Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:06,573 --> 00:00:09,576
>>> TIME TO GO MAKE A MOVIE.
2
00:00:09,576 --> 00:00:17,985
♪
3
00:00:17,985 --> 00:00:22,256
♪
4
00:00:22,256 --> 00:00:24,258
>> LIGHTS.
5
00:00:24,258 --> 00:00:26,193
>> MOVIES ARE DREAMS THAT YOU
6
00:00:26,193 --> 00:00:27,895
NEVER FORGET.
7
00:00:27,895 --> 00:00:30,531
>> CAMERA.
8
00:00:30,531 --> 00:00:32,499
♪
9
00:00:32,499 --> 00:00:39,673
>> ACTION!
10
00:00:39,673 --> 00:00:44,344
>> AHH!
11
00:00:44,344 --> 00:00:49,149
♪
12
00:00:49,149 --> 00:00:52,386
>> ARE YOU READY TO FLY?
13
00:00:52,386 --> 00:01:04,565
>> I'M READY.
14
00:01:04,565 --> 00:01:05,599
>> RUN!
15
00:01:05,599 --> 00:01:13,106
>> YES!
16
00:01:13,106 --> 00:01:16,410
>> WHEREVER WE GO -- THIS FAMILY
17
00:01:16,410 --> 00:01:22,583
IS OUR FORTRESS.
18
00:01:22,583 --> 00:01:30,657
>> SHOW THEM WHO WE ARE.
19
00:01:30,657 --> 00:01:34,194
>> PEOPLE ARE AMAZING.
20
00:01:34,194 --> 00:01:36,763
>> OF ALL THE PLACES I COULD BE,
21
00:01:36,763 --> 00:01:40,300
I WILL ALWAYS WANT TO BE HERE
22
00:01:40,300 --> 00:01:43,036
WITH YOU.
23
00:01:43,036 --> 00:01:44,805
>> I WANT TO BE TRAPPED HERE
24
00:01:44,805 --> 00:01:47,207
FOREVER AND EVER AND EVER!
25
00:01:47,207 --> 00:01:49,977
>> SO, LET'S JUST CALL IT QUITS.
26
00:01:49,977 --> 00:01:52,212
>> WE WON'T CALL IT QUITS.
27
00:01:52,212 --> 00:01:56,249
WE'LL CALL IT THE START.
28
00:01:56,249 --> 00:01:58,285
>> WE CAN'T OUTRUN THIS GUY.
29
00:01:58,285 --> 00:01:59,252
WE GOT TO EJECT.
30
00:01:59,252 --> 00:02:00,787
>> WHAT?
31
00:02:00,787 --> 00:02:01,321
>> WE NEED ALTITUDE.
32
00:02:01,321 --> 00:02:02,356
>> NO, WE DON'T.
33
00:02:02,356 --> 00:02:03,890
>> PULL THE EJECTION HANDLES THE
34
00:02:03,890 --> 00:02:04,591
SECOND I TELL YOU.
35
00:02:04,591 --> 00:02:06,593
>> I DON'T WANT TO PULL THE
36
00:02:06,593 --> 00:02:06,827
HANDLES.
37
00:02:06,827 --> 00:02:08,562
I DON'T WANT TO PULL THE
38
00:02:08,562 --> 00:02:09,229
HANDLES.
39
00:02:09,229 --> 00:02:10,731
I'M NOT PULLING -- WHAT'S WRONG
40
00:02:10,731 --> 00:02:11,331
WITH THIS GUY?
41
00:02:11,331 --> 00:02:13,433
>> THERE'S NO OTHER WAY.
42
00:02:13,433 --> 00:02:14,901
EJECT!
43
00:02:14,901 --> 00:02:15,102
EJECT!
44
00:02:15,102 --> 00:02:24,177
>> WHY ARE YOU LIKE THIS, TOM?
45
00:02:24,177 --> 00:02:35,055
♪
46
00:02:35,055 --> 00:02:35,589
>> Announcer: LADIES AND
47
00:02:35,589 --> 00:02:36,623
GENTLEMEN, YOUR HOST FOR THIS
48
00:02:36,623 --> 00:02:43,163
EVENING, JIMMY KIMMEL.
49
00:02:43,163 --> 00:02:52,305
♪
50
00:02:52,305 --> 00:02:54,341
>> THANK YOU, THANK YOU.
51
00:02:54,341 --> 00:02:55,575
WOW.
52
00:02:55,575 --> 00:03:00,147
THANK YOU, THANK YOU.
53
00:03:00,147 --> 00:03:05,919
THANK YOU.
54
00:03:05,919 --> 00:03:12,259
THANK YOU.
55
00:03:12,259 --> 00:03:13,894
GIVE ME A SECOND TO ADJUST MY
56
00:03:13,894 --> 00:03:20,133
DANGER ZONE HERE.
57
00:03:20,133 --> 00:03:20,500
ALL RIGHT.
58
00:03:20,500 --> 00:03:21,735
I'M GOOD.
59
00:03:21,735 --> 00:03:23,203
WELCOME, AND CONGRATULATIONS,
60
00:03:23,203 --> 00:03:26,973
WELCOME TO THE 95th OSCARS!
61
00:03:26,973 --> 00:03:35,515
IT IS YOU M-- YOU MADE IT.
62
00:03:35,515 --> 00:03:35,882
CONGRATULATIONS.
63
00:03:35,882 --> 00:03:37,751
I KNOW THAT BEING HERE TONIGHT
64
00:03:37,751 --> 00:03:38,819
IS A DREAM COME TRUE.
65
00:03:38,819 --> 00:03:40,454
THANK YOU FOR INVITING ME TO BE
66
00:03:40,454 --> 00:03:41,955
APART OF IT, ESPECIALLY THIS
67
00:03:41,955 --> 00:03:43,256
YEAR, WHEN THE FINALLY GOT OUT
68
00:03:43,256 --> 00:03:46,493
OF THE HOUSE TO SEE THE FILMS
69
00:03:46,493 --> 00:03:48,361
YOU WORKED SO HARD TO MAKE, THE
70
00:03:48,361 --> 00:03:49,830
WAY YOU INTENDED THEM TO BE
71
00:03:49,830 --> 00:03:52,733
SEEN, IN A THEATER.
72
00:03:52,733 --> 00:03:57,170
AND I -- I ALSO WANT TO SAY THAT
73
00:03:57,170 --> 00:03:59,706
I AM HAPPY TO SEE THAT NICOLE
74
00:03:59,706 --> 00:04:01,074
KIDMAN HAS FINALLY BEEN RELEASED
75
00:04:01,074 --> 00:04:05,312
FROM THAT ABANDONED AMC -- WHERE
76
00:04:05,312 --> 00:04:07,681
SHE HAS BEEN HELD CAPTIVE FOR
77
00:04:07,681 --> 00:04:08,849
ALMOST TWO FULL YEARS NOW.
78
00:04:08,849 --> 00:04:13,353
GOOD TO HAVE YOU, BACK, NICOLE.
79
00:04:13,353 --> 00:04:16,656
AND THANK YOU FOR ENCOURAGING
80
00:04:16,656 --> 00:04:18,325
PEOPLE WHO WERE ALREADY AT THE
81
00:04:18,325 --> 00:04:20,260
MOVIE THEATER TO GO TO THE MOVIE
82
00:04:20,260 --> 00:04:20,494
THEATER.
83
00:04:20,494 --> 00:04:21,261
YOU LOOK GREAT.
84
00:04:21,261 --> 00:04:22,195
EVERYBODY LOOKS SO GREAT.
85
00:04:22,195 --> 00:04:23,597
WHEN I LOOK AROUND THIS ROOM, I
86
00:04:23,597 --> 00:04:26,333
CAN'T HELP BUT WONDER, IS
87
00:04:26,333 --> 00:04:29,503
OZEMPIC RIGHT FOR ME?
88
00:04:29,503 --> 00:04:31,104
SO MANY FIRST-TIME NOMINEES
89
00:04:31,104 --> 00:04:31,438
HERE.
90
00:04:31,438 --> 00:04:34,307
IN THE ACTING CATEGORIES ALONE,
91
00:04:34,307 --> 00:04:36,743
THERE ARE 16 FIRST-TIME
92
00:04:36,743 --> 00:04:39,012
NOMINEES, INCLUDING JAMIE LEE
93
00:04:39,012 --> 00:04:45,385
CURTIS, INCLUDING COLIN FARRELL,
94
00:04:45,385 --> 00:04:48,121
MICHELLE YEOH.
95
00:04:48,121 --> 00:04:56,263
BRENDAN FRASER.
96
00:04:56,263 --> 00:05:01,535
I -- THIS IS, I THINK, A GREAT
97
00:05:01,535 --> 00:05:03,203
PIECE OF OSCAR TRIVIA.
98
00:05:03,203 --> 00:05:07,574
31 YEARS AGO, IN 1992, BRENDAN
99
00:05:07,574 --> 00:05:09,576
FRASER AND KY WERE IN A MOVIE
100
00:05:09,576 --> 00:05:11,311
TOGETHER -- YOU REMEMBER WHICH
101
00:05:11,311 --> 00:05:15,182
MOVIE WAS IT?
102
00:05:15,182 --> 00:05:15,482
"
103
00:05:15,482 --> 00:05:16,049
"ENCINO MAN."
104
00:05:16,049 --> 00:05:19,953
TWO ACTORS FROM "ENCINO MAN" ARE
105
00:05:19,953 --> 00:05:20,921
NOMINATED FOR OSCARS.
106
00:05:20,921 --> 00:05:28,161
WHAT A -- WHAT AN INCREDIBLE
107
00:05:28,161 --> 00:05:29,496
NIGHT THIS MUST BE FOR THE TWO
108
00:05:29,496 --> 00:05:30,897
OF YEAR AND WHAT A VERY
109
00:05:30,897 --> 00:05:31,565
DIFFICULT NIGHT FOR PAULIE
110
00:05:31,565 --> 00:05:35,468
SHORE.
