29:30,020 --> 00:29:31,760
SOFTIE, UP HERE CRYING LIKE
740
00:29:31,760 --> 00:29:31,960
THAT.
741
00:29:31,960 --> 00:29:32,290
>> I FEEL YOU.
742
00:29:32,290 --> 00:29:36,030
>> OKAY.
743
00:29:36,030 --> 00:29:37,600
>> AND NOW, TO THE EQUALLY
744
00:29:37,600 --> 00:29:40,270
EXCEPTIONAL WOMEN WHO CAPTIVATED
745
00:29:40,270 --> 00:29:41,840
US WITH EMOTIONALLY SEARING
746
00:29:41,830 --> 00:29:45,530
PERFORMANCES.
747
00:29:45,540 --> 00:29:47,140
HERE ARE THE NOMINEES FOR
748
00:29:47,140 --> 00:29:48,170
PERFORMANCE BY AN ACTRESS IN A
749
00:29:48,170 --> 00:29:53,480
SUPPORTING ROLE --
750
00:29:53,480 --> 00:29:54,520
>> ANGELA BASSETT,
751
00:29:54,510 --> 00:29:55,080
“BLACK PANTHER: WAKANDA
752
00:29:55,080 --> 00:29:57,150
FOREVER.”
753
00:29:57,150 --> 00:30:00,790
>> I AM QUEEN OF THE MOST
754
00:30:00,790 --> 00:30:02,990
POWERFUL NATION IN THE WORLD.
755
00:30:02,990 --> 00:30:06,890
AND MY ENTIRE FAMILY IS GONE.
756
00:30:06,890 --> 00:30:14,460
HAVE I NOT GIVEN EVERYTHING?
757
00:30:14,470 --> 00:30:17,340
>> HONG CHAU, "THE WHALE."
758
00:30:17,340 --> 00:30:18,840
>> YOU LISTEN TO ME.
759
00:30:18,840 --> 00:30:21,810
HE DOESN'T NEED SAVING.
760
00:30:21,810 --> 00:30:23,350
IN A FEW DAYS, HE'S PROBABLY
761
00:30:23,340 --> 00:30:24,770
GOING TO BE DEAD, SO, WHAT HE
762
00:30:24,780 --> 00:30:26,520
NEDS IS FOR YOU TO LEAVE HIM
763
00:30:26,510 --> 00:30:26,710
ALONE.
764
00:30:26,710 --> 00:30:27,510
I'M THE ONLY ONE WHO CAN HELP
765
00:30:27,510 --> 00:30:34,450
HIM, YOU UNDERSTAND ME?
766
00:30:34,450 --> 00:30:36,150
>> KERRY CONDON,
767
00:30:36,160 --> 00:30:38,060
“THE BANSHEES OF INISHERIN.”
768
00:30:38,060 --> 00:30:42,200
>> HEY, WHAT IS HELL IS GOING ON
769
00:30:42,200 --> 00:30:45,570
WITH YOU AND MY BROTHER?
770
00:30:45,570 --> 00:30:48,110
YOU CAN'T JUST STOP BEING
771
00:30:48,100 --> 00:30:48,470
FRIENDS.
772
00:30:48,470 --> 00:30:49,370
>> WHY CAN'T I?
773
00:30:49,370 --> 00:30:50,600
>> WHY CAN'T YOU?
774
00:30:50,600 --> 00:30:56,010
BECAUSE IT ISN'T NICE.
775
00:30:56,010 --> 00:30:58,610
>> JAMIE LEE CURTIS,
776
00:30:58,610 --> 00:30:59,280
“EVERYTHING EVERYWHERE ALL AT
777
00:30:59,280 --> 00:31:00,480
ONCE.”
778
00:31:00,480 --> 00:31:02,480
>> NOW, YOU MAY ONLY SEE A PILE
779
00:31:02,480 --> 00:31:04,650
OF FORMS AND NUMBERS, BUT I SEE
780
00:31:04,650 --> 00:31:05,720
A STORY.
781
00:31:05,720 --> 00:31:07,390
I CAN TRACE THE UPS AND DOWNS OF
782
00:31:07,390 --> 00:31:09,990
YOUR LIVES.
783
00:31:09,990 --> 00:31:13,530
AND IT DOES NOT LOOK GOOD.
784
00:31:13,530 --> 00:31:20,970
IT DOES NOT LOOK GOOD.
785
00:31:20,970 --> 00:31:22,710
>> STEPHANIE HSU,
786
00:31:22,700 --> 00:31:23,370
“EVERYTHING EVERYWHERE ALL AT
787
00:31:23,370 --> 00:31:25,010
ONCE.”
788
00:31:25,000 --> 00:31:27,040
>> I'M TIRED.
789
00:31:27,040 --> 00:31:28,580
I DON'T WANT TO HURT ANYMORE AND
790
00:31:28,570 --> 00:31:29,840
FOR SOME REASON, WHEN I'M WITH
791
00:31:29,840 --> 00:31:31,910
YOU, IT JUST -- IT JUST HURTS
792
00:31:31,910 --> 00:31:35,680
THE BOTH OF US.
793
00:31:35,680 --> 00:31:49,630
JUST LET ME GO.
794
00:31:49,630 --> 00:31:57,670
>> AND THE OSCAR GOES TO --
795
00:31:57,670 --> 00:32:04,780
>> JAMIE LEE CURTIS!
796
00:32:04,780 --> 00:32:06,850
>> JAMIE LEE CURTIS MADE HER BIG
797
00:32:06,850 --> 00:32:08,690
SCREEN DEBUT IN THE HORROR
798
00:32:08,680 --> 00:32:10,620
CLASSIC "HALLOWEEN."
799
00:32:10,620 --> 00:32:12,390
45 YEARS LATER, SHE WAS AN
800
00:32:12,390 --> 00:32:15,590
EXECUTIVE PRODUCER ON THE FINAL
801
00:32:15,590 --> 00:32:23,130
INSTALLMENT, "HALLOWEEN ENDS."
802
00:32:23,130 --> 00:32:43,820
>> STOP.
803
00:32:43,820 --> 00:32:46,590
I HAVE 45 SECONDS AND I PROMISED
804
00:32:46,590 --> 00:32:48,590
JANET YANG I WOULD DO IT WELL,
805
00:32:48,590 --> 00:32:50,160
BECAUSE I'M A GOOD GIRL.
806
00:32:50,160 --> 00:32:51,860
I KNOW IT LOOKS LIKE I'M
807
00:32:51,860 --> 00:32:53,460
STANDING UP HERE BY MYSELF BUT I
808
00:32:53,460 --> 00:32:57,630
AM NOT, I AM HUNDREDS OF PEOPLE.
809
00:32:57,630 --> 00:32:59,370
I'M HUNDREDS OF PEOPLE.
810
00:32:59,370 --> 00:33:01,870
I AM -- WHERE ARE THE DANIELS?
811
00:33:01,870 --> 00:33:05,340
DANIELS, JONATHAN, THE ENTIRE
812
00:33:05,340 --> 00:33:08,710
CREW, MY BAE MICHELLE, KE,
813
00:33:08,710 --> 00:33:09,480
STEPH, THE ENTIRE GROUP OF
814
00:33:09,480 --> 00:33:12,980
ARTISTS WHO MADE THIS MOVIE.
815
00:33:12,980 --> 00:33:15,420
WE JUST WON AN OSCAR.
816
00:33:15,410 --> 00:33:21,920
TO MY DREAM TEAM, MY AGENT RICK
817
00:33:21,920 --> 00:33:24,820
KURTZMAN, HAYEIDI SCHAFER, JANE
818
00:33:24,820 --> 00:33:27,990
ROSS, WE JUST WON AN OSCAR.
819
00:33:27,990 --> 00:33:30,730
TO MY FAMILY -- MY BEAUTIFUL
820
00:33:30,730 --> 00:33:35,500
HUSBAND, CHRISTOPHER GUEST.
821
00:33:35,500 --> 00:33:39,840
OUR DAUGHTERS, ANNIE AND RUBY.
822
00:33:39,840 --> 00:33:42,580
MY SISTER KELLY, WE JUST WON AN
823
00:33:42,580 --> 00:33:42,780
OSCAR.
824
00:33:42,780 --> 00:33:46,220
TO ALL OF THE PEOPLE WHO HAVE
825
00:33:46,210 --> 00:33:48,250
SUPPORTED THE GENRE MOVIES THAT
826
00:33:48,250 --> 00:33:50,520
I'VE MADE FOR ALL THESE YEARS,
827
00:33:50,520 --> 00:33:52,020
THE THOUSANDS AND HUNDREDS OF
828
00:33:52,020 --> 00:33:58,660
THOUSANDS OF PEOPLE, WE JUST WON
829
00:33:58,660 --> 00:34:07,470
AN OSCAR TOGETHER!
830
00:34:07,470 --> 00:34:11,370
AND MY MOTHER AND MY FATHER WERE
831
00:34:11,370 --> 00:34:13,140
BOTH NOMINATED FOR OSCARS IN
832
00:34:13,140 --> 00:34:16,780
DIFFERENT CATEGORIES -- I JUST
833
00:34:16,780 --> 00:34:33,800
WON AN OSCAR.
834
00:34:33,790 --> 00:34:39,830
>> Announcer: PLEASE WELCOME
835
00:34:39,830 --> 00:34:49,810
CARA DELEVIGNE.
836
00:34:49,810 --> 00:34:52,050
>> TO TRY AND SUMMARIZE THE
837
00:34:52,040 --> 00:34:52,640
EXPERIENCES OF ALL THOSE WHO
838
00:34:52,650 --> 00:34:54,550
IDENTIFY AS WOMEN IN ONE MOVIE
839
00:34:54,550 --> 00:34:56,650
WOULD BE IMPOSSIBLE --
840
00:34:56,650 --> 00:34:58,750
BUT THE SEVEN SHORT FILMS HELMED
841
00:34:58,750 --> 00:35:00,920
BY SEVEN FEMALE DIRECTORS THAT
842
00:35:00,920 --> 00:35:02,460
MAKE UP “TELL IT LIKE A WOMAN,”
843
00:35:02,460 --> 00:35:04,000
DEMONSTRATE HOW IMPORTANT IT IS
844
00:35:03,990 --> 00:35:05,060
FOR INDIVIDUALS TO CONTROL THEIR
845
00:35:05,060 --> 00:35:07,200
OWN NARRATIVES.
846
00:35:07,190 --> 00:35:08,760
WHEN WE GET TO TELL OUR OWN
847
00:35:08,760 --> 00:35:11,960
STORIES, WE CAN THRIVE.
848
00:35:11,960 --> 00:35:12,690
HERE PERFORMING “APPLAUSE” FROM
849
00:35:12,700 --> 00:35:14,000
“TELL IT LIKE A WOMAN,” PLEASE
850
00:35:14,000 --> 00:35:16,140
WELCOME HONORARY OSCAR WINNER
851
00:35:16,140 --> 00:35:21,510
DIANE WARREN AND SOFIA CARSON.
852
00:35:21,510 --> 00:35:28,580
♪
853
00:35:28,580 --> 00:35:32,250
♪ RECOGNIZE WHO YOU ARE
854
00:35:32,250 --> 00:35:34,920
SOMETIMES I KNOW IT'S SO
855
00:35:34,920 --> 00:35:39,090
HARD BUT YOU SHINE YOU'RE
856
00:35:39,090 --> 00:35:42,760
A SUPERNOVA SUPERSTAR ♪
857
00:35:42,760 --> 00:35:52,770
♪ THEY CAN'T STOP YOU
858
00:35:52,770 --> 00:35:56,270
DARE TO STAND UP
859
00:35:56,280 --> 00:35:57,010
RAISE YOUR HANDS UP
860
00:35:57,010 --> 00:36:03,180
YEAH, YEAH ♪
861
00:36:03,180 --> 00:36:05,620
14-TIME ACADEMY AWARD NOMINEE,
862
00:36:05,620 --> 00:36:07,160
DIANE WARREN.
863
00:36:07,150 --> 00:36:07,620
♪ GIVE YOURSELF SOME
864
00:36:07,620 --> 00:36:08,620
APPLAUSE YOU DESERVE IT
865
00:36:08,620 --> 00:36:09,620
GIVE YOURSELF SOME
866
00:36:09,620 --> 00:36:10,720
RESPECT 'CAUSE YOU'VE ♪
867
00:36:10,720 --> 00:36:12,290
♪ EARNED IT GIVE
868
00:36:12,290 --> 00:36:14,390
YOURSELF SOME LOVE
869
00:36:14,390 --> 00:36:15,990
'CAUSE YOU'RE WORTH IT
870
00:36:16,000 --> 00:36:19,140
YOU'RE WORTH IT ♪
871
00:36:19,130 --> 00:36:21,770
♪ YEAH, HELL, YEAH
872
00:36:21,770 --> 00:36:23,870
LET 'EM KNOW YOU KNOW IT
873
00:36:23,870 --> 00:36:25,970
GO AND SHOW YOU OWN IT
874
00:36:25,970 --> 00:36:27,610
YOU'RE BOLD, YOU'RE BAD ♪
875
00:36:27,610 --> 00:36:32,280
♪ YOU'RE STRONG, GIVE
876
00:36:32,280 --> 00:36:33,410
YOURSELF SOME APPLAUSE
877
00:36:33,410 --> 00:36:35,510
GIVE YOURSELF
878
00:36:35,510 --> 00:36:40,750
SOME APPLAUSE ♪
879
00:36:40,750 --> 00:36:41,820
>> TO EACH AND EVERY SINGLE
880
00:36:41,820 --> 00:36:44,420
WOMAN IN THIS ROOM --
881
00:36:44,420 --> 00:36:47,060
AND TO ALL THE WOMAN IN THE
882
00:36:47,060 --> 00:36:48,100
WORLD --
883
00:36:48,090 --> 00:36:56,030
GIVE YOURSELF SOME APPLAUSE.
884
00:36:56,040 --> 00:36:56,510
♪ GIVE YOURSELF SOME
885
00:36:56,500 --> 00:36:57,070
APPLAUSE YOU DESERVE IT
886
00:36:57,070 --> 00:36:59,740
GIVE YOURSELF♪
887
00:36:59,740 --> 00:37:01,310
SOME RESPECT ♪
888
00:37:01,310 --> 00:37:01,840
♪ 'CAUSE YOU'VE EARNED IT
889
00:37:01,840 --> 00:37:03,410
GIVE YOURSELF SOME LOVE
890
00:37:03,410 --> 00:37:03,980
'CAUSE YOU'RE WORTH IT
891
00:37:03,980 --> 00:37:07,120
YOU'RE WORTH IT ♪
892
00:37:07,110 --> 00:37:10,250
♪ YEAH, HELL, YEAH
893
00:37:10,250 --> 00:37:13,920
LET 'EM KNOW YOU KNOW IT
894
00:37:13,920 --> 00:37:14,390
GO AND SHOW YOU OWN IT
895
00:37:14,390 --> 00:37:16,030
YOU'RE BOLD, YOU'RE BAD ♪
896
00:37:16,020 --> 00:37:17,060
♪ YOU'RE STRONG SO GIVE
897
00:37:17,060 --> 00:37:19,200
YOURSELF SOME APPLAUSE
898
00:37:19,190 --> 00:37:21,330
APPLAUSE, APPLAUSE, GIVE
899
00:37:21,330 --> 00:37:22,330
YOURSELF SOME RESPECT ♪
900
00:37:22,330 --> 00:37:24,970
♪ CAUSE YOU'VE EARNED IT
901
00:37:24,960 --> 00:37:36,040
GIVE YOURSELF SOME LOVE
902
00:37:36,040 --> 00:37:37,110
GIVE YOURSELF
903
00:37:37,110 --> 00:37:41,920
SOME APPLAUSE ♪
904
00:37:41,910 --> 00:37:57,560
>> Announcer: COMING UP,
905
00:37:57,560 --> 00:37:58,090
RIZ AHMED AND
906
00:37:58,100 --> 00:37:59,130
AHMIR QUESTLOVE THOMPSON.
907
00:37:59,130 --> 00:38:00,770
LATER, JENNIFER CONNELLY AND
908
00:38:00,770 --> 00:38:01,840
SAMUEL L. JACKSON.
909
00:38:01,830 --> 00:38:03,370
TO HEAR BEHIND THE SCENES
910
00:38:03,370 --> 00:38:04,940
STORIES FROM THE MAKEUP AND
911
00:38:04,940 --> 00:38:06,040
HAIRSTYLING NOMINEES, SCAN THE
912
00:38:06,040 --> 00:38:11,380
QR CODE.
913
00:38:23,130 --> 00:38:26,060
>> Announcer: WELCOME BACK TO
914
00:38:26,060 --> 00:38:27,060
THE OSCARS.
915
00:38:27,060 --> 00:38:27,690
WITH SIX NOMINATIONS, THE NEXT
916
00:38:27,690 --> 00:38:28,290
NOMINEE FOR BEST PICTURE, IS
917
00:38:28,290 --> 00:38:33,030
"TAR."
918
00:38:33,030 --> 00:38:36,670
>>> ONE OF THE MOST IMPORTANT
919
00:38:36,670 --> 00:38:38,440
MUSICAL FIGURES OF OUR TIME.
920
00:38:38,440 --> 00:38:41,240
LYDIA TAR.
921
00:38:41,240 --> 00:38:43,240
♪
922
00:38:43,240 --> 00:38:45,510
>> WHAT IS IT?
923
00:38:45,510 --> 00:38:49,280
>> I HAVE A PROBLEM.
924
00:38:49,280 --> 00:38:50,280
>> YOU HONESTLY BELIEVE WHAT
925
00:38:50,280 --> 00:38:51,520
THEY'RE SAYING?
926
00:38:51,520 --> 00:38:56,630
>> I'M WORRIED.
927
00:38:56,620 --> 00:38:57,750
SHE'S STARTING TO DISAPPEAR INTO
928
00:38:57,760 --> 00:38:57,990
HERSELF.
929
00:38:57,990 --> 00:39:05,260
>> BEAUTIFUL.
930
00:39:05,260 --> 00:39:12,230
>> THAT IS "TAR," CATE BLANCHETT
931
00:39:12,240 --> 00:39:13,980
IS NOMINATED FOR THE EIGHTH TIME
932
00:39:13,970 --> 00:39:14,640
TONIGHT.
933
00:39:14,640 --> 00:39:16,280
SHE'S INCREDIBLE, AS SHE ALWAYS
934
00:39:16,280 --> 00:39:19,750
IS, AND THE MOVIE IS --
935
00:39:19,750 --> 00:39:20,620
ABSOLUTELY MASTERFUL.
936
00:39:20,610 --> 00:39:22,040
LET ME TELL YOU, YOU SEE ONLY
937
00:39:22,050 --> 00:39:23,850
ONE MOVIE THIS YEAR THAT STARTS
938
00:39:23,850 --> 00:39:25,690
WITH THE MAIN CHARACTER BEING
939
00:39:25,680 --> 00:39:28,780
INTERVIEWED FOR 15 MINUTES BY
940
00:39:28,790 --> 00:39:31,130
"NEW YORKER STAFF WRITER," MAKE
941
00:39:31,120 --> 00:39:31,990
IT "TAR."
942
00:39:31,990 --> 00:39:33,790
YOU'LL BE GLAD YOU DID.
943
00:39:33,790 --> 00:39:36,060
THE NEXT MOVIE IS DOCUMENTARY
944
00:39:36,060 --> 00:39:37,230
FEATURE, WHICH IS WHERE WE HAD
945
00:39:37,230 --> 00:39:39,170
THAT LITTLE SKIRMISH LAST YEAR.
946
00:39:39,160 --> 00:39:40,500
HOPEFULLY THIS TIME IT GOES OFF
947
00:39:40,500 --> 00:39:41,370
WITHOUT A HITCH.
948
00:39:41,370 --> 00:39:43,240
OR AT LEAST WITHOUT HITCH.
949
00:39:43,240 --> 00:39:46,380
PLEASE PUT YOUR HANDS TOGETHER
950
00:39:46,370 --> 00:39:48,010
AND THEN KEEP THEM TO YOURSELF
951
00:39:48,010 --> 00:39:51,980
FOR OSCAR WINNERS RIZ AHMED AND
952
00:39:51,980 --> 00:39:57,320
AMIR QUESTLOVE THOMPSON.
953
00:39:57,320 --> 00:40:05,600
>> YOU KNOW, THEY SAY TRUTH IS
954
00:40:05,590 --> 00:40:06,320
STRANGER THAN FICTION.
955
00:40:06,330 --> 00:40:08,330
WELL, THIS YEAR'S NOMINEES FOR
956
00:40:08,330 --> 00:40:09,530
BEST DOCUMENTARY TOLD STORIES
957
00:40:09,530 --> 00:40:11,830
THAT YOU REALLY COULD NOT MAKE
958
00:40:11,830 --> 00:40:14,030
UP, WITH EMOTIONAL RAWNESS THAT
959
00:40:14,030 --> 00:40:16,200
MOST FICTION CAN ONLY BE
960
00:40:16,200 --> 00:40:16,830
INSPIRED BY.
961
00:40:16,840 --> 00:40:18,380
AND I LOVED YOUR DOCUMENTARY
962
00:40:18,370 --> 00:40:19,670
LAST YEAR.
963
00:40:19,670 --> 00:40:21,410
LIKE THIS YEAR'S NOMINEES, IT --
964
00:40:21,410 --> 00:40:21,610
YEAH.
965
00:40:21,610 --> 00:40:21,940
>> THANK YOU.
966
00:40:21,940 --> 00:40:25,510
THANK YOU.
967
00:40:25,510 --> 00:40:26,540
>> I LOVED IT.
968
00:40:26,550 --> 00:40:27,820
>> THANK YOU.
969
00:40:27,810 --> 00:40:29,450
>> AND WHAT WAS SO SPECIAL ABOUT
970
00:40:29,450 --> 00:40:31,290
IT, LIKE A LOT OF THESE
971
00:40:31,280 --> 00:40:32,850
NOMINEES, IT TOLD AN AMAZING
972
00:40:32,850 --> 00:40:33,320
UNTOLD STORY.
973
00:40:33,320 --> 00:40:34,150
>> THANK YOU, MAN.
974
00:40:34,150 --> 00:40:36,350
>> YOU KNOW, MAKING A
975
00:40:36,360 --> 00:40:39,560
DOCUMENTARY USING NEVER BEFORE
976
00:40:39,560 --> 00:40:40,900
SEEN FOOTAGE, IT GIVES NEW LIFE
977
00:40:40,890 --> 00:40:41,820
AND NEW MEANS.
978
00:40:41,830 --> 00:40:42,460
IT'S JUST ONE OF THE TECHNIQUES
979
00:40:42,460 --> 00:40:46,060
USED BY THESE DOCUMENTARIANS.
980
00:40:46,070 --> 00:40:49,740
BASICALLY OTHERS USE ARCHIVAL
981
00:40:49,740 --> 00:40:50,370
PHOTOGRAPHS IN INNOVATIVE WAYS,
982
00:40:50,370 --> 00:40:51,000
OR SPENT YEARS FOLLOWING THEIR
983
00:40:51,000 --> 00:40:52,000
SUBJECTS, BOTH ANIMAL AND HUMAN,
984
00:40:52,000 --> 00:40:54,470
>> BUT NO MATTER THE APPROACH,
985
00:40:54,470 --> 00:41:00,510
THEY CAPTURE THE UNIVERSAL TRUTH
986
00:41:00,510 --> 00:41:04,210
TRUTHS.
987
00:41:04,220 --> 00:41:05,860
>> AND WHAT BROUGHT THESE
988
00:41:05,850 --> 00:41:07,120
STORIES TO THE LIFE ON SCREEN
989
00:41:07,120 --> 00:41:09,590
ARE THESE FILMMAKERS UNIQUE
990
00:41:09,590 --> 00:41:10,890
LENSES AND POINTS OF VIEW.
991
00:41:10,890 --> 00:41:12,690
>> SO, HERE ARE THE NOMINEES FOR
992
00:41:12,690 --> 00:41:14,960
BEST DOCUMENTARY FEATURE FILM.
993
00:41:14,960 --> 00:41:16,030
"ALL THAT BREATHES"
994
00:41:16,030 --> 00:41:16,600
SHAUNAK SEN, AMAN MANN, AND
995
00:41:16,600 --> 00:41:21,810
TEDDY LEIFER.
996
00:41:21,800 --> 00:41:23,300
[ SPEAKING IN NON-ENGLISH
997
00:41:23,300 --> 00:41:27,400
LANGUAGE ].
998
00:41:27,410 --> 00:41:29,080
>> "ALL THE BEAUTY AND THE
999
00:41:29,070 --> 00:41:29,500
BLOODSHED"
1000
00:41:29,510 --> 00:41:30,540
LAURA POITRAS, HOWARD GERTLER,
1001
00:41:30,540 --> 00:41:32,640
JOHN LYONS, NAN GOLDIN, AND
1002
00:41:32,640 --> 00:41:35,240
YONI GOLIJOV.
1003
00:41:35,250 --> 00:41:37,190
>> MANY PEOPLE HAVE STARTED TO
1004
00:41:37,180 --> 00:41:39,780
REFUSE DONATIONS.
1005
00:41:39,790 --> 00:41:41,160
>> "FIRE OF LOVE."
1006
00:41:41,150 --> 00:41:41,720
SARA DOSA, SHANE BORIS, AND
1007
00:41:41,720 --> 00:41:45,020
INA FICHMAN.
1008
00:41:45,020 --> 00:41:45,550
[ SPEAKING IN NON-ENGLISH
1009
00:41:45,560 --> 00:41:50,400
LANGUAGE ].
1010
00:41:50,400 --> 00:41:52,670
>> "HOUSE MADE OF SPLINTERS."
1011
00:41:52,660 --> 00:41:53,190
SIMON LERENG WILMONT AND
1012
00:41:53,200 --> 00:41:56,840
MONICA HELLSTROM.
1013
00:41:56,840 --> 00:41:57,370
[ SPEAKING IN NON-ENGLISH
1014
00:41:57,370 --> 00:42:01,570
LANGUAGE ].
1015
00:42:01,570 --> 00:42:02,840
>> "NAVALNY."
1016
00:42:02,840 --> 00:42:03,910
DANIEL ROHER, ODESSA RAE,
1017
00:42:03,910 --> 00:42:04,510
DIANE BECKER, MELANIE MILLER,
1018
00:42:04,510 --> 00:42:10,150
AND SHANE BORIS.
1019
00:42:10,150 --> 00:42:10,680
[ SPEAKING IN NON-ENGLISH
1020
00:42:10,680 --> 00:42:18,590
LANGUAGE ].
1021
00:42:18,590 --> 00:42:23,300
>> AND THE OSCAR GOES TO --
1022
00:42:23,300 --> 00:42:24,370
"NAVALNY"
1023
00:42:24,360 --> 00:42:25,930
DANIEL ROHER, ODESSA RAE,
1024
00:42:25,930 --> 00:42:26,530
DIANE BECKER, MELANIE MILLER,
1025
00:42:26,530 --> 00:42:31,800
AND SHANE BORIS.
1026
00:42:31,800 --> 00:42:35,440
>> DIRECTOR DANIEL ROHER AND HIS
1027
00:42:35,440 --> 00:42:37,680
TEAM FILMED ALEXEI NAVALNY WHILE
1028
00:42:37,680 --> 00:42:41,450
HE WAS IN HIDING FROM THE
1029
00:42:41,450 --> 00:42:42,820
RUSSIAN GOVERNMENT AT A REMOTE
1030
00:42:42,820 --> 00:42:50,760
LOCATION IN GERMANY.
1031
00:42:50,760 --> 00:43:02,370
>> THANK YOU TO THE ACADEMY.
1032
00:43:02,370 --> 00:43:08,140
WE ARE HUMBLED TO BE IN THE
1033
00:43:08,140 --> 00:43:13,750
COMPANY OF THESE DOCUMENTARIANS.
1034
00:43:13,750 --> 00:43:15,420
FOR EVERYONE WHO HELPED MAKE
1035
00:43:15,410 --> 00:43:17,310
THIS FILM, YOUR BRAVERY AND THIS
1036
00:43:17,320 --> 00:43:18,390
COURAGE MADE THIS FILM POSSIBLE.
1037
00:43:18,380 --> 00:43:20,480
WE OWE SO MUCH TO OUR BULGARIAN
1038
00:43:20,490 --> 00:43:25,760
NERD WITH A LAPTOP.
1039
00:43:25,760 --> 00:43:27,130
YOU RISKED EVERYTHING TO TELL
1040
00:43:27,130 --> 00:43:29,300
THIS STORY AND ITS INVESTIGATIVE
1041
00:43:29,290 --> 00:43:30,760
JOURNALISTS LIKE YOU AND MARIA
1042
00:43:30,760 --> 00:43:35,300
THAT EMPOWER OUR WORK.
1043
00:43:35,300 --> 00:43:40,940
TO THE NAVALNY FAMILY, THANK YOU
1044
00:43:40,940 --> 00:43:41,710
FOR YOUR COURAGE, THE WORLD IS
1045
00:43:41,710 --> 00:43:48,150
WITH YOU.
1046
00:43:48,150 --> 00:43:49,480
AND THERE'S ONE PERSON WHO
1047
00:43:49,480 --> 00:43:52,150
COULDN'T BE WITH US HERE
1048
00:43:52,150 --> 00:43:53,180
TONIGHT.
1049
00:43:53,190 --> 00:43:54,360
ALEXEI NAVALNY, THE LEADER OF
1050
00:43:54,350 --> 00:43:58,250
THE RUSSIAN OPPOSITION.
1051
00:43:58,260 --> 00:43:59,790
REMAINS IN SOLITARY CONFINEMENT
1052
00:43:59,790 --> 00:44:01,260
FOR WHAT HE CALLS, I WANT TO
1053
00:44:01,260 --> 00:44:02,960
MAKE SURE WE GET HIS WORDS
1054
00:44:02,960 --> 00:44:04,530
EXACTLY RIGHT, VLADIMIR PUTIN'S
1055
00:44:04,530 --> 00:44:06,100
UNJUST WAR OF AGGRESSION IN
1056
00:44:06,100 --> 00:44:06,330
UKRAINE.
1057
00:44:06,330 --> 00:44:07,770
I WOULD LIKE TO DEDICATE THIS
1058
00:44:07,770 --> 00:44:09,940
AWARD TO NAVALNY, TO ALL
1059
00:44:09,940 --> 00:44:12,110
POLITICAL PRISONERS AROUND THE
1060
00:44:12,100 --> 00:44:12,300
WORLD.
1061
00:44:12,300 --> 00:44:14,270
THE WORLD HAS NOT FORGOTTEN YOUR
1062
00:44:14,270 --> 00:44:15,170
MESSAGE TO US ALL.
1063
00:44:15,170 --> 00:44:17,310
WE CANNOT, WE MUST NOT BE AFRAID
1064
00:44:17,310 --> 00:44:21,750
TO OPPOSE DICTATORS AND AU
1065
00:44:21,750 --> 00:44:25,750
AUTHORI
1066
00:44:25,750 --> 00:44:26,150
AUTHORITARIANISM.
1067
00:44:26,150 --> 00:44:27,650
I WANT TO INVITE YULIYA TO SAY A
1068
00:44:27,650 --> 00:44:31,250
FEW QUICK REMARKS.
1069
00:44:31,260 --> 00:44:34,200
>> THANK YOU, DANIEL.
1070
00:44:34,190 --> 00:44:36,490
AND THANK YOU TO EVERYBODY HERE.
1071
00:44:36,500 --> 00:44:39,970
MY HUSBAND IS IN PRISON JUST FOR
1072
00:44:39,970 --> 00:44:40,940
TELLING THE TRUTH.
1073
00:44:40,930 --> 00:44:44,770
MY HUSBAND IS IN PRISON JUST FOR
1074
00:44:44,770 --> 00:44:50,180
DEFENDING DEMOCRACY.
1075
00:44:50,180 --> 00:44:52,080
ALEXEI, I AM DREAMING THE DAY
1076
00:44:52,080 --> 00:44:54,250
WHEN YOU WILL BE FREE.
1077
00:44:54,250 --> 00:44:58,120
AND OUR COUNTRY WILL BE FREE.
1078
00:44:58,120 --> 00:44:58,590
STAY STRONG, MY LOVE.
1079
00:44:58,580 --> 00:45:06,650
THANK YOU.
1080
00:45:06,660 --> 00:45:21,210
>> EMOTIONAL YEAR.
1081
00:45:21,210 --> 00:45:23,110
>> YEAH, IT IS.
1082
00:45:23,110 --> 00:45:25,580
>> MOST OF THE FILM AND VIDEO WE
1083
00:45:25,580 --> 00:45:27,480
WATCH THESE DAYS IS SHORT FORM.
1084
00:45:27,480 --> 00:45:28,780
AND THESE NEXT NOMINEES ARE
1085
00:45:28,780 --> 00:45:29,880
PUSHING THE POSSIBILITIES OF
1086
00:45:29,880 --> 00:45:31,650
THAT MEDIUM TO ITS FULLEST.
1087
00:45:31,650 --> 00:45:32,250
IF FEATURE FILMS ARE NOVELS,
1088
00:45:32,250 --> 00:45:34,590
SHORT FILMS ARE LIKE POETRY.
1089
00:45:34,590 --> 00:45:35,220
YOU GOT TO DISTILL DOWN ALL THAT
1090
00:45:35,220 --> 00:45:36,720
EMOTION, SUSPENSE, AND IMPACT
1091
00:45:36,720 --> 00:45:37,220
DOWN TO A FRACTION OF THE
1092
00:45:37,220 --> 00:45:38,260
LENGTH.
1093
00:45:38,260 --> 00:45:39,860
>> HERE ARE THE NOMINEES FOR
1094
00:45:39,860 --> 00:45:45,030
BEST LIVE ACTION SHORT FILM.
1095
00:45:45,030 --> 00:45:45,660
"AN IRISH GOODBYE"
1096
00:45:45,660 --> 00:45:48,800
TOM BERKELEY AND ROSS WHITE.
1097
00:45:48,800 --> 00:45:50,440
"IVALU"
1098
00:45:50,440 --> 00:45:50,940
ANDERS WALTER AND
1099
00:45:50,940 --> 00:45:53,580
REBECCA PRUZAN.
1100
00:45:53,570 --> 00:45:55,170
"LE PUPILLE"
1101
00:45:55,170 --> 00:45:56,770
ALICE ROHRWACHER AND
1102
00:45:56,780 --> 00:45:57,810
ALFONSO CUARON.
1103
00:45:57,810 --> 00:46:00,450
"NIGHT RIDE"
1104
00:46:00,450 --> 00:46:01,550
EIRIK TVEITEN AND
1105
00:46:01,550 --> 00:46:03,290
GAUTE LID LARSSEN.
1106
00:46:03,280 --> 00:46:04,650
"THE RED SUITCASE"
1107
00:46:04,650 --> 00:46:10,960
CYRUS NESHVAD.
1108
00:46:10,960 --> 00:46:17,030
>> AND THE OSCAR GOES TO -- "AN
1109
00:46:17,030 --> 00:46:18,630
IRISH GOOD-BYE."
1110
00:46:18,630 --> 00:46:21,230
TOM BERKELEY AND ROSS WHITE.
1111
00:46:21,230 --> 00:46:23,670
>> TOM BERKELEY VOICED PRINCE
1112
00:46:23,670 --> 00:46:24,200
HARRY'S THOUGHTS IN A TV
1113
00:46:24,200 --> 00:46:26,300
DOCUMENTARY.
1114
00:46:26,310 --> 00:46:28,480
ROSS WHITE HAILS FROM BELFAST,
1115
00:46:28,470 --> 00:46:30,570
THE FILMING LOCATION OF "AN
1116
00:46:30,580 --> 00:46:36,590
IRISH GOOD-BYE."
1117
00:46:36,580 --> 00:46:51,560
>> DEARY ME.
1118
00:46:51,560 --> 00:46:53,200
THANK YOU SO MUCH TO THE ACADEMY
1119
00:46:53,200 --> 00:46:54,600
FOR THIS INCREDIBLE, INCREDIBLE
1120
00:46:54,600 --> 00:46:55,900
HONOR.
1121
00:46:55,900 --> 00:46:57,570
THANK YOU TO OUR FELLOW
1122
00:46:57,570 --> 00:46:59,070
NOMINEES, ALL THE NOMINEES FOR
1123
00:46:59,070 --> 00:47:00,470
YOUR WORK, IT INSPIRES US SO
1124
00:47:00,470 --> 00:47:02,540
VERY, VERY MUCH.
1125
00:47:02,540 --> 00:47:04,080
THANK YOU TO EVERYBODY BACK HOME
1126
00:47:04,080 --> 00:47:07,280
IN NORTHERN IRELAND WHO HELPED
1127
00:47:07,280 --> 00:47:08,110
US MAKE THIS FIFILM.