111
00:05:35,468 --> 00:05:38,471
MAYBE IT'S TIME TO REBOOT
112
00:05:38,471 --> 00:05:40,006
"BIODOME."
113
00:05:40,006 --> 00:05:41,708
ALL THE TOP-TEN HIGHEST GROSSING
114
00:05:41,708 --> 00:05:43,743
FILMS THIS YEAR WERE SEQUELS OR
115
00:05:43,743 --> 00:05:44,044
FRANCHISES.
116
00:05:44,044 --> 00:05:45,946
THEY SAY HOLLYWOOD IS RUNNING
117
00:05:45,946 --> 00:05:47,347
OUT OF IDEAS.
118
00:05:47,347 --> 00:05:48,448
POOR STEVEN SPIELBERG HAD TO
119
00:05:48,448 --> 00:05:51,284
MAKE A MOVIE ABOUT STEPVEN
120
00:05:51,284 --> 00:05:51,885
SPIE
121
00:05:51,885 --> 00:05:52,385
SPIELBERG.
122
00:05:52,385 --> 00:05:52,919
CONGRATULATIONS, STEVEN.
123
00:05:52,919 --> 00:05:54,054
LOOK AT THIS, BY THE WAY.
124
00:05:54,054 --> 00:05:56,389
I WANT TO SAY, RIGHT HERE, THIS
125
00:05:56,389 --> 00:05:58,992
IS MY FAVORITE DUO OF THE YEAR.
126
00:05:58,992 --> 00:06:00,961
STEVEN SPIELBERG AND SETH ROGEN.
127
00:06:00,961 --> 00:06:03,129
WHAT A PAIR.
128
00:06:03,129 --> 00:06:04,130
THE JOE AND HUNTER BIDEN OF
129
00:06:04,130 --> 00:06:12,439
HOLLYWOOD.
130
00:06:12,439 --> 00:06:13,907
SETH, WHAT ARE YOU ON RIGHT NOW?
131
00:06:13,907 --> 00:06:14,174
BE HONEST.
132
00:06:14,174 --> 00:06:15,775
NOTHING?
133
00:06:15,775 --> 00:06:18,745
MUSHROOMS, RIGHT?
134
00:06:18,745 --> 00:06:20,614
DID YOU GIVE ONE TO STEVEN?
135
00:06:20,614 --> 00:06:21,548
GIVE HIM ONE.
136
00:06:21,548 --> 00:06:22,649
LET'S SEE WHAT HAPPENS.
137
00:06:22,649 --> 00:06:24,584
MAYBE HE'LL MAKE SOMETHING
138
00:06:24,584 --> 00:06:24,784
CRAZY.
139
00:06:24,784 --> 00:06:27,153
STEVEN CLAIMS HE HAS NEVER
140
00:06:27,153 --> 00:06:27,621
SMOKED WEED.
141
00:06:27,621 --> 00:06:31,091
YOU MEAN TO TELL ME YOU WERE
142
00:06:31,091 --> 00:06:33,159
SOBER WHEN YOU MADE A MOVIE
143
00:06:33,159 --> 00:06:39,232
ABOUT AN ALIEN THAT EATS REESE'S
144
00:06:39,232 --> 00:06:40,433
PIECES ALL DAY AND CAN'T
145
00:06:40,433 --> 00:06:41,735
REMEMBER HOW TO PHONE HOME?
146
00:06:41,735 --> 00:06:43,169
STEVEN IS THE FIRST DIRECTOR TO
147
00:06:43,169 --> 00:06:44,704
BE NOMINATED IN SIX DIFFERENT
148
00:06:44,704 --> 00:06:47,474
DECADES FOR AN OSCAR.
149
00:06:47,474 --> 00:06:51,144
REMARKABLE.
150
00:06:51,144 --> 00:06:53,213
THIS TIME, AS YOU KNOW, HE IS
151
00:06:53,213 --> 00:06:59,886
NOMINATED FOR "THE FABLELMANS."
152
00:06:59,886 --> 00:07:01,621
THEY SAY WRITE WHAT YOU KNOW,
153
00:07:01,621 --> 00:07:02,822
AND ALSO WRITE WHAT YOU KNOW
154
00:07:02,822 --> 00:07:04,124
YOUR MOM DID WITH YOUR DAD'S
155
00:07:04,124 --> 00:07:04,991
BEST FRIEND.
156
00:07:04,991 --> 00:07:06,159
AND STEVEN DID THAT, AND THE
157
00:07:06,159 --> 00:07:08,361
RESULT WAS YET ANOTHER OSCAR
158
00:07:08,361 --> 00:07:09,663
NOMINATION FOR THE GREAT
159
00:07:09,663 --> 00:07:11,398
MICHELLE WILLIAMS, WHO IS RIGHT
160
00:07:11,398 --> 00:07:11,598
THERE.
161
00:07:11,598 --> 00:07:14,034
MICHELLE.
162
00:07:14,034 --> 00:07:17,437
AND "THE FABELMANS" WASN'T AN
163
00:07:17,437 --> 00:07:18,505
EASY SHOOT.
164
00:07:18,505 --> 00:07:19,739
AFTER ALMOST EVERY TAKE,
165
00:07:19,739 --> 00:07:20,807
SPIELBERG WOULD RUSH UP TO HER
166
00:07:20,807 --> 00:07:22,676
WITH TEARS IN HIS EYES, HE WOULD
167
00:07:22,676 --> 00:07:23,777
SCREAM, THAT'S NOT HOW MOMMY
168
00:07:23,777 --> 00:07:25,712
SAID IT!
169
00:07:25,712 --> 00:07:28,014
I ALSO WANT TO EXTEND
170
00:07:28,014 --> 00:07:29,316
CONGRATULATIONS TO STEVEN'S
171
00:07:29,316 --> 00:07:32,252
LONGTIME COLLABORATOR, THE
172
00:07:32,252 --> 00:07:33,186
MAESTRO JOHN WILLIAMS, WHO IS
173
00:07:33,186 --> 00:07:35,288
NOW THE OLDEST NOMINEE IN OSCAR
174
00:07:35,288 --> 00:07:37,424
HISTORY.
175
00:07:37,424 --> 00:07:41,661
AND HE LOOKS GREAT, HE'S -- JOHN
176
00:07:41,661 --> 00:07:43,663
TURNED 91 YEARS OLD LAST MONTH
177
00:07:43,663 --> 00:07:44,798
AND HE'S STILL SCORING, IF YOU
178
00:07:44,798 --> 00:07:47,667
KNOW WHAT I MEAN.
179
00:07:47,667 --> 00:07:49,669
AND BY THE WAY, IF YOU HAVE
180
00:07:49,669 --> 00:07:50,670
NEVER MADE LOVE TO THE SCORE
181
00:07:50,670 --> 00:07:55,442
FROM "RAIDERS OF THE LOST ARK,"
182
00:07:55,442 --> 00:07:56,743
DO YOURSELF A FAVOR.
183
00:07:56,743 --> 00:07:58,278
ANOTHER -- ONLY WALT DOES KNEE,
184
00:07:58,278 --> 00:07:59,446
THIS IS GREAT.
185
00:07:59,446 --> 00:08:02,849
ONTO WALT DISNEY HAS BEEN
186
00:08:02,849 --> 00:08:05,151
NOMINATED FOR MORE OSCARS THAN
187
00:08:05,151 --> 00:08:05,785
JOHN WILLIAMS.
188
00:08:05,785 --> 00:08:13,259
HE'S BEEN NOMINATED 53 TIMES.
189
00:08:13,259 --> 00:08:14,127
HE'S WON FIVE.
190
00:08:14,127 --> 00:08:14,694
WHICH HONESTLY IS NOT THAT
191
00:08:14,694 --> 00:08:16,696
GREAT.
192
00:08:16,696 --> 00:08:17,630
BUT GOOD LUCK TONIGHT.
193
00:08:17,630 --> 00:08:19,432
IT WAS A VERY GOOD YEAR FOR
194
00:08:19,432 --> 00:08:19,699
MOVIES.
195
00:08:19,699 --> 00:08:20,433
BUSINESS IS BOOMING.
196
00:08:20,433 --> 00:08:22,068
I KNOW PEOPLE LIKE TO DEBATE NOW
197
00:08:22,068 --> 00:08:24,104
WHICH IS BETTER, MOVIES OR TV,
198
00:08:24,104 --> 00:08:26,706
BUT HERE'S THE THING.
199
00:08:26,706 --> 00:08:27,374
NO MATTER HOW GOOD A SHOW IS,
200
00:08:27,374 --> 00:08:29,142
THERE ARE SOME THINGS THAT
201
00:08:29,142 --> 00:08:30,377
MOVIES CAN DO THAT TV JUST
202
00:08:30,377 --> 00:08:30,577
CAN'T.
203
00:08:30,577 --> 00:08:32,445
FOR EXAMPLE, A TV SHOW CAN'T
204
00:08:32,445 --> 00:08:36,716
LOSE $100 MILLION.
205
00:08:36,716 --> 00:08:38,585
IS THE GANG FROM "BABYLON" HERE?
206
00:08:38,585 --> 00:08:40,653
THEY KNOW.
207
00:08:40,653 --> 00:08:42,255
I WAS JUST ASKING IF THEY WERE
208
00:08:42,255 --> 00:08:42,455
HERE.
209
00:08:42,455 --> 00:08:44,657
I WAS WELCOMING THEM.
210
00:08:44,657 --> 00:08:47,861
AT LEAST "BABYLON" GOT RELEASED.
211
00:08:47,861 --> 00:08:50,497
"BAT GIRL" BECAME THE FIRST
212
00:08:50,497 --> 00:08:53,333
SUPERHERO TO BE DEFEATED BY AN
213
00:08:53,333 --> 00:08:53,867
ACCOUNTING DEPARTMENT.
214
00:08:53,867 --> 00:08:57,537
AND THEN WE HAD THE BIG ONE, THE
215
00:08:57,537 --> 00:09:02,242
LONG, LONG AWAITED "AVATAR: THE
216
00:09:02,242 --> 00:09:02,776
WAY OF WATER."
217
00:09:02,776 --> 00:09:04,377
JIM CAMERON, ANOTHER OPPORTUNITY
218
00:09:04,377 --> 00:09:06,046
TO DO WHAT HE LOVES TO DO MORE
219
00:09:06,046 --> 00:09:08,314
THAN ANYTHING ELSE -- DROWNING
220
00:09:08,314 --> 00:09:10,517
KATE WINSLET.
221
00:09:10,517 --> 00:09:12,552
THE SEQUEL TO "AVATAR" IS THE
222
00:09:12,552 --> 00:09:15,055
MOST EXPENSIVE MOVIE EVER MADE.
223
00:09:15,055 --> 00:09:16,589
DISNEY SPENT $2 BILLION ON THIS
224
00:09:16,589 --> 00:09:16,790
MOVIE.
225
00:09:16,790 --> 00:09:18,825
JUST TO BREAK EVEN, ALL OF NICK
226
00:09:18,825 --> 00:09:20,827
CANNON'S KIDS HAD TO SEE
227
00:09:20,827 --> 00:09:21,728
"AVATAR" FOUR TIMES.
228
00:09:21,728 --> 00:09:23,196
AND THEY DID, I GUESS.
229
00:09:23,196 --> 00:09:24,731
JAMES CAMERON IS NOT HERE, BY
230
00:09:24,731 --> 00:09:25,732
THE WAY, TONIGHT.
231
00:09:25,732 --> 00:09:28,601
YOU KNOW -- YOU KNOW A SHOW IS
232
00:09:28,601 --> 00:09:29,235
TOO LONG WHEN EVEN JAMES CAMERON
233
00:09:29,235 --> 00:09:31,638
CAN'T SIT THROUGH IT.
234
00:09:31,638 --> 00:09:33,206
SOME OF THE CYNICS ARE SAYING
235
00:09:33,206 --> 00:09:34,674
JIM CAMERON ISN'T HERE BECAUSE
236
00:09:34,674 --> 00:09:36,509
HE DIDN'T GET A BEST DIRECTOR
237
00:09:36,509 --> 00:09:37,877
NOMINATION AND WHILE I FIND THAT
238
00:09:37,877 --> 00:09:40,213
VERY HARD TO BELIEVE ABOUT A MAN
239
00:09:40,213 --> 00:09:42,148
WHO SUCH DEEP HUMILITY, HE DOES
240
00:09:42,148 --> 00:09:42,749
HAVE A POINT.
241
00:09:42,749 --> 00:09:45,251
I MEAN, HOW DOES THE ACADEMY NOT
242
00:09:45,251 --> 00:09:47,720
NOMINATE THE GUY WHO DIRECTED
243
00:09:47,720 --> 00:09:49,422
"AVATAR."
244
00:09:49,422 --> 00:09:50,890
WHAT DO THEY THINK HE IS -- A
245
00:09:50,890 --> 00:09:51,091
WOMAN?
246
00:09:51,091 --> 00:09:59,599
WHAT A -- THANK YOU, LADIES.
247
00:09:59,599 --> 00:10:01,601
IT WAS SOME YEAR FOR DIVERSITY
248
00:10:01,601 --> 00:10:02,235
AND INCLUSION.
249
00:10:02,235 --> 00:10:04,938
WE HAVE NOMINEES FROM EVERY
250
00:10:04,938 --> 00:10:12,178
CORNER OF DUBLIN.
251
00:10:12,178 --> 00:10:13,847
FIVE IRISH ACTORS ARE NOMINATED
252
00:10:13,847 --> 00:10:14,080
TONIGHT.
253
00:10:14,080 --> 00:10:15,615
WHICH MEANS THE ODDS OF ANOTHER
254
00:10:15,615 --> 00:10:20,453
FIGHT ON STAGE JUST WENT WAY UP.
255
00:10:20,453 --> 00:10:21,955
AND WHILE WE'RE ON THE SUBJECT
256
00:10:21,955 --> 00:10:23,857
OF DIVERSITY, I WANT TO SAY,
257
00:10:23,857 --> 00:10:24,791
ESPECIALLY THOSE WATCHING AT
258
00:10:24,791 --> 00:10:26,192
HOME, THERE ARE A NUMBER OF
259
00:10:26,192 --> 00:10:29,963
EXCELLENT FILMS AND PERFORMANCES
260
00:10:29,963 --> 00:10:34,067
NOT NOMINATED TONIGHT, INCLUDING
261
00:10:34,067 --> 00:10:38,338
"TILL", BASED ON A TRUE STORY.
262
00:10:38,338 --> 00:10:39,772
VERY WORTHY OF YOUR TIME, IF YOU
263
00:10:39,772 --> 00:10:41,207
HAVEN'T SEEN THEM.
264
00:10:41,207 --> 00:10:44,010
AS IS A SMALL FILM CALLED "TOP
265
00:10:44,010 --> 00:10:44,878
GUN: MAVERICK."
266
00:10:44,878 --> 00:10:46,846
THE MOVIE THAT SAVED THE MOVIES.
267
00:10:46,846 --> 00:10:48,248
EVERYONE LOVED "TOP GUN."
268
00:10:48,248 --> 00:10:50,150
EVERYBODY.
269
00:10:50,150 --> 00:10:54,587
I MEAN -- TOM CRUISE WITH HIS
270
00:10:54,587 --> 00:10:59,159
SHIRT OFF IN THAT BEACH FOOTBALL
271
00:10:59,159 --> 00:10:59,359
SCENE?
272
00:10:59,359 --> 00:11:01,060
L. RON HUBBA HUBBA, YOU KNOW
273
00:11:01,060 --> 00:11:04,664
WHAT I'M SAYING?
274
00:11:04,664 --> 00:11:06,833
YOU KNOW, TOM AND JAMES CAMERON
275
00:11:06,833 --> 00:11:08,168
DIDN'T SHOW UP TONIGHT.
276
00:11:08,168 --> 00:11:09,936
THE TWO GUYS WHO INSISTED WE GO
277
00:11:09,936 --> 00:11:11,304
TO THE THEATER DIDN'T COME TO
278
00:11:11,304 --> 00:11:14,574
THE THEATER.
279
00:11:14,574 --> 00:11:15,942
SO IF YOU ARE HOPING TO GET A
280
00:11:15,942 --> 00:11:17,977
LOOK AT TOM CRUISE, HE'S NOT
281
00:11:17,977 --> 00:11:20,046
HERE, OR MAYBE HE IS HERE, MAYBE
282
00:11:20,046 --> 00:11:22,148
THAT'S TOM CRUISE RIGHT THERE
283
00:11:22,148 --> 00:11:24,951
WEARING A JUDD HIRSCH "MISSION
284
00:11:24,951 --> 00:11:26,686
IMPOSSIBLE" MASK.
285
00:11:26,686 --> 00:11:28,421
THERE'S ONLY ONE WAY TO FIND OUT
286
00:11:28,421 --> 00:11:29,989
FOR SURE.
287
00:11:29,989 --> 00:11:31,024
JUDD, WE ARE GOING TO NEED YOU
288
00:11:31,024 --> 00:11:32,525
TO DRIVE A MOTORCYCLE OFF THE
289
00:11:32,525 --> 00:11:33,493
ROOF OF THE THEATER.
290
00:11:33,493 --> 00:11:35,795
YOU KNOW WHO ELSE IS HERE?
291
00:11:35,795 --> 00:11:38,398
THE EXCELLENT RIHANNA IS WITH US
292
00:11:38,398 --> 00:11:38,631
TONIGHT.
293
00:11:38,631 --> 00:11:41,034
SHE GOT HER FIRST OSCAR
294
00:11:41,034 --> 00:11:43,503
NOMINATION FOR THE SONG "LIFT ME
295
00:11:43,503 --> 00:11:49,876
UP" FROM "BLACK PANT HER WHAT
296
00:11:49,876 --> 00:11:51,911
CACA
297
00:11:51,911 --> 00:11:53,179
WHAT CANADA FOREVER."
298
00:11:53,179 --> 00:11:55,748
SHE HAS A NINE-MONTH-OLD
299
00:11:55,748 --> 00:11:56,649
BACKSTAGE.
300
00:11:56,649 --> 00:11:57,550
HE'S VERY CUTE.
301
00:11:57,550 --> 00:12:01,487
HE POOPED DURING REHEARSAL.
302
00:12:01,487 --> 00:12:04,390
YOU KNOW WHO THE LAST PERSON WAS
303
00:12:04,390 --> 00:12:07,260
TO POOP BACKSTAGE AT THE OSCARS?
304
00:12:07,260 --> 00:12:10,630
THE ACCOUNTANT THAT MIXED UP THE
305
00:12:10,630 --> 00:12:11,097
ENVELOPES.
306
00:12:11,097 --> 00:12:12,565
RIHANNA IS HERE, LADY GAGA IS
307
00:12:12,565 --> 00:12:12,765
HERE.
308
00:12:12,765 --> 00:12:14,534
WONDERFUL.
309
00:12:14,534 --> 00:12:16,970
MY GOD, EVEN ELVIS IS IN THE
310
00:12:16,970 --> 00:12:18,304
BUILDING TONIGHT.
311
00:12:18,304 --> 00:12:18,605
THERE HE IS.
312
00:12:18,605 --> 00:12:20,039
AUSTIN BUTLER.
313
00:12:20,039 --> 00:12:23,977
AUSTIN -- AS YOU KNOW, A
314
00:12:23,977 --> 00:12:25,845
FIRST-TIME NOMINEE, HE WAS SO
315
00:12:25,845 --> 00:12:28,348
CONVINCING AS ELVIS, STILL IS.