1128
00:47:08,110 --> 00:47:10,950
YOU KNOW WHO YOU ARE.
1129
00:47:10,950 --> 00:47:11,820
THERE'S SOMETHING VERY IMPORTANT
1130
00:47:11,820 --> 00:47:13,290
WE'D LIKE TO SPEAK ABOUT, AS
1131
00:47:13,290 --> 00:47:13,490
WELL.
1132
00:47:13,490 --> 00:47:15,460
>> THIS AWARD IS ACTUALLY THE
1133
00:47:15,450 --> 00:47:16,050
SECOND-MOST IMPORTANT THING
1134
00:47:16,050 --> 00:47:20,150
ABOUT TODAY, BECAUSE IT'S THIS
1135
00:47:20,160 --> 00:47:20,560
MAN'S BIRTHDAY.
1136
00:47:20,560 --> 00:47:22,830
HE'S OUT HERE IN HOLLYWOOD,
1137
00:47:22,830 --> 00:47:25,000
WEARING A LEOPARD PRINT SUIT
1138
00:47:25,000 --> 00:47:25,230
JACKET.
1139
00:47:25,230 --> 00:47:27,230
WE LOVE TO USE THE REST OF OUR
1140
00:47:27,230 --> 00:47:29,130
TIME UP HERE TO SING FOR JAMES.
1141
00:47:29,130 --> 00:47:32,200
♪ HAPPY BIRTHDAY TO YOU
1142
00:47:32,200 --> 00:47:35,670
♪ HAPPY BIRTHDAY TO YOU
1143
00:47:35,670 --> 00:47:37,570
♪ HAPPY BIRTHDAY DEAR JAMES
1144
00:47:37,580 --> 00:47:41,520
♪ HAPPY BIRTHDAY TO YOU
1145
00:47:48,930 --> 00:47:52,520
>> Announcer: WELCOME BACK TO
1146
00:47:52,520 --> 00:47:54,220
THE DOLBY THEATRE.
1147
00:47:54,230 --> 00:47:56,330
NOMINATED FOR NINE OSCARS, THIS
1148
00:47:56,330 --> 00:47:56,930
IS "ALL QUIET ON THE WESTERN
1149
00:47:56,930 --> 00:48:00,870
FRONT."
1150
00:48:00,870 --> 00:48:21,890
♪
1151
00:48:21,890 --> 00:48:27,830
♪
1152
00:48:27,830 --> 00:48:40,340
>> Announcer: AND NOW,
1153
00:48:40,340 --> 00:48:40,810
MICHAEL B. JORDAN AND
1154
00:48:40,810 --> 00:48:52,290
JONATHAN MAJORS.
1155
00:48:52,280 --> 00:48:59,890
>> HEY.
1156
00:48:59,890 --> 00:49:00,260
>> WE LOVE YOU.
1157
00:49:00,260 --> 00:49:02,030
>> A QUESTION.
1158
00:49:02,030 --> 00:49:02,500
>> ANSWER.
1159
00:49:02,490 --> 00:49:03,260
>> OKAY, A QUESTION FOR MY
1160
00:49:03,260 --> 00:49:04,700
DIRECTOR.
1161
00:49:04,700 --> 00:49:05,030
YOU READY?
1162
00:49:05,030 --> 00:49:06,670
>> LET'S DO IT.
1163
00:49:06,670 --> 00:49:08,440
>> HOW DO YOU MAKE A CHARACTER
1164
00:49:08,430 --> 00:49:10,570
MASSIVE, IMPOSING, AND
1165
00:49:10,570 --> 00:49:11,240
DOMINATING?
1166
00:49:11,240 --> 00:49:12,210
>> OH.
1167
00:49:12,200 --> 00:49:17,070
WELL, FIRST OF ALL, WE CAST YOU.
1168
00:49:17,080 --> 00:49:19,280
>> THAT'S A GREAT ANSWER.
1169
00:49:19,280 --> 00:49:19,610
>> THANK YOU.
1170
00:49:19,610 --> 00:49:19,880
THANK YOU.
1171
00:49:19,880 --> 00:49:21,720
>> SECOND, GIVE THE
1172
00:49:21,710 --> 00:49:22,580
CINEMATOGRAPHER THE SPACE TO PUT
1173
00:49:22,580 --> 00:49:26,820
THE CAMERA LOW, POINTING UP,
1174
00:49:26,820 --> 00:49:27,420
LIKE SPIKE LEE AND HIS
1175
00:49:27,420 --> 00:49:28,450
CINEMATOGRAPHER,
1176
00:49:28,450 --> 00:49:28,980
ERNEST DICKERSON DID WITH
1177
00:49:28,990 --> 00:49:29,560
"MALCOLM X," AS YOU CAN SEE
1178
00:49:29,550 --> 00:49:30,850
RIGHT HERE.
1179
00:49:30,860 --> 00:49:33,000
WITH THEIR SIGNATURE DOUBLE
1180
00:49:32,990 --> 00:49:33,990
DOLLY SHOT.
1181
00:49:33,990 --> 00:49:34,620
CINEMATOGRAPHERS FIND NEW WAYS
1182
00:49:34,630 --> 00:49:36,130
TO PUSH THE LIMITS OF FILM AND
1183
00:49:36,130 --> 00:49:37,130
STORYTELLING EVERY YEAR.
1184
00:49:37,130 --> 00:49:38,200
BACK IN THE DAY, DIRECTOR
1185
00:49:38,200 --> 00:49:39,800
ORSON WELLES AND HIS
1186
00:49:39,800 --> 00:49:41,400
CINEMATOGRAPHER GREGG TOLAND HAD
1187
00:49:41,400 --> 00:49:42,400
TO BE INNOVATIVE.
1188
00:49:42,400 --> 00:49:43,030
BECAUSE THEY WERE USING A CAMERA
1189
00:49:43,030 --> 00:49:47,200
LIKE THIS.
1190
00:49:47,210 --> 00:49:49,110
>> OH, THAT'S A BEAST.
1191
00:49:49,110 --> 00:49:50,280
>> UH-HUH.
1192
00:49:50,280 --> 00:49:51,580
YEAH, THAT WAS BEFORE CELL
1193
00:49:51,580 --> 00:49:52,280
PHONES.
1194
00:49:52,280 --> 00:49:54,380
SO, THEY ACTUALLY CUT A HOLE IN
1195
00:49:54,380 --> 00:49:55,820
THE FLOOR AND PHYSICALLY LOWERED
1196
00:49:55,810 --> 00:49:57,910
THE CAMERA.
1197
00:49:57,920 --> 00:49:58,150
>> OKAY.
1198
00:49:58,150 --> 00:49:59,020
THAT'S WHAT I CALL A WORKOUT AND
1199
00:49:59,020 --> 00:50:01,920
A FLEX.
1200
00:50:01,920 --> 00:50:02,750
>> PRETTY BIG FLEX.
1201
00:50:02,750 --> 00:50:05,690
BUT THE RESULT WAS THIS SHOT.
1202
00:50:05,690 --> 00:50:07,330
SOMETIMES THE SIMPLEST SOLUTIONS
1203
00:50:07,330 --> 00:50:09,930
ARE THE MOST CREATIVE.
1204
00:50:09,930 --> 00:50:12,030
>> IN FACT, CREATIVE VISION IS A
1205
00:50:12,030 --> 00:50:13,100
TRAIT SHARED BY THESE NEXT
1206
00:50:13,100 --> 00:50:14,130
OUTSTANDING ARTISTS.
1207
00:50:14,130 --> 00:50:15,700
HERE ARE THE NOMINEES FOR
1208
00:50:15,700 --> 00:50:21,040
ACHIEVEMENT IN CINEMATOGRAPHY --
1209
00:50:21,040 --> 00:50:22,610
"ALL QUIET ON THE WESTERN FRONT"
1210
00:50:22,610 --> 00:50:26,280
JAMES FRIEND.
1211
00:50:26,280 --> 00:50:26,880
"BARDO, FALSE CHRONICLE OF A
1212
00:50:26,880 --> 00:50:28,420
HANDFUL OF TRUTHS"
1213
00:50:28,410 --> 00:50:31,010
DARIUS KHONDJI.
1214
00:50:31,020 --> 00:50:31,590
"ELVIS"
1215
00:50:31,580 --> 00:50:36,850
MANDY WALKER.
1216
00:50:36,860 --> 00:50:37,890
"EMPIRE OF LIGHT"
1217
00:50:37,890 --> 00:50:42,630
ROGER DEAKINS.
1218
00:50:42,630 --> 00:50:46,570
"TAR"
1219
00:50:46,570 --> 00:50:51,210
FLORIAN HOFFMEISTER.
1220
00:50:51,200 --> 00:50:53,070
>> OKAY.
1221
00:50:53,070 --> 00:50:57,340
AND THE OSCAR GOES TO --
1222
00:50:57,340 --> 00:50:57,970
"ALL QUIET ON THE WESTERN FRONT"
1223
00:50:57,980 --> 00:51:05,620
JAMES FRIEND.
1224
00:51:05,620 --> 00:51:14,430
>> JAMES FRIEND STUDIED
1225
00:51:14,430 --> 00:51:17,730
ELECTROTECHNICAL ENGINEERING AND
1226
00:51:17,730 --> 00:51:22,570
FIRST WORKED AS AN ELECTRICIAN.
1227
00:51:22,570 --> 00:51:25,370
HE FIRST ASPIRED TO BECOME A
1228
00:51:25,370 --> 00:51:29,910
FILMMAKER AT 13 WHEN SHE HE SAW
1229
00:51:29,910 --> 00:51:33,510
YEN."
1230
00:51:33,510 --> 00:51:35,850
>> IT'S NOT MY BIRTHDAY.
1231
00:51:35,850 --> 00:51:37,750
BUT I FEEL LIKE IT IS.
1232
00:51:37,750 --> 00:51:40,750
I MEAN -- WHAT AN HONOR,
1233
00:51:40,750 --> 00:51:41,550
ACADEMY, THANK YOU SO MUCH.
1234
00:51:41,550 --> 00:51:46,560
THANK YOU FOR EVERYTHING AND MY
1235
00:51:46,560 --> 00:51:49,160
FELLOW NOMINEES.
1236
00:51:49,160 --> 00:51:52,360
YOUR WORK IS JUST OUTSTANDING
1237
00:51:52,360 --> 00:51:54,760
AND INSPIRES ME AND JUST THANK
1238
00:51:54,770 --> 00:51:55,100
YOU.
1239
00:51:55,100 --> 00:51:55,470
FOR EVERYTHING.
1240
00:51:55,470 --> 00:51:59,940
MY ENTIRE CREW, WHO MADE THIS
1241
00:51:59,940 --> 00:52:02,940
HAPPEN FOR ME, MADE ME LOOK
1242
00:52:02,940 --> 00:52:05,940
BETTER THAN I AM.
1243
00:52:05,940 --> 00:52:08,210
MY DARLING MOM AND DAD, WHO,
1244
00:52:08,210 --> 00:52:12,710
WHEN I WAS -- SAID I WANT TO RUN
1245
00:52:12,720 --> 00:52:14,760
OFF TO THE CIRCUS, JOIN THE
1246
00:52:14,750 --> 00:52:17,250
CIRCUS OF THE FILM INDUSTRY,
1247
00:52:17,260 --> 00:52:18,430
THEY BELIEVED IN ME AND THANK
1248
00:52:18,420 --> 00:52:19,760
YOU.
1249
00:52:19,760 --> 00:52:25,570
AND MY BEAUTIFUL WIFE AND KARA
1250
00:52:25,560 --> 00:52:26,760
GENE, MY BROTHER AND MY SISTER
1251
00:52:26,770 --> 00:52:28,770
WHO JUST -- YEAH, PUSHED ME AND
1252
00:52:28,770 --> 00:52:31,110
PUSHED ME AND PUSHED ME.
1253
00:52:31,100 --> 00:52:39,280
AND EDWARD BERGER AND -- JUST
1254
00:52:39,280 --> 00:52:40,010
THANK YOU SO MUCH.
1255
00:52:40,010 --> 00:52:43,880
I JUST -- I'M SO -- IF I MISSED
1256
00:52:43,880 --> 00:52:46,680
ANYONE -- BUT THANK YOU SO MUCH,
1257
00:52:46,690 --> 00:52:47,490
FROM THE BOTTOM OF MY HEART.
1258
00:52:47,490 --> 00:52:56,700
THANK YOU SO MUCH.
1259
00:52:56,700 --> 00:52:57,300
>> Announcer: PLEASE WELCOME
1260
00:52:57,300 --> 00:53:06,840
DONNIE YEN.
1261
00:53:06,840 --> 00:53:08,810
>> AS AN ACTION FILMMAKER WHO
1262
00:53:08,810 --> 00:53:14,820
HAS CHOREOGRAPHED AND PERFORMED
1263
00:53:14,810 --> 00:53:17,780
IN COUNTLESS FIGHT SCENES IN
1264
00:53:17,780 --> 00:53:19,380
80 MOVIES, I KNOW YOU SHOULD
1265
00:53:19,380 --> 00:53:20,010
ALWAYS BE PREPARED FOR WHATEVER
1266
00:53:20,020 --> 00:53:22,060
TWISTS AND TURNS COME YOUR WAY.
1267
00:53:22,050 --> 00:53:26,760
ONE MINUTE YOU'RE FINE, THE
1268
00:53:26,760 --> 00:53:30,430
NEXT, YOUR FINGERS ARE HOT DOGS.
1269
00:53:30,430 --> 00:53:32,500
EVERY DAY, WE'RE CONFRONTED WITH
1270
00:53:32,500 --> 00:53:34,100
NEW CHOICES AND IT'S HARD TO
1271
00:53:34,100 --> 00:53:35,630
KNOW WHICH PATH YOU SHOULD
1272
00:53:35,630 --> 00:53:38,300
FOLLOW.
1273
00:53:38,300 --> 00:53:39,330
THIS NEXT SONG REMINDS US THAT
1274
00:53:39,340 --> 00:53:40,980
YOU DON'T NEED TO KNOW HOW TO
1275
00:53:40,970 --> 00:53:48,440
VERSE JUMP OR EXPERIENCE THE
1276
00:53:48,450 --> 00:53:51,350
ENTIRE MULTIVERSE AT ONCE.
1277
00:53:51,350 --> 00:53:53,490
YOU JUST NEED TO ENJOY THE RIDE.
1278
00:53:53,490 --> 00:53:54,120
HERE TO PERFORM "THIS IS A LIFE"
1279
00:53:54,120 --> 00:53:56,660
FROM "EVERYTHING EVERYWHERE ALL
1280
00:53:56,650 --> 00:54:02,460
AT ONCE," PLEASE WELCOME
1281
00:54:02,460 --> 00:54:03,030
SON LUX, STEPHANIE HSU, AND
1282
00:54:03,030 --> 00:54:04,530
ACADEMY AWARD WINNER
1283
00:54:04,530 --> 00:54:12,240
DAVID BYRNE.
1284
00:54:12,240 --> 00:54:22,720
♪
1285
00:54:22,710 --> 00:54:24,810
♪ THIS IS A LIFE
1286
00:54:24,820 --> 00:54:28,590
EVERY POSSIBILITY
1287
00:54:28,590 --> 00:54:29,590
FREE FROM DESTINY ♪
1288
00:54:29,590 --> 00:54:31,090
♪ I CHOOSE YOU
1289
00:54:31,090 --> 00:54:35,860
AND YOU CHOOSE ME
1290
00:54:35,860 --> 00:54:39,560
LOVE ONLY WHAT WE SOW ♪
1291
00:54:39,560 --> 00:54:40,590
♪ EVERY SPACE AND EVERY TIME
1292
00:54:40,600 --> 00:54:45,940
NOT ONLY WHAT WE SHOW
1293
00:54:45,940 --> 00:54:53,850
THIS IS A LIGHT ♪
1294
00:54:53,850 --> 00:54:54,420
♪ MANY LIVES THAT
1295
00:54:54,410 --> 00:54:55,950
COULD'VE BEEN ♪
1296
00:54:55,950 --> 00:54:59,620
♪ FREE FROM ENTROPY
1297
00:54:59,620 --> 00:55:02,790
ENTANGLED FOR ETERNITY ♪
1298
00:55:02,790 --> 00:55:10,160
♪ NOT ONLY HANDS AND TOES
1299
00:55:10,160 --> 00:55:15,930
NOT ONLY WHAT WE'VE KNOWN ♪
1300
00:55:15,930 --> 00:55:22,600
♪ WE FIND THIS LIFE
1301
00:55:22,610 --> 00:55:34,460
SOMEHOW ALRIGHT ♪
1302
00:55:34,450 --> 00:55:35,620
♪ THIS IS THE LIFE
1303
00:55:35,620 --> 00:55:38,760
♪ SLOW AND SUDDEN MIRACLES
1304
00:55:38,760 --> 00:55:42,460
VIEW OF OTHER WORLDS
1305
00:55:42,460 --> 00:55:44,600
FROM OUR WINDOWSILLS ♪
1306
00:55:44,600 --> 00:55:48,240
♪ WITH THE WEIGHT
1307
00:55:48,230 --> 00:55:53,500
OF ETERNITY ♪
1308
00:55:53,500 --> 00:55:57,240
♪ AT THE SPEED OF LIGHT
1309
00:55:57,240 --> 00:56:05,150
THIS IS A LIFE
1310
00:56:05,150 --> 00:56:14,160
THIS IS OUR LIFE ♪
1311
00:56:14,160 --> 00:56:24,100
>> Announcer: COMING UP,
1312
00:56:24,100 --> 00:56:24,670
MARGOT ROBBIE AND
1313
00:56:24,670 --> 00:56:26,740
MORGAN FREEMAN.
1314
00:56:26,740 --> 00:56:28,380
LATER, JULIA LOUIS-DREYFUS AND
1315
00:56:28,370 --> 00:56:28,970
PAUL DANO WITH THE AWARD FOR
1316
00:56:28,970 --> 00:56:31,010
COSTUME DESIGN.
1317
00:56:31,010 --> 00:56:34,610
TO MEET OUR NOMINATED DESIGNERS,
1318
00:56:34,610 --> 00:56:36,810
SCAN THE QR CODE ON YOUR SCREEN.
1319
00:56:43,930 --> 00:56:47,830
>> Announcer: WE'RE BACK.
1320
00:56:47,830 --> 00:56:48,900
WITH TWO NOMINATIONS, OUR NEXT
1321
00:56:48,890 --> 00:56:49,960
NOMINEE FOR BEST PICTURE IS
1322
00:56:49,960 --> 00:56:54,460
"WOMEN TALKING."
1323
00:56:54,470 --> 00:56:57,170
♪
1324
00:56:57,170 --> 00:56:58,810
>> WE WERE GIVEN TWO DAYS TO
1325
00:56:58,800 --> 00:57:00,500
FORGIVE THE ATTACKERS BEFORE
1326
00:57:00,510 --> 00:57:01,340
THEY RETURNED.
1327
00:57:01,340 --> 00:57:03,240
IF WE DID NOT FORGIVE THEM, WE
1328
00:57:03,240 --> 00:57:04,940
WOULD BE ORDERED TO LEAVE THE
1329
00:57:04,940 --> 00:57:05,170
COLONY.
1330
00:57:05,180 --> 00:57:07,620
>> WE MUST DECIDE NOW TO STAY
1331
00:57:07,610 --> 00:57:11,180
AND FIGHT OR LEAVE.
1332
00:57:11,180 --> 00:57:12,720
>> IS THIS HOW WE WANT TO TEACH
1333
00:57:12,720 --> 00:57:14,460
OUR DAUGHTERS TO DEFEND
1334
00:57:14,450 --> 00:57:14,780
THEMSELVES?
1335
00:57:14,790 --> 00:57:16,660
>> WE'VE LIBERATED OURSELVES.
1336
00:57:16,650 --> 00:57:17,450
WE WILL HAVE TO ASK OURSELVES
1337
00:57:17,460 --> 00:57:22,000
WHO WE ARE.
1338
00:57:21,990 --> 00:57:34,870
>> Announcer: HERE ARE OSCAR
1339
00:57:34,870 --> 00:57:35,910
WINNER JENNIFER CONNELLY AND
1340
00:57:35,910 --> 00:57:37,510
HONORARY OSCAR WINNER
1341
00:57:37,510 --> 00:57:46,750
SAMUEL L. JACKSON.
1342
00:57:46,750 --> 00:57:56,460
>> AS WE'VE SEEN TONIGHT, EVERY
1343
00:57:56,460 --> 00:57:57,490
ARTISTIC CONTRIBUTION IS VITAL
1344
00:57:57,500 --> 00:57:58,070
TO THE PROCESS OF MAKING A
1345
00:57:58,060 --> 00:58:02,130
MOVIE.
1346
00:58:02,130 --> 00:58:04,630
AS ACTORS, WE WORK VERY CLOSELY
1347
00:58:04,640 --> 00:58:06,510
WITH HAIR AND MAKEUP TEAMS.
1348
00:58:06,500 --> 00:58:08,100
>> THEY'RE OUR FRIENDS.
1349
00:58:08,110 --> 00:58:10,250
THEY'RE OUR THERAPISTS.
1350
00:58:10,240 --> 00:58:11,310
IN FACT, JENNIFER AND I HAVE HAD
1351
00:58:11,310 --> 00:58:16,380
THE PLEASURE OF BEING PERSONALLY
1352
00:58:16,380 --> 00:58:17,610
TRANSFORMED BY SEVERAL OF THE
1353
00:58:17,620 --> 00:58:17,890
NOMINEES.
1354
00:58:17,880 --> 00:58:19,520
BUT WE WISH THEM ALL GOOD LUCK,
1355
00:58:19,520 --> 00:58:21,320
EVEN THE ONES WE HAVEN'T WORKED
1356
00:58:21,320 --> 00:58:23,290
WITH, BECAUSE WE MAY END UP IN
1357
00:58:23,290 --> 00:58:25,290
YOUR CHAIRS, TOO.
1358
00:58:25,290 --> 00:58:28,960
>> THE ASTONISHING WORK THAT
1359
00:58:28,960 --> 00:58:31,060
THESE ARTISTS HAVE ACCOMPLISHED
1360
00:58:31,060 --> 00:58:32,700
THIS YEAR DISPLAYED THEIR
1361
00:58:32,700 --> 00:58:33,700
PROFOUND SKILL AND TECHNICAL
1362
00:58:33,700 --> 00:58:36,470
EXPERTISE.
1363
00:58:36,470 --> 00:58:37,670
THESE FILMS WOULDN'T BE THE SAME
1364
00:58:37,670 --> 00:58:38,370
WITHOUT THEM.
1365
00:58:38,370 --> 00:58:39,410
>> AND WE CAN THANK THESE GIFTED
1366
00:58:39,400 --> 00:58:40,930
COLLABORATORS FOR ALWAYS HELPING
1367
00:58:40,940 --> 00:58:43,080
US LOOK THE PART.
1368
00:58:43,070 --> 00:58:44,640
HERE ARE THE NOMINEES FOR
1369
00:58:44,640 --> 00:58:45,210
ACHIEVEMENT IN MAKEUP AND
1370
00:58:45,210 --> 00:58:48,550
HAIRSTYLING.
1371
00:58:48,550 --> 00:58:50,490
"ALL QUIET ON THE WESTERN FRONT"
1372
00:58:50,480 --> 00:58:52,550
HEIKE MERKER AND
1373
00:58:52,550 --> 00:58:55,190
LINDA EISENHAMEROVA.
1374
00:58:55,190 --> 00:58:57,290
"THE BATMAN"
1375
00:58:57,290 --> 00:58:58,860
NAOMI DONNE, MIKE MARINO, AND
1376
00:58:58,860 --> 00:59:03,070
MIKE FONTAINE.
1377
00:59:03,060 --> 00:59:06,500
"BLACK PANTHER: WAKANDA FOREVER"
1378
00:59:06,500 --> 00:59:08,400
CAMILLE FRIEND AND JOEL HARLOW.
1379
00:59:08,400 --> 00:59:12,040
"ELVIS"
1380
00:59:12,040 --> 00:59:12,670
MARK COULIER, JASON BAIRD, AND
1381
00:59:12,670 --> 00:59:16,840
ALDO SIGNORETTI.
1382
00:59:16,840 --> 00:59:18,910
"THE WHALE"
1383
00:59:18,910 --> 00:59:19,480
ARIEN MOROT, JUDY CHIN, AND
1384
00:59:19,480 --> 00:59:26,290
ANNEMARIE BRADLEY.
1385
00:59:26,280 --> 00:59:31,990
>> AND THE OSCAR GOES TO --
1386
00:59:31,990 --> 00:59:33,590
"THE WHALE"
1387
00:59:33,590 --> 00:59:34,620
ADRIEN MOROT, JUDY CHIN, AND
1388
00:59:34,630 --> 00:59:40,370
ANNEMARIE BRADLEY.
1389
00:59:40,360 --> 00:59:43,100
>> THE TEAM TRANSFORMED BRENDAN
1390
00:59:43,100 --> 00:59:44,970
FRASER INTO THE WHALE THROUGH
1391
00:59:44,970 --> 00:59:47,210
THE FIRST-TIME USE OF ALL
1392
00:59:47,210 --> 00:59:50,010
DIGITAL PROSTHETIC MAKEUP FOR A
1393
00:59:50,010 --> 00:59:51,380
MAJOR FEATURE.
1394
00:59:51,380 --> 01:00:06,460
THIS PUSH ED FRASER AND ALLOWED
1395
01:00:06,460 --> 01:00:08,700
FOR THE MOST EMOTIONAL RANGE OF
1396
01:00:08,690 --> 01:00:13,360
EXPRESSION.
1397
01:00:13,360 --> 01:00:18,830
>> THANK YOU.
1398
01:00:18,840 --> 01:00:19,410
>> THANK YOU.
1399
01:00:19,400 --> 01:00:21,870
>> THANK YOU SO MUCH.
1400
01:00:21,870 --> 01:00:23,940
WOW.
1401
01:00:23,940 --> 01:00:26,110
WE'D LIKE TO THANK THE AMAZING
1402
01:00:26,110 --> 01:00:27,680
MAKEUP ARTISTS THAT WORKED WITH
1403
01:00:27,680 --> 01:00:28,720
US TO CREATE THE CHARACTER OF
1404
01:00:28,710 --> 01:00:30,450
CHARLIE.
1405
01:00:30,450 --> 01:00:36,690
SO KATHY, CHRIS GALLAGHER, THE
1406
01:00:36,690 --> 01:00:38,630
ENTIRE MAKEUP TEAM, OUR
1407
01:00:38,620 --> 01:00:40,290
DIRECTOR, DARREN, WHO PUSHED US
1408
01:00:40,290 --> 01:00:40,660
TO NEW HEIGHTS.
1409
01:00:40,660 --> 01:00:42,330
THANK YOU.
1410
01:00:42,330 --> 01:00:44,070
OUR AMAZING ACTOR, BRENDAN
1411
01:00:44,060 --> 01:00:46,160
FRASER OVER THERE.
1412
01:00:46,160 --> 01:00:47,090
THANK YOU.
1413
01:00:47,100 --> 01:00:50,900
THANK YOU.
1414
01:00:50,900 --> 01:00:54,600
OUR PRODUCER, THE STUDIO A-24,
1415
01:00:54,610 --> 01:00:55,950
AND THE ACADEMY, THANK YOU SO
1416
01:00:55,940 --> 01:01:00,140
MUCH.
1417
01:01:00,140 --> 01:01:01,180
>> THANK YOU, DARREN, FOR
1418
01:01:01,180 --> 01:01:11,090
EVERYTHING.
1419
01:01:11,090 --> 01:01:12,630
>> Announcer: HERE ARE TWO-TIME
1420
01:01:12,620 --> 01:01:13,250
OSCAR NOMINEE MARGOT ROBBIE AND
1421
01:01:13,260 --> 01:01:14,260
ACADEMY AWARD WINNER
1422
01:01:14,260 --> 01:01:25,610
MORGAN FREEMAN.
1423
01:01:25,600 --> 01:01:31,610
>> IN 1923, THE WARNER BROTHERS
1424
01:01:31,610 --> 01:01:35,310
BET IT ALL ON A BOLD DREAM AND A
1425
01:01:35,310 --> 01:01:36,910
PROMISING BUT UNPROVEN NEW
1426
01:01:36,910 --> 01:01:38,480
MEDIUM THAT WOULD PUSH THE
1427
01:01:38,480 --> 01:01:42,720
LIMITS OF SOUND AND CINEMA.
1428
01:01:42,720 --> 01:01:44,220
THEIR BIG GAMBLE PAID OFF, AND
1429
01:01:44,220 --> 01:01:45,820
THE MODERN CINEMATIC EXPERIENCE
1430
01:01:45,820 --> 01:01:48,460
WAS BORN.
1431
01:01:48,460 --> 01:01:49,530
>> THE SAME SPIRIT THAT POWERED
1432
01:01:49,530 --> 01:01:51,070
A CENTURY OF UNFORGETTABLE
1433
01:01:51,060 --> 01:01:53,830
MOVIES CONTINUES TO BE A DRIVING
1434
01:01:53,830 --> 01:01:56,430
FORCE TODAY, AS WARNER BROTHERS
1435
01:01:56,430 --> 01:01:57,060
UNLEASHES THE BOLD AND IMPACTFUL
1436
01:01:57,070 --> 01:01:58,910
STORYTELLING OF AN ARRAY OF
1437
01:01:58,900 --> 01:01:59,970
ARTISTS, GEORGE MILLER,
1438
01:01:59,970 --> 01:02:03,140
BONG JOON-HO, MICHAEL B. JORDAN,
1439
01:02:03,140 --> 01:02:04,210
GRETA GERWIG, SO MANY MORE, TO
1440
01:02:04,210 --> 01:02:05,780
CAPTIVATE THE IMAGINATIONS OF
1441
01:02:05,780 --> 01:02:07,420
AUDIENCES EVERYWHERE, WHILE
1442
01:02:07,410 --> 01:02:08,950
REMINDING US OF THE POWER AND
1443
01:02:08,950 --> 01:02:10,020
JOY THAT ONLY THE BIG SCREEN CAN
1444
01:02:10,010 --> 01:02:12,150
DELIVER.
1445
01:02:12,150 --> 01:02:14,790
>> THIS YEAR, WARNER BROTHERS
1446
01:02:14,790 --> 01:02:16,330
MARKS ITS 100th ANNIVERSARY,
1447
01:02:16,320 --> 01:02:16,950
CELEBRATING EVERY STORY AND ALL
1448
01:02:16,950 --> 01:02:18,920
OF THE AMAZING CHARACTERS
1449
01:02:18,920 --> 01:02:22,090
BROUGHT TO LIFE OVER THE YEARS.
1450
01:02:22,090 --> 01:02:22,620
>> WHERE ELSE BUT AT
1451
01:02:22,630 --> 01:02:24,200
WARNER BROTHERS COULD
1452
01:02:24,200 --> 01:02:25,300
HARLEY QUINN HANG OUT WITH
1453
01:02:25,300 --> 01:02:29,500
"SHAWSHANK'S" OWN RED REDDING?
1454
01:02:29,500 --> 01:02:31,040
>> OR "THE DARK KNIGHT'S"
1455
01:02:31,040 --> 01:02:33,180
LUCIUS FOX HANG OUT WITH THE
1456
01:02:33,170 --> 01:02:37,410
INCOMPARABLE BARBIE?
1457
01:02:37,410 --> 01:02:38,440
>> AS BOGIE SAYS, "IT'S THE
1458
01:02:38,440 --> 01:02:41,280
STUFF THAT DREAMS ARE MADE OF."
1459
01:02:47,840 --> 01:02:51,790
>> Announcer: WELCOME BACK TO
1460
01:02:51,790 --> 01:02:52,990
THE OSCARS.
1461
01:02:52,990 --> 01:02:55,460
WITH NINE NOMINATIONS, INCLUDING
1462
01:02:55,460 --> 01:02:59,130
BEST PICTURE, THIS IS "THE
1463
01:02:59,130 --> 01:03:01,670
BANSHEES OF INISHERIN."
1464
01:03:01,670 --> 01:03:03,870
>> IF I'VE DONE SOMETHING TO
1465
01:03:03,870 --> 01:03:04,100
YOU --
1466
01:03:04,100 --> 01:03:06,400
>> I JUST DON'T LIKE YOU NO
1467
01:03:06,400 --> 01:03:06,600
MORE.
1468
01:03:06,600 --> 01:03:10,900
>> I NEED TO SPEND THE TIME LEFT
1469
01:03:10,910 --> 01:03:11,180
COMPOSING.
1470
01:03:11,180 --> 01:03:13,480
>> EVERYONE KNOWS THAT NAME.
1471
01:03:13,480 --> 01:03:16,320
>> IF HE DON'T, THERE GOES THAT
1472
01:03:16,310 --> 01:03:16,540
THEORY.
1473
01:03:16,550 --> 01:03:17,720
>> HE'S ALWAYS BEEN DULL.
1474
01:03:17,720 --> 01:03:19,320
>> YOU USED TO BE NICE.
1475
01:03:19,320 --> 01:03:20,920
AND NOW, YOU KNOW WHAT YOU ARE?
1476
01:03:20,920 --> 01:03:22,660
NOT NICE.
1477
01:03:22,650 --> 01:03:24,790
>> THAT WOULDN'T BE A SIN NOW,
1478
01:03:24,790 --> 01:03:25,890
WOULD IT?
1479
01:03:25,890 --> 01:03:27,830
>> SOME THINGS ARE NOT WORTH
1480
01:03:27,830 --> 01:03:28,960
MOVING ON FROM, AND I THINK
1481
01:03:28,960 --> 01:03:36,340
TAT'S A GOOD THING.
1482
01:03:36,330 --> 01:03:48,410
>> THIS IS JENNY.
1483
01:03:48,410 --> 01:03:51,510
THERE SHE IS, ONE OF THE STARS
1484
01:03:51,520 --> 01:03:55,560
OF "BANSHEES OF INISHERIN."
1485
01:03:55,550 --> 01:03:56,080
HI, JENNY.
1486
01:03:56,090 --> 01:03:57,930
NOT ONLY IS JENNY AN ACTOR,
1487
01:03:57,920 --> 01:04:00,560
SHE'S A CERTIFIED EMOTIONAL
1488
01:04:00,560 --> 01:04:01,290
SUPPORT DONKEY.
1489
01:04:01,290 --> 01:04:03,330
AT LEAST THAT'S WHAT WE TOLD THE
1490
01:04:03,330 --> 01:04:04,600
AIRLINE TO GET HER ON THE PLANE
1491
01:04:04,600 --> 01:04:05,000
FROM IRELAND.
1492
01:04:05,000 --> 01:04:09,170
IF YOU ARE FEELING UPSET OR
1493
01:04:09,170 --> 01:04:10,770
ANXIOUS OR MAYBE YOU JUST LOVE
1494
01:04:10,770 --> 01:04:12,000
MULES, FEEL FREE TO COME UP AND
1495
01:04:12,000 --> 01:04:12,800
GIVE HER A HUG.
1496
01:04:12,800 --> 01:04:14,300
AND JENNY, THERE'S YOUR FRIEND
1497
01:04:14,310 --> 01:04:15,910
COLIN RIGHT THERE.
1498
01:04:15,910 --> 01:04:19,550
AND THERE'S YOUR FRIEND BRENDAN,
1499
01:04:19,540 --> 01:04:20,580
WHOSE FINGER YOU ATE.
1500
01:04:20,580 --> 01:04:21,450
YOU WANT TO SAY THANK YOU.
1501
01:04:21,450 --> 01:04:23,050
ALL RIGHT.
1502
01:04:23,050 --> 01:04:24,320
LET'S GET YOU BACK ON THAT
1503
01:04:24,320 --> 01:04:28,460
SPIRIT AIRLINES FLIGHT NOW, HUH?
1504
01:04:28,450 --> 01:04:30,450
NEXT, WITH THE AWARD FOR COSTUME
1505
01:04:30,450 --> 01:04:33,250
DESIGN, PLEASE WELCOME STEVEN
1506
01:04:33,260 --> 01:04:36,900
SPIELBERG'S FATHER AND
1507
01:04:36,890 --> 01:04:37,520
JONAH HILL'S MOM, PAUL DANO, AND
1508
01:04:37,530 --> 01:04:46,970
JULIA LOUIS-DREYFUS!
1509
01:04:46,970 --> 01:04:57,450
>> I WOULD JUST LIKE TO BEGIN BY
1510
01:04:57,450 --> 01:04:59,020
SAYING THANK YOU TO THE ACADEMY,
1511
01:04:59,020 --> 01:05:01,920
BECAUSE FOR THOSE THAT DO NOT
1512
01:05:01,920 --> 01:05:04,090
KNOW, EVERY YEAR, THE OSCAR FOR
1513
01:05:04,090 --> 01:05:06,590
COSTUME DESIGN IS PRESENTED BY
1514
01:05:06,590 --> 01:05:08,590
THE MOST STYLISH AND
1515
01:05:08,590 --> 01:05:09,390
FASHION-FORWARD ACTRESS IN
1516
01:05:09,390 --> 01:05:12,560
HOLLYWOOD.