316
00:12:28,348 --> 00:12:30,049
THIS IS A GOOD HOLLYWOOD STORY.
317
00:12:30,049 --> 00:12:32,051
BEFORE THEY STARTED SHOOTING,
318
00:12:32,051 --> 00:12:34,854
TOM HANKS GAVE AUSTIN A VINTAGE
319
00:12:34,854 --> 00:12:36,489
TYPEWRITER IN IT AND IN IT, TOM
320
00:12:36,489 --> 00:12:38,925
LEFT A NOTE WRITTEN FROM COME
321
00:12:38,925 --> 00:12:40,593
LELL TOM PARKER TO ELVIS, SO
322
00:12:40,593 --> 00:12:42,428
AUSTIN USED THE TYPEWRITER TO
323
00:12:42,428 --> 00:12:43,896
WRITE TOM BACK AS ELVIS PRESLEY
324
00:12:43,896 --> 00:12:45,498
AND THEY GOT TO KNOW EACH OTHER
325
00:12:45,498 --> 00:12:47,133
BY SENDING LETTERS BACK AND
326
00:12:47,133 --> 00:12:50,270
FORTH AS ELVIS AND TOM, WHICH
327
00:12:50,270 --> 00:12:51,971
JUST GOES TO SHOW HOW INCREDIBLY
328
00:12:51,971 --> 00:12:54,440
SILLY THIS ALL IS.
329
00:12:54,440 --> 00:12:56,209
YOU HAVE SILLY JOBS, BUT AUSTIN,
330
00:12:56,209 --> 00:13:03,049
YOU ARE SO KNOW ELVIS WOULD HA
331
00:13:03,049 --> 00:13:05,151
YOUR PERFORMANCE.
332
00:13:05,151 --> 00:13:08,454
ACCORDING TO MY QANON REDDIT
333
00:13:08,454 --> 00:13:09,255
PAGE, HE STILL IS.
334
00:13:09,255 --> 00:13:10,923
WE WANT YOU TO HAVE FUN, FEEL
335
00:13:10,923 --> 00:13:12,191
SAFE, AND MOST IMPORTANTLY, WE
336
00:13:12,191 --> 00:13:13,760
WANT ME TO FEEL SAFE.
337
00:13:13,760 --> 00:13:15,762
SO, WE HAVE STRICT POLICIES IN
338
00:13:15,762 --> 00:13:15,962
PLACE.
339
00:13:15,962 --> 00:13:17,330
IF ANYONE IN THIS THEATER
340
00:13:17,330 --> 00:13:18,831
COMMITS AN ACT OF VIOLENCE AT
341
00:13:18,831 --> 00:13:20,199
ANY POINT DURING THE SHOW, YOU
342
00:13:20,199 --> 00:13:21,034
WILL BE AWARDED THE OSCAR FOR
343
00:13:21,034 --> 00:13:28,508
BEST ACTOR AND PERMITTED TO GIVE
344
00:13:28,508 --> 00:13:30,743
A 19-MINUTE LONG SPEECH.
345
00:13:30,743 --> 00:13:32,745
BUT SERIOUSLY, THE ACADEMY HAS A
346
00:13:32,745 --> 00:13:33,980
CRISIS TEAM IN PLACE.
347
00:13:33,980 --> 00:13:35,515
IF ANYTHING UNPREDICTABLE OR
348
00:13:35,515 --> 00:13:36,849
VIOLENT HAPPENS DURING THE
349
00:13:36,849 --> 00:13:37,750
CEREMONY, JUST DO WHAT YOU DID
350
00:13:37,750 --> 00:13:38,051
LAST YEAR.
351
00:13:38,051 --> 00:13:40,386
NOTHING.
352
00:13:40,386 --> 00:13:41,020
SIT THERE AND DO ABSOLUTELY
353
00:13:41,020 --> 00:13:43,456
NOTHING.
354
00:13:43,456 --> 00:13:44,857
MAYBE EVEN GIVE THE ASSAILANT A
355
00:13:44,857 --> 00:13:46,759
HUG.
356
00:13:46,759 --> 00:13:48,628
AND IF ANY OF YOU GET MAD AT A
357
00:13:48,628 --> 00:13:51,497
JOKE AND DECIDE YOU WANT TO GET
358
00:13:51,497 --> 00:13:53,232
JIGGY WITH IT -- IT'S NOT GOING
359
00:13:53,232 --> 00:13:53,933
TO BE EASY.
360
00:13:53,933 --> 00:13:55,401
A FEW OF MY FRIENDS YOU HAVE TO
361
00:13:55,401 --> 00:13:56,336
GET THROUGH FIRST.
362
00:13:56,336 --> 00:13:58,304
YOU ARE GOING TO HAVE TO GET
363
00:13:58,304 --> 00:14:01,607
THROUGH THE HEAVYWEIGHT CHAMP,
364
00:14:01,607 --> 00:14:02,842
ADONIS CREED, BEFORE YOU GET TO
365
00:14:02,842 --> 00:14:03,009
ME.
366
00:14:03,009 --> 00:14:04,577
YOU ARE GOING TO HAVE TO DO
367
00:14:04,577 --> 00:14:05,712
BATTLE WITH MICHELLE YEOH BEFORE
368
00:14:05,712 --> 00:14:07,513
YOU GET TO ME.
369
00:14:07,513 --> 00:14:10,550
YOU ARE GOING TO HAVE TO BEAT
370
00:14:10,550 --> 00:14:12,752
"THE MANDALORIAN" BEFORE YOU GET
371
00:14:12,752 --> 00:14:13,152
TO ME.
372
00:14:13,152 --> 00:14:14,754
YOU ARE GOING TO HAVE TO TANGLE
373
00:14:14,754 --> 00:14:18,191
WITH SPIDER-MAN.
374
00:14:18,191 --> 00:14:21,194
YOU ARE GOING TO HAVE TO -- YOU
375
00:14:21,194 --> 00:14:24,997
ARE GOING TO HAVE TO TANGLE WITH
376
00:14:24,997 --> 00:14:27,967
FABELMAN.
377
00:14:27,967 --> 00:14:29,435
AND THEN YOU'RE GOING TO HAVE TO
378
00:14:29,435 --> 00:14:31,204
GO THROUGH MY RIGHT-HAND MAN,
379
00:14:31,204 --> 00:14:32,338
GUILLERMO, IF YOU WANT TO GET UP
380
00:14:32,338 --> 00:14:33,172
TO THIS STAGE.
381
00:14:33,172 --> 00:14:36,142
OH, WAIT A MINUTE -- WELL, I
382
00:14:36,142 --> 00:14:40,146
SHOULD SAY -- THE OTHER
383
00:14:40,146 --> 00:14:40,413
GUILLERMO.
384
00:14:40,413 --> 00:14:41,814
NOT DEL TORO.
385
00:14:41,814 --> 00:14:42,148
YES, THAT ONE.
386
00:14:42,148 --> 00:14:44,384
OKAY, THERE YOU GO.
387
00:14:44,384 --> 00:14:46,586
I KNOW HE'S CUTE, BUT MAKE NO
388
00:14:46,586 --> 00:14:47,754
MISTAKE, YOU EVEN SO MUCH AS
389
00:14:47,754 --> 00:14:49,489
WAVE AT ME, THAT SWEET LITTLE
390
00:14:49,489 --> 00:14:52,492
MAN WILL BEAT THE LYDIA TAR OUT
391
00:14:52,492 --> 00:14:53,559
OF YOU.
392
00:14:53,559 --> 00:14:54,394
NO NONSENSE TONIGHT.
393
00:14:54,394 --> 00:14:56,262
WE HAVE NO TIME FOR SHENANIGANS.
394
00:14:56,262 --> 00:14:57,930
THIS IS A CELEBRATION OF
395
00:14:57,930 --> 00:14:58,531
EVERYONE HERE.
396
00:14:58,531 --> 00:15:00,299
YOU TOLD US YOU WANTED ALL THE
397
00:15:00,299 --> 00:15:01,367
CATEGORIES BACK IN AND WE
398
00:15:01,367 --> 00:15:01,634
LISTENED.
399
00:15:01,634 --> 00:15:05,138
THEY'RE ALL BACK IN.
400
00:15:05,138 --> 00:15:06,572
THAT'S RIGHT.
401
00:15:06,572 --> 00:15:11,511
WE WILL BE SHOWING ALL 23
402
00:15:11,511 --> 00:15:12,578
CATEGORIES LIVE TONIGHT.
403
00:15:12,578 --> 00:15:14,747
EXCEPT FOR ONE, EARLIER TONIGHT,
404
00:15:14,747 --> 00:15:17,250
BEST PICTURE WENT TO "ALL QUIET
405
00:15:17,250 --> 00:15:19,685
ON THE WESTERN FRONT."
406
00:15:19,685 --> 00:15:22,255
CONGRATULATIONS TO GERMANY.
407
00:15:22,255 --> 00:15:23,656
WE PUT ALL THE CATEGORIES BACK
408
00:15:23,656 --> 00:15:27,360
IN BECAUSE THE MOVIE COMMUNITY
409
00:15:27,360 --> 00:15:27,960
WANTED IT.
410
00:15:27,960 --> 00:15:29,929
ALMOST AS MUCH AS THE TELEVISION
411
00:15:29,929 --> 00:15:30,730
COMMUNITY DIDN'T WANT IT.
412
00:15:30,730 --> 00:15:32,398
NO COMPLAINING ABOUT HOW LONG
413
00:15:32,398 --> 00:15:32,999
THE SHOW IS.
414
00:15:32,999 --> 00:15:35,668
I SAW YOUR MOVIES, NOW IT'S MY
415
00:15:35,668 --> 00:15:37,003
TURN TO MAKE YOU SIT IN A
416
00:15:37,003 --> 00:15:38,404
THEATER FOR 3 1/2 HOURS.
417
00:15:38,404 --> 00:15:40,006
THAT DOESN'T MEAN WE DON'T WANT
418
00:15:40,006 --> 00:15:41,374
TO HEAR YOU SPEAK.
419
00:15:41,374 --> 00:15:43,176
WE WANT THE SPEECHES TO BE
420
00:15:43,176 --> 00:15:44,677
MOVING, WE ALSO WANT TO KEEP IT
421
00:15:44,677 --> 00:15:44,911
MOVING.
422
00:15:44,911 --> 00:15:46,112
SPEECH GOES ON TOO LONG, THIS
423
00:15:46,112 --> 00:15:47,346
YEAR, WE'RE NOT GOING TO PLAY
424
00:15:47,346 --> 00:15:49,715
YOU OFFSTAGE, INSTEAD, WE HAVE A
425
00:15:49,715 --> 00:15:51,818
GROUP OF PERFORMERS FROM THE
426
00:15:51,818 --> 00:15:54,454
MOVIE "RRR," WHO IS GOING TO
427
00:15:54,454 --> 00:15:56,189
DANCE YOU OFFSTAGE.
428
00:15:56,189 --> 00:15:59,492
IF YOU GO TO LONG, WE'RE GOING
429
00:15:59,492 --> 00:16:02,128
TO GONG SHOW YOU.
430
00:16:02,128 --> 00:16:03,596
PLEASE WELCOME OUR FIRST
431
00:16:03,596 --> 00:16:05,965
PRESENTERS OF THE NIGHT, DWAYNE
432
00:16:05,965 --> 00:16:11,704
JOHNSON AND EMILY BLUNT.
433
00:16:11,704 --> 00:16:20,179
♪
434
00:16:20,179 --> 00:16:22,548
>> DO YOU DO ANY OF THOSE MOVES?
435
00:16:22,548 --> 00:16:22,915
>> I CAN.
436
00:16:22,915 --> 00:16:24,650
>> I WOULD HAVE LIKED THAT.
437
00:16:24,650 --> 00:16:27,954
HELLO.
438
00:16:27,954 --> 00:16:28,421
WE KNOW THE SHOW JUST
439
00:16:28,421 --> 00:16:29,055
STARTED, SO WE'LL GET STRAIGHT
440
00:16:29,055 --> 00:16:29,655
TO THE POINT -- WE'RE HERE TO
441
00:16:29,655 --> 00:16:30,223
PRESENT THE AWARD FOR BEST
442
00:16:30,223 --> 00:16:32,124
ANIMATED FEATURE.
443
00:16:32,124 --> 00:16:34,527
>> AH -- YES.
444
00:16:34,527 --> 00:16:35,461
>> YEAH.
445
00:16:35,461 --> 00:16:38,764
>> YEAH.
446
00:16:38,764 --> 00:16:40,700
ANIMATION.
447
00:16:40,700 --> 00:16:43,202
BUT WHERE DOES ONE EVEN BEGIN TO
448
00:16:43,202 --> 00:16:45,905
ADEQUATELY CAPTURE THE MAGIC
449
00:16:45,905 --> 00:16:46,372
THAT IS ANIMATED FILM?
450
00:16:46,372 --> 00:16:47,039
>> UM -- I DON'T KNOW.
451
00:16:47,039 --> 00:16:47,573
BUT THAT'S WHY WE'RE HERE.
452
00:16:47,573 --> 00:16:48,174
SO THESE ARE THE NOMINEES FOR
453
00:16:48,174 --> 00:16:52,645
BEST ANIMATED --
454
00:16:52,645 --> 00:16:54,547
>> COME ON --
455
00:16:54,547 --> 00:16:56,516
>> COME ON, LONG NIGHT.
456
00:16:56,516 --> 00:16:58,084
>> THAT WORD, ANIMATION.
457
00:16:58,084 --> 00:16:58,718
LIKE MANY WORDS, IT COMES FROM
458
00:16:58,718 --> 00:16:59,352
THE MOTHER TONGUE, LATIN.
459
00:16:59,352 --> 00:17:01,954
>> OH, MY GOD.
460
00:17:01,954 --> 00:17:03,222
>> ITS ROOT MEANING, TO BESTOW
461
00:17:03,222 --> 00:17:04,023
LIFE.
462
00:17:04,023 --> 00:17:04,624
>> DWAYNE, WE'VE GOT TO KEEP
463
00:17:04,624 --> 00:17:06,392
THIS MOVING.
464
00:17:06,392 --> 00:17:07,793
YOU SEE, THEY'RE EXHAUSTED,
465
00:17:07,793 --> 00:17:08,327
EVEN --
466
00:17:08,327 --> 00:17:09,829
>> EMILY, YES, IT'S --
467
00:17:09,829 --> 00:17:11,697
>> NO, WE'RE JUST WASTING TIME.
468
00:17:11,697 --> 00:17:13,966
>> REALLY, THINK ABOUT IT, IS IT
469
00:17:13,966 --> 00:17:15,434
REALLY WASTING TIME TO SIGH THAT
470
00:17:15,434 --> 00:17:16,569
ANIMATION IS THE VERY DEFINITION
471
00:17:16,569 --> 00:17:18,771
OF FILM, ARTFULLY -- THANK YOU.
472
00:17:18,771 --> 00:17:19,772
>> YOU KNOW WHAT?
473
00:17:19,772 --> 00:17:20,706
>> SEE THAT.
474
00:17:20,706 --> 00:17:21,307
>> YEAH.
475
00:17:21,307 --> 00:17:23,075
>> ARTFULLY, THANK YOU, GUYS,
476
00:17:23,075 --> 00:17:26,312
ARTFULLY TELLING SOPHISTICATED
477
00:17:26,312 --> 00:17:28,414
NARRATIVES FRAME BY FRAME.
478
00:17:28,414 --> 00:17:29,048
THAT IT'S TIED TO THE ORIGIN OF
479
00:17:29,048 --> 00:17:29,682
CINEMA ITSELF AND ENCOMPASSES A
480
00:17:29,682 --> 00:17:30,516
WHOLE ARRAY OF VISUAL STYLES AND
481
00:17:30,516 --> 00:17:32,151
TECHNIQUES, AS DISPLAYED BY THE
482
00:17:32,151 --> 00:17:34,320
NOMINEES THIS YEAR?
483
00:17:34,320 --> 00:17:35,821
>> THAT WAS VERY, VERY NICE.
484
00:17:35,821 --> 00:17:37,823
>> THANK YOU.
485
00:17:37,823 --> 00:17:39,325
>> VERY, VERY NICELY PUT.
486
00:17:39,325 --> 00:17:39,959
AND I'M GOING TO GIVE YOU THAT
487
00:17:39,959 --> 00:17:42,395
ONE.
488
00:17:42,395 --> 00:17:43,829
>> HERE ARE THE NOMINEES FOR
489
00:17:43,829 --> 00:17:46,632
BEST ANIMATED FEATURE FILM.
490
00:17:46,632 --> 00:17:47,700
“GUILLERMO DEL TORO'S PINOCCHI”"
491
00:17:47,700 --> 00:17:51,337
GUILLERMO DEL TORO,
492
00:17:51,337 --> 00:17:51,971
MARK GUSTAFSON, GARY UNGAR AND
493
00:17:51,971 --> 00:17:53,573
ALEX BULKLEY.
494
00:17:53,573 --> 00:17:55,741
>> YOU MUST TRY YOUR BEST AND
495
00:17:55,741 --> 00:17:58,644
THAT'S THE BEST ANYBODY CAN DO.
496
00:17:58,644 --> 00:18:00,713
>> "MARCEL THE SHELL WITH SHOES
497
00:18:00,713 --> 00:18:01,681
ON."
498
00:18:01,681 --> 00:18:04,317
ELISABETH HOLM, ANDREW GOLDMAN,
499
00:18:04,317 --> 00:18:05,851
CAROLINE KAPLAN AND PAUL MEZEY.
500
00:18:05,851 --> 00:18:08,788
>> SOMETIMES PEOPLE SAY THAT MY
501
00:18:08,788 --> 00:18:11,557
HEAD IS TOO BIG FOR MY BODY AND
502
00:18:11,557 --> 00:18:14,427
THEN I SAY, COMPARED TO WHAT?
503
00:18:14,427 --> 00:18:17,096
>> "PUSS IN BOOTS: THE LAST
504
00:18:17,096 --> 00:18:18,030
WISH."
505
00:18:18,030 --> 00:18:20,399
JOEL CRAWFORD AND MARK SWIFT.
506
00:18:20,399 --> 00:18:20,933
>> FEAR ME!
507
00:18:20,933 --> 00:18:23,402
I YOU DARE.
508
00:18:23,402 --> 00:18:26,272
>> "THE SEA BEAST."
509
00:18:26,272 --> 00:18:27,907
CHRIS WILLIAMS AND
510
00:18:27,907 --> 00:18:28,374
JED SCHLANGER.
511
00:18:28,374 --> 00:18:29,775
>> YOU DIDN'T STOP ME, DID YOU?
512
00:18:29,775 --> 00:18:31,110
>> THAT'S NOT THE SAME THING.
513
00:18:31,110 --> 00:18:32,044
>> ISN'T IT?
514
00:18:32,044 --> 00:18:33,212
>> "TURNING RED."
515
00:18:33,212 --> 00:18:37,116
DOMEE SHI AND LINDSEY COLLINS.
516
00:18:37,116 --> 00:18:39,552
>> I LIKE GYRATING.
517
00:18:39,552 --> 00:18:41,387
I'M 15, DEAL WITH IT!
518
00:18:41,387 --> 00:18:45,858
>> OKAY.
519
00:18:45,858 --> 00:18:50,429
AND THE OSCAR GOES TO --
520
00:18:50,429 --> 00:18:51,597
GUILLERMO TELL TORO'S
521
00:18:51,597 --> 00:18:57,169
"PINOCCHIO."