1517
01:05:12,560 --> 01:05:16,530
>> AND PAUL DANO.
1518
01:05:16,530 --> 01:05:19,370
>> BEING NOMINATED FOR AN OSCAR
1519
01:05:19,370 --> 01:05:21,310
IS THE SECOND-GREATEST HONOR A
1520
01:05:21,310 --> 01:05:22,950
COSTUME DESIGNER CAN RECEIVE.
1521
01:05:22,940 --> 01:05:25,480
THE GREATEST HONOR IS WHEN AN
1522
01:05:25,480 --> 01:05:27,150
ACTOR ACCIDENTALLY TAKES THEIR
1523
01:05:27,140 --> 01:05:27,870
BEAUTIFULLY DESIGNED COSTUME
1524
01:05:27,880 --> 01:05:29,720
HOME WITH THEM.
1525
01:05:29,710 --> 01:05:32,680
>> SEEING THESE EXQUISITE
1526
01:05:32,680 --> 01:05:34,120
DESIGNS UP CLOSE, YOU KNOW
1527
01:05:34,120 --> 01:05:35,960
EXACTLY WHY THEIR DESIGNERS ARE
1528
01:05:35,950 --> 01:05:38,290
NOMINATED TONIGHT, AND EXACTLY
1529
01:05:38,290 --> 01:05:40,760
WHY THEY MIGHT END UP HIDDEN IN
1530
01:05:40,760 --> 01:05:42,800
AN ACTOR'S CAR TRUNK OR GYM BAG.
1531
01:05:42,790 --> 01:05:44,330
AND BY THE WAY, JULIA --
1532
01:05:44,330 --> 01:05:44,730
>> YES.
1533
01:05:44,730 --> 01:05:46,130
>> THAT IS A GORGEOUS DRESS
1534
01:05:46,130 --> 01:05:46,860
YOU'RE WEARING.
1535
01:05:46,860 --> 01:05:48,160
>> OH, THANK YOU SO MUCH.
1536
01:05:48,170 --> 01:05:51,570
IT'S FROM "NATIONAL LAMPOON'S
1537
01:05:51,570 --> 01:05:55,040
CHRISTMAS VACATION," 1989.
1538
01:05:55,040 --> 01:05:56,680
>> HERE ARE THE NOMINEES FOR
1539
01:05:56,670 --> 01:06:04,610
ACHIEVEMENT IN COSTUME DESIGN.
1540
01:06:04,620 --> 01:06:05,250
>> "BABYLON," COSTUME DESIGN BY
1541
01:06:05,250 --> 01:06:06,180
MARY ZOPHRES.
1542
01:06:06,180 --> 01:06:06,710
"BLACK PANTHER: WAKANDA
1543
01:06:06,720 --> 01:06:07,290
FOREVER," COSTUME DESIGN BY
1544
01:06:07,280 --> 01:06:10,380
RUTH CARTER.
1545
01:06:10,390 --> 01:06:11,960
"ELVIS," COSTUME DESIGN BY
1546
01:06:11,960 --> 01:06:16,730
CATHERINE MARTIN.
1547
01:06:16,730 --> 01:06:18,800
"EVERYTHING EVERYWHERE ALL AT
1548
01:06:18,800 --> 01:06:22,970
ONCE," COSTUME DESIGN BY
1549
01:06:22,970 --> 01:06:23,340
SHIRLEY KURATA.
1550
01:06:23,330 --> 01:06:25,100
"MRS. HARRIS GOES TO PARIS,"
1551
01:06:25,100 --> 01:06:31,470
COSTUME DESIGN BY JENNY BEAVAN.
1552
01:06:31,480 --> 01:06:36,220
>> AND THE OSCAR GOES TO --
1553
01:06:36,210 --> 01:06:41,280
"BLACK PANTHER: WAKANDA
1554
01:06:41,290 --> 01:06:43,230
FOREVER," RUTH CARTER.
1555
01:06:43,220 --> 01:06:44,790
>> RUTH CARTER'S FIRST JOB IN
1556
01:06:44,790 --> 01:06:46,790
FILM WAS DESIGNING COSTUMES FOR
1557
01:06:46,790 --> 01:06:50,960
SPIKE LEE'S 1988 FILM "SCHOOL
1558
01:06:50,960 --> 01:06:53,100
DAYS."
1559
01:06:53,100 --> 01:06:53,400
K
1560
01:06:53,400 --> 01:06:58,910
RUTH CARTER USED 3D TECHNOLOGY
1561
01:06:58,900 --> 01:07:01,270
FOR THE QUEEN IN "BLACK PANTHER:
1562
01:07:01,270 --> 01:07:03,740
WAKANDA FOREVER."
1563
01:07:03,740 --> 01:07:05,240
>> THANK YOU.
1564
01:07:05,240 --> 01:07:05,740
OH, MY --
1565
01:07:05,740 --> 01:07:06,140
>> BEAUTIFUL WORK.
1566
01:07:06,140 --> 01:07:12,950
>> WOW.
1567
01:07:12,950 --> 01:07:13,150
NICE.
1568
01:07:13,150 --> 01:07:15,850
NICE TO SEE YOU AGAIN.
1569
01:07:15,850 --> 01:07:18,790
THANK YOU TO THE ACADEMY FOR
1570
01:07:18,790 --> 01:07:22,990
RECOGNIZING THE SUPERHERO THAT
1571
01:07:22,990 --> 01:07:24,460
IS A BLACK WOMAN.
1572
01:07:24,460 --> 01:07:27,530
SHE ENDURES, SHE LOVES, SHE
1573
01:07:27,530 --> 01:07:31,330
OVERCOMES, SHE IS EVERY WOMAN IN
1574
01:07:31,340 --> 01:07:31,610
THIS FILM.
1575
01:07:31,600 --> 01:07:34,100
SHE IS MY MOTHER.
1576
01:07:34,100 --> 01:07:36,670
THIS PAST WEEK, MABLE CARTER
1577
01:07:36,670 --> 01:07:38,470
BECAME AN ANCESTOR.
1578
01:07:38,480 --> 01:07:42,250
THIS FILM PREPARED ME FOR THIS
1579
01:07:42,250 --> 01:07:42,480
MOMENT.
1580
01:07:42,480 --> 01:07:43,350
CHADWICK, PLEASE TAKE CARE OF
1581
01:07:43,350 --> 01:07:47,590
MOM.
1582
01:07:47,590 --> 01:07:51,260
RYAN, NATE, THANK YOU BOTH FOR
1583
01:07:51,260 --> 01:07:52,030
YOUR VISION.
1584
01:07:52,020 --> 01:07:53,960
TOGETHER, WE ARE RESHAPING HOW
1585
01:07:53,960 --> 01:08:02,000
CULTURE IS REPRESENTED.
1586
01:08:02,000 --> 01:08:07,170
THE MARVEL FAMILY, KEVIN,
1587
01:08:07,170 --> 01:08:09,940
VICTORIA ALONZO, LOUIS, AND
1588
01:08:09,940 --> 01:08:10,570
THEIR ARSENAL OF GENIUS, THANK
1589
01:08:10,570 --> 01:08:11,100
YOU.
1590
01:08:11,110 --> 01:08:15,280
I SHARE THIS WITH MANY DEDICATED
1591
01:08:15,280 --> 01:08:18,050
ARTISTS WHOSE HANDS AND HEARTS
1592
01:08:18,050 --> 01:08:24,520
HELPED MANIFEST THE COSTUMES OF
1593
01:08:24,520 --> 01:08:24,750
WAKANDA.
1594
01:08:24,760 --> 01:08:25,790
THIS IS FOR MY MOTHER.
1595
01:08:25,790 --> 01:08:34,900
SHE WAS 101.
1596
01:08:34,900 --> 01:08:39,770
>> Announcer: PLEASE WELCOME
1597
01:08:39,770 --> 01:08:48,250
DEEPIKA PADUKONE.
1598
01:08:48,250 --> 01:08:51,990
>> AN IRRESISTIBLY CATCHY
1599
01:08:51,980 --> 01:08:54,120
CHORUS, ELECTRIFYING BEAT, AND
1600
01:08:54,120 --> 01:08:56,190
KILLER DANCE MOVES TO MATCH HAVE
1601
01:08:56,190 --> 01:08:56,790
MADE THIS NEXT SONG A GLOBAL
1602
01:08:56,790 --> 01:09:04,060
SENSATION.
1603
01:09:04,060 --> 01:09:06,760
IT PLAYS DURING A PIVOTAL SCENE
1604
01:09:06,760 --> 01:09:14,100
IN "RRR," A MOVIE ABOUT THE
1605
01:09:14,100 --> 01:09:16,270
FRIENDSHIP BETWEEN REAL-LIFE
1606
01:09:16,270 --> 01:09:20,440
INDIAN REVOLUTIONARIES,
1607
01:09:20,440 --> 01:09:20,970
ALLURI SITARAMA RAJU AND
1608
01:09:20,980 --> 01:09:23,620
KOMARAM BHEEM.
1609
01:09:23,610 --> 01:09:25,210
IN ADDITION TO BEING SUNG IN
1610
01:09:25,220 --> 01:09:27,320
TELEGU AND ILLUSTRATING THE
1611
01:09:27,320 --> 01:09:29,420
FILM'S ANTI-COLONIALIST THEMES,
1612
01:09:29,420 --> 01:09:34,160
IT'S ALSO A TOTAL BANGER.
1613
01:09:34,160 --> 01:09:36,760
IT'S EARNED MILLIONS OF VIEWS ON
1614
01:09:36,760 --> 01:09:37,260
YOUTUBE AND TIKTOK, HAS
1615
01:09:37,260 --> 01:09:38,900
AUDIENCES DANCING IN MOVIE
1616
01:09:38,900 --> 01:09:41,000
THEATERS ALL AROUND THE WORLD,
1617
01:09:41,000 --> 01:09:43,100
AND IS ALSO THE FIRST SONG EVER
1618
01:09:43,100 --> 01:09:44,740
FROM AN INDIAN PRODUCTION TO BE
1619
01:09:44,740 --> 01:09:54,220
NOMINATED FOR AN OSCAR.
1620
01:09:54,210 --> 01:09:56,310
DO YOU KNOW NAATU?
1621
01:09:56,310 --> 01:10:01,580
IF YOU DON'T, YOU'RE ABOUT TO.
1622
01:10:01,590 --> 01:10:02,620
FROM THE FILM, "RRR," THIS IS
1623
01:10:02,620 --> 01:10:05,560
"NAATU NAATU!"
1624
01:10:05,560 --> 01:10:10,030
[ THE FOLLOWING SONG HAS BEEN
1625
01:10:10,030 --> 01:10:10,600
TRANSLATED TO ENGLISH FROM
1626
01:10:10,590 --> 01:10:13,230
TELUGU ]
1627
01:10:13,230 --> 01:10:14,160
♪ LIKE AN AGGRESSIVE BULL
1628
01:10:14,160 --> 01:10:14,690
JUMPING AMIDST
1629
01:10:14,700 --> 01:10:16,300
DUST IN THE FIELDS ♪
1630
01:10:16,300 --> 01:10:17,870
♪ YOU TOO DANCE
1631
01:10:17,870 --> 01:10:19,510
THE DRUM IS RINGING LOUDLY ♪
1632
01:10:19,500 --> 01:10:19,970
♪ FLY AND DANCE
1633
01:10:19,970 --> 01:10:21,070
LIKE THE INDIAN DEITY
1634
01:10:21,070 --> 01:10:22,640
POTHARAJU ♪
1635
01:10:22,640 --> 01:10:23,710
♪ HAVING A STICK BATTLE
1636
01:10:23,710 --> 01:10:24,810
WITH ROUGH SHOES ♪
1637
01:10:24,810 --> 01:10:25,810
♪ DANCE LIKE A GANG
1638
01:10:25,810 --> 01:10:26,340
OF YOUNG BOYS ♪
1639
01:10:26,340 --> 01:10:27,210
♪ ASSEMBLING UNDER THE
1640
01:10:27,210 --> 01:10:27,740
SHADE OF A BANYAN TREE ♪
1641
01:10:27,750 --> 01:10:28,450
♪ DANCE LIKE AS IF
1642
01:10:28,450 --> 01:10:28,950
YOU ARE EATING A
1643
01:10:28,950 --> 01:10:29,520
JOWAR ROTI WITH A CHILI ♪
1644
01:10:29,510 --> 01:10:30,010
♪ LISTEN TO MY SONG
1645
01:10:30,010 --> 01:10:31,080
♪ LISTEN TO MY SONG
1646
01:10:31,080 --> 01:10:31,610
♪ LISTEN TO MY SONG
1647
01:10:31,620 --> 01:10:32,190
♪ LET'S DANCE, DANCE
1648
01:10:32,180 --> 01:10:33,720
AND DANCE
1649
01:10:33,720 --> 01:10:35,360
LET'S DANCE OH BRAVE ♪
1650
01:10:35,350 --> 01:10:35,820
♪ LET'S DANCE, DANCE
1651
01:10:35,820 --> 01:10:37,920
AND DANCE
1652
01:10:37,920 --> 01:10:40,990
LET'S DANCE CRAZILY ♪
1653
01:10:40,990 --> 01:10:42,660
♪ DANCE AS IF
1654
01:10:42,660 --> 01:10:43,290
YOU HAVE EATEN GREEN CHILIES ♪
1655
01:10:43,290 --> 01:10:48,900
♪ DANCE LIKE A SHARP KNIFE
1656
01:10:48,900 --> 01:11:05,850
♪
1657
01:11:05,850 --> 01:11:06,380
♪ LIKE BEATING A DRUM
1658
01:11:06,380 --> 01:11:06,910
WHICH MAKES YOUR
1659
01:11:06,920 --> 01:11:07,490
HEART BEAT FASTER ♪
1660
01:11:07,480 --> 01:11:09,020
♪ LIKE THE SHRILL VOICE
1661
01:11:09,020 --> 01:11:09,520
OF A BIRD THAT CAN
1662
01:11:09,520 --> 01:11:10,650
MAKE YOUR EAR NUMB ♪
1663
01:11:10,650 --> 01:11:12,150
♪ LIKE THE SONG WHICH CAN
1664
01:11:12,160 --> 01:11:12,690
MAKE YOUR FINGERS SNAP
1665
01:11:12,690 --> 01:11:14,290
IN RHYTHM ♪
1666
01:11:14,290 --> 01:11:14,790
♪ LIKE THE WILD DANCE
1667
01:11:14,790 --> 01:11:15,820
WITH A FAST BEAT ♪
1668
01:11:15,830 --> 01:11:20,030
♪ LIKE THE DANCE WHICH
1669
01:11:20,030 --> 01:11:21,630
MAKES YOUR BODY SWEAT ♪
1670
01:11:21,630 --> 01:11:23,730
♪ LISTEN TO MY SONG
1671
01:11:23,730 --> 01:11:24,260
♪ LISTEN TO MY SONG
1672
01:11:24,270 --> 01:11:24,800
♪ LISTEN TO MY SONG
1673
01:11:24,800 --> 01:11:26,900
♪ LET'S DANCE, DANCE
1674
01:11:26,900 --> 01:11:29,040
AND DANCE
1675
01:11:29,040 --> 01:11:31,140
LET'S DANCE OH BRAVE ♪
1676
01:11:31,140 --> 01:11:31,610
♪ LET'S DANCE, DANCE
1677
01:11:31,610 --> 01:11:33,280
AND DANCE
1678
01:11:33,280 --> 01:11:39,520
LET'S DANCE CRAZILY ♪
1679
01:11:39,520 --> 01:11:49,100
♪
1680
01:11:49,090 --> 01:11:52,990
♪ LET'S DANCE, DANCE
1681
01:11:53,000 --> 01:11:57,510
AND DANCE ♪
1682
01:11:57,500 --> 01:11:58,570
♪ LET'S DANCE, DANCE
1683
01:11:58,570 --> 01:12:07,650
AND DANCE ♪
1684
01:12:07,640 --> 01:12:19,390
♪
1685
01:12:19,390 --> 01:12:39,810
>> Announcer: COMING UP,
1686
01:12:39,810 --> 01:12:40,310
SALMA HAYEK PINAULT AND
1687
01:12:40,310 --> 01:12:41,380
ANTONIO BANDERAS.
1688
01:12:41,380 --> 01:12:42,950
AND LATER, HUGH GRANT AND
1689
01:12:42,950 --> 01:12:44,050
ANDIE MacDOWELL PRESENT THE
1690
01:12:44,050 --> 01:12:45,590
OSCAR FOR PRODUCTION DESIGN.
1691
01:12:45,580 --> 01:12:47,180
TO LEARN MORE ABOUT OUR
1692
01:12:47,180 --> 01:12:49,320
NOMINATED PRODUCTION DESIGNERS,
1693
01:12:49,320 --> 01:12:53,760
SCAN THE QR CODE ON YOUR SCREEN.
1694
01:12:56,260 --> 01:13:10,870
♪
1695
01:13:10,870 --> 01:13:14,810
>>> I JUST NEED TO GET 30
1696
01:13:14,810 --> 01:13:18,480
SECONDS OF ROOM TONE.
1697
01:13:18,480 --> 01:13:19,210
WE GOOD?
1698
01:13:19,220 --> 01:13:19,720
OKAY.
1699
01:13:19,720 --> 01:13:21,120
SEE, FOLKS, IT'S NOT JUST ABOUT
1700
01:13:21,120 --> 01:13:22,190
THE ACTORS.
1701
01:13:22,190 --> 01:13:23,560
SOMETIMES WE LIKE TO DO JOKES
1702
01:13:23,550 --> 01:13:25,190
FOR THE TECHNICAL CATEGORIES.
1703
01:13:25,190 --> 01:13:26,260
AND THAT WAS A LITTLE SOMETHING
1704
01:13:26,260 --> 01:13:28,630
FOR THE AUDIO TEAM.
1705
01:13:28,630 --> 01:13:30,870
THANKS FOR ALL THE WARM HANDS
1706
01:13:30,860 --> 01:13:32,560
AND MICROPHONES, GUYS.
1707
01:13:32,560 --> 01:13:34,500
AND BY THE WAY, I KNOW WE LOST
1708
01:13:34,500 --> 01:13:36,140
AN HOUR BECAUSE OF DAYLIGHT
1709
01:13:36,130 --> 01:13:38,030
SAVINGS TIME, BUT I SPOKE TO THE
1710
01:13:38,040 --> 01:13:39,540
PRODUCERS, AND GOOD NEWS, WE'VE
1711
01:13:39,540 --> 01:13:40,070
ADDED THAT HOUR INTO THE
1712
01:13:40,070 --> 01:13:43,070
TELECAST.
1713
01:13:43,070 --> 01:13:44,170
PLEASE WELCOME EVA LONGORIA AND
1714
01:13:44,170 --> 01:13:45,170
THE PRESIDENT OF THE ACADEMY,
1715
01:13:45,180 --> 01:13:51,450
JANET YANG.
1716
01:13:51,450 --> 01:14:02,230
>> HELLO, EVERYONE.
1717
01:14:02,230 --> 01:14:03,470
HOW HAVE YOU BEEN ENJOYING THE
1718
01:14:03,460 --> 01:14:06,300
SHOW SO FAR?
1719
01:14:06,300 --> 01:14:07,700
YOU'RE SUCH A BEAUTIFUL
1720
01:14:07,700 --> 01:14:10,500
AUDIENCE, YOU MAKE OUR JOB
1721
01:14:10,500 --> 01:14:10,730
EASIER.
1722
01:14:10,730 --> 01:14:12,200
I'M SO THRILLED AND PROUD TO
1723
01:14:12,200 --> 01:14:12,830
LEAD THE ACADEMY, ALONG WITH OUR
1724
01:14:12,840 --> 01:14:18,050
EXTRAORDINARY CEO, BILL KRAMER,
1725
01:14:18,040 --> 01:14:20,540
AND OUR INCREDIBLY DEDICATED
1726
01:14:20,540 --> 01:14:22,280
BOARD OF GOVERNORS.
1727
01:14:22,280 --> 01:14:23,820
YOU MAY KNOW US BEST FOR THE
1728
01:14:23,810 --> 01:14:26,480
OSCARS AND CELEBRATING CURRENT
1729
01:14:26,480 --> 01:14:30,180
FILMS EACH YEAR, BUT THE ACADEMY
1730
01:14:30,190 --> 01:14:30,790
WORKS YEAR-ROUND TO PRESERVE
1731
01:14:30,790 --> 01:14:32,760
FILM HISTORY, AS WELL AS INSPIRE
1732
01:14:32,760 --> 01:14:35,400
AND NURTURE FUTURE GENERATIONS
1733
01:14:35,390 --> 01:14:35,890
OF FILM ARTISTS AND
1734
01:14:35,890 --> 01:14:37,490
TECHNOLOGISTS.
1735
01:14:37,490 --> 01:14:40,630
WE HAVE ROBUST TALENT
1736
01:14:40,630 --> 01:14:41,260
DEVELOPMENT PROGRAMS, THE MOST
1737
01:14:41,260 --> 01:14:42,230
EXTRAORDINARY GLOBAL FILM
1738
01:14:42,230 --> 01:14:44,900
COLLECTION, AND THE LARGEST FILM
1739
01:14:44,900 --> 01:14:46,470
MUSEUM IN THE WORLD -- THE
1740
01:14:46,470 --> 01:14:47,000
ACADEMY MUSEUM OF MOTION
1741
01:14:47,000 --> 01:14:53,840
PICTURES.
1742
01:14:53,840 --> 01:14:55,480
>> IF YOU HAVE VISITED US IN
1743
01:14:55,480 --> 01:14:57,050
LOS ANGELES OR VIRTUALLY, YOU
1744
01:14:57,050 --> 01:14:58,620
KNOW THAT OUR FANTASTIC MUSEUM
1745
01:14:58,620 --> 01:15:00,220
OFFERS EXCEPTIONAL EXHIBITIONS,
1746
01:15:00,220 --> 01:15:02,290
SCREENINGS, AND EDUCATIONAL
1747
01:15:02,290 --> 01:15:04,390
PROGRAMS THAT ILLUMINATE THE
1748
01:15:04,390 --> 01:15:07,560
VAST WORLD OF CINEMA.
1749
01:15:07,560 --> 01:15:10,300
YOU'LL LEARN ABOUT THE WORK OF
1750
01:15:10,290 --> 01:15:12,530
ALL THE COLLABORATORS THAT MAKE
1751
01:15:12,530 --> 01:15:15,200
MOVIES UNFORGIVABLE.
1752
01:15:15,200 --> 01:15:15,830
YOU WILL BE TRANSPORTED, MOVED,
1753
01:15:15,830 --> 01:15:16,430
AND INSPIRED, IN WAYS THAT NO
1754
01:15:16,430 --> 01:15:21,170
MUSEUM HAS DONE BEFORE.
1755
01:15:21,170 --> 01:15:23,770
>> HERE AT THE ACADEMY MUSEUM OF
1756
01:15:23,770 --> 01:15:25,510
MOTION PICTURES, WE TELL THE
1757
01:15:25,510 --> 01:15:26,480
DIVERSE AND INSPIRING STORIES OF
1758
01:15:26,480 --> 01:15:28,950
CINEMA.
1759
01:15:28,950 --> 01:15:30,920
>> WE CREATE IMMERSIVE
1760
01:15:30,910 --> 01:15:34,210
EXHIBITIONS LIKE "THE G
1761
01:15:34,220 --> 01:15:35,720
GODFATHER," WHICH CELEBRATES THE
1762
01:15:35,720 --> 01:15:36,720
PROCESS OF MAKING THIS
1763
01:15:36,720 --> 01:15:38,190
UNFORGETTABLE MASTERPIECE.
1764
01:15:38,190 --> 01:15:40,260
>> WE SHOWCASE HOW FILMMAKERS
1765
01:15:40,260 --> 01:15:42,630
HAVE INVENTED WORLDS AND
1766
01:15:42,630 --> 01:15:43,700
CHARACTERS THROUGH ANIMATION,
1767
01:15:43,690 --> 01:15:46,560
COSTUME DESIGN, AND MORE.
1768
01:15:46,560 --> 01:15:48,830
>> WE BRING ICONIC PROPS BACK TO
1769
01:15:48,830 --> 01:15:49,030
LIFE.
1770
01:15:49,030 --> 01:15:54,000
FROM SAM'S PIANO TO BRUCE'S
1771
01:15:54,000 --> 01:15:56,470
SHARK FROM "JAWS."
1772
01:15:56,470 --> 01:15:58,710
>> WE BRING IMPORTANT FILM
1773
01:15:58,710 --> 01:16:04,580
HISTORY TO LIGHT.
1774
01:16:04,580 --> 01:16:07,250
>> WE CELEBRATE GLOBAL CINEMA
1775
01:16:07,250 --> 01:16:09,450
AND INSPIRE THE NEXT GENERATIONS
1776
01:16:09,450 --> 01:16:11,350
OF FILMMAKERS.
1777
01:16:11,350 --> 01:16:13,390
>> AND, OF COURSE, WE OFFER AN
1778
01:16:13,390 --> 01:16:16,530
UP CLOSE LOOK AT THE OSCARS,
1779
01:16:16,530 --> 01:16:18,300
SCREENINGS OF CLASSIC FILMS, AND
1780
01:16:18,300 --> 01:16:20,370
A FANTASTIC MUSEUM STORE.
1781
01:16:20,360 --> 01:16:22,130
>> THE ACADEMY MUSEUM IS WHERE
1782
01:16:22,130 --> 01:16:23,300
WE COME TOGETHER THROUGH OUR
1783
01:16:23,300 --> 01:16:27,040
PASSION FOR CINEMA.
1784
01:16:27,040 --> 01:16:29,210
JOIN US IN PERSON IN LOS
1785
01:16:29,210 --> 01:16:30,680
ANGELES, LEARN MORE ON OUR
1786
01:16:30,670 --> 01:16:32,410
SOCIAL, AND CHECK US OUT ONLINE
1787
01:16:32,410 --> 01:16:37,250
AT ACADEMYMUSEUM.ORG.
1788
01:16:37,250 --> 01:16:41,990
>> Announcer: AND NOW, ACADEMY
1789
01:16:41,990 --> 01:16:42,560
AWARD NOMINEES
1790
01:16:42,550 --> 01:16:43,080
SALMA HAYEK PINAULT
1791
01:16:43,090 --> 01:16:48,360
ANTONIO BANDERAS.
1792
01:16:48,360 --> 01:16:54,070
>> MOVIE LOVERS FROM AROUND THE
1793
01:16:54,060 --> 01:16:55,630
GLOBE GO TO SEE MOVIES TO
1794
01:16:55,630 --> 01:16:56,230
EXPERIENCE THE FULL RANGE OF
1795
01:16:56,230 --> 01:16:59,330
EMOTIONS --
1796
01:16:59,340 --> 01:17:03,580
TO LAUGH, TO CRY, TO ESCAPE,
1797
01:17:03,570 --> 01:17:04,170
ULTIMATELY TO BE TOLD A GOOD
1798
01:17:04,170 --> 01:17:04,640
STORY.
1799
01:17:04,640 --> 01:17:07,780
>> WE WANT TO SEE COMPELLING
1800
01:17:07,780 --> 01:17:08,310
CHARACTERS GO THROUGH THE
1801
01:17:08,310 --> 01:17:10,410
DYNAMIC RANGE OF HUMAN
1802
01:17:10,410 --> 01:17:12,550
EXPERIENCES, SPANNING FROM JOY
1803
01:17:12,550 --> 01:17:14,650
AND GUILT TO TRIUMPH AND LOVE.
1804
01:17:14,650 --> 01:17:18,290
>> THE NOMINEES IN THIS NEXT
1805
01:17:18,290 --> 01:17:23,030
CATEGORY COME TO US FROM POLAND,
1806
01:17:23,030 --> 01:17:23,660
BELGIUM, ARGENTINA, IRELAND, AND
1807
01:17:23,660 --> 01:17:25,660
GERMANY.
1808
01:17:25,660 --> 01:17:26,290
ALTHOUGH THESE FILMMAKERS MAY BE
1809
01:17:26,300 --> 01:17:28,840
FROM DIFFERENT COUNTRIES AND
1810
01:17:28,830 --> 01:17:30,670
CULTURES, THEY HAVE PROVEN THAT
1811
01:17:30,670 --> 01:17:32,540
THE LANGUAGE OF STORYTELLING IS
1812
01:17:32,540 --> 01:17:34,110
UNIVERSAL.
1813
01:17:34,100 --> 01:17:35,700
>> HERE ARE THE NOMINEES FOR
1814
01:17:35,710 --> 01:17:38,550
BEST INTERNATIONAL FEATURE
1815
01:17:38,540 --> 01:17:38,870
FILM --
1816
01:17:38,880 --> 01:17:42,050
FROM GERMANY, "ALL QUIET ON THE
1817
01:17:42,050 --> 01:17:42,720
WESTERN FRONT," DIRECTED BY
1818
01:17:42,710 --> 01:17:46,750
EDWARD BERGER.
1819
01:17:46,750 --> 01:17:48,890
FROM ARGENTINA,
1820
01:17:48,890 --> 01:17:50,530
"ARGENTINA, 1985," DIRECTED BY
1821
01:17:50,520 --> 01:17:53,590
SANTIAGO MITRE.
1822
01:17:53,590 --> 01:17:54,220
FROM BELGIUM, "CLOSE," DIRECTED
1823
01:17:54,220 --> 01:17:57,260
BY LUKAS DHONT.
1824
01:17:57,260 --> 01:17:58,830
FROM POLAND, "EO," DIRECTED BY
1825
01:17:58,830 --> 01:18:01,970
JERZY SKOLIMOWSKI.
1826
01:18:01,970 --> 01:18:06,680
FROM IRELAND, "THE QUIET GIRL,"
1827
01:18:06,670 --> 01:18:09,940
DIRECTED BY COLM BAIREAD.
1828
01:18:09,940 --> 01:18:15,750
>> AND THE OSCAR GOES TO --
1829
01:18:15,750 --> 01:18:17,220
EDWARD BERGER, "ALL QUIET ON THE
1830
01:18:17,210 --> 01:18:21,380
WESTERN FRONT."
1831
01:18:21,380 --> 01:18:22,750
>> THIS IS THE 12th NOMINATION
1832
01:18:22,750 --> 01:18:24,590
FOR GERMANY AND THIRD WIN.
1833
01:18:24,590 --> 01:18:25,820
"ALL QUIET ON THE WESTERN FRONT"
1834
01:18:25,820 --> 01:18:28,520
IS THE EIGHTH NONENGLISH
1835
01:18:28,530 --> 01:18:31,530
LANGUAGE FILM TO BE NOMINATED
1836
01:18:31,530 --> 01:18:32,760
FOR BOS INTERNATIONAL FEATURE
1837
01:18:32,760 --> 01:18:33,660
FILM AND BEST PICTURE IN THE
1838
01:18:33,660 --> 01:18:40,430
SAME YEAR.
1839
01:18:40,440 --> 01:19:01,160
>> THANK YOU.
1840
01:19:01,160 --> 01:19:03,400
THIS MEANS SO MUCH TO US.
1841
01:19:03,390 --> 01:19:04,660
SO, I MET SO MANY NEW FRIENDS ON
1842
01:19:04,660 --> 01:19:07,000
THIS MOVIE.
1843
01:19:07,000 --> 01:19:09,140
MY CINEMATOGRAPHER JAMES FRIEND,
1844
01:19:09,130 --> 01:19:11,730
WHO HAS WON AN ACADEMY AWARD.
1845
01:19:11,740 --> 01:19:13,480
MY COSTUME DESIGNER, MY
1846
01:19:13,470 --> 01:19:17,670
PRODUCTION DESIGN ER, MY HAIR AD
1847
01:19:17,670 --> 01:19:21,910
MAKEUP DESIGNER, AND I OWE
1848
01:19:21,910 --> 01:19:22,680
EVERYTHING TO YOU.
1849
01:19:22,680 --> 01:19:23,510
I OWE EVERYTHING TO YOU AND THE
1850
01:19:23,510 --> 01:19:25,150
REST OF MY CREW.
1851
01:19:25,150 --> 01:19:27,620
BUT THE OTHER DAY, I WALKED INTO
1852
01:19:27,620 --> 01:19:32,130
A BRUNCH HERE AND I MET ANOTHER
1853
01:19:32,120 --> 01:19:35,590
CINEMATOGRAPHER, JAMES -- IT'S
1854
01:19:35,590 --> 01:19:38,490
ANOTHER MOVIE, FLORIAN, WHO WAS
1855
01:19:38,500 --> 01:19:41,240
ALSO NOMINATED FOR "TAR."
1856
01:19:41,230 --> 01:19:42,730
WE HELD EACH OTHER -- WE ARE
1857
01:19:42,730 --> 01:19:44,030
FROM THE SAME TOLD.
1858
01:19:44,030 --> 01:19:45,500
WE HELD EACH OTHER AND FOR 30
1859
01:19:45,500 --> 01:19:47,270
YEARS, WE MADE OUR FIRST MOVIE
1860
01:19:47,270 --> 01:19:49,040
TOGETHER, I WAS HIS ASSISTANCE,
1861
01:19:49,040 --> 01:19:50,210
AND WE HELD EACH OTHER AND FOR
1862
01:19:50,210 --> 01:19:53,010
30 YEARS, IT FELT LIKE THERE WAS
1863
01:19:53,010 --> 01:19:54,450
AN EMBRACE OF ALL THE HARD WORK
1864
01:19:54,440 --> 01:19:57,680
THAT WENT INTO THIS, AND IT'S
1865
01:19:57,680 --> 01:19:59,820
JUST DEEPLY MOVING FOR ALL OF
1866
01:19:59,820 --> 01:20:00,020
US.
1867
01:20:00,020 --> 01:20:01,560
THANK YOU NETFLIX FOR SUPPORTING
1868
01:20:01,550 --> 01:20:01,720
US.
1869
01:20:01,720 --> 01:20:05,790
THANK YOU TO MY WIFE AND MY
1870
01:20:05,790 --> 01:20:06,890
KIDS.
1871
01:20:06,890 --> 01:20:11,430
THANK YOU TED, SASHA, SCOTT, AND
1872
01:20:11,430 --> 01:20:14,730
DAVID FOR MAKING OUR MOVIE.
1873
01:20:14,730 --> 01:20:18,670
THANK YOU, THESE TWO WONDERFUL
1874
01:20:18,670 --> 01:20:19,740
ACTORS.
1875
01:20:19,740 --> 01:20:24,210
MY PRODUCER, DANIEL, THE ACTORS,
1876
01:20:24,210 --> 01:20:28,650
AND ESPECIALLY FELIX, THIS
1877
01:20:28,650 --> 01:20:34,420
WAS -- THIS WAS YOUR FIRST M
1878
01:20:34,420 --> 01:20:36,260
MOVIE -- THIS WAS YOUR FIRST
1879
01:20:36,250 --> 01:20:39,150
MOVIE AND YOU CARRIED US ON YOUR
1880
01:20:39,160 --> 01:20:40,560
SHOULDERS AS IF IT WAS NOTHING.
1881
01:20:40,560 --> 01:20:42,130
WITHOUT YOU, NONE OF US WOULD BE
1882
01:20:42,130 --> 01:20:42,330
HERE.
1883
01:20:42,330 --> 01:20:49,200
THANK YOU, FELIX.
1884
01:20:49,200 --> 01:20:54,610
>> Announcer: COMING UP,
1885
01:20:54,600 --> 01:20:55,030
PEDRO PASCAL AND
1886
01:20:55,040 --> 01:20:56,540
ELIZABETH OLSEN.
1887
01:20:56,540 --> 01:20:58,340
AND LATER, MINDY KALING AND
1888
01:20:58,340 --> 01:20:58,970
JOHN CHO PRESENT BEST ORIGINAL
1889
01:20:58,980 --> 01:20:59,950
SCORE.
1890
01:20:59,940 --> 01:21:00,970
WILL JOHN WILLIAMS MAKE OSCAR
1891
01:21:00,980 --> 01:21:03,680
HISTORY TONIGHT?
1892
01:21:03,680 --> 01:21:04,310
TO MEET OUR NOMINATED COMPOSERS,
1893
01:21:04,310 --> 01:21:06,310
SCAN THE QR CODE.
1894
01:21:11,890 --> 01:21:15,160
>> Announcer: WELCOME BACK TO
1895
01:21:15,160 --> 01:21:17,230
THE OSCARS AT THE DOLBY THEATRE.
1896
01:21:17,230 --> 01:21:18,260
WITH SEVEN NOMINATIONS TONIGHT,
1897
01:21:18,260 --> 01:21:19,290
INCLUDING BEST PICTURE, THIS IS
1898
01:21:19,300 --> 01:21:24,240
"THE FABELMANS."