522
00:18:57,169 --> 00:19:00,539
>> GUILLERMO DEL TORO FIRST SAW
523
00:19:00,539 --> 00:19:01,574
"PINOCCHIO" AS A CHILD AND FELT
524
00:19:01,574 --> 00:19:03,109
IT WAS THE FIRST TIME SOMEBODY
525
00:19:03,109 --> 00:19:03,943
CAPTURED HOW SCARY CHILDHOOD
526
00:19:03,943 --> 00:19:08,414
COULD BE.
527
00:19:08,414 --> 00:19:09,515
>> WOW.
528
00:19:09,515 --> 00:19:12,852
THANK YOU.
529
00:19:12,852 --> 00:19:14,754
IT'S -- IT'S SO GOOD TO KNOW
530
00:19:14,754 --> 00:19:18,824
THAT -- THAT THIS ART FORM THAT
531
00:19:18,824 --> 00:19:21,927
WE LOVE SO MUCH, STOP MOTION, IS
532
00:19:21,927 --> 00:19:22,495
VERY MUCH ALIVE AND WELL.
533
00:19:22,495 --> 00:19:26,165
I WANT TO THANK SHADOW MACHINE
534
00:19:26,165 --> 00:19:27,967
AND THE CREW UP IN PORTLAND, I
535
00:19:27,967 --> 00:19:31,470
WANT TO THANK THE HENCEN COMPANY
536
00:19:31,470 --> 00:19:31,837
AND LISA.
537
00:19:31,837 --> 00:19:32,638
I WANT TO THANK MY BEAUTIFUL
538
00:19:32,638 --> 00:19:36,776
WIFE AND SEBASTIAN, AS WELL, AND
539
00:19:36,776 --> 00:19:38,778
THIS MAN, WHO WAS REALLY THE
540
00:19:38,778 --> 00:19:40,980
GENESIS OF EVERYTHING, INCLUDING
541
00:19:40,980 --> 00:19:44,617
MY DRINKING PROBLEM.
542
00:19:44,617 --> 00:19:50,523
>> ANIMATION IS CINEMA.
543
00:19:50,523 --> 00:19:54,593
ANIMATION IS READY TO BE TAKEN
544
00:19:54,593 --> 00:19:56,328
TO THE NEXT STEP.
545
00:19:56,328 --> 00:19:57,763
WE ARE ALL READY FOR IT.
546
00:19:57,763 --> 00:19:58,998
PLEASE HELP US.
547
00:19:58,998 --> 00:19:59,565
KEEP ANIMATION IN THE
548
00:19:59,565 --> 00:20:00,566
CONVERSATION.
549
00:20:00,566 --> 00:20:06,505
I WOULD LIKE TO THANK NETFLIX
550
00:20:06,505 --> 00:20:08,340
FOR THEIR FAITH TO MAKE THIS
551
00:20:08,340 --> 00:20:08,541
MOVIE.
552
00:20:08,541 --> 00:20:11,043
AND I WANT TO DEDICATE THIS TO
553
00:20:11,043 --> 00:20:13,512
THE LOVE OF MY LIFE, MY WIFE
554
00:20:13,512 --> 00:20:15,281
KIM, MY KIDS, AND MY MOM AND
555
00:20:15,281 --> 00:20:16,015
POP, THEY'RE NOT HERE ANYMORE,
556
00:20:16,015 --> 00:20:20,386
BUT THEY ARE HERE WITH ME, AND
557
00:20:20,386 --> 00:20:21,153
I'M YOUR SON AND I LOVE YOU.
558
00:20:21,153 --> 00:20:27,393
THANK YOU.
559
00:20:27,393 --> 00:20:30,563
♪
560
00:20:30,563 --> 00:20:31,597
>> Announcer: COMING UP,
561
00:20:31,597 --> 00:20:33,933
ARIANA DEBOSE, TROY KOTSUR, AND
562
00:20:33,933 --> 00:20:34,767
A PERFORMANCE BY SOFIA CARSON.
563
00:20:34,767 --> 00:20:35,801
AND LATER, THE AWARD FOR
564
00:20:35,801 --> 00:20:37,336
CINEMATOGRAPHY.
565
00:20:37,336 --> 00:20:39,505
TO LEARN MORE ABOUT OUR
566
00:20:39,505 --> 00:20:40,506
NOMINATED CINEMATOGRAPHERS, SCAN
567
00:20:40,506 --> 00:20:43,609
THE QR CODE ON YOUR SCREEN.
568
00:20:49,215 --> 00:20:53,185
>> Announcer: WELCOME BACK TO
569
00:20:53,185 --> 00:20:53,519
THE OSCARS.
570
00:20:53,519 --> 00:20:54,653
THROUGHOUT THE NIGHT, WE'LL
571
00:20:54,653 --> 00:20:56,655
PRESENT ALL OF OUR BEST PICTURE
572
00:20:56,655 --> 00:20:57,089
NOMINEES.
573
00:20:57,089 --> 00:21:02,261
HERE'S THE FIRST, WITH FOUR
574
00:21:02,261 --> 00:21:02,561
NOMINATIONS.
575
00:21:02,561 --> 00:21:03,729
THIS IS "AVATAR: THE WAY OF
576
00:21:03,729 --> 00:21:08,000
WATER."
577
00:21:08,000 --> 00:21:08,934
>> THE WAY OF WATER HAS NO
578
00:21:08,934 --> 00:21:14,173
BEGINNING AND NO END.
579
00:21:14,173 --> 00:21:18,577
LIFE TO DEATH.
580
00:21:18,577 --> 00:21:25,851
DARKNESS TO LIGHT.
581
00:21:25,851 --> 00:21:29,789
♪
582
00:21:29,789 --> 00:21:36,295
WATER CONNECTS ALL THINGS.
583
00:21:36,295 --> 00:21:42,168
>>> WELCOME BACK.
584
00:21:42,168 --> 00:21:45,104
THAT WAS "AVATAR: THE WAY OF
585
00:21:45,104 --> 00:21:45,671
WATER."
586
00:21:45,671 --> 00:21:48,140
THE THIRD HIGHEST-CROSSING MOVIE
587
00:21:48,140 --> 00:21:48,941
OF ALL TIME.
588
00:21:48,941 --> 00:21:51,343
JAMES CAMERON HAS DIRECTED THREE
589
00:21:51,343 --> 00:21:53,546
$2 BILLION MOVIES OR GIVEN HIS
590
00:21:53,546 --> 00:21:55,514
MARITAL HISTORY, THREE $1
591
00:21:55,514 --> 00:21:57,683
BILLION MOVIES.
592
00:21:57,683 --> 00:21:59,518
WE HAVE A LOT OF HISTORY IN THE
593
00:21:59,518 --> 00:22:00,920
MAKING TONIGHT, INCLUDING A MAN
594
00:22:00,920 --> 00:22:03,088
WHO COULD BECOME OUR OLDEST
595
00:22:03,088 --> 00:22:05,925
ACTING WINNER EVER, ONE OF MY
596
00:22:05,925 --> 00:22:07,960
FAVE R
597
00:22:07,960 --> 00:22:09,228
FAVORITES, JUDD HIRSCH.
598
00:22:09,228 --> 00:22:10,196
HE TURNS 88 YEARS OLD ON
599
00:22:10,196 --> 00:22:12,198
WEDNESDAY.
600
00:22:12,198 --> 00:22:13,866
88 YEARS OLD THIS WEEK.
601
00:22:13,866 --> 00:22:14,700
SO, WE'RE GOING TO DO HIS
602
00:22:14,700 --> 00:22:16,569
CATEGORY FIRST.
603
00:22:16,569 --> 00:22:17,303
LET'S DO IT.
604
00:22:17,303 --> 00:22:21,073
HERE TO PRESENT THE OSCAR FOR
605
00:22:21,073 --> 00:22:21,607
ACTOR AND ACTRESS IN A
606
00:22:21,607 --> 00:22:24,009
SUPPORTING ROLE, LAST YEAR'S
607
00:22:24,009 --> 00:22:26,145
WINNERS IN SUPPORTING ROLES,
608
00:22:26,145 --> 00:22:28,514
OSCAR WINNERS TROY KOTSUR AND
609
00:22:28,514 --> 00:22:34,286
ARIANA DEBOSE.
610
00:22:34,286 --> 00:22:47,800
>> HI, BABE.
611
00:22:47,800 --> 00:22:50,870
>> WE ARE THRILLED TO BE BACK TO
612
00:22:50,870 --> 00:22:51,437
PRESENT THE OSCARS FOR BEST
613
00:22:51,437 --> 00:22:52,071
SUPPORTING ACTOR AND SUPPORTING
614
00:22:52,071 --> 00:22:57,209
ACTRESS.
615
00:22:57,209 --> 00:22:59,311
BESIDES SHARING GROUNDBREAKING
616
00:22:59,311 --> 00:23:00,880
WINS LAST YEAR, WE ALSO SHARE A
617
00:23:00,880 --> 00:23:03,515
LOVE OF COLLABORATING WITH
618
00:23:03,515 --> 00:23:05,651
OTHERS TO CONNECT WITH AN
619
00:23:05,651 --> 00:23:10,022
AUDIENCE.
620
00:23:10,022 --> 00:23:10,623
>> AND WE ARE BOTH SO PLEASED
621
00:23:10,623 --> 00:23:11,991
AND ENCOURAGED THAT THE MOVIES,
622
00:23:11,991 --> 00:23:14,627
AND THE PEOPLE WHO MAKE THEM,
623
00:23:14,627 --> 00:23:16,228
ARE BECOMING MORE INCLUSIVE AND
624
00:23:16,228 --> 00:23:18,297
MORE OF A REFLECTION OF THE
625
00:23:18,297 --> 00:23:18,931
AUDIENCES THAT ARE INSPIRED BY
626
00:23:18,931 --> 00:23:26,705
THEM.
627
00:23:26,705 --> 00:23:28,774
>> IN MANY EARLIEST
628
00:23:28,774 --> 00:23:29,375
OPPORTUNITIES, MY ROLES WERE
629
00:23:29,375 --> 00:23:29,875
VOICED BY OTHER ACTORS
630
00:23:29,875 --> 00:23:35,047
OFF-STAGE.
631
00:23:35,047 --> 00:23:36,515
TONIGHT, IT DOESN'T MATTER WHERE
632
00:23:36,515 --> 00:23:38,250
THE SOUND COMES FROM -- THIS IS
633
00:23:38,250 --> 00:23:41,020
ME SIGNING.
634
00:23:41,020 --> 00:23:42,721
AND I AM DELIGHTED TO HONOR
635
00:23:42,721 --> 00:23:44,556
THESE ARTISTS.
636
00:23:44,556 --> 00:23:46,158
>> THOUGH THE CHARACTERS THEY
637
00:23:46,158 --> 00:23:47,760
PLAYED ARE NOT CONSIDERED LEADS,
638
00:23:47,760 --> 00:23:49,328
THEIR CONTRIBUTIONS TO A FILM
639
00:23:49,328 --> 00:23:51,430
AND THE IMPORTANCE OF THEIR
640
00:23:51,430 --> 00:23:51,931
ROLES ARE PIVOTAL.
641
00:23:51,931 --> 00:23:56,101
HERE ARE THE NOMINEES FOR
642
00:23:56,101 --> 00:23:56,702
PERFORMANCE BY AN ACTOR IN A
643
00:23:56,702 --> 00:24:02,975
SUPPORTING ROLE --
644
00:24:02,975 --> 00:24:03,475
BRENDAN GLEESON,
645
00:24:03,475 --> 00:24:05,844
“THE BANSHEES OF INISHERIN.”
646
00:24:05,844 --> 00:24:08,347
>> MUSIC LASTS.
647
00:24:08,347 --> 00:24:08,781
PAINTINGS LAST.
648
00:24:08,781 --> 00:24:11,684
AND POETRY LASTS.
649
00:24:11,684 --> 00:24:13,419
50 YEARS TIME, NO ONE WILL
650
00:24:13,419 --> 00:24:19,992
REMEMBER ANY OF US.
651
00:24:19,992 --> 00:24:22,461
>> BRIAN TYREE HENRY,
652
00:24:22,461 --> 00:24:24,663
“CAUSEWAY.”
653
00:24:24,663 --> 00:24:26,532
>> CAR ACCIDENT.
654
00:24:26,532 --> 00:24:28,767
MY NEPHEW, OUT ON THE CAUSEWAY.
655
00:24:28,767 --> 00:24:30,169
I JUST REMEMBER LOOKING IN HER
656
00:24:30,169 --> 00:24:35,140
EYES, LIKE HE WAS SAYING BYE.
657
00:24:35,140 --> 00:24:43,849
LIKE, SEE YOU LATER.
658
00:24:43,849 --> 00:24:46,118
>> JUDD HIRSCH, "THE FABELMANS."
659
00:24:46,118 --> 00:24:47,686
>> SO, YOU LIKE THE MOVIES?
660
00:24:47,686 --> 00:24:55,060
YOUR SISTER, YOUR MOTHER, YOUR
661
00:24:55,060 --> 00:24:55,427
PP
662
00:24:55,427 --> 00:24:56,328
APA PA.
663
00:24:56,328 --> 00:24:57,329
THIS, I GET.
664
00:24:57,329 --> 00:24:57,496
ART.
665
00:24:57,496 --> 00:25:03,302
IT WILL TEAR YOU IN TWO.
666
00:25:03,302 --> 00:25:07,873
>> BARRY KEOGHAN,
667
00:25:07,873 --> 00:25:09,742
“THE BANSHEES OF INISHERIN.”
668
00:25:09,742 --> 00:25:13,245
>> PROBABLY WANT EVERYONE TO
669
00:25:13,245 --> 00:25:14,580
FALL IN LOVE WITH A BOY LIKE ME,
670
00:25:14,580 --> 00:25:15,447
WOULD YOU?
671
00:25:15,447 --> 00:25:16,215
>> YEAH, NO.
672
00:25:16,215 --> 00:25:17,549
>> I DIDN'T THINK SO.
673
00:25:17,549 --> 00:25:22,888
WELL, THERE GOES THAT DREAM.
674
00:25:22,888 --> 00:25:25,924
>> KE HUY QUAN,
675
00:25:25,924 --> 00:25:26,592
“EVERYTHING EVERYWHERE ALL AT
676
00:25:26,592 --> 00:25:28,027
ONCE.”
677
00:25:28,027 --> 00:25:30,262
>> THERE'S A GREAT EVIL THAT IS
678
00:25:30,262 --> 00:25:32,064
IN MY WORLD AND IT'S SPREADING
679
00:25:32,064 --> 00:25:34,600
ITS CHAOS TO THE MANY VERSES.
680
00:25:34,600 --> 00:25:36,502
ALL THOSE YEARS OF SEARCHING
681
00:25:36,502 --> 00:25:45,444
HAVE BROUGHT ME HERE TO YOU.
682
00:25:45,444 --> 00:25:50,282
>> AND THE OSCAR GOES TO --
683
00:25:50,282 --> 00:25:56,622
>> KE HUY QUAN.
684
00:25:56,622 --> 00:25:59,958
>> KE HUY QUAN MADE HIS BIG
685
00:25:59,958 --> 00:26:03,228
SCREEN DEBUT IN "INDIANA JONES
686
00:26:03,228 --> 00:26:07,533
AND THE ITEMPLE OF DOOM" AND
687
00:26:07,533 --> 00:26:10,936
HOLDS A DEGREE IN CINEMATIC
688
00:26:10,936 --> 00:26:11,670
ARTS.
689
00:26:11,670 --> 00:26:25,350
HE'S WORKED AT A STUNT DIRECTOR.
690
00:26:25,350 --> 00:26:34,426
>> OH, MY GOD!
691
00:26:34,426 --> 00:26:42,701
THANK YOU.
692
00:26:42,701 --> 00:26:49,108
THANK YOU.
693
00:26:49,108 --> 00:26:51,910
MY MOM IS 84 YEARS OLD.
694
00:26:51,910 --> 00:26:56,181
AND SHE'S AT HOME WATCHING.
695
00:26:56,181 --> 00:27:07,593
MOM, I JUST WON AN OSCAR!
696
00:27:07,593 --> 00:27:10,429
MY JOURNEY STARTED ON A BOAT.
697
00:27:10,429 --> 00:27:12,931
I SPENT A YEAR IN A REFUGEE
698
00:27:12,931 --> 00:27:13,866
CAMP.
699
00:27:13,866 --> 00:27:16,368
AND SOMEHOW, I ENDED UP HERE ON
700
00:27:16,368 --> 00:27:20,339
HOLLYWOOD'S BIGGEST STAGE.
701
00:27:20,339 --> 00:27:24,243
THEY SAY STORIES LIKE THIS ONLY
702
00:27:24,243 --> 00:27:26,145
HAPPEN IN THE MOVIES.
703
00:27:26,145 --> 00:27:27,546
I CANNOT BELIEVE IT'S HAPPENING
704
00:27:27,546 --> 00:27:27,746
TO ME.
705
00:27:27,746 --> 00:27:30,516
THIS -- THIS IS THE AMERICAN
706
00:27:30,516 --> 00:27:38,123
DREAM.
707
00:27:38,123 --> 00:27:40,359
THANK YOU SO MUCH.
708
00:27:40,359 --> 00:27:41,994
THANK YOU SO MUCH TO THE ACADEMY
709
00:27:41,994 --> 00:27:44,263
FOR THIS HONOR OF A LIFETIME.
710
00:27:44,263 --> 00:27:46,198
THANK YOU TO MY MOM FOR THE
711
00:27:46,198 --> 00:27:46,798
SACRIFICES SHE MADE TO GET ME
712
00:27:46,798 --> 00:27:48,233
HERE.
713
00:27:48,233 --> 00:27:52,971
TO MY LITTLE BROTHER WHO CALLS
714
00:27:52,971 --> 00:27:54,873
ME EVERY DAY JUST TO REMIND ME
715
00:27:54,873 --> 00:27:55,841
TO TAKE GOOD CARE OF MYSELF, I
716
00:27:55,841 --> 00:28:00,479
LOVE YOU, BROTHER.
717
00:28:00,479 --> 00:28:03,348
THANK YOU TO KEN FOR ALL YOUR
718
00:28:03,348 --> 00:28:03,615
SUPPORT.
719
00:28:03,615 --> 00:28:05,184
THANK YOU TO A-24.
720
00:28:05,184 --> 00:28:09,221
TO DANIEL, JONATHAN, JAMIE,
721
00:28:09,221 --> 00:28:13,025
MICHELLE, AND MY "GOONIES"
722
00:28:13,025 --> 00:28:19,598
BROTHER FOR LIFE, JEFF COHEN.
723
00:28:19,598 --> 00:28:22,000
I OWE EVERYTHING TO THE LOVE OF
724
00:28:22,000 --> 00:28:30,676
MY LIFE, MY WIFE ECHO, WHO --
725
00:28:30,676 --> 00:28:31,944
WHO MONTH AFTER MONTH, YEAR
726
00:28:31,944 --> 00:28:36,048
AFTER YEAR FOR 20 YEARS TOLD ME
727
00:28:36,048 --> 00:28:39,918
THAT ONE DAY, ONE DAY MY TIME
728
00:28:39,918 --> 00:28:43,589
WILL COME.
729
00:28:43,589 --> 00:28:45,057
DREAMS ARE SOMETHING YOU HAVE TO
730
00:28:45,057 --> 00:28:46,491
BELIEVE IN.