1899
01:21:24,230 --> 01:21:30,570
>> IN THIS FAMILY, IT'S THE
1900
01:21:30,570 --> 01:21:33,510
SCIENTISTS VERSUS THE ARTISTS.
1901
01:21:33,510 --> 01:21:35,680
>> SHOULD AN'T YOU BE FILMING
1902
01:21:35,680 --> 01:21:35,880
THIS?
1903
01:21:35,880 --> 01:21:38,220
>> $100 FOR A HOBBY?
1904
01:21:38,210 --> 01:21:40,850
>> CAN YOU STOP CALLING IT A
1905
01:21:40,850 --> 01:21:41,150
HOBBY?
1906
01:21:41,150 --> 01:21:43,790
>> YOU ALWAYS DISMISS WHAT HE
1907
01:21:43,790 --> 01:21:44,820
DOES.
1908
01:21:44,820 --> 01:21:46,360
IT'S PLAYFUL FOR IMAGINATIVE.
1909
01:21:46,360 --> 01:21:48,060
>> YOU STOP MAKING MOVIES, IT
1910
01:21:48,060 --> 01:21:49,460
WILL BREAK YOUR MOTHER'S HEART.
1911
01:21:49,460 --> 01:21:51,860
>> YOU DO WHAT YOUR HEART SAYS
1912
01:21:51,860 --> 01:21:52,390
YOU HAVE TO.
1913
01:21:52,400 --> 01:22:02,510
YOU DON'T OWE ANYONE YOUR LIFE.
1914
01:22:02,510 --> 01:22:05,010
>> WELL, WE ARE AT THE OSCARS,
1915
01:22:05,010 --> 01:22:06,550
WE HAVE MANY MORE AWARDS TO GO.
1916
01:22:06,540 --> 01:22:08,070
HOW ARE YOU GUYS HOLDING UP?
1917
01:22:08,080 --> 01:22:10,920
EVERYBODY OKAY?
1918
01:22:10,910 --> 01:22:12,510
YEAH, YOU'RE HANGING IN THERE?
1919
01:22:12,520 --> 01:22:14,360
I PUT FOOD UNDER YOUR SEATS, I
1920
01:22:14,350 --> 01:22:15,120
DON'T KNOW IF YOU NOTICED IT.
1921
01:22:15,120 --> 01:22:18,920
ALL RIGHT.
1922
01:22:18,920 --> 01:22:20,250
THIS POINT IN THE SHOW KIND OF
1923
01:22:20,260 --> 01:22:21,130
MAKES YOU MISS THE SLAPPING A
1924
01:22:21,120 --> 01:22:25,060
LITTLE, RIGHT?
1925
01:22:25,060 --> 01:22:26,730
THREE OF THE EIGHT CATEGORIES
1926
01:22:26,730 --> 01:22:28,830
THAT HAVE MAKING THIS SHOW
1927
01:22:28,830 --> 01:22:31,200
LONGER TONIGHT ARE FOR SHORTS,
1928
01:22:31,200 --> 01:22:31,500
IRONICALLY.
1929
01:22:31,500 --> 01:22:33,100
HERE WITH THE OSCARS FOR
1930
01:22:33,100 --> 01:22:35,540
DOCUMENTARY AND ANIMATED SHORTS,
1931
01:22:35,540 --> 01:22:36,910
ELIZABETH OLSEN AND A GUY MOST
1932
01:22:36,910 --> 01:22:40,450
OF AMERICA IS WATCHING ON EITHER
1933
01:22:40,440 --> 01:22:42,240
HBO OR DOISNEY PLUS RIGHT NOW,
1934
01:22:42,250 --> 01:22:48,720
PEDRO PASCAL.
1935
01:22:48,720 --> 01:22:56,430
>> RATHER THAN SHY AWAY FROM A
1936
01:22:56,430 --> 01:22:57,460
CHALLENGE, THE FILMMAKERS IN
1937
01:22:57,460 --> 01:22:59,060
THESE NEXT CATEGORIES HAVE
1938
01:22:59,060 --> 01:23:00,630
EMBRACED IT, PRESENTING STORIES
1939
01:23:00,630 --> 01:23:02,730
IN A LIMITED TIME FRAME.
1940
01:23:02,730 --> 01:23:04,870
>> BUT THESE LIMITS HAD NO
1941
01:23:04,870 --> 01:23:06,440
EFFECT ON THE TYPES OF STORIES
1942
01:23:06,440 --> 01:23:07,040
THEY COULD TELL OR THE DEPTHS
1943
01:23:07,040 --> 01:23:09,640
THEY COULD EXPLORE.
1944
01:23:09,640 --> 01:23:10,710
>> HERE ARE THE NOMINEES FOR
1945
01:23:10,710 --> 01:23:14,910
BEST DOCUMENTARY SHORT FILM.
1946
01:23:14,910 --> 01:23:17,050
>> "THE ELEPHANT WHISPERERS"
1947
01:23:17,050 --> 01:23:17,550
KARTIKI GONSALVES AND
1948
01:23:17,550 --> 01:23:19,690
GUNEET MONGA.
1949
01:23:19,680 --> 01:23:21,750
"HAULOUT"
1950
01:23:21,750 --> 01:23:23,350
EVGENIA ARBUGAEVA AND
1951
01:23:23,350 --> 01:23:25,950
MAXIM ARBUGAEV.
1952
01:23:25,960 --> 01:23:27,000
"HOW DO YOU MEASURE A YEAR?"
1953
01:23:26,990 --> 01:23:32,260
JAY ROSENBLATT.
1954
01:23:32,260 --> 01:23:33,290
♪ MEASURE A YEAR
1955
01:23:33,300 --> 01:23:34,870
"THE MARTHA MITCHELL EFFECT"
1956
01:23:34,860 --> 01:23:38,030
ANNE ALVERGUE AND BETH LEVISON.
1957
01:23:38,030 --> 01:23:41,500
"STRANGER AT THE GATE"
1958
01:23:41,500 --> 01:23:48,610
JOSHUA SEFTEL AND CONALL JONES.
1959
01:23:48,610 --> 01:23:56,020
AND THE OSCAR GOES TO --
1960
01:23:56,020 --> 01:23:56,550
"THE ELEPHANT WHISPERERS"
1961
01:23:56,550 --> 01:23:57,620
KARTIKI GONSALVES AND
1962
01:23:57,620 --> 01:24:01,490
GUNEET MONGA.
1963
01:24:01,490 --> 01:24:05,260
>> GUNEET MONGA WAS ONE OF THE
1964
01:24:05,260 --> 01:24:08,730
FIRST PRODUCERS FROM INDIA TO BE
1965
01:24:08,730 --> 01:24:13,700
INDUCTED IN THE FILM MAKING HLL
1966
01:24:13,700 --> 01:24:17,670
OF FAME.
1967
01:24:17,670 --> 01:24:29,210
>> I STAND HERE TODAY TO SPEAK
1968
01:24:29,220 --> 01:24:30,820
FOR THE SACRED BOND BETWEEN US
1969
01:24:30,820 --> 01:24:32,590
AND OUR NATURAL WORLD.
1970
01:24:32,590 --> 01:24:35,330
FOR THE RESPECT OF INDIGENOUS
1971
01:24:35,330 --> 01:24:35,630
COMMUNITIES.
1972
01:24:35,630 --> 01:24:37,800
AND EMPATHY TOWARDS OTHER LIVING
1973
01:24:37,790 --> 01:24:39,260
BEINGS WE SHARE OUR SPACE WITH.
1974
01:24:39,260 --> 01:24:41,530
AND FINALLY, FOR COEXISTENCE.
1975
01:24:41,530 --> 01:24:44,870
THANK YOU TO THE ACADEMY FOR
1976
01:24:44,870 --> 01:24:46,440
RECOGNIZING OUR FILM,
1977
01:24:46,440 --> 01:24:47,610
HIGHLIGHTING INDIGENOUS PEOPLE
1978
01:24:47,600 --> 01:24:48,630
AND ANIMALS.
1979
01:24:48,640 --> 01:24:50,140
TO NETFLIX FOR BELIEVING IN THE
1980
01:24:50,140 --> 01:24:53,010
POWER OF THIS FILM.
1981
01:24:53,010 --> 01:24:56,910
FOR SHARING THEIR SACRED TRIBAL
1982
01:24:56,910 --> 01:24:57,210
WISDOM.
1983
01:24:57,210 --> 01:25:00,210
TO OUR GUNEET, MY PRODUCER, AND
1984
01:25:00,220 --> 01:25:02,020
DOUGLAS BLUSH, MY MENTOR, AND MY
1985
01:25:02,020 --> 01:25:03,820
ENTIRE TEAM, AND FINALLY, TO MY
1986
01:25:03,820 --> 01:25:05,190
MOTHER, FATHER, AND SISTER, WHO
1987
01:25:05,190 --> 01:25:06,790
ARE UP THERE SOMEWHERE.
1988
01:25:06,790 --> 01:25:08,360
YOU ARE THE CENTER OF MY
1989
01:25:08,360 --> 01:25:08,760
UNIVERSE.
1990
01:25:08,760 --> 01:25:23,480
TO MY MOTHERLAND, INDIA.
1991
01:25:23,470 --> 01:25:39,420
>> THESE NEXT NOMINEES USED
1992
01:25:39,420 --> 01:25:41,020
ANIMATION TO MAKE THE MOST OF
1993
01:25:41,020 --> 01:25:42,590
THEIR LIMITED SCREEN TIME,
1994
01:25:42,590 --> 01:25:44,690
EMPLOYING A VARIETY OF VISUAL
1995
01:25:44,690 --> 01:25:46,790
STYLES AND TECHNIQUES TO CARRY
1996
01:25:46,800 --> 01:25:47,500
OUT A STORY IN 40 MINUTES OR
1997
01:25:47,500 --> 01:25:50,470
LESS.
1998
01:25:50,470 --> 01:25:51,040
>> IN JUST 24 MINUTES, ONE
1999
01:25:51,030 --> 01:25:52,100
NOMINEE EVEN MANAGED TO FIT IN
2000
01:25:52,100 --> 01:25:57,370
AN ENTIRE YEAR'S WORTH OF --
2001
01:25:57,370 --> 01:25:58,810
>> WHAT?
2002
01:25:58,810 --> 01:25:59,010
WHAT?
2003
01:25:59,010 --> 01:25:59,910
>> WELL, YOU'LL FIND OUT WHEN
2004
01:25:59,910 --> 01:26:00,810
YOU WATCH THIS.
2005
01:26:00,810 --> 01:26:04,010
>> HOW THRILLING.
2006
01:26:04,010 --> 01:26:04,640
HERE ARE THE NOMINEES FOR BEST
2007
01:26:04,650 --> 01:26:08,750
ANIMATED SHORT FILM.
2008
01:26:08,750 --> 01:26:09,380
"THE BOY, THE MOLE, THE FOX AND
2009
01:26:09,390 --> 01:26:11,390
THE HORSE"
2010
01:26:11,390 --> 01:26:11,920
CHARLIE MACKESY AND
2011
01:26:11,920 --> 01:26:13,460
MATTHEW FREUD.
2012
01:26:13,460 --> 01:26:15,700
"THE FLYING SAILOR"
2013
01:26:15,690 --> 01:26:22,400
AMANDA FORBIS AND WENDY TILBY.
2014
01:26:22,400 --> 01:26:22,770
"ICE MERCHANTS"
2015
01:26:22,770 --> 01:26:28,210
JOAO GONZALEZ AND BRUNO CAETANO.
2016
01:26:28,200 --> 01:26:29,300
"MY YEAR OF DICKS"
2017
01:26:29,310 --> 01:26:29,810
SARA GUNNARSDOTTIR AND
2018
01:26:29,810 --> 01:26:32,480
PAMELA RIBON.
2019
01:26:32,480 --> 01:26:34,050
"AN OSTRICH TOLD ME THE WORLD IS
2020
01:26:34,040 --> 01:26:35,680
FAKE, AND I THINK I BELIEVE IT"
2021
01:26:35,680 --> 01:26:42,090
LACHLAN PENDRAGON.
2022
01:26:42,090 --> 01:26:44,930
>> AND THE OSCAR GOES TO --
2023
01:26:44,920 --> 01:26:45,550
"THE BOY, THE MOLE, THE FOX AND
2024
01:26:45,560 --> 01:26:46,990
THE HORSE"
2025
01:26:46,990 --> 01:26:47,520
CHARLIE MACKESY AND
2026
01:26:47,520 --> 01:26:52,730
MATTHEW FREUD.
2027
01:26:52,730 --> 01:26:54,330
>> THE ANIMATION TEAM BEHIND
2028
01:26:54,330 --> 01:26:56,370
"THE BOY, THE MOLE, THE FOX, AND
2029
01:26:56,370 --> 01:26:58,370
THE HORSE" WORKED REMOTELY
2030
01:26:58,370 --> 01:26:59,370
THROUGHOUT COVID TO CREATE A
2031
01:26:59,370 --> 01:27:01,540
LOOK THAT CLOSELY RESEMBLED THE
2032
01:27:01,540 --> 01:27:03,180
INK AND WATERCOLOR ILLUSTRATIONS
2033
01:27:03,170 --> 01:27:03,770
FROM THE BOOK ON WHICH IT WAS
2034
01:27:03,770 --> 01:27:11,510
BASED.
2035
01:27:11,510 --> 01:27:13,180
>> WE NEVER MADE A FILM BEFORE,
2036
01:27:13,180 --> 01:27:14,080
SO, THIS IS BEWILDERING BEYOND
2037
01:27:14,080 --> 01:27:17,350
AND -- I KNOW THE PROTOCOL IS TO
2038
01:27:17,350 --> 01:27:19,390
SAY THANK YOU A LOT, BUT I'M
2039
01:27:19,390 --> 01:27:20,530
BRITISH, SO I'M MORE COMFORTABLE
2040
01:27:20,520 --> 01:27:23,960
SAYING SORRY.
2041
01:27:23,960 --> 01:27:25,560
SO, I'M REALLY SORRY TO ALL THE
2042
01:27:25,560 --> 01:27:26,730
PEOPLE WHO SHOULD BE ON THIS
2043
01:27:26,730 --> 01:27:29,770
STAGE WITH US, EXTRAORDINARY
2044
01:27:29,770 --> 01:27:32,910
TEAM WITH CARA SPELLER AND PETER
2045
01:27:32,900 --> 01:27:37,040
AND J. J. AND HANNAH AND IZZO AND
2046
01:27:37,040 --> 01:27:39,840
JOHN AND OVER 100 ANIMATORS.
2047
01:27:39,840 --> 01:27:41,180
I'M REALLY SORRY TO MY CHILDREN
2048
01:27:41,180 --> 01:27:43,320
AND MY GIRLFRIEND AND MY
2049
01:27:43,310 --> 01:27:44,810
COLLEAGUES AT FREUD FOR
2050
01:27:44,810 --> 01:27:46,040
BASICALLY BEING ABSENT FOR THE
2051
01:27:46,050 --> 01:27:47,190
LAST TWO YEARS, AS THIS FILM
2052
01:27:47,180 --> 01:27:48,980
TOOK FLIGHT.
2053
01:27:48,990 --> 01:27:52,790
BUT THIS STATUE IS FOR THE DOG
2054
01:27:52,790 --> 01:27:57,030
AND THE BOY.
2055
01:27:57,030 --> 01:27:59,670
>> HELLO.
2056
01:27:59,660 --> 01:27:59,930
I'M SORRY.
2057
01:27:59,930 --> 01:28:00,630
I'LL BE BRIEF.
2058
01:28:00,630 --> 01:28:03,930
IT'S A RECURRING THEME, THE
2059
01:28:03,930 --> 01:28:04,160
APOLOGY.
2060
01:28:04,170 --> 01:28:05,970
I WAS IN MY VILLAGE VERY
2061
01:28:05,970 --> 01:28:08,310
RECENTLY, A LADY CAME UP TO ME
2062
01:28:08,300 --> 01:28:10,700
AND SAID, I HEAR YOU'RE GOING TO
2063
01:28:10,710 --> 01:28:11,550
THAT OSCAR THING.
2064
01:28:11,540 --> 01:28:13,440
I SAID, I THINK I'LL NEED HELP
2065
01:28:13,440 --> 01:28:14,180
WITH MY CLOTHES.
2066
01:28:14,180 --> 01:28:16,050
AND SHE SAID, YOU WILL.
2067
01:28:16,050 --> 01:28:17,490
AND IT'S A RECURRING THEME WITH
2068
01:28:17,480 --> 01:28:20,050
CLOTHING AND MYSELF, AND SHE
2069
01:28:20,050 --> 01:28:21,320
THEN SAID, THERE WAS A LONG
2070
01:28:21,320 --> 01:28:22,720
PAUSE, SHE SAID, YOU KNOW,
2071
01:28:22,720 --> 01:28:24,220
CHARLIE, I THINK IT TAKES A LOT
2072
01:28:24,220 --> 01:28:25,660
OF COURAGE TO MAKE A FILM.
2073
01:28:25,660 --> 01:28:27,160
AND I THINK WHEN YOU GO THERE,
2074
01:28:27,160 --> 01:28:28,460
THERE WILL BE A LOT OF VERY,
2075
01:28:28,460 --> 01:28:30,000
VERY BRAVE PEOPLE IN THE SAME
2076
01:28:29,990 --> 01:28:30,190
ROOM.
2077
01:28:30,190 --> 01:28:31,930
AND I LOOKED AT HER, I SAID,
2078
01:28:31,930 --> 01:28:33,400
YEAH, I THINK YOU'RE RIGHT.
2079
01:28:33,400 --> 01:28:35,270
AND IT'S REALLY TRUE.
2080
01:28:35,260 --> 01:28:36,460
AND THE PEOPLE THAT I'VE WORKED
2081
01:28:36,470 --> 01:28:37,770
WITH, THEY'VE TOLERATED ME FOR
2082
01:28:37,770 --> 01:28:39,970
TWO YEARS.
2083
01:28:39,970 --> 01:28:40,800
AND THEY'RE BRAVE AND KIND AND
2084
01:28:40,800 --> 01:28:42,200
THANK YOU SO MUCH AND THANK YOU
2085
01:28:42,210 --> 01:28:44,810
TO MY MOM AND MY FAMILY AND MY
2086
01:28:44,810 --> 01:28:47,110
DOG WHO I'VE LEFT BEHIND WHO IS
2087
01:28:47,110 --> 01:28:51,720
ACTUALLY IN A HOTEL, I HATE TO
2088
01:28:51,710 --> 01:28:52,180
SAY THAT.
2089
01:28:52,180 --> 01:28:53,880
I WASN'T REALLY MEANT TO SAY
2090
01:28:53,880 --> 01:28:54,510
THAT.
2091
01:28:54,520 --> 01:28:55,150
ANYWAY, THANK YOU SO, SO MUCH
2092
01:28:55,150 --> 01:28:55,420
FOR THIS.
2093
01:28:55,420 --> 01:29:03,090
THANK YOU.
2094
01:29:03,090 --> 01:29:16,740
>> I WROTE THIS SONG WITH MY
2095
01:29:16,740 --> 01:29:21,310
FRIEND BLOODPOP FOR THE FILM
2096
01:29:21,310 --> 01:29:23,280
"TOP GUN: MAVERICK" IN MY STUDIO
2097
01:29:23,280 --> 01:29:25,480
BASEMENT.
2098
01:29:25,480 --> 01:29:28,080
IT'S DEEPLY PERSONAL FOR ME AND
2099
01:29:28,080 --> 01:29:31,920
I THINK THAT WE ALL NEED EACH
2100
01:29:31,920 --> 01:29:33,390
OTHER, WE NEED A LOT OF LOVE TO
2101
01:29:33,390 --> 01:29:36,330
WALK THROUGH THIS LIFE.
2102
01:29:36,330 --> 01:29:39,330
AND WE ALL NEED A HERO
2103
01:29:39,330 --> 01:29:41,400
SOMETIMES, THERE'S HEROES ALL
2104
01:29:41,400 --> 01:29:42,800
AROUND US.
2105
01:29:42,800 --> 01:29:44,700
IN UNASSUMING PLACES, BUT -- YOU
2106
01:29:44,700 --> 01:29:47,970
MIGHT FIND THAT YOU CAN BE YOUR
2107
01:29:47,970 --> 01:29:49,440
OWN HERO, EVEN IF YOU FEEL
2108
01:29:49,440 --> 01:29:55,110
BROKEN INSIDE.
2109
01:29:55,110 --> 01:30:04,590
♪ HOLD MY HAND
2110
01:30:04,590 --> 01:30:07,960
♪ EVERYTHING WILL BE OKAY
2111
01:30:07,960 --> 01:30:13,630
♪ I HEARD FROM THE HEAVENS ♪
2112
01:30:13,630 --> 01:30:15,870
♪ THAT CLOUDS HAVE BEEN GRAY
2113
01:30:15,870 --> 01:30:19,140
♪ PULL ME CLOSE
2114
01:30:19,140 --> 01:30:23,040
♪ WRAP ME IN YOUR ACHING ARMS
2115
01:30:23,040 --> 01:30:27,340
♪ I SEE THAT YOU'RE HURTING
2116
01:30:27,340 --> 01:30:30,810
♪ WHY DID YOU TAKE SO LONG
2117
01:30:30,810 --> 01:30:34,350
♪ TO TELL ME YOU NEED ME
2118
01:30:34,350 --> 01:30:37,950
♪ I SEE THAT YOU'RE BLEEDING
2119
01:30:37,950 --> 01:30:43,320
♪ YOU DON'T NEED TO SHOW ME
2120
01:30:43,330 --> 01:30:44,460
AGAIN ♪
2121
01:30:44,460 --> 01:30:47,330
♪ BUT IF YOU DECIDE TO
2122
01:30:47,330 --> 01:30:50,800
♪ I'LL RIDE IN THIS LIFE WITH
2123
01:30:50,800 --> 01:30:51,200
YOU ♪
2124
01:30:51,200 --> 01:30:56,070
♪ I WON'T LET GO TIL THE END
2125
01:30:56,070 --> 01:31:07,410
♪ SO CRY TONIGHT
2126
01:31:07,420 --> 01:31:11,520
♪ BUT DON'T YOU LET GO OF MY
2127
01:31:11,520 --> 01:31:12,120
HAND ♪
2128
01:31:12,120 --> 01:31:19,830
♪ YOU CAN CRY EVERY LAST TEAR
2129
01:31:19,830 --> 01:31:26,900
♪ I WON'T LEAVE TIL I UND
2130
01:31:26,900 --> 01:31:27,670
UNDERSTAND ♪
2131
01:31:27,670 --> 01:31:30,340
♪ PROMISE ME
2132
01:31:30,340 --> 01:31:33,010
♪ JUST HOLD MY HAND
2133
01:31:33,010 --> 01:31:33,910
♪ HOLD MY HAND
2134
01:31:33,910 --> 01:31:35,910
♪ HOLD MY
2135
01:31:35,910 --> 01:31:36,980
♪ HOLD MY HAND
2136
01:31:36,980 --> 01:31:40,150
♪ HOLD MY HAND
2137
01:31:40,150 --> 01:31:41,950
♪ I'LL BE RIGHT HERE
2138
01:31:41,950 --> 01:31:45,990
♪ HOLD MY HAND
2139
01:31:45,990 --> 01:31:46,760
♪ HOLD MY HAND
2140
01:31:46,760 --> 01:31:48,560
♪ HOLD MY
2141
01:31:48,560 --> 01:31:49,900
♪ HOLD MY HAND
2142
01:31:49,890 --> 01:31:51,060
♪ HOLD MY HAND
2143
01:31:51,060 --> 01:31:54,460
♪ I'LL BE RIGHT HERE
2144
01:31:54,460 --> 01:32:01,430
♪ HOLD MY HAND
2145
01:32:01,440 --> 01:32:03,810
♪ I KNOW YOU'RE SCARED
2146
01:32:03,810 --> 01:32:07,110
♪ AND YOUR PAIN IS IMPERFECT
2147
01:32:07,110 --> 01:32:11,080
♪ BUT DON'T GIVE UP ON
2148
01:32:11,080 --> 01:32:11,880
YOURSELF ♪
2149
01:32:11,880 --> 01:32:14,750
♪ I HEARD A STORY
2150
01:32:14,750 --> 01:32:15,280
♪ A GIRL
2151
01:32:15,280 --> 01:32:16,580
♪ SHE ONCE TOLD ME
2152
01:32:16,590 --> 01:32:22,930
♪ THAT I WOULD BE HAPPY AGAIN
2153
01:32:22,930 --> 01:32:41,520
♪ HOLD MY HAND
2154
01:32:41,510 --> 01:32:53,520
♪ DON'T YOU LET GO OF MY HAND
2155
01:32:53,520 --> 01:33:03,500
♪ I HEARD FROM THE HEAVENS
2156
01:33:03,500 --> 01:33:21,120
>> Announcer: COMING UP,
2157
01:33:21,120 --> 01:33:24,290
ANDIE MacDOWELL, HUGH GRANT,
2158
01:33:24,290 --> 01:33:25,360
MINDY KALING, AND JOHN CHO.
2159
01:33:25,350 --> 01:33:26,920
AND LATER, ANDREW GARFIELD,
2160
01:33:26,920 --> 01:33:28,490
FLORENCE PUGH, JANELLE MONAE,
2161
01:33:28,490 --> 01:33:30,060
AND JESSICA CHASTAIN.
2162
01:33:30,060 --> 01:33:31,630
TO HEAR OUR VISUAL EFFECTS
2163
01:33:31,630 --> 01:33:32,900
NOMINEES DISCUSSING THEIR WORK,
2164
01:33:32,900 --> 01:33:33,970
SCAN THE QR CODE.
2165
01:33:39,480 --> 01:33:42,000
>> Announcer: WELCOME BACK TO
2166
01:33:42,000 --> 01:33:44,540
THE OSCARS.
2167
01:33:44,540 --> 01:33:46,110
NOW, WITH THREE NOMINATIONS,
2168
01:33:46,110 --> 01:33:46,680
HERE'S BEST PICTURE NOMINEE
2169
01:33:46,680 --> 01:33:50,480
"TRIANGLE OF SADNESS."
2170
01:33:50,480 --> 01:33:54,780
>>> THE SUCCESS OF A LUXURY
2171
01:33:54,780 --> 01:33:57,080
CRUISE DEPENDS ON TWO MOMENTS.
2172
01:33:57,090 --> 01:34:00,060
THE FIRST HOURS AND THE LAST DAY
2173
01:34:00,060 --> 01:34:01,130
THE GUESTS ARE ONBOARD.
2174
01:34:01,120 --> 01:34:03,860
>> EVERYBODY, LET'S KEEP CALM.
2175
01:34:03,860 --> 01:34:05,760
AND WHILE YOU'RE SUMMING IN
2176
01:34:05,760 --> 01:34:06,130
ABUNDANCE --
2177
01:34:06,130 --> 01:34:07,270
>> IT'S NOT ABOUT THE MONEY.
2178
01:34:07,260 --> 01:34:08,630
>> IT'S NOT ABOUT THE MONEY.
2179
01:34:08,630 --> 01:34:10,030
>> THE REST OF THE WORLD IS
2180
01:34:10,030 --> 01:34:11,100
DROWNING IN MISERY.
2181
01:34:11,100 --> 01:34:12,540
THAT'S NOT THE WAY IT'S MEANT TO
2182
01:34:12,540 --> 01:34:13,310
BE.
2183
01:34:13,300 --> 01:34:15,100
I KNOW YOU HAVE A GOOD HEART IN
2184
01:34:15,100 --> 01:34:16,700
THERE SOMEWHERE.
2185
01:34:16,710 --> 01:34:21,720
>> EVERYONE'S EQUAL.
2186
01:34:21,710 --> 01:34:32,960
>> Announcer: AND NOW,
2187
01:34:32,960 --> 01:34:50,480
HUGH GRANT AND ANDIE MacDOWELL.
2188
01:34:50,470 --> 01:34:54,740
>> LOVELY TO BE HERE.
2189
01:34:54,740 --> 01:34:57,210
>> IT IS LOVELY.
2190
01:34:57,210 --> 01:34:58,510
WE'RE ACTUALLY HERE TO DO TWO
2191
01:34:58,510 --> 01:35:00,010
THINGS.
2192
01:35:00,020 --> 01:35:00,650
THE FIRST IS TO RAISE AWARENESS
2193
01:35:00,650 --> 01:35:04,750
ABOUT THE VITAL IMPORTANCE OF
2194
01:35:04,750 --> 01:35:06,850
USING A GOOD MOISTURIZER.
2195
01:35:06,860 --> 01:35:10,900
ANDIE HAS BEEN WEARING ONE EVERY
2196
01:35:10,890 --> 01:35:12,230
DAY FOR THE LAST 29 YEARS.
2197
01:35:12,230 --> 01:35:14,970
I HAVE NEVER USED ONE IN MY
2198
01:35:14,960 --> 01:35:15,760
LIFE.
2199
01:35:15,760 --> 01:35:20,000
STILL STUNNING.
2200
01:35:20,000 --> 01:35:22,100
BASICALLY A SCROTUM.
2201
01:35:22,100 --> 01:35:24,400
>> THE SECOND -- THE SECOND IS
2202
01:35:24,410 --> 01:35:25,510
TO CELEBRATE THE ROLE OF THE
2203
01:35:25,510 --> 01:35:26,610
PRODUCTION DESIGNER IN THE
2204
01:35:26,610 --> 01:35:27,380
MAKING OF A GREAT MOVIE.
2205
01:35:27,380 --> 01:35:29,820
WHAT ARE YOU DOING?
2206
01:35:29,810 --> 01:35:33,180
THESE UNSUNG GENIUSES, ARMED
2207
01:35:33,180 --> 01:35:34,780
WITH WORLD-BUILDING IMAGINATIONS
2208
01:35:34,780 --> 01:35:37,280
THAT SOMETIMES EXCEED ALL
2209
01:35:37,290 --> 01:35:38,730
BUDGETS, CREATE NEW ENVIRONMENTS
2210
01:35:38,720 --> 01:35:41,090
FROM THIN AIR.
2211
01:35:41,090 --> 01:35:42,120
>> HERE ARE THE NOMINEES FOR
2212
01:35:42,120 --> 01:35:42,650
ACHIEVEMENT IN PRODUCTION
2213
01:35:42,660 --> 01:35:47,900
DESIGN.
2214
01:35:47,900 --> 01:35:48,530
"ALL QUIET ON THE WESTERN FRONT"
2215
01:35:48,530 --> 01:35:49,000
PRODUCTION DESIGN BY
2216
01:35:49,000 --> 01:35:50,030
CHRISTIAN M. GOLDBECK.
2217
01:35:50,030 --> 01:35:52,700
SET DECORATION BY
2218
01:35:52,700 --> 01:35:53,200
ERNESTINE HIPPER.
2219
01:35:53,200 --> 01:35:54,770
"AVATAR: THE WAY OF WATER"
2220
01:35:54,770 --> 01:35:56,970
PRODUCTION DESIGN BY DYLAN COLE
2221
01:35:56,970 --> 01:35:58,510
AND BEN PROCTER.
2222
01:35:58,510 --> 01:36:01,680
SET DECORATION BY VANESSA COLE.
2223
01:36:01,680 --> 01:36:02,710
"BABYLON"
2224
01:36:02,710 --> 01:36:03,750
PRODUCTION DESIGN BY
2225
01:36:03,750 --> 01:36:05,350
FLORENCIA MARTIN.
2226
01:36:05,350 --> 01:36:06,920
SET DECORATION BY
2227
01:36:06,920 --> 01:36:12,730
ANTHONY CARLINO.
2228
01:36:12,720 --> 01:36:14,820
"ELVIS"
2229
01:36:14,820 --> 01:36:15,290
PRODUCTION DESIGN BY
2230
01:36:15,290 --> 01:36:15,760
CATHERINE MARTIN AND
2231
01:36:15,760 --> 01:36:17,460
KAREN MURPHY.
2232
01:36:17,460 --> 01:36:21,670
SET DECORATION BY BEV DUNN.
2233
01:36:21,660 --> 01:36:22,730
"THE FABELMANS"
2234
01:36:22,730 --> 01:36:23,300
PRODUCTION DESIGN BY
2235
01:36:23,300 --> 01:36:28,710
RICK CARTER.
2236
01:36:28,700 --> 01:36:35,210
SET DECORATION BY KAREN O'HARA.
2237
01:36:35,210 --> 01:36:35,980
>> OH, THANK YOU.
2238
01:36:35,980 --> 01:36:39,150
AND THE OSCAR GOES TO -- "ALL
2239
01:36:39,150 --> 01:36:46,320
QUIET ON THE WESTERN FRONT."
2240
01:36:46,320 --> 01:36:46,790
PRODUCTION DESIGN BY
2241
01:36:46,790 --> 01:36:47,890
CHRISTIAN M. GOLDBECK.
2242
01:36:47,890 --> 01:36:48,290
SET DECORATION BY
2243
01:36:48,290 --> 01:36:57,200
ERNESTINE HIPPER.
2244
01:36:57,200 --> 01:37:14,820
>> THANK YOU SO MUCH, DEAR
2245
01:37:14,820 --> 01:37:15,050
ACADEMY.
2246
01:37:15,050 --> 01:37:17,320
I'M COMPLETELY BLOWN AWAY.
2247
01:37:17,320 --> 01:37:19,060
I WOULD LIKE TO THANK, FIRST OF
2248
01:37:19,050 --> 01:37:21,750
ALL, OUR BEAUTIFUL DIRECTOR,
2249
01:37:21,760 --> 01:37:22,490
EDWARD BERGER.
2250
01:37:22,490 --> 01:37:26,260
WITHOUT YOU, I COULD NHAVE NOT
2251
01:37:26,260 --> 01:37:26,730
DONE IT.
2252
01:37:26,730 --> 01:37:27,460
THIS WHOLE THING WAS A REAL TEAM
2253
01:37:27,460 --> 01:37:30,200
EFFORT.
2254
01:37:30,200 --> 01:37:31,840
MY HEART GOES OUT TO ALL THE
2255
01:37:31,830 --> 01:37:35,000
OTHER HODs WHO WORKED ON THIS
2256
01:37:35,000 --> 01:37:36,270
PROJECT, I COULD HAVE NOT DONE
2257
01:37:36,270 --> 01:37:38,840
IT WITHOUT YOU.
2258
01:37:38,840 --> 01:37:41,540
THANK YOU SO TAKE ME ON THE
2259
01:37:41,540 --> 01:37:41,740
SHOW.
2260
01:37:41,740 --> 01:37:42,570
ABSOLUTE PLEASURE.
2261
01:37:42,580 --> 01:37:50,050
AND FIRST OF ALL, I WANT TO GIVE
2262
01:37:50,050 --> 01:37:52,190
THIS TO MY TWO BEAUTIFUL SONS.
2263
01:37:52,190 --> 01:37:56,260
THANK YOU.
2264
01:37:56,260 --> 01:37:59,130
>> THIS IS -- I HAVE TO THANK MY
2265
01:37:59,130 --> 01:38:01,600
PARENTS, MOMMA, PAPA, I LOVE
2266
01:38:01,600 --> 01:38:01,830
YOU.
2267
01:38:01,830 --> 01:38:03,270
AND MY SISTERS AND MY DEAR
2268
01:38:03,270 --> 01:38:03,500
FRIENDS.
2269
01:38:03,500 --> 01:38:11,410
AND -- WHEN I STARTED THIS, I
2270
01:38:11,410 --> 01:38:15,410
WAS TOLD, DON'T EVER FORGET, YOU
2271
01:38:15,410 --> 01:38:16,910
ARE ONLY AS GOOD AS YOUR TEAM,
2272
01:38:16,910 --> 01:38:19,280
SO, THIS IS ALL THE HARDWORKING
2273
01:38:19,280 --> 01:38:21,780
PEOPLE IN PRAGUE, AND ALL THE
2274
01:38:21,780 --> 01:38:24,280
TEAMS THAT HELPED ME TO GET ON
2275
01:38:24,290 --> 01:38:25,630
THIS STAGE.
2276
01:38:25,620 --> 01:38:26,250
ACADEMY AND EVERYBODY, THANK YOU
2277
01:38:26,260 --> 01:38:28,630
SO MUCH.
2278
01:38:28,620 --> 01:38:29,520
THIS IS SO -- I'M SO HONORED.
2279
01:38:29,530 --> 01:38:36,770
THANK YOU.
2280
01:38:36,770 --> 01:38:48,580
>> Announcer: PLEASE WELCOME
2281
01:38:48,580 --> 01:38:56,150
JOHN CHO AND MINDY KALING.
2282
01:38:56,150 --> 01:39:00,620
>> THE MUSICAL SCORE OF A MOTION
2283
01:39:00,620 --> 01:39:01,250
PICTURE CAN EVOKE A MULTITUDE OF
2284
01:39:01,260 --> 01:39:02,230
FEELINGS.
2285
01:39:02,220 --> 01:39:06,990
THE FEAR OF UNSEEN DANGER, THE
2286
01:39:07,000 --> 01:39:07,570
EXCITEMENT OF DEATH-DEFYING
2287
01:39:07,560 --> 01:39:09,130
ACTION.
2288
01:39:09,130 --> 01:39:12,530
♪
2289
01:39:12,530 --> 01:39:16,030
>> THE "HELL NO" WHEN LYDIA TAR
2290
01:39:16,040 --> 01:39:17,910
SEES A REPLACEMENT CONDUCTOR.
2291
01:39:17,910 --> 01:39:19,180
♪
2292
01:39:19,170 --> 01:39:20,710
>> THE TERROR OF MISPRONOUNCING
2293
01:39:20,710 --> 01:39:21,340
"THE BANSHEES OF INISHERIN" ON
2294
01:39:21,340 --> 01:39:22,610
NATIONAL TELEVISION.
2295
01:39:22,610 --> 01:39:25,780
♪
2296
01:39:25,780 --> 01:39:30,490
>> THE HORROR OF A MOVIE
2297
01:39:30,490 --> 01:39:31,120
STARTING AND REALIZING I LEFT MY
2298
01:39:31,120 --> 01:39:32,960
PHONE IN THE CAR.
2299
01:39:32,960 --> 01:39:35,230
>> YEAH, YIKES.
2300
01:39:35,220 --> 01:39:35,590
I'VE BEEN THERE.
2301
01:39:35,590 --> 01:39:36,220
HERE ARE THE NOMINEES FOR BEST
2302
01:39:36,230 --> 01:39:39,430
ORIGINAL SCORE.
2303
01:39:39,430 --> 01:39:42,530
"ALL QUIET ON THE WESTERN FRONT"
2304
01:39:42,530 --> 01:39:44,000
BY VOLKER BERTELMANN.
2305
01:39:44,000 --> 01:39:46,600
♪
2306
01:39:46,600 --> 01:39:48,130
"BABYLON" BY JUSTIN HURWITZ.
2307
01:39:48,140 --> 01:39:56,080
♪
2308
01:39:56,080 --> 01:39:56,750
"THE BANSHEES OF INISHERIN" BY
2309
01:39:56,750 --> 01:39:57,120
CARTER BURWELL.
2310
01:39:57,110 --> 01:40:02,680
♪
2311
01:40:02,680 --> 01:40:08,450
"EVERYTHING EVERYWHERE ALL AT
2312
01:40:08,460 --> 01:40:12,260
ONCE" BY SON LUX.
2313
01:40:12,260 --> 01:40:13,330
♪
2314
01:40:13,330 --> 01:40:13,830
"THE FABELMANS" BY
2315
01:40:13,830 --> 01:40:14,530
JOHN WILLIAMS.
2316
01:40:14,530 --> 01:40:21,470
♪
2317
01:40:21,470 --> 01:40:25,210
>> AND THE OSCAR GOES TO -- "ALL
2318
01:40:25,210 --> 01:40:32,580
QUIET ON THE WESTERN FRONT",
2319
01:40:32,580 --> 01:40:34,350
H
2320
01:40:34,350 --> 01:40:41,020
VOLKER BERTELMANN.
2321
01:40:41,020 --> 01:40:45,860
PIANO AT THE AGE OF 9 AND FORMED
2322
01:40:45,860 --> 01:40:47,300
HIS FIRST ROCK BAND AT 14.
2323
01:40:47,300 --> 01:40:49,500
WHILE IN SCHOOL, HE BEGAN
2324
01:40:49,500 --> 01:40:50,130
STUDYING MEDICINE AND THEN
2325
01:40:50,130 --> 01:40:57,140
SWITCHED TO BUSINESS ECONOMICS.
2326
01:40:57,140 --> 01:40:59,610
>> WELL, THANK YOU SO MUCH.
2327
01:40:59,610 --> 01:41:01,380
THANKS TO THE ACADEMY FOR THIS
2328
01:41:01,380 --> 01:41:04,480
HUGE RECOGNITION.
2329
01:41:04,480 --> 01:41:06,380
WHEN I WAS WORKING ON THE FILM,
2330
01:41:06,380 --> 01:41:10,450
I WAS THINKING A COUPLE OF TIMES
2331
01:41:10,450 --> 01:41:11,320
OF MY MOM, BECAUSE SHE WAS
2332
01:41:11,320 --> 01:41:14,490
TELLING ME EVERY NOW AND THEN,
2333
01:41:14,490 --> 01:41:17,790
WHEN YOU WANT TO CHANGE HUMANITY
2334
01:41:17,790 --> 01:41:18,890
AND EMPATHY IN THE WORLD, YOU
2335
01:41:18,890 --> 01:41:22,590
HAVE TO START BY YOURSELF.
2336
01:41:22,600 --> 01:41:25,040
AND WITH YOUR OWN SURROUNDINGS.
2337
01:41:25,030 --> 01:41:28,470
BECAUSE YOU LEARN BY THAT AND
2338
01:41:28,470 --> 01:41:32,640
YOU CAN SHOW ACTUALLY WHERE WE
2339
01:41:32,640 --> 01:41:33,270
ALL -- HOW WE ALL CAN LIVE
2340
01:41:33,280 --> 01:41:36,120
TOGETHER, SO, YOU KNOW, BY
2341
01:41:36,110 --> 01:41:37,910
WORKING ON A FILM LIKE THAT, YOU
2342
01:41:37,910 --> 01:41:39,310
ALWAYS ARE DEEPLY TOUCHED AND
2343
01:41:39,310 --> 01:41:40,010
SOMETIMES YOU HAVE TO MAKE THE
2344
01:41:40,020 --> 01:41:43,260
SCREEN VERY SMALL, BECAUSE THERE
2345
01:41:43,250 --> 01:41:48,590
IS SO MUCH EXPLOSIONS HAPPENING.
2346
01:41:48,590 --> 01:41:51,230
I WANT TO SAY THANK YOU TO MY
2347
01:41:51,230 --> 01:41:54,530
WIFE, ELIZABETH, AND MY KIDS UP
2348
01:41:54,530 --> 01:41:58,500
THERE, LOTTIE, PAULINA, AND
2349
01:41:58,500 --> 01:41:58,700
LUCAS.
2350
01:41:58,700 --> 01:41:59,670
TO EDWARD BERGER AND THE WHOLE
2351
01:41:59,670 --> 01:42:04,580
CAST AND CREW FOR THEIR AMAZING
2352
01:42:04,570 --> 01:42:04,900
CRAFTSMANSHIP.
2353
01:42:04,910 --> 01:42:06,210
TO NETFLIX FOR THEIR HUGE
2354
01:42:06,210 --> 01:42:08,250
SUPPORT.
2355
01:42:08,240 --> 01:42:11,810
AND TO MY FELLOW NOMINEES,
2356
01:42:11,810 --> 01:42:17,280
CARTER, JOHN, JUSTIN, SON LUX,
2357
01:42:17,290 --> 01:42:18,460
FOR -- THAT I CAN BE APART OF
2358
01:42:18,450 --> 01:42:24,960
SUCH A -- UNIQUE, HUMAN AND
2359
01:42:24,960 --> 01:42:28,500
DIVERSE GROUP OF TALENTED
2360
01:42:28,500 --> 01:42:28,770
COMPOSERS.
2361
01:42:28,760 --> 01:42:30,900
THAT'S FOR ME A BIG GIFT.
2362
01:42:30,900 --> 01:42:33,400
AND LAST BUT NOT LEAST, I WANT
2363
01:42:33,400 --> 01:42:34,430
TO THANK ALL OF YOU FOR THIS
2364
01:42:34,440 --> 01:42:35,470
WONDERFUL EVENING.
2365
01:42:35,470 --> 01:42:43,980
THANK YOU SO MUCH.
2366
01:42:43,980 --> 01:42:48,720
>> HI, I'M BILL KRAMER, CEO OF
2367
01:42:48,720 --> 01:42:50,120
THE ACADEMY OF MOTION PICTURE
2368
01:42:50,120 --> 01:42:51,060
ARTS AND SCIENCES.
2369
01:42:51,050 --> 01:42:54,450
THROUGHOUT THE YEAR, THE ACAD
2370
01:42:54,460 --> 01:42:56,360
RECOGNIZES AND CELEBRATES ALL
2371
01:42:56,360 --> 01:42:57,590
ASPECTS OF THE FILM INDUSTRY,
2372
01:42:57,590 --> 01:42:59,030
AND THE DIVERSE, TALENTED PEOPLE
2373
01:42:59,030 --> 01:43:02,500
WHO MAKE MOVIES.
2374
01:43:02,500 --> 01:43:04,940
IN SEPTEMBER, THE ACADEMY
2375
01:43:04,930 --> 01:43:06,270
ANNOUNCED THE 49th STUDENT
2376
01:43:06,270 --> 01:43:07,300
ACADEMY AWARDS.
2377
01:43:07,300 --> 01:43:09,000
IN OCTOBER, AT THE ACADEMY
2378
01:43:09,000 --> 01:43:10,100
MUSEUM GALA, MIKY LEE,
2379
01:43:10,110 --> 01:43:12,210
STEVE McQUEEN, JULIA ROBERTS,
2380
01:43:12,210 --> 01:43:14,310
AND TILDA SWINTON WERE HONORED
2381
01:43:14,310 --> 01:43:17,480
FOR THEIR POWERFUL WORK AND
2382
01:43:17,480 --> 01:43:19,080
COMMITMENT TO CINEMA.
2383
01:43:19,080 --> 01:43:20,650
AT NOVEMBER'S GOVERNORS AWARDS,
2384
01:43:20,650 --> 01:43:22,220
THE ACADEMY PRESENTED HONORARY
2385
01:43:22,220 --> 01:43:26,990
OSCARS TO EUZHAN PALCY,
2386
01:43:26,990 --> 01:43:27,990
DIANE WARREN, AND PETER WEIR FOR
2387
01:43:27,990 --> 01:43:28,590
THEIR GROUNDBREAKING ARTISTRY
2388
01:43:28,590 --> 01:43:29,090
AND THE JEAN HERSHOLT
2389
01:43:29,090 --> 01:43:31,630
HUMANITARIAN AWARD TO
2390
01:43:31,630 --> 01:43:32,300
MICHAEL J. FOX.
2391
01:43:32,290 --> 01:43:34,590
AND IN FEBRUARY, AT THE
2392
01:43:34,600 --> 01:43:39,210
ACADEMY'S SCI-TECH AWARDS,
2393
01:43:39,200 --> 01:43:39,830
14 RECIPIENTS RECEIVED TECHNICAL
2394
01:43:39,840 --> 01:43:40,270
ACHIEVEMENT AWARDS.
2395
01:43:40,270 --> 01:43:40,840
SCIENTIFIC AND ENGINEERING
2396
01:43:40,840 --> 01:43:41,440
AWARDS WERE PRESENTED TO FOUR
2397
01:43:41,440 --> 01:43:43,510
RECIPIENTS.
2398
01:43:43,510 --> 01:43:46,610
RYAN LANEY RECEIVED AN AWARD OF
2399
01:43:46,610 --> 01:43:48,580
COMMENDATION.
2400
01:43:48,580 --> 01:43:52,650
AND THE GORDON E. SAWYER AWARD
2401
01:43:52,650 --> 01:43:55,090
WAS PRESENTED TO IAIN NEIL.
2402
01:43:55,080 --> 01:43:56,920
FOR MORE INFORMATION ON THESE
2403
01:43:56,920 --> 01:43:57,450
AWARDS AND EVERYTHING THE
2404
01:43:57,450 --> 01:43:58,080
ACADEMY DOES YEAR-ROUND, PLEASE
2405
01:43:58,090 --> 01:44:03,700
VISIT OSCARS.ORG.
2406
01:44:03,690 --> 01:44:14,570
♪
2407
01:44:14,570 --> 01:44:16,040
>> Announcer: COMING UP,
2408
01:44:16,040 --> 01:44:17,640
ELIZABETH BANKS WITH
2409
01:44:17,640 --> 01:44:18,240
THE OSCAR FOR VISUAL EFFECTS.
2410
01:44:18,240 --> 01:44:19,240
PLUS, A PERFORMANCE BY RIHANNA.
2411
01:44:19,240 --> 01:44:22,380
LATER, IDRIS ELBA, NICOLE KIDMAN
2412
01:44:22,380 --> 01:44:22,950
AND JOHN TRAVOLTA, PLUS THE
2413
01:44:22,940 --> 01:44:23,980
AWARDS FOR ORIGINAL AND ADAPTED
2414
01:44:23,980 --> 01:44:25,580
SCREENPLAYS.
2415
01:44:25,580 --> 01:44:27,150
TO HEAR FROM THE NOMINATED
2416
01:44:27,150 --> 01:44:31,050
WRITERS, SCAN THE QR CODE.
2417
01:44:36,890 --> 01:44:41,030
THE OSCARS ARE BACK.
2418
01:44:41,030 --> 01:44:41,600
WITH EIGHT NOMINATIONS,
2419
01:44:41,600 --> 01:44:43,170
INCLUDING BEST PICTURE, THIS IS
2420
01:44:43,170 --> 01:44:50,140
"ELVIS."
2421
01:44:50,140 --> 01:44:53,080
>> THE WAY YOU SING, IT'S GOD
2422
01:44:53,070 --> 01:44:53,270
GIVEN.
2423
01:44:53,280 --> 01:44:57,550
CAN'T BE NOTHING WRONG WITH IT.
2424
01:44:57,550 --> 01:44:58,980
>> I THINK IF YOU DREAM IT,
2425
01:44:58,980 --> 01:44:59,920
YOU'LL DO IT.
2426
01:44:59,920 --> 01:45:03,360
>> GOT TO BE MAKING THE MOST I
2427
01:45:03,350 --> 01:45:03,720
CAN.
2428
01:45:03,720 --> 01:45:06,060
THIS CAN ALL BE OVER IN A FLASH.
2429
01:45:06,050 --> 01:45:08,820
A LOT OF PEOPLE SAYING A LOT OF
2430
01:45:08,820 --> 01:45:09,050
THINGS.
2431
01:45:09,060 --> 01:45:09,660
BUT IN THE END, YOU GOT TO
2432
01:45:09,660 --> 01:45:13,260
LISTEN TO YOURSELF.
2433
01:45:13,260 --> 01:45:17,830
♪
2434
01:45:17,830 --> 01:45:36,980
♪
2435
01:45:36,990 --> 01:45:37,590
>> Announcer: AND NOW, PLEASE
2436
01:45:37,590 --> 01:45:44,030
WELCOME ELIZABETH BANKS.
2437
01:45:44,030 --> 01:45:52,540
>> HIT THE MARK.
2438
01:45:52,530 --> 01:45:53,260
THANK YOU.
2439
01:45:53,270 --> 01:45:54,440
OH, MY GOD.
2440
01:45:54,440 --> 01:45:56,280
HE TRIPPED ME.
2441
01:45:56,270 --> 01:45:58,070
I RECENTLY DIRECTED THE FILM
2442
01:45:58,070 --> 01:45:59,000
"COCAINE BEAR."
2443
01:45:59,010 --> 01:46:03,820
AND -- THANK YOU.
2444
01:46:03,810 --> 01:46:05,910
WITHOUT VISUAL EFFECTS, THIS IS
2445
01:46:05,910 --> 01:46:07,980
WHAT THE BEAR WOULD LOOK LIKE.
2446
01:46:07,980 --> 01:46:10,820
IT'S -- TERRIFYING.
2447
01:46:10,820 --> 01:46:13,560
STOP IT.
2448
01:46:13,560 --> 01:46:14,930
NO DIRECTOR WANTS TO DEAL WITH
2449
01:46:14,920 --> 01:46:15,490
THIS.
2450
01:46:15,490 --> 01:46:15,690
OKAY.
2451
01:46:15,690 --> 01:46:16,490
WHAT ARE YOU DOING?
2452
01:46:16,490 --> 01:46:17,360
STOP IT.
2453
01:46:17,360 --> 01:46:20,560
STOP -- PUT YOUR PAW DOWN.
2454
01:46:20,560 --> 01:46:22,360
WHY ARE YOU -- ARE YOU TRYING TO
2455
01:46:22,360 --> 01:46:22,860
SCORE RIGHT NOW?
2456
01:46:22,860 --> 01:46:24,560
YOU NEED TO WAIT FOR THE
2457
01:46:24,570 --> 01:46:25,540
AFTERPARTY LIKE EVERYBODY ELSE.
2458
01:46:25,530 --> 01:46:27,230
THE COKE IS NOT REAL.
2459
01:46:27,240 --> 01:46:29,310
IT'S VISUAL EFFECTS, RIGHT?
2460
01:46:29,300 --> 01:46:33,300
WHY ARE YOU DRAGGING SIGOURNEY
2461
01:46:33,310 --> 01:46:33,710
WEAVER INTO THIS?
2462
01:46:33,710 --> 01:46:40,080
SHE DOESN'T -- THE NAVI ARE NOT
2463
01:46:40,080 --> 01:46:40,550
REAL.
2464
01:46:40,550 --> 01:46:42,090
IS THIS "ALL QUIET ON THE
2465
01:46:42,080 --> 01:46:42,880
WESTERN FRONT?"
2466
01:46:42,880 --> 01:46:44,750
YEAH, THAT'S VISUAL EFFECTS.
2467
01:46:44,750 --> 01:46:46,620
IT WAS A REAL WAR, BUT REAL
2468
01:46:46,620 --> 01:46:47,620
VISUAL EFFECTS.
2469
01:46:47,620 --> 01:46:49,690
BATMAN FLYING AROUND IS NOT
2470
01:46:49,690 --> 01:46:49,890
REAL.
2471
01:46:49,890 --> 01:46:50,460
TOM CRUISE FLYING AROUND IS
2472
01:46:50,460 --> 01:46:54,130
REAL.
2473
01:46:54,130 --> 01:46:59,800
BUT ALSO VISUAL EFFECTS.
2474
01:46:59,800 --> 01:47:00,030
WAKANDA?
2475
01:47:00,040 --> 01:47:04,410
WAKANDA IS TOTALLY REAL.
2476
01:47:04,410 --> 01:47:06,780
VISUAL EFFECTS CAN ENHANCE
2477
01:47:06,780 --> 01:47:08,780
ANY -- I'M SORRY, MY VOICE.
2478
01:47:08,780 --> 01:47:12,480
VISUAL EFFECTS CAN ENHANCE ANY
2479
01:47:12,480 --> 01:47:14,250
STORY AND WITHOUT VISUAL
2480
01:47:14,250 --> 01:47:17,420
EFFECTS, "COCAINE BEAR" WOULD
2481
01:47:17,420 --> 01:47:19,420
HAVE BEEN SOME ACTOR IN A BEAR
2482
01:47:19,420 --> 01:47:21,560
SUIT PROBABLY ON COCAINE.
2483
01:47:21,560 --> 01:47:23,460
HERE ARE THE NOMINEES FOR
2484
01:47:23,460 --> 01:47:26,000
ACHIEVEMENT IN VISUAL EFFECTS.
2485
01:47:25,990 --> 01:47:28,030
GET OUT!
2486
01:47:28,030 --> 01:47:30,600
"ALL QUIET ON THE WESTERN FRONT"
2487
01:47:30,600 --> 01:47:33,270
FRANK PETZOLD, VIKTOR MULLER,
2488
01:47:33,270 --> 01:47:38,010
MARKUS FRANK, AND KAMIL JAFAR.
2489
01:47:38,010 --> 01:47:38,540
"AVATAR: THE WAY OF WATER"
2490
01:47:38,540 --> 01:47:40,080
JOE LETTERI, RICHARD BANEHAM,
2491
01:47:40,080 --> 01:47:42,250
ERIC SAINDON, AND
2492
01:47:42,240 --> 01:47:42,740
DANIEL BARRETT.
2493
01:47:42,740 --> 01:47:45,910
"THE BATMAN"
2494
01:47:45,910 --> 01:47:46,440
DAN LEMMON, RUSSELL EARL,
2495
01:47:46,450 --> 01:47:46,980
ANDERS LANGLANDS, AND
2496
01:47:46,980 --> 01:47:52,090
DOMINIC TUOHY.
2497
01:47:52,090 --> 01:47:53,290
"BLACK PANTHER: WAKANDA FOREVER"
2498
01:47:53,290 --> 01:47:55,360
GEOFFREY BAUMANN, CRAIG HAMMACK,
2499
01:47:55,360 --> 01:47:55,890
R. CHRISTOPHER WHITE, AND
2500
01:47:55,890 --> 01:47:59,060
DAN SUDICK.
2501
01:47:59,060 --> 01:48:02,200
"TOP GUN: MAVERICK"
2502
01:48:02,200 --> 01:48:02,730
RYAN TUDHOPE, SETH HILL,
2503
01:48:02,730 --> 01:48:03,800
BRYAN LITSON, AND
2504
01:48:03,800 --> 01:48:10,070
SCOTT R. FISHER.
2505
01:48:10,070 --> 01:48:13,470
AND THE OSCAR GOES TO --
2506
01:48:13,480 --> 01:48:13,980
"AV
2507
01:48:13,980 --> 01:48:18,720
"AVATAR: THE WAY OF WATER."
2508
01:48:18,710 --> 01:48:19,310
JOE LETTERI, RICHARD BANEHAM,
2509
01:48:19,310 --> 01:48:19,780
ERIC SAINDON, AND
2510
01:48:19,780 --> 01:48:21,750
DANIEL BARRETT.
2511
01:48:21,750 --> 01:48:23,820
>> THE DESIGNERS INCORPORATED
2512
01:48:23,820 --> 01:48:26,060
ELEMENTS OF THE ACTORS INTO THE
2513
01:48:26,050 --> 01:48:27,720
CHARACTERS' DESIGNS TO HELP
2514
01:48:27,720 --> 01:48:28,520
TRANSLATE THEIR PERFORMANCES AND
2515
01:48:28,520 --> 01:48:35,090
BRING THEM TO LIFE.
2516
01:48:35,100 --> 01:48:52,020
>> TO JAMES CAMERON, JIM
2517
01:48:52,010 --> 01:48:53,610
CAMERON, WHOSE ARTISTIC
2518
01:48:53,620 --> 01:48:57,290
THUMBPRINT IS ON EVERY SCENE OF
2519
01:48:57,290 --> 01:48:58,090
THIS MOVIE.
2520
01:48:58,090 --> 01:49:02,590
AND JON LANDAU, THE ENGINE THAT
2521
01:49:02,590 --> 01:49:03,630
DROVE US FORWARD.
2522
01:49:03,630 --> 01:49:05,030
WE WOULD LIKE TO THANK THE LAB
2523
01:49:05,030 --> 01:49:07,270
IN L. A., THE LAB AND THE STAGE
2524
01:49:07,260 --> 01:49:07,890
CREW, IN L. A. AND NEW ZEALAND.
2525
01:49:07,900 --> 01:49:16,080
AND WEATHER EFFECTS, TWO TALES
2526
01:49:16,070 --> 01:49:17,040
AND STRONG.
2527
01:49:17,040 --> 01:49:18,510
LINA WITH THE PRODUCTION TEAM,
2528
01:49:18,510 --> 01:49:20,050
JOE LEADING THE ARTISTS, AND
2529
01:49:20,040 --> 01:49:22,940
ARMY OF ARTISTS AND THE
2530
01:49:22,940 --> 01:49:24,580
AMAZINGLY TALENTED SUPERVISOR
2531
01:49:24,580 --> 01:49:28,220
THAT WE HAVE.
2532
01:49:28,220 --> 01:49:30,020
EFFECTS STAND ON THE SHOULDERS
2533
01:49:30,020 --> 01:49:31,720
OF OUR ACTORS.
2534
01:49:31,720 --> 01:49:32,220
THEIR PERFORMANCES ARE
2535
01:49:32,220 --> 01:49:32,520
EVERYTHING.
2536
01:49:32,520 --> 01:49:34,060
>> WE NEED TO THANK OUR FALL I
2537
01:49:34,060 --> 01:49:41,570
WILLS.
2538
01:49:41,560 --> 01:49:42,760
>> OH, THAT IS UNFORTUNATE, I
2539
01:49:42,760 --> 01:49:46,730
HAPPEN TO KNOW, BEFORE HE WAS
2540
01:49:46,730 --> 01:49:49,630
CUT OFF, THE "AVATAR" VISUAL
2541
01:49:49,640 --> 01:49:51,210
TEAM ASKED ME TO ANNOUNCE THAT
2542
01:49:51,210 --> 01:49:53,410
IF ANYONE'S INTERESTED, THE
2543
01:49:53,410 --> 01:49:55,380
VISUAL EFFECTS AFTERPARTY IS AT
2544
01:49:55,380 --> 01:49:59,450
CGI FRIDAY'S.
2545
01:49:59,450 --> 01:50:00,550
THEY TRICKED ME AGAIN.
2546
01:50:00,550 --> 01:50:01,890
ALL RIGHT, NOW WE'RE GOING TO DO
2547
01:50:01,880 --> 01:50:03,480
SOMETHING I DON'T THINK HAS EVER
2548
01:50:03,490 --> 01:50:04,790
BEEN DONE AT THE OSCARS.
2549
01:50:04,790 --> 01:50:06,490
WHILE WE RESET THE STAGE FOR A
2550
01:50:06,490 --> 01:50:08,760
VERY SPECIAL PERFORMANCE, WE
2551
01:50:08,760 --> 01:50:09,430
INVITED VIEWERS WATCHING FROM
2552
01:50:09,420 --> 01:50:11,160
ALL OVER TO SEND QUESTIONS FOR
2553
01:50:11,160 --> 01:50:12,800
THE STARS AND NOW I'M GOING TO
2554
01:50:12,790 --> 01:50:14,060
ASK SOME OF THE STARS SOME OF
2555
01:50:14,060 --> 01:50:15,700
THE QUESTIONS THAT THE VIEWERS
2556
01:50:15,700 --> 01:50:16,600
SENT IN.
2557
01:50:16,600 --> 01:50:20,270
STARTING WITH MALALA, WHO IS
2558
01:50:20,270 --> 01:50:20,470
HERE.
2559
01:50:20,470 --> 01:50:20,700
WELCOME.
2560
01:50:20,700 --> 01:50:22,240
>> THANK YOU SO MUCH.
2561
01:50:22,240 --> 01:50:25,140
>> GREAT TO HAVE YOU HERE AND
2562
01:50:25,140 --> 01:50:26,070
CONGRATULATIONS ON THE MOVIE.
2563
01:50:26,070 --> 01:50:29,240
THIS QUESTION IS FROM JOANNE
2564
01:50:29,240 --> 01:50:29,870
FROM NEW YORK.
2565
01:50:29,880 --> 01:50:32,680
YOUR WORK ON HUMAN RIGHTS AND
2566
01:50:32,680 --> 01:50:33,380
EDUCATION FOR CHILDREN IS AN
2567
01:50:33,380 --> 01:50:35,480
INSPIRATION.
2568
01:50:35,480 --> 01:50:37,980
I WAS WONDERING, DO YOU THINK
2569
01:50:37,990 --> 01:50:44,700
HARRY STYLES SPIT ON CHRIS PINE?
2570
01:50:44,690 --> 01:50:45,790
>> I ONLY TALK ABOUT PEACE.
2571
01:50:45,790 --> 01:50:47,330
>> YOU KNOW WHAT, THAT'S WHY
2572
01:50:47,330 --> 01:50:48,000
YOU'RE MALALA AND NOBODY ELSE
2573
01:50:48,000 --> 01:50:51,870
IS.
2574
01:50:51,870 --> 01:50:54,040
THAT'S A GREAT ANSWER, MALALA.
2575
01:50:54,040 --> 01:50:57,410
THE WINNER IS MALALA-LAND,
2576
01:50:57,410 --> 01:50:57,780
EVERYBODY.
2577
01:50:57,770 --> 01:51:00,540
AND THE NEXT QUESTION IS FROM
2578
01:51:00,540 --> 01:51:02,240
JOEY FROM LAS VEGAS FOR COLIN
2579
01:51:02,240 --> 01:51:04,080
FARRELL.
2580
01:51:04,080 --> 01:51:05,950
>> HAVEN'T SEEN JOEY IN YEARS.
2581
01:51:05,950 --> 01:51:07,520
>> WELL, JOEY WOULD LIKE TO ASK
2582
01:51:07,520 --> 01:51:10,490
YOU, HE SAID, COLIN, I LOVED
2583
01:51:10,490 --> 01:51:12,630
YOUR PERFORMANCE, MY QUESTION
2584
01:51:12,620 --> 01:51:13,790
IS, WHAT WERE YOU SAYING IN THE
2585
01:51:13,790 --> 01:51:16,690
MOVIE?
2586
01:51:16,690 --> 01:51:18,460
>> I'D LIKE HIM TO GO ON YOUTUBE
2587
01:51:18,460 --> 01:51:21,000
AND CHECK OUT "SNL" LAST NIGHT
2588
01:51:21,000 --> 01:51:22,270
AND HE'LL HAVE A GOOD IDEA.
2589
01:51:22,260 --> 01:51:24,100
>> THAT WAY HE'LL FIGURE IT OUT?
2590
01:51:24,100 --> 01:51:24,940
>> ALL RIGHT.
2591
01:51:24,930 --> 01:51:26,700
AND I APOLOGIZE FOR JOEY.
2592
01:51:26,700 --> 01:51:28,370
IF YOU AND THE DONKEY GO OUT
2593
01:51:28,370 --> 01:51:30,540
AFTER, TEXT ME, OKAY?
2594
01:51:30,540 --> 01:51:38,880
LOOK AT THIS CR-- JESSICA,
2595
01:51:38,880 --> 01:51:39,480
JESSICA, HI.
2596
01:51:39,480 --> 01:51:40,820
THERE'S NO NAME ON THIS ONE.
2597
01:51:40,820 --> 01:51:44,020
IT SAYS, JESSICA, WAS IT
2598
01:51:44,020 --> 01:51:48,260
DIFFICULT FILMING YOUR MOVIE
2599
01:51:48,260 --> 01:51:49,930
BECAUSE YOUR COSTAR MATT DAMON
2600
01:51:49,920 --> 01:51:51,560
CAN'T READ AND SMELLS LIKE DOG
2601
01:51:51,560 --> 01:51:51,830
MEDICINE?
2602
01:51:51,830 --> 01:51:53,270
>> I DIDN'T REALLY HAVE A LOT OF
2603
01:51:53,260 --> 01:51:54,560
SCENES WITH HIM, SO IT WAS FINE.
2604
01:51:54,560 --> 01:51:56,100
>> EXCELLENT, WONDERFUL.
2605
01:51:56,100 --> 01:51:58,370
ANOTHER FUN FACT, OH, THEY FEED
2606
01:51:58,370 --> 01:52:00,270
MATT DAMON PEANUT BUTTER ON SET
2607
01:52:00,270 --> 01:52:01,540
TO MAKE IT LOOK LIKE HE'S
2608
01:52:01,540 --> 01:52:01,770
TALKING.
2609
01:52:01,770 --> 01:52:06,010
THAT'S -- COCAINE BEAR, LEAVE
2610
01:52:06,010 --> 01:52:07,280
MALALA ALONE!
2611
01:52:07,280 --> 01:52:08,510
ALL RIGHT, WE GOT TO GET THIS
2612
01:52:08,510 --> 01:52:09,410
GUY OUT OF HERE.
2613
01:52:09,410 --> 01:52:12,280
PLEASE SAY HELLO FROM "BLACK
2614
01:52:12,280 --> 01:52:18,720
PANTHER," DANAI GURIRA.
2615
01:52:18,720 --> 01:52:27,100
>> LUDWIG GORANSSON,
2616
01:52:27,100 --> 01:52:29,240
RYAN COOGLER, TEMS, AND RIHANNA
2617
01:52:29,230 --> 01:52:31,330
WROTE A BALLAD THAT SPEAKS FROM
2618
01:52:31,330 --> 01:52:32,370
THE HEART AND AS A TRIBUTE TO
2619
01:52:32,370 --> 01:52:40,080
THE LATE CHADWICK BOSEMAN.
2620
01:52:40,070 --> 01:52:42,410
CHADWICK'S POWERFUL ARTISTRY,
2621
01:52:42,410 --> 01:52:45,050
MAGNETISM, AND INCOMPARABLE
2622
01:52:45,050 --> 01:52:45,680
HUMANITY LEFT AN INDELIBLE MARK
2623
01:52:45,680 --> 01:52:48,220
ON OUR HEARTS.
2624
01:52:48,220 --> 01:52:49,790
CHADWICK EMBODIED THE WAKANDAN
2625
01:52:49,780 --> 01:52:51,350
KING, T'CHALLA.
2626
01:52:51,350 --> 01:52:56,590
THE ONE CHOSEN TO UPLIFT, TO
2627
01:52:56,590 --> 01:52:57,120
PROTECT, TO KEEP US SAFE.
2628
01:52:57,130 --> 01:52:58,200
HIS LEGACY WILL LIVE ON FOR
2629
01:52:58,190 --> 01:53:00,330
FUTURE GENERATIONS.
2630
01:53:00,330 --> 01:53:04,030
AND AS WE SAY IN WAKANDA,
2631
01:53:04,030 --> 01:53:05,030
"ENKOSI, KUMKANI."
2632
01:53:05,030 --> 01:53:13,510
THANK YOU, KING.
2633
01:53:13,510 --> 01:53:16,150
NOMINATED TONIGHT FOR ORIGINAL
2634
01:53:16,140 --> 01:53:18,280
SONG, PERFORMING "LIFT ME UP,"
2635
01:53:18,280 --> 01:53:20,380
ROYALTY IN HER OWN RIGHT,
2636
01:53:20,380 --> 01:53:24,120
RIHANNA.
2637
01:53:24,120 --> 01:53:46,080
♪
2638
01:53:46,070 --> 01:53:50,240
♪
2639
01:53:50,240 --> 01:53:54,240
♪ LIFT ME UP
2640
01:53:54,250 --> 01:53:58,820
♪ HOLD ME DOWN
2641
01:53:58,820 --> 01:54:03,560
KEEP ME CLOSE
2642
01:54:03,560 --> 01:54:07,230
SAFE AND SOUND ♪
2643
01:54:07,230 --> 01:54:09,870
♪ BURNING IN A
2644
01:54:09,860 --> 01:54:12,000
HOPELESS DREAM
2645
01:54:12,000 --> 01:54:14,200
HOLD ME ♪
2646
01:54:14,200 --> 01:54:18,300
♪ WHEN YOU GO TO SLEEP
2647
01:54:18,310 --> 01:54:20,510
KEEP ME IN THE WARMTH
2648
01:54:20,510 --> 01:54:21,510
OF YOUR LOVE ♪
2649
01:54:21,510 --> 01:54:22,040
♪ WHEN YOU DEPART
2650
01:54:22,040 --> 01:54:24,680
KEEP ME SAFE
2651
01:54:24,680 --> 01:54:29,950
SAFE AND SOUND ♪
2652
01:54:29,950 --> 01:54:34,690
♪ LIFT ME UP
2653
01:54:34,690 --> 01:54:38,360
HOLD ME DOWN
2654
01:54:38,360 --> 01:54:44,170
KEEP ME SAFE ♪
2655
01:54:44,170 --> 01:54:52,650
♪ SAFE AND SOUND
2656
01:54:52,640 --> 01:54:54,810
DROWNING IN AN ENDLESS SEA
2657
01:54:54,810 --> 01:54:57,910
TAKE SOME TIME ♪
2658
01:54:57,910 --> 01:55:00,050
♪ AND STAY WITH ME
2659
01:55:00,050 --> 01:55:02,120
OOOH
2660
01:55:02,120 --> 01:55:02,650
KEEP ME IN THE STRENGTH ♪
2661
01:55:02,650 --> 01:55:02,880
♪ OOOH
2662
01:55:02,880 --> 01:55:03,710
OF YOUR ARMS
2663
01:55:03,720 --> 01:55:06,260
OOOH ♪
2664
01:55:06,250 --> 01:55:07,420
♪ KEEP ME SAFE
2665
01:55:07,420 --> 01:55:10,020
OOOH
2666
01:55:10,020 --> 01:55:11,050
SAFE AND SOUND ♪
2667
01:55:11,060 --> 01:55:13,660
♪ OOOH
2668
01:55:13,660 --> 01:55:13,930
LIFT ME UP
2669
01:55:13,930 --> 01:55:14,760
LIFT ME UP ♪
2670
01:55:14,760 --> 01:55:16,860
♪ IN YOUR ARMS
2671
01:55:16,860 --> 01:55:17,360
HOLD ME DOWN
2672
01:55:17,370 --> 01:55:18,440
I NEED LOVE ♪
2673
01:55:18,430 --> 01:55:19,500
I NEED LOVE
2674
01:55:19,500 --> 01:55:21,070
I NEED LOVE
2675
01:55:21,070 --> 01:55:23,710
KEEP ME CLOSE ♪
2676
01:55:23,700 --> 01:55:26,900
♪ HOLD ME
2677
01:55:26,910 --> 01:55:27,410
HOLD ME
2678
01:55:27,410 --> 01:55:32,180
SAFE AND SOUND ♪
2679
01:55:32,180 --> 01:55:32,680
♪ HOLD ME HOLD ME
2680
01:55:32,680 --> 01:55:33,210
HOLD ME HOLD ME
2681
01:55:33,210 --> 01:55:37,410
LIFT ME UP ♪
2682
01:55:37,420 --> 01:55:37,820
♪ HOLD ME HOLD ME
2683
01:55:37,820 --> 01:55:39,020
HOLD ME HOLD ME
2684
01:55:39,020 --> 01:55:41,090
HOLD ME DOWN ♪
2685
01:55:41,090 --> 01:55:41,620
♪ HOLD ME
2686
01:55:41,620 --> 01:55:45,830
HOLD ME
2687
01:55:45,830 --> 01:55:47,930
KEEP ME SAFE ♪
2688
01:55:47,930 --> 01:55:52,170
♪ WE NEED LIGHT
2689
01:55:52,170 --> 01:56:01,250
WE NEED LOVE ♪
2690
01:56:01,240 --> 01:56:15,320
>> Announcer: COMING UP,
2691
01:56:15,320 --> 01:56:16,390
ANDREW GARFIELD AND
2692
01:56:16,390 --> 01:56:17,430
FLORENCE PUGH PRESENT THE OSCARS
2693
01:56:17,430 --> 01:56:18,500
FOR ORIGINAL AND ADAPTED
2694
01:56:18,490 --> 01:56:20,060
SCREENPLAYS.
2695
01:56:20,060 --> 01:56:21,660
LATER, HALLE BERRY AND
2696
01:56:21,660 --> 01:56:24,300
HARRISON FORD.
2697
01:56:24,300 --> 01:56:24,930
TO HEAR FROM THE SOUND NOMINEES,
2698
01:56:24,930 --> 01:56:28,900
SCAN THE QR CODE.
2699
01:56:35,750 --> 01:56:38,850
>> Announcer: WE'RE BACK WITH
2700
01:56:38,850 --> 01:56:40,950
OUR NEXT BEST PICTURE NOMINEE.
2701
01:56:40,950 --> 01:56:44,650
NOMINATED FOR 11 OSCARS, THIS IS
2702
01:56:44,650 --> 01:56:45,680
"EVERYTHING EVERYWHERE ALL AT
2703
01:56:45,690 --> 01:56:49,160
ONCE."
2704
01:56:49,160 --> 01:56:53,630
>> MY DEAR EVELYN, EVERY
2705
01:56:53,630 --> 01:56:55,270
REJECTION, EVERY DISAPPOINTMENT,
2706
01:56:55,260 --> 01:57:03,900
HAS LED YOU TO THIS MOMENT.
2707
01:57:03,910 --> 01:57:14,390
♪
2708
01:57:14,380 --> 01:57:22,350
>> WE ARE BACK AT THE OSCARS.
2709
01:57:22,360 --> 01:57:23,700
AS YOU CAN SEE, I'VE CHANGED
2710
01:57:23,690 --> 01:57:27,190
FROM A BLACK TUXEDO JACKET WHAT
2711
01:57:27,190 --> 01:57:28,030
A WHITE ONE.
2712
01:57:28,030 --> 01:57:29,830
THE WHITE JACKET REPRESENTS THAT
2713
01:57:29,830 --> 01:57:30,460
WE'VE REACHED THE POINT IN THE
2714
01:57:30,460 --> 01:57:34,970
BROADCAST WHERE I SPILLED
2715
01:57:34,970 --> 01:57:38,240
GUACAMOLE ON THE BLACK JACKET.
2716
01:57:38,240 --> 01:57:40,810
"EVERYTHING EVERYWHERE ALL AT
2717
01:57:40,810 --> 01:57:43,310
ONCE" IS THE MOST NOMINATED FILM
2718
01:57:43,310 --> 01:57:45,810
OF THE YEAR, AND I WANT TO
2719
01:57:45,810 --> 01:57:47,850
MENTION -- ONE OF ITS GREAT
2720
01:57:47,850 --> 01:57:51,020
STARS, 94-YEAR-OLD JAMES HONG,
2721
01:57:51,020 --> 01:57:51,960
WHO IS SITTING RIGHT HERE.
2722
01:57:51,950 --> 01:57:57,190
JAMES IS A LEGEND, JAMES HAS
2723
01:57:57,190 --> 01:57:58,590
BEEN IN MORE THAN 650 MOVIES AND
2724
01:57:58,590 --> 01:57:59,360
TV SHOWS.
2725
01:57:59,360 --> 01:58:01,400
HE DIDN'T EVEN START ACTING
2726
01:58:01,400 --> 01:58:02,800
PROFESSIONALLY UNTIL HE WAS 25
2727
01:58:02,800 --> 01:58:03,530
YEARS OLD.
2728
01:58:03,530 --> 01:58:05,200
BEFORE THAT, HE WAS A CIVIL
2729
01:58:05,200 --> 01:58:07,100
ENGINEER WHO HELPED DESIGN THE
2730
01:58:07,100 --> 01:58:08,570
ROAD SYSTEM HERE IN LOS ANGELES,
2731
01:58:08,570 --> 01:58:10,270
AND JAMES, ALLOW ME TO SAY, YOU
2732
01:58:10,270 --> 01:58:12,540
ARE ONE OF OUR GREAT LIVING
2733
01:58:12,540 --> 01:58:14,040
ACTORS AND ONE OF OUR WORST
2734
01:58:14,040 --> 01:58:16,940
CIVIL ENGINEERS.
2735
01:58:16,940 --> 01:58:21,880
THE ROADS ARE UNCONSCIONABLE.
2736
01:58:21,880 --> 01:58:23,780
BUT WE ABSOLUSALUTE YOU.
2737
01:58:23,780 --> 01:58:25,320
OUR NEXT TWO CATEGORIES HONOR
2738
01:58:25,320 --> 01:58:27,420
THE LONELY NERDS WHO SPEND DAY
2739
01:58:27,420 --> 01:58:29,390
AFTER DAY IN FRONT OF THEIR
2740
01:58:29,390 --> 01:58:29,790
COMPUTER SCREENS.
2741
01:58:29,790 --> 01:58:30,830
THEY ARE CALLED WRITER.
2742
01:58:30,830 --> 01:58:32,730
AND SOME OF THEM ARE ABOUT TO
2743
01:58:32,730 --> 01:58:35,100
GET AN OSCAR, WHICH IS GOING TO
2744
01:58:35,100 --> 01:58:38,800
CRUSH ON THEIR TINDER PROFILES.
2745
01:58:38,800 --> 01:58:40,270
PLEASE WELCOME OSCAR
2746
01:58:40,270 --> 01:58:40,840
NOMINEES FLORENCE PUGH AND
2747
01:58:40,840 --> 01:58:46,980
ANDREW GARFIELD.
2748
01:58:46,970 --> 01:58:51,480
>> SO, THE BEST SCREENPLAYS TO
2749
01:58:51,480 --> 01:58:53,280
READ ARE JUST AS ALIVE AS THE
2750
01:58:53,280 --> 01:58:54,880
FILMS THEY EVENTUALLY BECOME.
2751
01:58:54,880 --> 01:58:55,910
>> BUT BEFORE THE WORDS CAN
2752
01:58:55,920 --> 01:58:56,550
FLOW, WRITERS NEED THAT CREATIVE
2753
01:58:56,550 --> 01:58:59,120
SPARK.
2754
01:58:59,120 --> 01:59:03,260
>> RUBEN OSTLUND SAYS HE WANTED
2755
01:59:03,260 --> 01:59:06,160
TO CREATE A ROLLERCOASTER RIDE
2756
01:59:06,160 --> 01:59:06,930
YES, I AGREE.
2757
01:59:06,930 --> 01:59:08,900
HE WANTED TO CREATE A
2758
01:59:08,900 --> 01:59:09,700
ROLLERCOASTER RIDE FOR ADULTS
2759
01:59:09,700 --> 01:59:11,070
WITH HIS TAKE ON THE
2760
01:59:11,070 --> 01:59:12,640
UBER-WEALTHY.
2761
01:59:12,630 --> 01:59:13,670
TONY KUSHNER COLLABORATED WITH
2762
01:59:13,670 --> 01:59:16,040
STEVEN SPIELBERG REMOTELY DURING
2763
01:59:16,040 --> 01:59:18,280
THE PANDEMIC AFTER YEARS OF
2764
01:59:18,270 --> 01:59:18,840
CONVINCING HIM TO TELL HIS
2765
01:59:18,840 --> 01:59:20,040
PERSONAL STORY.
2766
01:59:20,040 --> 01:59:20,570
>> FOR DANIEL KWAN AND
2767
01:59:20,570 --> 01:59:22,140
DANIEL SCHEINERT, THEIR
2768
01:59:22,140 --> 01:59:24,240
SCREENPLAY CAME INTO FOCUS WITH
2769
01:59:24,250 --> 01:59:24,880
THE PHRASE, "LET'S PUT MY MOM IN
2770
01:59:24,880 --> 01:59:30,050
THE MATRIX."
2771
01:59:30,050 --> 01:59:32,690
MARTIN McDONAGH WANTED TO
2772
01:59:32,690 --> 01:59:33,790
EXPLORE THE EXPERIENCE OF A
2773
01:59:33,790 --> 01:59:34,320
BREAKUP, SO HE IMAGINED TWO
2774
01:59:34,320 --> 01:59:34,890
BUDDIES AT THE END OF THEIR
2775
01:59:34,890 --> 01:59:38,460
FRIENDSHIP.
2776
01:59:38,460 --> 01:59:44,830
>> AND TODD FIELD WANTED TO
2777
01:59:44,830 --> 01:59:46,430
DEVELOP THE
2778
01:59:46,430 --> 01:59:46,960
WORLD OF CATE BLANCHETT'S
2779
01:59:46,970 --> 01:59:47,600
CHARACTER OVER A SERIES OF VIDEO
2780
01:59:47,600 --> 01:59:48,000
MEETINGS.
2781
01:59:48,000 --> 01:59:49,070
>> HERE ARE THE NOMINEES FOR
2782
01:59:49,070 --> 01:59:50,100
BEST ORIGINAL SCREENPLAY.
2783
01:59:50,100 --> 01:59:50,670
"THE BANSHEES OF INISHERIN,"
2784
01:59:50,670 --> 01:59:52,010
WRITTEN BY MARTIN McDONAGH.
2785
01:59:52,010 --> 01:59:53,810
>> IT TAKES TWO TO TANGO.
2786
01:59:53,810 --> 01:59:56,550
>> I DON'T WANT TO TANGO.
2787
01:59:56,540 --> 01:59:58,580
>> "EVERYTHING EVERYWHERE ALL AT
2788
01:59:58,580 --> 02:00:00,050
ONCE."
2789
02:00:00,050 --> 02:00:00,620
WRITTEN BY DANIEL KWAN AND
2790
02:00:00,610 --> 02:00:01,780
DANIEL SCHEINERT.
2791
02:00:01,780 --> 02:00:03,980
>> I GOT BORED ONE DAY, AND I
2792
02:00:03,980 --> 02:00:05,520
PUT EVERYTHING ON A BAGEL.
2793
02:00:05,520 --> 02:00:07,520
>> "THE FABELMANS,"
2794
02:00:07,520 --> 02:00:08,120
WRITTEN BY STEVEN SPIELBERG AND
2795
02:00:08,120 --> 02:00:09,520
TONY KUSHNER.
2796
02:00:09,520 --> 02:00:10,960
>> WE'VE GONE TOO FAR IN OUR
2797
02:00:10,960 --> 02:00:12,930
STORY TO ACTUALLY SAY THE END.
2798
02:00:12,930 --> 02:00:16,000
>> "TAR," WRITTEN BY TODD FIELD.
2799
02:00:16,000 --> 02:00:17,570
>> YOU CAN BOTHER SOMEONE ELSE
2800
02:00:17,570 --> 02:00:18,740
TO TRY AND TEACH YOU TO CRAWL TO
2801
02:00:18,730 --> 02:00:20,970
THE PODIUM.
2802
02:00:20,970 --> 02:00:24,840
>> "TRIANGLE OF SADNESS,"
2803
02:00:24,840 --> 02:00:28,080
WRITTEN BY RUBEN OSTLUND.
2804
02:00:28,080 --> 02:00:31,080
>> WHAT AM I, CAPTAIN?
2805
02:00:31,080 --> 02:00:31,710
>> VERY GOOD.
2806
02:00:31,710 --> 02:00:34,880
>> AND THE OSCAR GOES TO --
2807
02:00:34,880 --> 02:00:35,480
"EVERYTHING EVERYWHERE ALL AT
2808
02:00:35,480 --> 02:00:38,450
ONCE,"
2809
02:00:38,450 --> 02:00:44,420
DANIEL KWAN, DANIEL SCHEINERT.
2810
02:00:44,430 --> 02:00:46,700
>> THEY BEGAN CONCEIVING THEIR
2811
02:00:46,690 --> 02:00:48,760
SCREENPLAY IN 2010, EVENTUALLY
2812
02:00:48,760 --> 02:00:51,930
NARROWING DOWN THEIR FRAGMENTED
2813
02:00:51,930 --> 02:00:59,440
IDEAS BY 100.
2814
02:00:59,440 --> 02:01:00,910
>> OH, MY GOD.
2815
02:01:00,910 --> 02:01:01,710
AH!
2816
02:01:01,710 --> 02:01:06,010
ALL RIGHT.
2817
02:01:06,010 --> 02:01:07,780
OKAY, I HAD -- I HAD A FANTASY
2818
02:01:07,780 --> 02:01:09,680
AS A KID OF WINNING AN AWARD AND
2819
02:01:09,680 --> 02:01:11,920
GOING UP AND TELLING OFF ALL THE
2820
02:01:11,920 --> 02:01:13,020
TEACHERS THAT GAVE MY BROTHER
2821
02:01:13,020 --> 02:01:14,690
AND I DETENTION, SO, HERE GOES.
2822
02:01:14,690 --> 02:01:15,530
I'M JUST KIDDING.
2823
02:01:15,520 --> 02:01:16,720
THESE ARE TEACHERS THAT CHANGED
2824
02:01:16,720 --> 02:01:18,220
MY LIFE, MOST OF THEM PUBLIC
2825
02:01:18,230 --> 02:01:19,230
SCHOOL TEACHERS.
2826
02:01:19,230 --> 02:01:24,300
MR. TOOL, MR. HUDSON, MR.
2827
02:01:24,300 --> 02:01:27,300
CHAMBERS, AND ETHAN HALLMAN.
2828
02:01:27,300 --> 02:01:29,700
YOU GUYS EDUCATED ME, YOU
2829
02:01:29,700 --> 02:01:31,170
INSPIRED ME, AND YOU TAUGHT ME
2830
02:01:31,170 --> 02:01:33,270
TO BE LESS OF A BUTTHEAD.
2831
02:01:33,270 --> 02:01:33,900
YOUR TURN.
2832
02:01:33,910 --> 02:01:35,710
>> ALL RIGHT, MY FAST SPIEL, I
2833
02:01:35,710 --> 02:01:37,380
NEVER THOUGHT OF MYSELF AS A
2834
02:01:37,380 --> 02:01:38,980
SCREENWRITER OR A STORYTELLER, I
2835
02:01:38,980 --> 02:01:40,080
NEVER THOUGHT I WAS GOOD ENOUGH,
2836
02:01:40,080 --> 02:01:41,520
I HAVE SELF-ESTEEM PROBLEMS.
2837
02:01:41,520 --> 02:01:42,860
I HAVE TO THANK ALL THE
2838
02:01:42,850 --> 02:01:45,720
PEOPLE -- YES -- SO -- THANK
2839
02:01:45,720 --> 02:01:46,120
YOU.
2840
02:01:46,120 --> 02:01:47,790
OH, GOD.
2841
02:01:47,790 --> 02:01:47,990
GUYS.
2842
02:01:47,990 --> 02:01:50,260
MY IMPOSTER SYNDROME IS AT AN
2843
02:01:50,260 --> 02:01:50,790
ALL-TIME HIGH.
2844
02:01:50,790 --> 02:01:52,360
I NEED TO THANK THE PEOPLE WHO
2845
02:01:52,360 --> 02:01:54,360
MADE ME THE STORYTELLER THAT I
2846
02:01:54,360 --> 02:01:56,060
AM, STARTING WITH MY MOM, WHO
2847
02:01:56,060 --> 02:01:57,230
PROTECTED ME AS A CHILD,
2848
02:01:57,230 --> 02:01:58,930
PROTECTED THE INNER STORYTELLER.
2849
02:01:58,930 --> 02:02:00,500
MY MOM IS HERE, I DON'T KNOW
2850
02:02:00,500 --> 02:02:01,230
WHERE SHE IS.
2851
02:02:01,240 --> 02:02:02,680
THANK YOU FOR ALL THE SACRIFICE
2852
02:02:02,670 --> 02:02:03,840
SHE GAVE ME.
2853
02:02:03,840 --> 02:02:05,440
MY WIFE WHO PROTECTS ME EVERY
2854
02:02:05,440 --> 02:02:06,540
DAY FROM THE MOST NEGATIVE
2855
02:02:06,540 --> 02:02:07,980
THOUGHTS I HAVE, ESPECIALLY WHEN
2856
02:02:07,980 --> 02:02:09,720
I'M WRITING AND ESPECIALLY I
2857
02:02:09,710 --> 02:02:12,350
NEED TO THANK DANIEL, WHO IS MY
2858
02:02:12,350 --> 02:02:13,550
CONFIDENCE, HE IS THE PERSONAL
2859
02:02:13,550 --> 02:02:16,850
WHO TOLD ME I WAS A STORY TELLE
2860
02:02:16,850 --> 02:02:18,920
AND A FILMMAKER BEFORE I COULD
2861
02:02:18,920 --> 02:02:20,690
SAY THAT MYSELF AND I WOULD NOT
2862
02:02:20,690 --> 02:02:22,460
BE HERE WITHOUT HIM.
2863
02:02:22,460 --> 02:02:23,560
AND TO MY FELLOW NOMINEES, THANK
2864
02:02:23,560 --> 02:02:31,270
YOU SO MUCH, GUYS, THANK YOU.
2865
02:02:31,270 --> 02:02:38,340
>> AND NOW TO THE BRILLIANT
2866
02:02:38,340 --> 02:02:40,480
SCREENWRITERS WHO APPLIED THEIR
2867
02:02:40,470 --> 02:02:42,570
POINTS OF VIEW TO THE WORK OF A
2868
02:02:42,580 --> 02:02:45,220
CANADIAN AUTHOR, ICONIC MOVIE
2869
02:02:45,210 --> 02:02:47,310
CHARACTERS OF THE PAST, A GERMAN
2870
02:02:47,310 --> 02:02:49,410
WAR NOVEL, A PUZZLING WHODUNIT,
2871
02:02:49,420 --> 02:02:51,020
AND EVEN A JAPANESE FILM BASED
2872
02:02:51,020 --> 02:02:52,050
ON A NOVELLA BY LEO TOLSTOY.
2873
02:02:52,050 --> 02:02:53,620
>> HERE ARE THE NOMINEES FOR
2874
02:02:53,620 --> 02:02:57,790
BEST ADAPTED SCREENPLAY.
2875
02:02:57,790 --> 02:02:58,420
"ALL QUIET ON THE WESTERN FRONT"
2876
02:02:58,430 --> 02:02:59,930
SCREENPLAY BY EDWARD BERGER,
2877
02:02:59,930 --> 02:03:01,000
LESLEY PATERSON AND IAN STOKELL.
2878
02:03:01,000 --> 02:03:03,100
BASED ON THE NOVEL BY
2879
02:03:03,100 --> 02:03:05,740
ERICH MARIA REMARQUE.
2880
02:03:05,730 --> 02:03:06,300
"GLASS ONION: A KNIVES OUT
2881
02:03:06,300 --> 02:03:08,370
MYSTERY"
2882
02:03:08,370 --> 02:03:09,970
WRITTEN BY RIAN JOHNSON.
2883
02:03:09,970 --> 02:03:10,600
BASED ON CHARACTERS CREATED BY
2884
02:03:10,600 --> 02:03:13,140
RIAN JOHNSON.
2885
02:03:13,140 --> 02:03:14,740
"LIVING"
2886
02:03:14,740 --> 02:03:17,880
WRITTEN BY KAZUO ISHIGURO.
2887
02:03:17,880 --> 02:03:18,450
BASED ON THE FILM "IKIRU,"
2888
02:03:18,450 --> 02:03:19,520
WRITTEN BY AKIRA KUROSAWA,
2889
02:03:19,510 --> 02:03:21,080
SHINOBU HASHIMOTO AND
2890
02:03:21,080 --> 02:03:23,720
HIDEO OGUNI.
2891
02:03:23,720 --> 02:03:24,760
"TOP GUN: MAVERICK"
2892
02:03:24,750 --> 02:03:28,450
SCREENPLAY BY EHREN KRUGER,
2893
02:03:28,460 --> 02:03:28,960
ERIC WARREN SINGER, AND
2894
02:03:28,960 --> 02:03:29,460
CHRISTOPHER McQUARRIE.
2895
02:03:29,460 --> 02:03:30,060
STORY BY PETER CRAIG AND
2896
02:03:30,060 --> 02:03:32,630
JUSTIN MARKS.
2897
02:03:32,630 --> 02:03:37,370
BASED ON CHARACTERS CREATED BY
2898
02:03:37,360 --> 02:03:38,960
JIM CASH AND JACK EPPS JR.
2899
02:03:38,970 --> 02:03:39,340
"WOMEN TALKING"
2900
02:03:39,330 --> 02:03:40,530
SCREENPLAY BY SARAH POLLEY.
2901
02:03:40,530 --> 02:03:42,130
BASED UPON THE BOOK BY
2902
02:03:42,140 --> 02:03:47,210
MIRIAM TOEWS.
2903
02:03:47,210 --> 02:03:51,180
>> AND THE OSCAR GOES TO --
2904
02:03:51,180 --> 02:03:54,480
"WOMEN TALKING."
2905
02:03:54,480 --> 02:03:56,720
SARAH POLLEY.
2906
02:03:56,720 --> 02:03:59,490
>> BORN IN TORONTO, SARAH POLLEY
2907
02:03:59,490 --> 02:04:00,290
MADE HER BIG SCREEN DEBUT AS A
2908
02:04:00,290 --> 02:04:03,430
CHILD IN THE DISNEY CLASSIC,
2909
02:04:03,420 --> 02:04:09,930
"ONE MAGIC CHRISTMAS."
2910
02:04:09,930 --> 02:04:26,450
>> THANK YOU!
2911
02:04:26,450 --> 02:04:28,250
UM -- FIRST OF ALL, I JUST WANT
2912
02:04:28,250 --> 02:04:30,350
TO THANK THE ACADEMY FOR NOT
2913
02:04:30,350 --> 02:04:32,020
BEING MORTALLY OFFENDED BY THE
2914
02:04:32,020 --> 02:04:33,020
WORDS WOMEN AND TALKING PUT SO
2915
02:04:33,020 --> 02:04:36,190
CLOSE TOGETHER LIKE THAT.
2916
02:04:36,190 --> 02:04:38,290
CHEERS.
2917
02:04:38,290 --> 02:04:40,230
M
2918
02:04:40,230 --> 02:04:43,200
MIRIAN TOEWS WROTE THIS NOVEL,
2919
02:04:43,200 --> 02:04:43,800
WHERE PEOPLE DON'T AGREE ON
2920
02:04:43,800 --> 02:04:45,200
EVERY SINGLE ISSUE, MANAGE TO
2921
02:04:45,200 --> 02:04:47,140
SIT TOGETHER IN A ROOM AND CARVE
2922
02:04:47,130 --> 02:04:48,060
OUT A WAY TOGETHER FREE OF
2923
02:04:48,070 --> 02:04:50,470
VIOLENCE.
2924
02:04:50,470 --> 02:04:52,670
THEY DO SO NOT JUST BY TALKING,
2925
02:04:52,670 --> 02:04:54,410
BUT ALSO BY LISTENING.
2926
02:04:54,410 --> 02:04:56,180
THE LAST LINE OF OUR FILM IS
2927
02:04:56,180 --> 02:04:57,420
DELIVERED BY A YOUNG WOMAN TO A
2928
02:04:57,410 --> 02:05:00,350
NEW BABY AND SHE SAYS, "YOUR
2929
02:05:00,350 --> 02:05:02,020
STORY WILL BE DIFFERENT FROM
2930
02:05:02,020 --> 02:05:02,490
OURS."
2931
02:05:02,480 --> 02:05:04,180
IT'S A PROMISE, A COMMITMENT,
2932
02:05:04,180 --> 02:05:05,620
AND AN ANCHOR AND IT'S WHAT I
2933
02:05:05,620 --> 02:05:07,720
WOULD LIKE TO SAY WITH ALL OF MY
2934
02:05:07,720 --> 02:05:11,220
MIGHT TO MY THREE KIDS, EVE,
2935
02:05:11,230 --> 02:05:12,700
ISLA, AND AMY, AS THEY MAKE
2936
02:05:12,690 --> 02:05:13,660
THEIR WAY THROUGH THIS
2937
02:05:13,660 --> 02:05:14,760
BEAUTIFUL, COMPLICATED WORLD.
2938
02:05:14,760 --> 02:05:16,230
THANK YOU TO THE BEST MAN I'VE
2939
02:05:16,230 --> 02:05:18,670
EVER KNOWN, DAVID, FOR GIVING ME
2940
02:05:18,670 --> 02:05:20,210
THE OPTIMISM TO BELIEVE WE CAN
2941
02:05:20,200 --> 02:05:22,740
AND WILL DO BETTER.
2942
02:05:22,740 --> 02:05:24,980
DEDE GARDNER AND FRANCIS
2943
02:05:24,970 --> 02:05:26,870
McDORMANT, THANK YOU FOR MAKING
2944
02:05:26,870 --> 02:05:29,370
THIS SPACE FOR ME.
2945
02:05:29,380 --> 02:05:31,850
WE HAVE THE MOST INCREDIBLE CAST
2946
02:05:31,850 --> 02:05:33,290
AND THE MOST INCREDIBLE CREW,
2947
02:05:33,280 --> 02:05:34,480
SOME OF WHOM ARE HERE TONIGHT,
2948
02:05:34,480 --> 02:05:35,750
PLEASE STAND UP IF YOU ARE THERE
2949
02:05:35,750 --> 02:05:37,820
OR IF YOU ARE IN THE NOSE
2950
02:05:37,820 --> 02:05:40,890
BLEEDS, AND EVERYBODY AT HOME
2951
02:05:40,890 --> 02:05:41,560
WHO WORKED ON THIS FILM.
2952
02:05:41,560 --> 02:05:44,700
OH, MY -- I ACCEPT THIS ON ALL
2953
02:05:44,690 --> 02:05:47,260
OF OUR BEHALF.
2954
02:05:47,260 --> 02:05:47,530
THANK YOU.
2955
02:05:47,530 --> 02:05:48,260
THANK YOU.
2956
02:05:48,260 --> 02:05:56,230
WOW.
2957
02:05:56,240 --> 02:05:57,340
>> Announcer: COMING UP,
2958
02:05:57,340 --> 02:05:58,910
JANELLE MONAE AND KATE HUDSON.
2959
02:05:58,910 --> 02:06:00,510
AND LATER, IDRIS ELBA AND
2960
02:06:00,510 --> 02:06:01,580
NICOLE KIDMAN WITH THE OSCAR FOR
2961
02:06:01,580 --> 02:06:03,680
BEST DIRECTOR.
2962
02:06:03,680 --> 02:06:04,310
PLUS, A SPECIAL PERFORMANCE BY
2963
02:06:04,310 --> 02:06:06,280
LENNY KRAVITZ.
2964
02:06:06,280 --> 02:06:07,880
TO MEET THE NOMINATED FILM
2965
02:06:07,880 --> 02:06:12,520
EDITORS, SCAN THE QR CODE.
2966
02:06:18,350 --> 02:06:20,890
♪
2967
02:06:20,890 --> 02:06:22,390
>> Announcer: WE'RE BACK AT THE
2968
02:06:22,400 --> 02:06:23,000
DOLBY THEATRE WITH OUR FINAL
2969
02:06:23,000 --> 02:06:25,670
NOMINEE FOR BEST PICTURE.
2970
02:06:25,670 --> 02:06:27,240
NOMINATED FOR SIX OSCARS, THIS
2971
02:06:27,230 --> 02:06:32,970
IS "TOP GUN: MAVERICK."
2972
02:06:32,970 --> 02:06:36,640
>> HIS EXPLOITS ARE LEGENDARY.
2973
02:06:36,640 --> 02:06:38,480
WHAT HE HAS TO TEACH YOU MAY
2974
02:06:38,480 --> 02:06:39,110
MAKE THE DIFFERENCE BETWEEN LIFE
2975
02:06:39,110 --> 02:06:41,780
AND DEATH.
2976
02:06:41,780 --> 02:06:43,420
>> TRUST YOUR INSTINCTS.
2977
02:06:43,420 --> 02:06:49,730
DON'T THINK, JUST DO.
2978
02:06:49,720 --> 02:06:51,760
>> I'M NOT A TEACHER, ICE.
2979
02:06:51,760 --> 02:06:54,530
I'M A FIGHTER PILOT.
2980
02:06:54,530 --> 02:07:02,340
>> THE NAVY NEEDS MAVERICK.
2981
02:07:02,340 --> 02:07:09,980
>> PLEASE SAY HELLO TO THE
2982
02:07:09,980 --> 02:07:11,310
PILOTS FROM "TOP GUN: MAVERICK"
2983
02:07:11,310 --> 02:07:12,910
HERE IN THE LOWER BALCONY.
2984
02:07:12,910 --> 02:07:15,580
ON BEHALF OF A GRATEFUL NATION,
2985
02:07:15,580 --> 02:07:16,410
WE SALUTE YOU.
2986
02:07:16,420 --> 02:07:26,000
AND WE -- AND WE THANK YOU FOR
2987
02:07:25,990 --> 02:07:29,730
YOUR PRETEND SERVICE.
2988
02:07:29,730 --> 02:07:31,370
NOW IT'S TIME TO THE INTERACTIVE
2989
02:07:31,370 --> 02:07:33,110
PART OF THE SHOW.
2990
02:07:33,100 --> 02:07:34,470
EVERYBODY GET OUT YOUR PHONES.
2991
02:07:34,470 --> 02:07:35,170
IT'S TIME TO VOTE.
2992
02:07:35,170 --> 02:07:36,500
IF YOU THINK ROBERT BLAKE SHOULD
2993
02:07:36,500 --> 02:07:42,740
BE PART OF THE INMEMORIAM
2994
02:07:42,740 --> 02:07:44,410
MONTAGE, TEXT GIMME A BLAKE TO
2995
02:07:44,410 --> 02:07:45,980
THE NUMBER ON YOUR SCREEN, OR TO
2996
02:07:45,980 --> 02:07:47,580
ANY NUMBER, TEXT THAT TO YOUR
2997
02:07:47,580 --> 02:07:49,780
MOTHER, IF YOU LIKE.
2998
02:07:49,780 --> 02:07:53,050
MESSAGE AND DATA RATES MY APPLY.
2999
02:07:53,050 --> 02:07:56,090
ALL RIGHT, HERE FROM "GLASS
3000
02:07:56,090 --> 02:08:01,960
ONION," JANELLE MONAE AND OSCAR
3001
02:08:01,960 --> 02:08:02,930
NOMINEE KATE HUDSON WITH THE
3002
02:08:02,930 --> 02:08:07,200
OSCAR FOR SOUND.
3003
02:08:07,200 --> 02:08:20,450
♪
3004
02:08:20,450 --> 02:08:23,050
>> CINEMA MAY BE A VISUAL
3005
02:08:23,050 --> 02:08:24,050
MEDIUM, BUT THERE'S A REASON
3006
02:08:24,050 --> 02:08:24,650
MOVIES DIDN'T STAY SILENT FOR
3007
02:08:24,650 --> 02:08:25,620
LONG.
3008
02:08:25,620 --> 02:08:28,390
>> SOUND TEAMS TRANSFORM IMAGES
3009
02:08:28,390 --> 02:08:30,360
INTO FULLY DIMENSIONAL MOMENTS
3010
02:08:30,360 --> 02:08:32,460
BY DESIGNING, RECORDING, MIXING,
3011
02:08:32,460 --> 02:08:35,500
AND EDITING EVERYTHING YOU HEAR.
3012
02:08:35,500 --> 02:08:37,600
>> YEAH, AND WE MEAN EVERYTHING.
3013
02:08:37,600 --> 02:08:39,200
SURE, THE BATMOBILE SOUNDS
3014
02:08:39,200 --> 02:08:41,770
AWESOME, BUT SOMEBODY HAS TO
3015
02:08:41,770 --> 02:08:42,910
FIGURE OUT WHAT BATMAN'S GARAGE
3016
02:08:42,900 --> 02:08:43,730
DOOR SOUNDS LIKE.
3017
02:08:43,740 --> 02:08:45,410
>> THAT'S RIGHT, KATE.
3018
02:08:45,410 --> 02:08:47,450
AND SOMEONE ELSE HAS TO MAKE
3019
02:08:47,440 --> 02:08:49,880
F-18s SOUND KIND OF F-18-ISH,
3020
02:08:49,880 --> 02:08:50,080
RIGHT?
3021
02:08:50,080 --> 02:08:50,850
>> TOTALLY.
3022
02:08:50,840 --> 02:08:53,240
AND WHO DECIDES WHAT A NAVI
3023
02:08:53,250 --> 02:08:54,480
BRAID SOUNDS LIKE WHEN IT HITS
3024
02:08:54,480 --> 02:08:58,280
THE WATER?
3025
02:08:58,290 --> 02:08:58,720
>> I WONDERED THAT.
3026
02:08:58,720 --> 02:09:00,260
>> WELL, THESE AMAZING ARTISTS.
3027
02:09:00,250 --> 02:09:02,790
>> IT'S THESE AMAZING ARTISTS.
3028
02:09:02,790 --> 02:09:03,830
>> HERE ARE THE NOMINEES FOR
3029
02:09:03,820 --> 02:09:05,190
ACHIEVEMENT IN SOUND.
3030
02:09:05,190 --> 02:09:10,400
"ALL QUIET ON THE WESTERN FRONT"
3031
02:09:10,400 --> 02:09:11,000
VIKTOR PRÁ IL, FRANK KRUSE,
3032
02:09:11,000 --> 02:09:14,540
MARKUS STEMLER, LARS GINZEL, AND
3033
02:09:14,530 --> 02:09:15,770
STEFAN KORTE.
3034
02:09:15,770 --> 02:09:16,300
"AVATAR: THE WAY OF WATER"
3035
02:09:16,300 --> 02:09:17,870
JULIAN HOWARTH,
3036
02:09:17,870 --> 02:09:19,470
GWENDOLYN YATES WHITTLE,
3037
02:09:19,470 --> 02:09:21,040
DICK BERNSTEIN,
3038
02:09:21,040 --> 02:09:23,140
CHRISTOPHER BOYES, GARY SUMMERS,
3039
02:09:23,140 --> 02:09:25,280
AND MICHAEL HEDGES.
3040
02:09:25,280 --> 02:09:28,450
"THE BATMAN"
3041
02:09:28,450 --> 02:09:30,020
STUART WILSON, WILLIAM FILES,
3042
02:09:30,020 --> 02:09:34,220
DOUGLAS MURRAY, AND ANDY NELSON.
3043
02:09:34,220 --> 02:09:36,320
"ELVIS"
3044
02:09:36,320 --> 02:09:38,990
DAVID LEE, WAYNE PASHLEY,
3045
02:09:38,990 --> 02:09:44,230
ANDY NELSON, AND MICHAEL KELLER.
3046
02:09:44,230 --> 02:09:46,870
"TOP GUN: MAVERICK"
3047
02:09:46,870 --> 02:09:50,010
MARK WEINGARTEN,
3048
02:09:50,000 --> 02:09:50,570
JAMES H. MATHER, AL NELSON,
3049
02:09:50,570 --> 02:09:55,840
CHRIS BURDON, AND MARK TAYLOR.
3050
02:09:55,840 --> 02:10:01,150
>> AND THE OSCAR GOES TO --
3051
02:10:01,150 --> 02:10:02,720
"TOP GUN: MAVERICK"
3052
02:10:02,720 --> 02:10:03,750
MARK WEINGARTEN,
3053
02:10:03,750 --> 02:10:05,390
JAMES H. MATHER, AL NELSON,
3054
02:10:05,390 --> 02:10:10,560
CHRIS BURDON, AND MARK TAYLOR.
3055
02:10:10,560 --> 02:10:13,130
>> THE TEAM BEHIND "TOP GUN:
3056
02:10:13,130 --> 02:10:14,870
MAVERICK" SPANNED TWO
3057
02:10:14,860 --> 02:10:16,160
CONTINENTS, AND CREATED MUCH OF
3058
02:10:16,160 --> 02:10:18,130
THE SOUND DESIGN BY RECORDING
3059
02:10:18,130 --> 02:10:19,770
REAL AIRCRAFT CARRIERS AND JET
3060
02:10:19,770 --> 02:10:27,450
ENGINES.
3061
02:10:27,440 --> 02:10:49,130
>> THANK YOU, ACADEMY.
3062
02:10:49,130 --> 02:10:50,530
AND THANK YOU TO EVERYONE WHO
3063
02:10:50,530 --> 02:10:53,200
SAW AND HEARD THIS FILM.
3064
02:10:53,200 --> 02:11:00,110
TOGETHER, IN THEATERS.
3065
02:11:00,110 --> 02:11:02,180
THANK YOU TO OUR INCREDIBLY
3066
02:11:02,180 --> 02:11:04,120
COLLABORATIVE FILMMAKERS, OUR
3067
02:11:04,110 --> 02:11:09,520
DIRECTOR AND OUR PRODUCERS.
3068
02:11:09,520 --> 02:11:10,920
THANK YOU TO THE SOUND ARTISTS
3069
02:11:10,920 --> 02:11:16,390
WHO SHARE THIS AWARD WITH US AT
3070
02:11:16,390 --> 02:11:20,630
SKYWALKER SOUND AND SOUNDBYTE
3071
02:11:20,630 --> 02:11:21,770
STUDIOS IN LONDON.
3072
02:11:21,760 --> 02:11:32,700
AND TO OUR FAMILIES.
3073
02:11:32,710 --> 02:11:38,550
>> WE DID IT.
3074
02:11:38,550 --> 02:11:43,690
>> YES.
3075
02:11:43,680 --> 02:11:45,050
>> TONIGHT, WE'VE HAD THE
3076
02:11:45,050 --> 02:11:46,490
PLEASURE OF SEEING PERFORMANCES
3077
02:11:46,490 --> 02:11:47,320
OF THIS YEAR'S BEST ORIGINAL
3078
02:11:47,320 --> 02:11:49,020
SONGS.
3079
02:11:49,020 --> 02:11:51,660
ONCE AGAIN, HERE ARE THE
3080
02:11:51,660 --> 02:11:52,230
NOMINEES.
3081
02:11:52,230 --> 02:11:53,830
"APPLAUSE," FROM "TELL IT LIKE A
3082
02:11:53,830 --> 02:11:54,300
WOMAN,"
3083
02:11:54,290 --> 02:11:56,590
MUSIC AND LYRIC BY DIANE WARREN.
3084
02:11:56,600 --> 02:12:00,300
♪
3085
02:12:00,300 --> 02:12:00,900
"HOLD MY HAND" FROM "TOP GUN:
3086
02:12:00,900 --> 02:12:02,400
MAVERICK,"
3087
02:12:02,400 --> 02:12:04,000
MUSIC AND LYRIC BY LADY GAGA AND
3088
02:12:04,000 --> 02:12:05,800
BLOODPOP.
3089
02:12:05,810 --> 02:12:14,790
♪
3090
02:12:14,780 --> 02:12:16,420
"LIFT ME UP" FROM "BLACK
3091
02:12:16,420 --> 02:12:17,960
PANTHER: WAKANDA FOREVER,"
3092
02:12:17,950 --> 02:12:19,520
MUSIC BY TEMS, RIHANNA,
3093
02:12:19,520 --> 02:12:21,120
RYAN COOGLER, AND
3094
02:12:21,120 --> 02:12:22,660
LUDWIG GORANSSON,
3095
02:12:22,660 --> 02:12:24,090
LYRIC BY TEMS AND RYAN COOGLER.
3096
02:12:24,090 --> 02:12:27,790
♪
3097
02:12:27,790 --> 02:12:29,890
"NAATU NAATU" FROM "RRR,"
3098
02:12:29,900 --> 02:12:31,500
MUSIC BY M. M. KEERAVAANI,
3099
02:12:31,500 --> 02:12:36,210
LYRIC BY CHANDRABOSE.
3100
02:12:36,200 --> 02:12:36,370
♪
3101
02:12:36,370 --> 02:12:36,870
"THIS IS A LIFE," FROM
3102
02:12:36,870 --> 02:12:37,470
"EVERYTHING EVERYWHERE ALL AT
3103
02:12:37,470 --> 02:12:39,440
ONCE,"
3104
02:12:39,440 --> 02:12:41,540
MUSIC BY RYAN LOTT, DAVID BYRNE,
3105
02:12:41,540 --> 02:12:42,170
AND MITSKI, LYRIC BY RYAN LOTT
3106
02:12:42,180 --> 02:12:42,710
AND DAVID BYRNE.
3107
02:12:42,710 --> 02:12:52,150
♪
3108
02:12:52,150 --> 02:12:53,020
>> ALL RIGHT.
3109
02:12:53,020 --> 02:12:56,390
YOU GUYS READY?
3110
02:12:56,390 --> 02:12:56,720
OH.
3111
02:12:56,720 --> 02:13:04,760
"RRR."
3112
02:13:04,760 --> 02:13:08,760
>> CHANDRABOSE HAD A DEGREE FOR
3113
02:13:08,770 --> 02:13:10,510
ELECTRONICS ENGINEERING BEFORE
3114
02:13:10,500 --> 02:13:18,810
BECOMING A LEER CYST.
3115
02:13:18,810 --> 02:13:21,110
M.M. KEERAVAANI LISTS JOHN
3116
02:13:21,110 --> 02:13:22,410
WILLIAMS AS ONE OF HIS
3117
02:13:22,420 --> 02:13:27,030
INFLUENCES.
3118
02:13:27,020 --> 02:13:34,530
>> THANK YOU, ACADEMY.
3119
02:13:34,530 --> 02:13:38,330
I GREW UP LISTENING TO THE
3120
02:13:38,330 --> 02:13:41,330
CARPENTERS AND NOW HERE I AM
3121
02:13:41,330 --> 02:13:48,170
WITH THE OSCARS.
3122
02:13:48,170 --> 02:13:49,470
♪ THERE WAS ONLY ONE WISH ON MY
3123
02:13:49,480 --> 02:13:56,690
MIND ♪
3124
02:13:56,680 --> 02:13:58,880
♪ SO WAS MY FAMILY'S
3125
02:13:58,890 --> 02:14:02,090
♪ RRR HAS TO WIN
3126
02:14:02,090 --> 02:14:05,760
♪ PRIDE OF EVERY INDIAN
3127
02:14:05,760 --> 02:14:07,860
♪ AND MUST PUT ME ON THE TOP OF
3128
02:14:07,860 --> 02:14:16,240
THE WORLD ♪
3129
02:14:16,240 --> 02:14:18,380
THANK YOU!
3130
02:14:18,370 --> 02:14:18,940
THANK YOU FOR MAKING THIS
3131
02:14:18,940 --> 02:14:19,910
POSSIBLE.
3132
02:14:19,910 --> 02:14:20,240
LOVE YOU ALL.
3133
02:14:20,240 --> 02:14:23,110
THANK YOU.
3134
02:14:23,110 --> 02:14:30,250
NAMASTE.
3135
02:14:30,250 --> 02:14:33,650
>> Announcer: HERE'S TWO-TIME
3136
02:14:33,650 --> 02:14:34,120
ACADEMY AWARD NOMINEE
3137
02:14:34,120 --> 02:14:42,730
JOHN TRAVOLTA.
3138
02:14:42,730 --> 02:14:47,870
>> OKAY.
3139
02:14:47,870 --> 02:14:50,670
SO, IN THIS INDUSTRY, WE HAVE
3140
02:14:50,670 --> 02:14:53,610
THE RARE LUXURY OF GETTING TO DO
3141
02:14:53,610 --> 02:14:58,110
WHAT WE LOVE FOR A LIVING, AND
3142
02:14:58,110 --> 02:14:58,740
SOMETIMES GETTING TO DO IT WITH
3143
02:14:58,750 --> 02:15:02,350
PEOPLE THAT WE COME TO LOVE.
3144
02:15:02,350 --> 02:15:04,220
AND SINCE TONIGHT IS A
3145
02:15:04,220 --> 02:15:06,990
CELEBRATION OF THE WORK AND THE
3146
02:15:06,990 --> 02:15:08,220
ACCOMPLISHMENTS OF OUR COMMUNITY
3147
02:15:08,220 --> 02:15:11,060
IN THIS PAST YEAR, IT IS ONLY
3148
02:15:11,060 --> 02:15:12,830
FITTING THEN THAT WE CELEBRATE
3149
02:15:12,830 --> 02:15:16,170
THOSE WE'VE LOST, WHO DEDICATED
3150
02:15:16,160 --> 02:15:18,360
THEIR LIVES TO THEIR CRAFT, BOTH
3151
02:15:18,370 --> 02:15:22,440
IN FRONT OF AND BEHIND THE
3152
02:15:22,440 --> 02:15:22,670
CAMERA.
3153
02:15:22,670 --> 02:15:25,040
THROUGH THEIR IMMEASURABLE
3154
02:15:25,040 --> 02:15:26,070
CONTRIBUTIONS.
3155
02:15:26,070 --> 02:15:31,140
EACH OF THEM LEFT A MARK THAT
3156
02:15:31,140 --> 02:15:32,170
SHARED AND INFORMED US.
3157
02:15:32,180 --> 02:15:34,420
THEY'VE TOUCHED OUR HEARTS,
3158
02:15:34,410 --> 02:15:36,580
THEY'VE MADE US SMILE, AND
3159
02:15:36,580 --> 02:15:40,480
BECAME DEAR FRIENDS.
3160
02:15:40,490 --> 02:15:43,160
WHO WE WILL ALWAYS REMAIN
3161
02:15:43,160 --> 02:15:52,300
HOPELESSLY DEVOTED TO.
3162
02:15:52,300 --> 02:15:55,100
SO, HERE TO HONOR, AND WITH A
3163
02:15:55,100 --> 02:15:57,540
VERY SPECIAL PERFORMANCE, PLEASE
3164
02:15:57,540 --> 02:15:58,070
WELCOME THE INCOMPARABLE
3165
02:15:58,070 --> 02:16:03,380
LENNY KRAVITZ.
3166
02:16:03,380 --> 02:16:07,650
♪
3167
02:16:07,650 --> 02:16:11,290
♪ CALLING ALL ANGELS
3168
02:16:11,280 --> 02:16:13,380
I NEED YOU
3169
02:16:13,390 --> 02:16:26,540
NEAR TO THE GROUND ♪
3170
02:16:26,530 --> 02:16:28,400
♪ I MISS YOU DEARLY
3171
02:16:28,400 --> 02:16:29,740
CAN YOU HEAR ME
3172
02:16:29,740 --> 02:16:40,420
ON YOUR CLOUD ♪
3173
02:16:40,410 --> 02:16:42,410
♪ ALL OF MY LIFE
3174
02:16:42,420 --> 02:16:45,560
I'VE BEEN WAITING
3175
02:16:45,550 --> 02:16:54,990
FOR SOMEONE TO LOVE ♪
3176
02:16:54,990 --> 02:16:57,630
♪ ALL OF MY LIFE
3177
02:16:57,630 --> 02:17:01,330
I'VE BEEN WAITING
3178
02:17:01,330 --> 02:17:11,870
FOR SOMETHING TO LOVE ♪
3179
02:17:11,880 --> 02:17:15,580
♪ CALLING ALL ANGELS
3180
02:17:15,580 --> 02:17:19,250
I NEED YOU
3181
02:17:19,250 --> 02:17:27,160
NEAR TO THE GROUND ♪
3182
02:17:27,160 --> 02:17:31,400
♪ I HAVE BEEN KNEELING
3183
02:17:31,400 --> 02:17:34,500
AND PRAYING
3184
02:17:34,500 --> 02:17:42,980
TO HEAR A SOUND ♪
3185
02:17:42,980 --> 02:17:47,750
♪ ALL OF MY LIFE
3186
02:17:47,750 --> 02:17:50,920
I'VE BEEN WAITING
3187
02:17:50,920 --> 02:17:59,300
FOR SOMEONE TO LOVE ♪
3188
02:17:59,290 --> 02:18:03,490
♪ ALL OF MY LIFE
3189
02:18:03,500 --> 02:18:05,600
I'VE BEEN WAITING
3190
02:18:05,600 --> 02:18:16,780
FOR SOMETHING TO LOVE ♪
3191
02:18:16,780 --> 02:18:31,930
♪
3192
02:18:31,930 --> 02:18:38,540
♪ ALL OF MY LIFE
3193
02:18:38,530 --> 02:18:38,930
I'VE BEEN WAITING
3194
02:18:38,930 --> 02:18:46,740
FOR SOMETHING TO LOVE ♪
3195
02:18:46,740 --> 02:18:50,950
♪ DAY BY DAY
3196
02:18:50,940 --> 02:18:54,110
THROUGH THE YEARS
3197
02:18:54,110 --> 02:18:58,850
MAKE MY WAY
3198
02:18:58,850 --> 02:19:02,520
♪ DAY BY DAY
3199
02:19:02,520 --> 02:19:06,720
THROUGH THE YEARS
3200
02:19:06,730 --> 02:19:10,530
DAY BY DAY ♪
3201
02:19:10,530 --> 02:19:16,400
♪ THROUGH THE YEARS
3202
02:19:16,400 --> 02:19:19,400
DAY BY DAY
3203
02:19:19,410 --> 02:19:23,110
THROUGH THE YEARS ♪
3204
02:19:23,110 --> 02:19:27,850
♪ DAY BY DAY
3205
02:19:27,850 --> 02:19:36,760
DAY BY DAY ♪
3206
02:19:36,760 --> 02:19:56,710
♪
3207
02:20:15,970 --> 02:20:37,150
♪
3208
02:20:37,150 --> 02:20:38,220
>> Announcer: PLEASE WELCOME
3209
02:20:38,220 --> 02:20:40,320
ZOE SALDANA AND THREE-TIME OSCAR
3210
02:20:40,320 --> 02:20:50,300
NOMINEE SIGOURNEY WEAVER.
3211
02:20:50,300 --> 02:20:51,370
>> WE MAY HAVE COME A LONG WAY
3212
02:20:51,360 --> 02:20:53,500
FROM ACTUALLY CUTTING AND
3213
02:20:53,500 --> 02:20:55,570
PASTING FILM TOGETHER BY HAND,
3214
02:20:55,570 --> 02:20:57,170
BUT EDITING REMAINS ONE OF THE
3215
02:20:57,170 --> 02:20:58,200
MOST COMPLEX PARTS OF THE
3216
02:20:58,200 --> 02:21:02,440
STORYTELLING PROCESS.
3217
02:21:02,440 --> 02:21:03,070
>> EDITORS HAVE TO COMB THROUGH
3218
02:21:03,080 --> 02:21:06,150
HOURS AND HOURS OF FOOTAGE AND
3219
02:21:06,150 --> 02:21:08,250
DECIDE WHICH TAKES MAKE THE
3220
02:21:08,250 --> 02:21:11,550
MOVIE AND WHICH WIND UP ON THE
3221
02:21:11,550 --> 02:21:13,150
CUTTING ROOM FLOOR.
3222
02:21:13,150 --> 02:21:14,720
>> AND WHETHER WORKING WITH A
3223
02:21:14,720 --> 02:21:15,820
MASSIVE MACHINE LIKE THIS OR AT
3224
02:21:15,820 --> 02:21:20,190
A COMPUTER, EDITORS STILL
3225
02:21:20,190 --> 02:21:24,230
ACCOMPLISH THE SAME AMAZING
3226
02:21:24,230 --> 02:21:25,870
FEAT, TRANSLATING TIME, RHYTHM,
3227
02:21:25,870 --> 02:21:28,270
AND PERFORMANCE INTO A
3228
02:21:28,270 --> 02:21:31,440
COMPELLING STORY ONSCREEN.
3229
02:21:31,440 --> 02:21:33,640
HERE ARE THE NOMINEES FOR
3230
02:21:33,640 --> 02:21:35,710
ACHIEVEMENT IN FILM EDITING.
3231
02:21:35,710 --> 02:21:36,280
"THE BANSHEES OF INISHERIN"
3232
02:21:36,280 --> 02:21:36,750
MIKKEL E. G. NIELSEN.
3233
02:21:36,740 --> 02:21:37,270
"ELVIS"
3234
02:21:37,280 --> 02:21:42,550
MATT VILLA AND JONATHAN REDMOND.
3235
02:21:42,550 --> 02:21:43,150
"EVERYTHING EVERYWHERE ALL AT
3236
02:21:43,150 --> 02:21:44,650
ONCE"
3237
02:21:44,650 --> 02:21:48,320
PAUL ROGERS.
3238
02:21:48,320 --> 02:21:49,350
"TAR"
3239
02:21:49,360 --> 02:21:55,170
MONIKA WILLI.
3240
02:21:55,160 --> 02:21:55,660
"TOP GUN: MAVERICK"
3241
02:21:55,660 --> 02:22:04,640
EDDIE HAMILTON.
3242
02:22:04,640 --> 02:22:09,280
>> AND THE OSCAR GOES TO --
3243
02:22:09,280 --> 02:22:12,620
"EVERYTHING EVERYWHERE ALL AT
3244
02:22:12,610 --> 02:22:15,480
ONCE," PAUL ROGERS.
3245
02:22:15,480 --> 02:22:18,120
>> EDITOR PAUL ROGERS MET THE
3246
02:22:18,120 --> 02:22:19,920
DANIELS, DIRECTORS OF
3247
02:22:19,920 --> 02:22:21,990
"EVERYTHING EVERYWHERE ALL AT
3248
02:22:21,990 --> 02:22:29,800
ONCE" AT A BIRTHDAY PARTY.
3249
02:22:29,800 --> 02:22:38,580
>> OH.
3250
02:22:38,570 --> 02:22:44,110
THANK YOU.
3251
02:22:44,110 --> 02:22:46,480
WOW, THIS IS -- THIS IS TOO
3252
02:22:46,480 --> 02:22:46,810
MUCH.
3253
02:22:46,810 --> 02:22:48,650
THIS IS MY SECOND FILM, Y'ALL.
3254
02:22:48,650 --> 02:22:52,120
THIS IS CRAZY.
3255
02:22:52,120 --> 02:22:53,520
I HAVE TO THANK MY WIFE, THE
3256
02:22:53,520 --> 02:22:54,860
MOST INCREDIBLE WOMAN IN THE
3257
02:22:54,850 --> 02:22:57,490
ROOM.
3258
02:22:57,490 --> 02:23:00,430
MY FAMILY, MY MOM IS UP HERE
3259
02:23:00,430 --> 02:23:02,130
SOMEWHERE, I DON'T KNOW, SHE'LL
3260
02:23:02,130 --> 02:23:02,760
SCREAM.
3261
02:23:02,760 --> 02:23:06,560
THERE SHE IS.
3262
02:23:06,570 --> 02:23:10,770
MY -- MY PARALAX FAMILY, LUKE
3263
02:23:10,770 --> 02:23:11,870
LYNCH, YOU KNOW.
3264
02:23:11,870 --> 02:23:18,240
MY TEAM, ASHISH, CARRIE UP
3265
02:23:18,240 --> 02:23:18,510
THERE.
3266
02:23:18,510 --> 02:23:20,380
DAN AND DANIEL, WHEREVER YOU
3267
02:23:20,380 --> 02:23:21,750
ARE, YEAH, THERE YOU ARE.
3268
02:23:21,750 --> 02:23:24,350
I HOPE YOU KNOW -- YOU KNOW,
3269
02:23:24,350 --> 02:23:25,380
LOOK, YOUR FRIENDS, THE PEOPLE
3270
02:23:25,380 --> 02:23:26,010
WHO CARE ABOUT YOU, WE'RE NOT
3271
02:23:26,020 --> 02:23:30,530
HERE BECAUSE OF THE INCREDIBLE,
3272
02:23:30,520 --> 02:23:33,090
WONDERFUL STRANGE MOVIES YOU
3273
02:23:33,090 --> 02:23:34,020
MAKE, WE'RE HERE BECAUSE YOU ARE
3274
02:23:34,030 --> 02:23:39,700
INCREDIBLE, KIND, DJENGGENEROUSY
3275
02:23:39,700 --> 02:23:39,970
PEOPLE.
3276
02:23:39,970 --> 02:23:42,270
AND IF THIS GOES AWAY, WE'RE
3277
02:23:42,270 --> 02:23:42,770
STILL WITH YOU.
3278
02:23:42,770 --> 02:23:44,410
TO THE CAST, IT'S BEEN THE HONOR
3279
02:23:44,400 --> 02:23:46,200
OF MY CAREER.
3280
02:23:46,210 --> 02:23:48,650
I HOPE I DID RIGHT BY YOU.
3281
02:23:48,640 --> 02:23:49,980
I CARE DEEPLY ABOUT EVERY ONE OF
3282
02:23:49,980 --> 02:23:50,880
YOU, SO -- YEAH.
3283
02:23:50,880 --> 02:23:59,160
THANK YOU.
3284
02:23:59,150 --> 02:24:09,830
>> NOT ONLY WAS PAUL'S SECOND
3285
02:24:09,830 --> 02:24:12,730
MOVIE, HE EDITED THE WHOLE THING
3286
02:24:12,730 --> 02:24:13,700
WHILE TRIPPING.
3287
02:24:13,700 --> 02:24:16,070
I THINK THAT'S VERY IMPRESSIVE.
3288
02:24:16,070 --> 02:24:17,610
ANYONE WHO HAS EVER RECEIVED A
3289
02:24:17,600 --> 02:24:20,540
TEXT MESSAGE FROM THEIR FATHER
3290
02:24:20,540 --> 02:24:21,940
KNOWS HOW IMPORTANT EDITING IS.
3291
02:24:21,940 --> 02:24:28,010
EDITORS -- DO AMAZING THINGS.
3292
02:24:28,010 --> 02:24:30,710
EDITORS CAN TURN 44,000 HOURS OF
3293
02:24:30,720 --> 02:24:32,760
VIOLENT INSURRECTION FOOTAGE
3294
02:24:32,750 --> 02:24:34,390
INTO A RESPECTFUL SIGHT-SEEING
3295
02:24:34,390 --> 02:24:39,860
TOUR OF THE CAPITOL.
3296
02:24:39,860 --> 02:24:42,300
THEIR WORK IS UNDERAPPRECIATED.
3297
02:24:42,300 --> 02:24:44,870
AND NOW HERE TO PRESENT THE
3298
02:24:44,860 --> 02:24:48,630
AWARD FOR DIRECTING, IDRIS ELBA
3299
02:24:48,630 --> 02:24:56,100
AND OSCAR WINNER NICOLE KIDMAN.
3300
02:24:56,110 --> 02:25:04,150
>> AT THE VERY FIRST OSCARS, TWO
3301
02:25:04,150 --> 02:25:05,220
AWARDS WERE PRESENTED FOR
3302
02:25:05,220 --> 02:25:06,290
DIRECTING.
3303
02:25:06,290 --> 02:25:07,860
ONE FOR COMEDY AND ONE FOR
3304
02:25:07,850 --> 02:25:10,650
DRAMA.
3305
02:25:10,660 --> 02:25:12,130
BUT THE FOLLOWING YEAR, THE
3306
02:25:12,120 --> 02:25:13,490
DIRECTING AWARDS WERE COMBINED
3307
02:25:13,490 --> 02:25:15,530
TO ACKNOWLEDGE THAT THE GENRE OF
3308
02:25:15,530 --> 02:25:17,030
THE MOVIE ISN'T WHAT MATTERS
3309
02:25:17,030 --> 02:25:19,500
MOST, BUT RATHER, THE VISION AND
3310
02:25:19,500 --> 02:25:21,340
SKILL OF THE FILMMAKER BRINGING
3311
02:25:21,330 --> 02:25:23,470
THE STORY TO THE BIG SCREEN.
3312
02:25:23,470 --> 02:25:26,810
>> THE MARK OF A CINEMATIC
3313
02:25:26,810 --> 02:25:30,650
GENIUS IS TO CRAFT AN EXPERIENCE
3314
02:25:30,640 --> 02:25:31,270
THAT NOT ONLY ENTERTAINS US FOR
3315
02:25:31,280 --> 02:25:32,480
A FEW HOURS, BUT ALSO STAYS WITH
3316
02:25:32,480 --> 02:25:35,680
US FOR A LIFETIME AND REMINDS US
3317
02:25:35,680 --> 02:25:36,280
WHY WE FELL IN LOVE WITH THE
3318
02:25:36,280 --> 02:25:38,580
MOVIES.
3319
02:25:38,580 --> 02:25:39,110
HERE ARE THE NOMINEES FOR
3320
02:25:39,120 --> 02:25:45,360
ACHIEVEMENT IN DIRECTING.
3321
02:25:45,360 --> 02:25:46,760
MARTIN McDONAGH, "THE BANSHEES
3322
02:25:46,760 --> 02:25:47,090
OF INISHERIN."
3323
02:25:47,090 --> 02:25:47,990
DANIEL KWAN AND
3324
02:25:47,990 --> 02:25:49,020
DANIEL SCHEINERT, "EVERYTHING
3325
02:25:49,030 --> 02:25:51,670
EVERYWHERE ALL AT ONCE."
3326
02:25:51,660 --> 02:25:54,800
STEVEN SPIELBERG, "THE
3327
02:25:54,800 --> 02:25:55,330
FABELMANS."
3328
02:25:55,330 --> 02:25:58,000
TODD FIELD, "TAR."
3329
02:25:58,000 --> 02:25:58,570
RUBEN OSTLUND, "TRIANGLE OF
3330
02:25:58,570 --> 02:26:05,680
SADNESS."
3331
02:26:05,680 --> 02:26:06,410
>> ALL RIGHT.
3332
02:26:06,410 --> 02:26:11,520
AND THE OSCAR GOES TO --
3333
02:26:11,520 --> 02:26:13,820
"EVERYTHING EVERYWHERE ALL AT
3334
02:26:13,820 --> 02:26:14,150
ONCE."
3335
02:26:14,150 --> 02:26:23,330
DANIEL KWAN AND DANIEL SCHEINRT.
3336
02:26:23,330 --> 02:26:23,730
KN
3337
02:26:23,730 --> 02:26:24,770
>> KNOWN AS THE DANIELS, THEY
3338
02:26:24,760 --> 02:26:26,730
MET STUDYING IN BOSTON.
3339
02:26:26,730 --> 02:26:28,870
THEY BEGAN THEIR CAREER AS MUSIC
3340
02:26:28,870 --> 02:26:35,680
VIDEO DIRECTORS.
3341
02:26:35,680 --> 02:26:36,950
>> OH, MY GOD.
3342
02:26:36,940 --> 02:26:39,210
THANK YOU, SIR.
3343
02:26:39,210 --> 02:26:40,810
OUR FELLOW NOMINEES, YOU GUYS
3344
02:26:40,810 --> 02:26:41,210
ARE OUR HEROES.
3345
02:26:41,210 --> 02:26:43,980
THIS IS WEIRD.
3346
02:26:43,980 --> 02:26:45,680
I -- WE WANT TO DEDICATE THIS TO
3347
02:26:45,690 --> 02:26:47,460
THE MOMMIES, ALL THE MOMMIES OF
3348
02:26:47,450 --> 02:26:50,990
THE WORLD, TO OUR MOMS.
3349
02:26:50,990 --> 02:26:52,290
SPECIFICALLY MY MOM AND DAD, KEN
3350
02:26:52,290 --> 02:26:54,590
AND BECKY, THANK YOU FOR NOT
3351
02:26:54,590 --> 02:26:55,860
SQUASHING MY CREATIVITY WHEN I
3352
02:26:55,860 --> 02:26:58,000
WAS MAKING DISTURBING HORROR
3353
02:26:58,000 --> 02:27:00,470
FILMS OR PERVERTED COMEDY FILMS
3354
02:27:00,470 --> 02:27:02,210
OR DRESSING IN DRAG AS A KID,
3355
02:27:02,200 --> 02:27:05,040
WHICH IS A THREAT TO NOBODY.
3356
02:27:05,040 --> 02:27:08,540
AND -- YEAH, THANK YOU TO
3357
02:27:08,540 --> 02:27:09,140
EVERYBODY WHO WORKED ON OUR
3358
02:27:09,140 --> 02:27:10,740
MOVIE.
3359
02:27:10,740 --> 02:27:12,640
>> I KNOW EVERY DIRECTOR AGREES
3360
02:27:12,650 --> 02:27:14,220
WITH ME WHEN I SAY A DIRECTOR IS
3361
02:27:14,210 --> 02:27:15,310
NOTHING WITHOUT THEIR INCREDIBLE
3362
02:27:15,310 --> 02:27:16,240
CAST AND CREW.
3363
02:27:16,250 --> 02:27:18,850
THIS IS MY FAMILY, MY FRIENDS.
3364
02:27:18,850 --> 02:27:21,020
IF OUR MOVIE HAS GREATNESS AND
3365
02:27:21,020 --> 02:27:22,150
GENIUS, IT'S ONLY BECAUSE THEY
3366
02:27:22,150 --> 02:27:24,320
HAVE GREATNESS AND GENIUS
3367
02:27:24,320 --> 02:27:25,520
FLOWING THROUGH THEIR HEARTS AND
3368
02:27:25,520 --> 02:27:28,720
SOULS AND MINDS AND GAVE THAT
3369
02:27:28,730 --> 02:27:30,000
PRECIOUS GIFT TO OUR FILM.
3370
02:27:30,000 --> 02:27:31,200
THE WORLD IS OPENING UP TO THE
3371
02:27:31,200 --> 02:27:32,840
FACT THAT GENIUS DOES NOT STEM
3372
02:27:32,830 --> 02:27:34,300
FROM INDIVIDUALS LIKE US ON
3373
02:27:34,300 --> 02:27:36,140
STAGE, BUT RATHER GENIUS EMERGES
3374
02:27:36,140 --> 02:27:37,170
FROM THE COLLECTIVE.
3375
02:27:37,170 --> 02:27:38,470
W ARE ALL PRODUCTS OF OUR
3376
02:27:38,470 --> 02:27:38,770
CONTEXT.
3377
02:27:38,770 --> 02:27:41,910
WE ARE ALL DESCENDANTS OF
3378
02:27:41,910 --> 02:27:43,380
SOMETHING AND SOMEONE AND I WANT
3379
02:27:43,380 --> 02:27:45,350
TO ACKNOWLEDGE MY CONTEXT, MY
3380
02:27:45,340 --> 02:27:46,310
IMMIGRANT PARENTS, MY FATHER,
3381
02:27:46,310 --> 02:27:48,280
WHO FELL IN LOVE WITH MOVIES,
3382
02:27:48,280 --> 02:27:50,180
BECAUSE HE NEEDED TO ESCAPE THE
3383
02:27:50,180 --> 02:27:52,250
WORLD AND PASSED THAT LOVE TO
3384
02:27:52,250 --> 02:27:52,420
ME.
3385
02:27:52,420 --> 02:27:54,390
MY MOTHER, WHO WANTED TO BE A
3386
02:27:54,390 --> 02:27:55,890
DANCER, AN ACTOR, A SINGER,
3387
02:27:55,890 --> 02:27:57,460
COULD NOT AFFORD THE LUXURY OF
3388
02:27:57,460 --> 02:27:59,000
THAT LIFE PATH AND GAVE IT TO
3389
02:27:58,990 --> 02:27:59,660
ME.
3390
02:27:59,660 --> 02:28:00,900
MY INCREDIBLE BROTHERS AND
3391
02:28:00,890 --> 02:28:02,430
SISTERS WHO HELPED ME SURVIVE
3392
02:28:02,430 --> 02:28:03,770
THE CHAOS OF CHILDHOOD.
3393
02:28:03,760 --> 02:28:06,230
MY FRIENDS WHO HIGH SCHOOL
3394
02:28:06,230 --> 02:28:07,100
WHO -- SORRY, I'M GOING TO KEEP
3395
02:28:07,100 --> 02:28:08,740
GOING.
3396
02:28:08,730 --> 02:28:11,070
THE RCCC, YOU TAUGHT ME THE
3397
02:28:11,070 --> 02:28:13,410
LIBERATING FREEDOM OF CREATIVITY
3398
02:28:13,410 --> 02:28:14,310
AND JOY.
3399
02:28:14,310 --> 02:28:20,980
MY INCREDIBLE SON GIO, YOU
3400
02:28:20,980 --> 02:28:22,580
REARRANGE MY DNA EVERY DAY, IT'S
3401
02:28:22,580 --> 02:28:23,580
AWFUL AND BEAUTIFUL AT THE SAME
3402
02:28:23,580 --> 02:28:23,780
TIME.
3403
02:28:23,780 --> 02:28:24,510
IF YOU EVER WATCH THIS, I HOPE
3404
02:28:24,520 --> 02:28:26,360
YOU KNOW THAT YOU SHOULD NEVER
3405
02:28:26,350 --> 02:28:27,920
HAVE TO LIVE UP TO THE STANDARD,
3406
02:28:27,920 --> 02:28:28,920
THIS IS NOT NORMAL.
3407
02:28:28,920 --> 02:28:30,090
THIS IS KIND OF CRAZY.
3408
02:28:30,090 --> 02:28:32,730
I WILL LOVE YOU NO MATTER WHAT.
3409
02:28:32,730 --> 02:28:47,680
I -- AND LASTLY, I WANT TO GO
3410
02:28:47,670 --> 02:28:49,170
BACK TO MY ORIGINAL POINT, THERE
3411
02:28:49,180 --> 02:28:51,220
IS GREATNESS IN EVERY PERSON.
3412
02:28:51,210 --> 02:28:52,340
DOESN'T MATTER WHO THEY ARE.
3413
02:28:52,340 --> 02:28:54,040
YOU HAVE A GENIUS THAT IS
3414
02:28:54,050 --> 02:28:54,980
WAITING TO ERUPT.
3415
02:28:54,980 --> 02:28:56,080
YOU JUST NEED TO FIND THE RIGHT
3416
02:28:56,080 --> 02:28:57,020
PEOPLE TO UNLOCK THAT.
3417
02:28:57,020 --> 02:28:58,350
THANK YOU SO MUCH TO EVERYONE
3418
02:28:58,350 --> 02:28:59,690
WHO HAS UNLOCKED MY GENIUS.
3419
02:28:59,690 --> 02:29:00,860
THIS MEANS SO MUCH TO US.
3420
02:29:00,850 --> 02:29:07,090
THANK YOU TO THE ACADEMY.
3421
02:29:07,090 --> 02:29:13,060
♪
3422
02:29:13,070 --> 02:29:14,670
>> Announcer: COMING UP,
3423
02:29:14,670 --> 02:29:15,700
JESSICA CHASTAIN AND HALLE BERRY
3424
02:29:15,700 --> 02:29:16,230
WITH LEAD ACTOR AND LEAD
3425
02:29:16,240 --> 02:29:17,840
ACTRESS.
3426
02:29:17,840 --> 02:29:20,810
PLUS, HARRISON FORD AND
3427
02:29:20,810 --> 02:29:22,310
PRESENTS BEST PICTURE.
3428
02:29:28,200 --> 02:29:34,590
♪
3429
02:29:34,590 --> 02:29:36,930
>>> WELCOME BACK TO THE OSCARS.
3430
02:29:36,920 --> 02:29:37,890
CONGRATULATIONS TO THE DANIELS
3431
02:29:37,890 --> 02:29:39,460
ON THEIR JOINT WIN FOR
3432
02:29:39,460 --> 02:29:39,730
DIRECTING.
3433
02:29:39,730 --> 02:29:41,270
WHAT A GREAT SPEECH.
3434
02:29:41,260 --> 02:29:42,830
SO MANY GREAT SPEECHES TONIGHT.
3435
02:29:42,830 --> 02:29:44,130
YOU KNOW, THERE WAS A TIME IN
3436
02:29:44,130 --> 02:29:45,770
THIS COUNTRY WHEN TWO MEN
3437
02:29:45,760 --> 02:29:47,830
WOULDN'T HAVE BEEN ALLOWED TO
3438
02:29:47,830 --> 02:29:51,170
SHARE CUSTODY OF AN OSCAR AND I
3439
02:29:51,170 --> 02:29:51,870
YOU T
3440
02:29:51,870 --> 02:29:52,400
THINK IT'S WONDERFUL.
3441
02:29:52,400 --> 02:29:53,540
THIS IS INTERESTING.
3442
02:29:53,540 --> 02:29:54,940
THE LAST DIRECTING TEAM TO WIN
3443
02:29:54,940 --> 02:29:58,810
AN OSCAR WAS CONGRESSMAN GEORGE
3444
02:29:58,810 --> 02:30:03,050
SANTOS.
3445
02:30:03,050 --> 02:30:04,550
WE ONLY HAVE THREE AWARDS LEFT
3446
02:30:04,550 --> 02:30:05,080
TO GO.
3447
02:30:05,080 --> 02:30:06,410
BUT WE'RE GOING TO STRETCH THEM
3448
02:30:06,420 --> 02:30:07,820
OUT AND REALLY MAKE A MEAL OUT
3449
02:30:07,820 --> 02:30:09,520
OF THEM.
3450
02:30:09,520 --> 02:30:11,420
HERE TO PRESENT ACTOR AND
3451
02:30:11,420 --> 02:30:12,560
ACTRESS IN A LEADIN ROLE,
3452
02:30:12,560 --> 02:30:14,930
PLEASE WELCOME OSCAR WINNERS
3453
02:30:14,930 --> 02:30:15,500
JESSICA CHASTAIN AND HALLE
3454
02:30:15,490 --> 02:30:23,900
BERRY.
3455
02:30:23,900 --> 02:30:42,250
>> WHEN AN ACTOR OR ACTRESS
3456
02:30:42,250 --> 02:30:42,880
FIRST APPROACHES A ROLE, WE USE
3457
02:30:42,890 --> 02:30:43,820
EVERY TOOL AT OUR DISPOSAL TO
3458
02:30:43,820 --> 02:30:44,450
HELP US CREATE THE WORLD OF THE
3459
02:30:44,460 --> 02:30:46,460
CHARACTER.
3460
02:30:46,460 --> 02:30:50,160
>> YOU CAN FIND VALUABLE PIECES
3461
02:30:50,160 --> 02:30:52,260
OF INSIGHT FROM ANYTHING AROUND
3462
02:30:52,260 --> 02:30:56,160
YOU, THE SCRIPT, THE DIRECTOR,
3463
02:30:56,170 --> 02:30:58,470
OUR FELLOW ACTORS, THE COSTUME,
3464
02:30:58,470 --> 02:31:00,910
EVERYTHING.
3465
02:31:00,910 --> 02:31:01,510
>> YET IT'S WHAT A PERFORMER
3466
02:31:01,510 --> 02:31:02,510
BRINGS TO THE ROLE PERSONALLY,
3467
02:31:02,510 --> 02:31:03,140
THAT TRULY BRINGS THAT CHARACTER
3468
02:31:03,140 --> 02:31:05,080
INTO EXISTENCE.
3469
02:31:05,080 --> 02:31:06,680
THESE NOMINEES SHOWED
3470
02:31:06,680 --> 02:31:07,310
INTELLIGENCE, CURIOSITY, AND A
3471
02:31:07,310 --> 02:31:07,910
COMMITMENT TO REVEALING THEIR
3472
02:31:07,910 --> 02:31:09,350
CHARACTERS' HUMANITY IN EVERY
3473
02:31:09,350 --> 02:31:12,450
ASPECT OF THEIR PORTRAYALS.
3474
02:31:12,450 --> 02:31:13,520
>> HERE ARE THE NOMINEES FOR
3475
02:31:13,520 --> 02:31:14,120
PERFORMANCE BY AN ACTOR IN A
3476
02:31:14,120 --> 02:31:17,190
LEADING ROLE.
3477
02:31:17,190 --> 02:31:20,330
AUSTIN BUTLER, "ELVIS."
3478
02:31:20,330 --> 02:31:21,700
>> I'M GOING TO SHOW YOU WHAT
3479
02:31:21,690 --> 02:31:26,060
THE REAL ELVIS IS LIKE TONIGHT.
3480
02:31:26,070 --> 02:31:33,040
♪
3481
02:31:33,040 --> 02:31:33,370
I'M READY.
3482
02:31:33,370 --> 02:31:39,740
READY TO FLY.
3483
02:31:39,750 --> 02:31:43,420
>> COLIN FARRELL, "THE BANSHEES
3484
02:31:43,420 --> 02:31:46,520
OF INISHERIN."
3485
02:31:46,520 --> 02:31:50,930
>> NICE, GOOD GUYS.
3486
02:31:50,920 --> 02:31:52,620
YOU USED TO BE NICE.
3487
02:31:52,630 --> 02:31:54,800
OR DID YOU NEVER USED TO BE?
3488
02:31:54,790 --> 02:31:57,430
OH, GOD.
3489
02:31:57,430 --> 02:32:03,770
MAYBE YOU NEVER USED TO BE.
3490
02:32:03,770 --> 02:32:07,440
>> BRENDAN FRASER, "THE WHALE."
3491
02:32:07,440 --> 02:32:11,280
>> YOU'RE AN AMAZING PERSON,
3492
02:32:11,280 --> 02:32:11,580
ALLIE.
3493
02:32:11,580 --> 02:32:14,920
I COULDN'T ASK FOR A MORE
3494
02:32:14,910 --> 02:32:15,410
INCREDIBLE DAUGHTER.
3495
02:32:15,410 --> 02:32:16,680
>> ARE YOU TRYING TO PARENT ME
3496
02:32:16,680 --> 02:32:17,310
RIGHT NOW?
3497
02:32:17,320 --> 02:32:20,220
>> ALLIE, LOOK AT ME.
3498
02:32:20,220 --> 02:32:21,490
WHO WOULD WANT ME TO BE A PART
3499
02:32:21,490 --> 02:32:25,930
OF THEIR LIFE?
3500
02:32:25,920 --> 02:32:29,460
>> PAUL MESCAL, "AFTERSUN."
3501
02:32:29,460 --> 02:32:30,530
>> NEVER KNOW WHERE YOU'LL END
3502
02:32:30,530 --> 02:32:33,700
UP.
3503
02:32:33,700 --> 02:32:34,800
YOU CAN LIVE WHEREVER YOU WANT
3504
02:32:34,800 --> 02:32:35,670
TO LIVE.
3505
02:32:35,670 --> 02:32:36,800
YOU CAN BE WHOEVER YOU WANT TO
3506
02:32:36,800 --> 02:32:39,070
BE.
3507
02:32:39,070 --> 02:32:47,510
YOU HAVE TIME.
3508
02:32:47,510 --> 02:32:50,410
>> BILL NIGHY, "LIVING."
3509
02:32:50,420 --> 02:32:52,490
>> WHAT IS IT?
3510
02:32:52,480 --> 02:32:54,120
A SMALL WONDER I DIDN'T NOTICE
3511
02:32:54,120 --> 02:32:56,320
WHAT I WAS BECOMING.
3512
02:32:56,320 --> 02:32:57,790
THEN I REMEMBERED WHAT IT WAS
3513
02:32:57,790 --> 02:33:03,300
LIKE TO BE ALIVE.
3514
02:33:03,300 --> 02:33:07,100
YOU'VE ONLY TO BE ALIVE LIKE
3515
02:33:07,100 --> 02:33:11,240
THAT FOR ONE DAY.
3516
02:33:11,240 --> 02:33:21,850
>> AND THE OSCAR GOES TO --
3517
02:33:21,850 --> 02:33:26,490
BRENDAN FRASER, "THE WHALE."
3518
02:33:26,490 --> 02:33:28,830
>> AS A CHILD, BRENDAN FRASER
3519
02:33:28,820 --> 02:33:29,990
DEVELOPED AN INTEREST IN ACTING
3520
02:33:29,990 --> 02:33:31,990
AFTER SEEING A WEST END
3521
02:33:31,990 --> 02:33:32,590
PERFORMANCE OF THE MUSICAL
3522
02:33:32,590 --> 02:33:42,030
"OLIVER."
3523
02:33:42,030 --> 02:33:58,650
>> THANK YOU, THANK YOU.
3524
02:33:58,650 --> 02:33:59,850
SO THIS IS WHAT THE MULTIVERSE
3525
02:33:59,850 --> 02:34:01,220
LOOKS LIKE.
3526
02:34:01,220 --> 02:34:02,320
OH.
3527
02:34:02,320 --> 02:34:04,960
MY GOODNESS.
3528
02:34:04,960 --> 02:34:07,600
I THANK THE ACADEMY FOR THIS
3529
02:34:07,590 --> 02:34:09,590
HONOR AND FOR OUR STUDIO A-24
3530
02:34:09,600 --> 02:34:10,800
FOR MAKING SUCH A BOLD FILM.
3531
02:34:10,800 --> 02:34:16,340
AND -- I'M GRATEFUL TO DARREN
3532
02:34:16,340 --> 02:34:19,140
FOR THROWING ME A CREATIVE
3533
02:34:19,140 --> 02:34:20,610
LIFETIME AND HAULING ME ABOARD
3534
02:34:20,610 --> 02:34:23,110
THE GOOD SHIP "THE WHALE."
3535
02:34:23,110 --> 02:34:24,910
IT WAS WRITTEN BY SAMUEL D.
3536
02:34:24,910 --> 02:34:30,650
HUNTER WHO IS OUR LIGHTHOUSE.
3537
02:34:30,650 --> 02:34:33,790
GENTLEMEN, YOU LAID YOUR
3538
02:34:33,790 --> 02:34:36,160
WHALE-SIZED HEARTS BARE SO THAT
3539
02:34:36,160 --> 02:34:39,030
WE COULD SEE INTO YOUR SOULS
3540
02:34:39,020 --> 02:34:39,990
LIKE NO ONE ELSE COULD DO AND IT
3541
02:34:39,990 --> 02:34:43,530
IS MY HONOR TO BE NAMED
3542
02:34:43,530 --> 02:34:57,440
ALONGSIDE YOU IN THIS CATEGORY.
3543
02:34:57,440 --> 02:34:59,580
I WANT TO TELL YOU THAT ONLY
3544
02:34:59,580 --> 02:35:01,450
WHALES CAN SWIM AT THE DEPTH OF
3545
02:35:01,450 --> 02:35:08,830
THE TALENT OF HONG CHAU, AND I
3546
02:35:08,820 --> 02:35:09,450
STARTED IN THIS BUSINESS 30
3547
02:35:09,450 --> 02:35:13,450
YEARS AGO, AND THINGS -- THEY
3548
02:35:13,460 --> 02:35:15,000
DIDN'T COME EASILY TO ME, BUT
3549
02:35:14,990 --> 02:35:15,590
THERE WAS A FACILITY THAT I
3550
02:35:15,590 --> 02:35:18,890
DIDN'T -- I DOESN'T APPRECIATE
3551
02:35:18,900 --> 02:35:21,170
AT THE TIME UNTIL IT STOPPED.
3552
02:35:21,170 --> 02:35:25,170
AND I JUST WANT TO SAY THANK YOU
3553
02:35:25,170 --> 02:35:27,270
FOR THIS ACKNOWLEDGEMENT,
3554
02:35:27,270 --> 02:35:29,240
BECAUSE IT COULDN'T BE DONE
3555
02:35:29,240 --> 02:35:34,650
WITHOUT MY CAST, IT'S BEEN LIKE
3556
02:35:34,650 --> 02:35:36,450
I'VE BEEN IN A DIVING EXPEDITION
3557
02:35:36,450 --> 02:35:37,920
AT THE BOTTOM OF THE OCEAN AND
3558
02:35:37,920 --> 02:35:39,860
THE AIR ON THE LINE TO THE
3559
02:35:39,850 --> 02:35:40,920
SURFACE IS ON A LAUNCH BEING
3560
02:35:40,920 --> 02:35:43,120
WATCHED OVER BY SOME PEOPLE IN
3561
02:35:43,120 --> 02:35:48,060
MY LIFE, LIKE MY SONS, HOLDEN
3562
02:35:48,060 --> 02:35:50,230
AND LELAND AND GRIFFIN.
3563
02:35:50,230 --> 02:35:51,230
I LOVE YOU.
3564
02:35:51,230 --> 02:35:56,740
MY MANAGER JOANN, JENNIFER
3565
02:35:56,740 --> 02:36:01,750
PLANT, AND MY BEST FIRST MEATE,
3566
02:36:01,740 --> 02:36:02,110
JEANNE.
3567
02:36:02,110 --> 02:36:03,880
THANK YOU, AGAIN, EACH ONE AND
3568
02:36:03,880 --> 02:36:04,110
ALL.
3569
02:36:04,110 --> 02:36:04,610
I'M SO GRATEFUL TO YOU.
3570
02:36:04,610 --> 02:36:15,990
GOOD NIGHT.
3571
02:36:15,990 --> 02:36:24,600
>> AND NOW, HERE ARE THE
3572
02:36:24,600 --> 02:36:26,170
NOMINEES FOR PERFORMANCE BY AN
3573
02:36:26,160 --> 02:36:29,860
ACTRESS IN A LEADING ROLE.
3574
02:36:29,870 --> 02:36:31,910
CATE BLANCHETT, "TAR."
3575
02:36:31,900 --> 02:36:34,040
>> YOU WANT TO DANCE THE MASK,
3576
02:36:34,040 --> 02:36:37,780
YOU MUST SERVICE THE COMPOSER.
3577
02:36:37,780 --> 02:36:42,450
YOU GOT TO SUBLIMATE YOURSELF.
3578
02:36:42,450 --> 02:36:45,090
YOU MUST IN FACT STAND IN FRONT
3579
02:36:45,080 --> 02:36:45,850
OF THE PUBLIC AND GOD AND
3580
02:36:45,850 --> 02:36:52,520
OBLITERATE YOURSELF.
3581
02:36:52,520 --> 02:36:58,330
>> ANA DE ARMAS, "BLONDE."
3582
02:36:58,330 --> 02:37:03,500
>> IMAGINE YOU BELONG.
3583
02:37:03,500 --> 02:37:04,030
PEOPLE LOVE YOU.
3584
02:37:04,040 --> 02:37:09,010
THEY WANT YOU.
3585
02:37:09,010 --> 02:37:09,680
JUST THAT ALONE IS WORTH
3586
02:37:09,680 --> 02:37:15,450
ANYTHING.
3587
02:37:15,450 --> 02:37:23,290
>> ANDREA RISEBOROUGH, "TO
3588
02:37:23,290 --> 02:37:23,720
LE
3589
02:37:23,720 --> 02:37:23,950
LESLIE."
3590
02:37:23,960 --> 02:37:25,630
>> I'M DONE WITH HIDING.
3591
02:37:25,620 --> 02:37:26,650
I'M DONE WITH BEING RUN OFF.
3592
02:37:26,660 --> 02:37:28,200
I WANT TO BE A GOOD MOMMA.
3593
02:37:28,190 --> 02:37:34,930
I WANT TO BE A GOOD MOMMA AGAIN.
3594
02:37:34,930 --> 02:37:35,700
>> MICHELLE WILLIAMS, "THE
3595
02:37:35,700 --> 02:37:38,840
FABLESMANS."
3596
02:37:38,840 --> 02:37:41,580
>> DESPITE MY COUNTLESS FAULTS,
3597
02:37:41,570 --> 02:37:43,070
I'M NOT RUINING EVERYTHING FOR
3598
02:37:43,080 --> 02:37:43,350
EVERYONE.
3599
02:37:43,340 --> 02:37:47,180
I'M GOING TO NOT BE SELFISH.
3600
02:37:47,180 --> 02:37:54,190
I'M GOING TO BE YOUR MOM.
3601
02:37:54,190 --> 02:37:56,460
>> MICHELLE YEOH, "EVERYTHING
3602
02:37:56,460 --> 02:37:57,760
EVERYWHERE ALL AT ONCE."
3603
02:37:57,760 --> 02:37:59,360
>> MAYBE THERE IS SOMETHING OUT
3604
02:37:59,360 --> 02:38:01,130
THERE, SOMETHING THAT EXPLAINS
3605
02:38:01,130 --> 02:38:04,600
WHY, NO MATTER WHAT, I STILL
3606
02:38:04,600 --> 02:38:07,770
WANT TO BE HERE WITH YOU.
3607
02:38:07,770 --> 02:38:10,440
I WILL ALWAYS WANT TO BE HERE
3608
02:38:10,440 --> 02:38:17,880
WITH YOU.
3609
02:38:17,880 --> 02:38:28,260
>> AND THE OSCAR GOES TO --
3610
02:38:28,250 --> 02:38:29,080
MICHELLE YEOH, "EVERYTHING
3611
02:38:29,090 --> 02:38:32,790
EVERYWHERE ALL AT ONCE."
3612
02:38:32,790 --> 02:38:36,560
>> AS A CHILD, MICHELLE YEOH
3613
02:38:36,560 --> 02:38:37,800
STUDIED TO BECOME A BALLET
3614
02:38:37,800 --> 02:38:40,100
DANCER, AND DESPITE HER CAREER
3615
02:38:40,100 --> 02:38:42,770
IN ACTION FILMS, HAS NO FORMAL
3616
02:38:42,770 --> 02:38:52,450
TRAINING IN MARTIAL ARTS.
3617
02:38:52,440 --> 02:39:17,870
>> OH.
3618
02:39:17,870 --> 02:39:19,310
THANK YOU.
3619
02:39:19,300 --> 02:39:23,840
THANK YOU.
3620
02:39:23,840 --> 02:39:25,780
FOR ALL THE LITTLE BOYS AND
3621
02:39:25,780 --> 02:39:30,720
GIRLS WHO LOOK LIKE ME WATCHING
3622
02:39:30,720 --> 02:39:31,220
TON
3623
02:39:31,220 --> 02:39:32,690
TONIGHT, THIS IS A BEACON OF
3624
02:39:32,680 --> 02:39:34,480
HOPE AND POSSIBILITIES.
3625
02:39:34,490 --> 02:39:38,990
THIS IS PROOF THAT DREAMS DREAM
3626
02:39:38,990 --> 02:39:41,590
BIG AND DREAMS DO COME TRUE.
3627
02:39:41,590 --> 02:39:44,030
AND LADIES, DON'T LET ANYBODY
3628
02:39:44,030 --> 02:39:47,300
TELL YOU YOU ARE EVER PAST YOUR
3629
02:39:47,300 --> 02:39:47,500
PRIME.
3630
02:39:47,500 --> 02:40:02,320
NEVER GIVE UP.
3631
02:40:02,310 --> 02:40:03,340
I WOULDN'T BE STANDING HERE
3632
02:40:03,350 --> 02:40:05,520
TONIGHT WITHOUT THE DANIELS,
3633
02:40:05,520 --> 02:40:06,990
WITHOUT A-24, WITHOUT MY AMAZING
3634
02:40:06,990 --> 02:40:10,130
CAST AND CREW, WITHOUT EVERYONE
3635
02:40:10,120 --> 02:40:12,390
WHO WAS INVOLVED WITH
3636
02:40:12,390 --> 02:40:13,020
"EVERYTHING EVERYWHERE ALL AT
3637
02:40:13,020 --> 02:40:16,990
ONCE."
3638
02:40:17,000 --> 02:40:23,240
BUT -- I HAVE TO DEDICATE THIS
3639
02:40:23,240 --> 02:40:24,880
TO MY MOM, ALL THE MOMS IN THE
3640
02:40:24,870 --> 02:40:28,370
WORLD, BECAUSE THEY ARE REALLY
3641
02:40:28,370 --> 02:40:30,910
THE SUPERHEROES, AND WITHOUT
3642
02:40:30,910 --> 02:40:31,710
THEM, NONE OF US WILL BE HERE
3643
02:40:31,710 --> 02:40:45,060
TONIGHT.
3644
02:40:45,060 --> 02:40:47,030
SHE'S 84, AND I'M TAKING THIS
3645
02:40:47,030 --> 02:40:47,760
HOME TO HER.
3646
02:40:47,760 --> 02:40:50,030
SHE'S WATCHING RIGHT NOW IN
3647
02:40:50,030 --> 02:40:53,270
MALAYSIA WITH MY FAMILY AND
3648
02:40:53,270 --> 02:40:53,500
FRIENDS.
3649
02:40:53,500 --> 02:40:54,430
I LOVE YOU GUYS.
3650
02:40:54,430 --> 02:40:57,230
I'M BRINGING THIS HOME TO YOU.
3651
02:40:57,240 --> 02:40:59,380
AND ALSO TO MY EXTENDED FAMILY
3652
02:40:59,370 --> 02:41:01,140
IN HONG KONG, WHERE I STARTED MY
3653
02:41:01,140 --> 02:41:02,580
CAREER.
3654
02:41:02,570 --> 02:41:03,770
THANK YOU FOR LETTING ME STAND
3655
02:41:03,780 --> 02:41:05,320
ON YOUR SHOULDERS, GIVING ME A
3656
02:41:05,310 --> 02:41:07,150
LEG UP SO THAT I COULD BE HERE
3657
02:41:07,150 --> 02:41:08,250
TODAY.
3658
02:41:08,250 --> 02:41:11,450
AND TO MY GODCHILDREN, TO MY
3659
02:41:11,450 --> 02:41:14,520
SISTERS, ALL OF THEM, TO MY
3660
02:41:14,520 --> 02:41:18,120
BROTHERS, OH, GOD, TO MY FAMILY.
3661
02:41:18,120 --> 02:41:19,120
THANK YOU.
3662
02:41:19,120 --> 02:41:20,760
THANK YOU.
3663
02:41:20,760 --> 02:41:22,630
THANK YOU TO THE ACADEMY, THIS
3664
02:41:22,630 --> 02:41:23,230
IS HISTORY IN THE MAKING.
3665
02:41:23,230 --> 02:41:34,470
THANK YOU.
3666
02:41:34,470 --> 02:41:46,980
>> Announcer: AND NOW, PLEASE
3667
02:41:46,990 --> 02:41:49,290
WELCOME ACADEMY AWARD NOMINEE
3668
02:41:49,290 --> 02:41:58,170
HARRISON FORD.
3669
02:41:58,160 --> 02:42:02,830
>> THANK YOU.
3670
02:42:02,830 --> 02:42:05,600
FROM INTIMATE STORIES
3671
02:42:05,600 --> 02:42:06,770
BLOCKBUSTERS, THE FILMS
3672
02:42:06,770 --> 02:42:11,010
NOMINATED FOR OUR FINAL AWARD
3673
02:42:11,010 --> 02:42:12,250
TONIGHT BROUGHT MOVIE THEATERS
3674
02:42:12,240 --> 02:42:16,110
AROUND THE WORLD BACK TO
3675
02:42:16,110 --> 02:42:16,380
THEATERS.
3676
02:42:16,380 --> 02:42:19,620
WHETHER PROVIDING A FEW HOURS OF
3677
02:42:19,620 --> 02:42:20,250
WELCOME ESCAPE, OR THE
3678
02:42:20,250 --> 02:42:23,290
OPPORTUNITY TO CONNECT
3679
02:42:23,290 --> 02:42:25,260
EMOTIONALLY WITH DIFFERENT
3680
02:42:25,260 --> 02:42:29,330
CULTURES.
3681
02:42:29,330 --> 02:42:32,630
OR INSPIRING REFLECTION,
3682
02:42:32,630 --> 02:42:33,830
ENCOURAGING EMPATHY.
3683
02:42:33,830 --> 02:42:36,700
MOVIES CAN TRANSFORM OUR LIVES.
3684
02:42:36,700 --> 02:42:41,870
THE MOVIES WE HONOR TONIGHT HAVE
3685
02:42:41,870 --> 02:42:42,340
REAL POWER.
3686
02:42:42,340 --> 02:42:47,280
ONCE AGAIN, HERE ARE THE
3687
02:42:47,280 --> 02:42:47,810
NOMINEES FOR BEST PICTURE.
3688
02:42:47,810 --> 02:42:50,310
"ALL QUIET ON THE WESTERN FRONT"
3689
02:42:50,320 --> 02:42:51,890
"AVATAR: THE WAY OF WATER"
3690
02:42:51,880 --> 02:42:53,950
"THE BANSHEES OF INISHERIN"
3691
02:42:53,950 --> 02:42:57,090
"ELVIS"
3692
02:42:57,090 --> 02:42:57,690
"EVERYTHING EVERYWHERE ALL AT
3693
02:42:57,690 --> 02:42:59,260
ONCE"
3694
02:42:59,260 --> 02:43:01,130
"THE FABELMANS"
3695
02:43:01,130 --> 02:43:03,430
"TAR"
3696
02:43:03,430 --> 02:43:06,070
"TOP GUN: MAVERICK"
3697
02:43:06,060 --> 02:43:11,230
"TRIANGLE OF SADNESS"
3698
02:43:11,240 --> 02:43:16,610
"WOMEN TALKING"
3699
02:43:16,610 --> 02:43:20,710
AND THE OSCAR GOES TO --
3700
02:43:20,710 --> 02:43:22,180
"EVERYTHING EVERYWHERE ALL AT
3701
02:43:22,180 --> 02:43:30,720
ONCE."
3702
02:43:30,720 --> 02:43:33,290
>> NOMINATED FOR 11 ACADEMY
3703
02:43:33,290 --> 02:43:34,790
AWARDS, "EVERYTHING EVERYWHERE
3704
02:43:34,790 --> 02:43:37,190
ALL AT ONCE" WON SEVEN OSCARS
3705
02:43:37,200 --> 02:43:38,470
TONIGHT FOR ACTOR IN A
3706
02:43:38,460 --> 02:43:39,930
SUPPORTING ROLE, ACTRESS IN A
3707
02:43:39,930 --> 02:43:41,500
SUPPORTING ROLE, ORIGINAL
3708
02:43:41,500 --> 02:43:43,700
SCREENPLAY, FILM EDITING,
3709
02:43:43,700 --> 02:43:45,470
DIRECTING, ACTRESS IN A LEADING
3710
02:43:45,470 --> 02:43:57,750
ROLE, AND BEST PICTURE.
3711
02:43:57,750 --> 02:44:12,370
>> THIS FEELS INCREDIBLE.
3712
02:44:12,360 --> 02:44:16,200
THERE IS NO MOVIE WITHOUT OUR
3713
02:44:16,200 --> 02:44:17,630
BRILLIANT AND BIG-HEARTED CAST
3714
02:44:17,640 --> 02:44:18,270
AND CREW.
3715
02:44:18,270 --> 02:44:20,210
BUT NOT JUST THESE BEAUTIFUL
3716
02:44:20,210 --> 02:44:22,750
SOULS HERE, ALSO UP THERE AND IN
3717
02:44:22,740 --> 02:44:24,840
LITTLE TOKYO, WE SEE YOU.
3718
02:44:24,840 --> 02:44:27,410
SO, THIS AWARD IS OURS.
3719
02:44:27,410 --> 02:44:32,080
I REALLY -- IT IS -- IT'S
3720
02:44:32,080 --> 02:44:33,050
INTIMIDATING SPEAKING UP HERE,
3721
02:44:33,050 --> 02:44:35,350
LET ME JUST TELL YOU THAT.
3722
02:44:35,350 --> 02:44:36,550
I NEVER THOUGHT I WOULD GET TO
3723
02:44:36,550 --> 02:44:38,690
SAY THIS, SO I SAY IT WITH ONE
3724
02:44:38,690 --> 02:44:39,860
VOICE WITH ALL THESE PEOPLE,
3725
02:44:39,860 --> 02:44:41,460
THANK YOU TO THE ACADEMY.
3726
02:44:41,460 --> 02:44:43,730
A-24, THANK YOU SO MUCH.
3727
02:44:43,730 --> 02:44:45,370
YOU SAW OUR WEIRDNESS AND
3728
02:44:45,360 --> 02:44:47,160
SUPPORTED US FOR A YEAR, THAT'S
3729
02:44:47,170 --> 02:44:48,870
INCREDIBLE, THANK YOU.
3730
02:44:48,870 --> 02:44:52,370
TO MY BRILLIANT AND BEAUTIFUL
3731
02:44:52,370 --> 02:44:55,510
WIFE, IF ALL THE SHINY STUFF AND
3732
02:44:55,510 --> 02:44:57,250
TUXEDOS GOES AWAY, I WOULD LOVE
3733
02:44:57,240 --> 02:44:59,240
TO DO LAUNDRY AND TAXES WITH YOU
3734
02:44:59,240 --> 02:45:00,840
FOR THE REST OF MY LIFE.
3735
02:45:00,850 --> 02:45:02,890
BUT THIS IS FOR MY DAD, WHO LIKE
3736
02:45:02,880 --> 02:45:04,280
SO MANY IMMIGRANT PARENTS DIED
3737
02:45:04,280 --> 02:45:07,180
YOUNG AND HE IS SO PROUD OF ME,
3738
02:45:07,190 --> 02:45:13,230
NOT BECAUSE OF THIS, BUT BECAUSE
3739
02:45:13,220 --> 02:45:16,060
WE MADE THIS MOVIE WITH WHAT HE
3740
02:45:16,060 --> 02:45:17,460
TAUGHT ME TO DO, WHICH IS NO
3741
02:45:17,460 --> 02:45:21,160
PERSON IS MORE IMPORTANT THAN
3742
02:45:21,170 --> 02:45:21,400
PROFITS.
3743
02:45:21,400 --> 02:45:22,500
AND NO ONE IS MORE IMPORTANT
3744
02:45:22,500 --> 02:45:23,770
THAN ANYONE ELSE.
3745
02:45:23,770 --> 02:45:25,840
AND THESE WEIRDOS RIGHT HERE
3746
02:45:25,840 --> 02:45:30,610
SUPPORTED ME IN DOING THAT.
3747
02:45:30,610 --> 02:45:32,780
MEMORY ETERNAL.
3748
02:45:32,780 --> 02:45:33,880
DANIELS, I DON'T KNOW WHAT TO
3749
02:45:33,880 --> 02:45:34,050
SAY.
3750
02:45:34,050 --> 02:45:35,890
I LOVE YOU GUYS.
3751
02:45:35,880 --> 02:45:36,410
YOU JUST WON BEST PICTURE.
3752
02:45:36,410 --> 02:45:37,950
>> HEY!
3753
02:45:37,950 --> 02:45:40,120
>> WE'VE SAID ENOUGH TONIGHT.
3754
02:45:40,120 --> 02:45:41,350
THANK YOU SO MUCH TO EVERYONE
3755
02:45:41,350 --> 02:45:41,680
HERE.
3756
02:45:41,690 --> 02:45:42,890
YOU HAVE ALL INSPIRED ME.
3757
02:45:42,890 --> 02:45:44,430
ONE OF THE THINGS THAT I
3758
02:45:44,420 --> 02:45:46,060
REALIZED GROWING UP IS THAT ONE
3759
02:45:46,060 --> 02:45:47,930
OF THE BEST THINGS WE CAN DO FOR
3760
02:45:47,930 --> 02:45:50,330
EACH OTHER IS SHELTER EACH OTHER
3761
02:45:50,330 --> 02:45:52,070
FROM THE CHAOS OF THIS CRAZY
3762
02:45:52,060 --> 02:45:52,260
WORLD.
3763
02:45:52,260 --> 02:45:53,760
THANK YOU TO THE STORYTELLERS
3764
02:45:53,770 --> 02:45:54,800
HERE WHO DID THAT FOR ME.
3765
02:45:54,800 --> 02:45:56,570
THE WORLD IS CHANGING RAPIDLY
3766
02:45:56,570 --> 02:45:57,840
AND I FEAR OUR STORIES AREN'T
3767
02:45:57,840 --> 02:46:00,710
KEEPING AT PACE AND I --
3768
02:46:00,710 --> 02:46:02,150
SOMETIMES IT'S A LITTLE SCARY
3769
02:46:02,140 --> 02:46:03,710
KNOWING THAT MOVIES MOVE AT THE
3770
02:46:03,710 --> 02:46:05,150
RATE OF YEARS AND THE WORLD ON
3771
02:46:05,140 --> 02:46:06,740
THE INTERNET IS MOVING AT THE
3772
02:46:06,740 --> 02:46:09,540
RATE OF MILISECONDS, BUT I HAVE
3773
02:46:09,550 --> 02:46:11,120
GREAT FAITH IN OUR STORIES.
3774
02:46:11,120 --> 02:46:12,490
THESE STORIES HAVE CHANGED MY
3775
02:46:12,480 --> 02:46:15,720
LIFE AND THEY HAVE DONE THAT FOR
3776
02:46:15,720 --> 02:46:16,350
JEB
3777
02:46:16,350 --> 02:46:16,650
GENERATIONS.
3778
02:46:16,650 --> 02:46:18,320
HAVE A GREAT NIGHT, GUYS, THANK
3779
02:46:18,320 --> 02:46:18,850
YOU SO MUCH.
3780
02:46:18,860 --> 02:46:20,060
>> THANK YOU, EVERYONE, HAVE A
3781
02:46:20,060 --> 02:46:20,360
GREAT NIGHT.
3782
02:46:20,360 --> 02:46:29,970
THANK YOU FOR WATCHING!
3783
02:46:29,970 --> 02:46:30,700
>> WELL, THAT'S IT.
3784
02:46:30,700 --> 02:46:33,770
WE DID IT.
3785
02:46:33,770 --> 02:46:34,870
GREAT WORK, CRISIS TEAM.
3786
02:46:34,870 --> 02:46:36,300
THANKS TO THE ACADEMY FOR HAVING
3787
02:46:36,310 --> 02:46:37,010
ME AGAIN.
3788
02:46:37,010 --> 02:46:38,110
IT'S BEEN AN HONOR TO BE HERE
3789
02:46:38,110 --> 02:46:38,580
WITH YOU.
3790
02:46:38,580 --> 02:46:43,150
I WANT TO THANK GLENN WEISS,
3791
02:46:43,150 --> 02:46:46,120
MOLLY, RICKEY MINOR, OUR
3792
02:46:46,120 --> 02:46:48,320
ORCHESTRA, OUR ASL INTERPRETERS
3793
02:46:48,320 --> 02:46:51,260
AND THE ENTIRE CREW.
3794
02:46:51,260 --> 02:46:53,130
THANK YOU TO EVERYONE IN THE
3795
02:46:53,120 --> 02:46:53,390
CREW.
3796
02:46:53,390 --> 02:46:55,430
I'M SORRY TO MATT DAMON, WE RAN
3797
02:46:55,430 --> 02:46:56,400
OUT OF TIME.
3798
02:46:56,390 --> 02:46:57,560
THANK YOU FOR WATCHING.
3799
02:46:57,560 --> 02:46:59,330
WE NOW JOIN "GOOD MORNING
3800
02:46:59,330 --> 02:46:59,930
AMERICA" ALREADY IN PROGRESS.
3801
02:46:59,930 --> 02:47:08,410
GOOD NIGHT.
3802
02:47:08,410 --> 02:47:20,990
>> Announcer: THE ACADEMY
3803
02:47:20,990 --> 02:47:22,060
GRATEFULLY ACKNOWLEDGES OUR
3804
02:47:22,050 --> 02:47:23,120
AIRLINE PARTNER DELTA AIRLINES
3805
02:47:23,120 --> 02:47:24,660
FOR PROVIDING AIR TRANSPORTATION
3806
02:47:24,660 --> 02:47:28,360
FOR SOME OF THIS EVENING'S
3807
02:47:28,360 --> 02:47:28,930
PRESENTERS, PERFORMERS, AND
3808
02:47:28,930 --> 02:47:30,460
NOMINEES.
3809
02:47:30,460 --> 02:47:34,730
LED PROVIDED IN PART BY SENOVVA.
3810
02:47:34,730 --> 02:50:23,870
>> Announcer: ALL MEMBERS OF THE
3811
02:50:23,870 --> 02:50:24,470
ACADEMY WHO ARE ELIGIBLE ARE
3812
02:50:24,470 --> 02:50:24,940
INVITED TO VOTE THEIR
3813
02:50:24,940 --> 02:50:25,970
NOMINATIONS FOR BEST PICTURE.
3814
02:50:25,970 --> 02:50:27,270
IN MOST OTHER CATEGORIES, THE
3815
02:50:27,270 --> 02:50:28,110
NOMINATIONS ARE DECIDED BY A
3816
02:50:28,110 --> 02:50:29,180
VOTE OF THE MEMBERS WORKING IN
3817
02:50:29,170 --> 02:50:31,140
THAT SPECIFIC CATEGORY.
3818
02:50:31,140 --> 02:50:31,770
THEN THE ENTIRE MEMBERSHIP
3819
02:50:31,780 --> 02:50:33,380
CHOOSES FROM THOSE NOMINATIONS
3820
02:50:33,380 --> 02:50:34,950
THE RECIPIENTS OF THE OSCARS.
3821
02:50:34,950 --> 02:50:36,590
AND FINALLY, THE RESULTS OF ALL
3822
02:50:36,580 --> 02:50:37,610
THE SECRET VOTING ARE KNOWN ONLY
3823
02:50:37,620 --> 02:50:39,160
TO THE INDEPENDENT ACCOUNTING
3824
02:50:39,150 --> 02:50:40,250
FIRM OF PRICEWATERHOUSECOOPERS
3825
02:50:40,250 --> 02:50:41,280
UNTIL THE SEALED ENVELOPES ARE
3826
02:50:41,290 --> 02:50:44,830
OPENED ON THE AIR.
244030
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