731
00:28:46,491 --> 00:28:48,927
I ALMOST GAVE UP ON MINE.
732
00:28:48,927 --> 00:28:50,662
TO ALL OF YOU OUT THERE, PLEASE
733
00:28:50,662 --> 00:29:02,007
KEEP YOUR DREAMS ALIVE.
734
00:29:02,007 --> 00:29:04,843
THANK YOU, THANK YOU SO MUCH FOR
735
00:29:04,843 --> 00:29:05,611
WELCOMING ME BACK.
736
00:29:05,611 --> 00:29:06,378
I LOVE YOU.
737
00:29:06,378 --> 00:29:15,454
THANK YOU, THANK YOU, THANK YOU!
738
00:29:15,454 --> 00:29:30,002
>> OH, MY LORD, I'M A BIG OLD
739
00:29:30,002 --> 00:29:31,737
SOFTIE, UP HERE CRYING LIKE
740
00:29:31,737 --> 00:29:31,937
THAT.
741
00:29:31,937 --> 00:29:32,271
>> I FEEL YOU.
742
00:29:32,271 --> 00:29:36,008
>> OKAY.
743
00:29:36,008 --> 00:29:37,576
>> AND NOW, TO THE EQUALLY
744
00:29:37,576 --> 00:29:40,245
EXCEPTIONAL WOMEN WHO CAPTIVATED
745
00:29:40,245 --> 00:29:41,813
US WITH EMOTIONALLY SEARING
746
00:29:41,813 --> 00:29:45,517
PERFORMANCES.
747
00:29:45,517 --> 00:29:47,119
HERE ARE THE NOMINEES FOR
748
00:29:47,119 --> 00:29:48,153
PERFORMANCE BY AN ACTRESS IN A
749
00:29:48,153 --> 00:29:53,458
SUPPORTING ROLE --
750
00:29:53,458 --> 00:29:54,493
>> ANGELA BASSETT,
751
00:29:54,493 --> 00:29:55,060
“BLACK PANTHER: WAKANDA
752
00:29:55,060 --> 00:29:57,129
FOREVER.”
753
00:29:57,129 --> 00:30:00,766
>> I AM QUEEN OF THE MOST
754
00:30:00,766 --> 00:30:02,968
POWERFUL NATION IN THE WORLD.
755
00:30:02,968 --> 00:30:06,872
AND MY ENTIRE FAMILY IS GONE.
756
00:30:06,872 --> 00:30:14,446
HAVE I NOT GIVEN EVERYTHING?
757
00:30:14,446 --> 00:30:17,316
>> HONG CHAU, "THE WHALE."
758
00:30:17,316 --> 00:30:18,817
>> YOU LISTEN TO ME.
759
00:30:18,817 --> 00:30:21,787
HE DOESN'T NEED SAVING.
760
00:30:21,787 --> 00:30:23,322
IN A FEW DAYS, HE'S PROBABLY
761
00:30:23,322 --> 00:30:24,756
GOING TO BE DEAD, SO, WHAT HE
762
00:30:24,756 --> 00:30:26,491
NEDS IS FOR YOU TO LEAVE HIM
763
00:30:26,491 --> 00:30:26,692
ALONE.
764
00:30:26,692 --> 00:30:27,492
I'M THE ONLY ONE WHO CAN HELP
765
00:30:27,492 --> 00:30:34,433
HIM, YOU UNDERSTAND ME?
766
00:30:34,433 --> 00:30:36,134
>> KERRY CONDON,
767
00:30:36,134 --> 00:30:38,036
“THE BANSHEES OF INISHERIN.”
768
00:30:38,036 --> 00:30:42,174
>> HEY, WHAT IS HELL IS GOING ON
769
00:30:42,174 --> 00:30:45,544
WITH YOU AND MY BROTHER?
770
00:30:45,544 --> 00:30:48,080
YOU CAN'T JUST STOP BEING
771
00:30:48,080 --> 00:30:48,447
FRIENDS.
772
00:30:48,447 --> 00:30:49,348
>> WHY CAN'T I?
773
00:30:49,348 --> 00:30:50,582
>> WHY CAN'T YOU?
774
00:30:50,582 --> 00:30:55,987
BECAUSE IT ISN'T NICE.
775
00:30:55,987 --> 00:30:58,590
>> JAMIE LEE CURTIS,
776
00:30:58,590 --> 00:30:59,257
“EVERYTHING EVERYWHERE ALL AT
777
00:30:59,257 --> 00:31:00,459
ONCE.”
778
00:31:00,459 --> 00:31:02,461
>> NOW, YOU MAY ONLY SEE A PILE
779
00:31:02,461 --> 00:31:04,629
OF FORMS AND NUMBERS, BUT I SEE
780
00:31:04,629 --> 00:31:05,697
A STORY.
781
00:31:05,697 --> 00:31:07,366
I CAN TRACE THE UPS AND DOWNS OF
782
00:31:07,366 --> 00:31:09,968
YOUR LIVES.
783
00:31:09,968 --> 00:31:13,505
AND IT DOES NOT LOOK GOOD.
784
00:31:13,505 --> 00:31:20,946
IT DOES NOT LOOK GOOD.
785
00:31:20,946 --> 00:31:22,681
>> STEPHANIE HSU,
786
00:31:22,681 --> 00:31:23,348
“EVERYTHING EVERYWHERE ALL AT
787
00:31:23,348 --> 00:31:24,983
ONCE.”
788
00:31:24,983 --> 00:31:27,018
>> I'M TIRED.
789
00:31:27,018 --> 00:31:28,553
I DON'T WANT TO HURT ANYMORE AND
790
00:31:28,553 --> 00:31:29,821
FOR SOME REASON, WHEN I'M WITH
791
00:31:29,821 --> 00:31:31,890
YOU, IT JUST -- IT JUST HURTS
792
00:31:31,890 --> 00:31:35,660
THE BOTH OF US.
793
00:31:35,660 --> 00:31:49,608
JUST LET ME GO.
794
00:31:49,608 --> 00:31:57,649
>> AND THE OSCAR GOES TO --
795
00:31:57,649 --> 00:32:04,756
>> JAMIE LEE CURTIS!
796
00:32:04,756 --> 00:32:06,825
>> JAMIE LEE CURTIS MADE HER BIG
797
00:32:06,825 --> 00:32:08,660
SCREEN DEBUT IN THE HORROR
798
00:32:08,660 --> 00:32:10,595
CLASSIC "HALLOWEEN."
799
00:32:10,595 --> 00:32:12,364
45 YEARS LATER, SHE WAS AN
800
00:32:12,364 --> 00:32:15,567
EXECUTIVE PRODUCER ON THE FINAL
801
00:32:15,567 --> 00:32:23,108
INSTALLMENT, "HALLOWEEN ENDS."
802
00:32:23,108 --> 00:32:43,795
>> STOP.
803
00:32:43,795 --> 00:32:46,565
I HAVE 45 SECONDS AND I PROMISED
804
00:32:46,565 --> 00:32:48,567
JANET YANG I WOULD DO IT WELL,
805
00:32:48,567 --> 00:32:50,135
BECAUSE I'M A GOOD GIRL.
806
00:32:50,135 --> 00:32:51,837
I KNOW IT LOOKS LIKE I'M
807
00:32:51,837 --> 00:32:53,438
STANDING UP HERE BY MYSELF BUT I
808
00:32:53,438 --> 00:32:57,609
AM NOT, I AM HUNDREDS OF PEOPLE.
809
00:32:57,609 --> 00:32:59,344
I'M HUNDREDS OF PEOPLE.
810
00:32:59,344 --> 00:33:01,847
I AM -- WHERE ARE THE DANIELS?
811
00:33:01,847 --> 00:33:05,317
DANIELS, JONATHAN, THE ENTIRE
812
00:33:05,317 --> 00:33:08,687
CREW, MY BAE MICHELLE, KE,
813
00:33:08,687 --> 00:33:09,454
STEPH, THE ENTIRE GROUP OF
814
00:33:09,454 --> 00:33:12,958
ARTISTS WHO MADE THIS MOVIE.
815
00:33:12,958 --> 00:33:15,393
WE JUST WON AN OSCAR.
816
00:33:15,393 --> 00:33:21,900
TO MY DREAM TEAM, MY AGENT RICK
817
00:33:21,900 --> 00:33:24,803
KURTZMAN, HAYEIDI SCHAFER, JANE
818
00:33:24,803 --> 00:33:27,973
ROSS, WE JUST WON AN OSCAR.
819
00:33:27,973 --> 00:33:30,709
TO MY FAMILY -- MY BEAUTIFUL
820
00:33:30,709 --> 00:33:35,480
HUSBAND, CHRISTOPHER GUEST.
821
00:33:35,480 --> 00:33:39,818
OUR DAUGHTERS, ANNIE AND RUBY.
822
00:33:39,818 --> 00:33:42,554
MY SISTER KELLY, WE JUST WON AN
823
00:33:42,554 --> 00:33:42,754
OSCAR.
824
00:33:42,754 --> 00:33:46,191
TO ALL OF THE PEOPLE WHO HAVE
825
00:33:46,191 --> 00:33:48,226
SUPPORTED THE GENRE MOVIES THAT
826
00:33:48,226 --> 00:33:50,495
I'VE MADE FOR ALL THESE YEARS,
827
00:33:50,495 --> 00:33:51,997
THE THOUSANDS AND HUNDREDS OF
828
00:33:51,997 --> 00:33:58,637
THOUSANDS OF PEOPLE, WE JUST WON
829
00:33:58,637 --> 00:34:07,445
AN OSCAR TOGETHER!
830
00:34:07,445 --> 00:34:11,349
AND MY MOTHER AND MY FATHER WERE
831
00:34:11,349 --> 00:34:13,118
BOTH NOMINATED FOR OSCARS IN
832
00:34:13,118 --> 00:34:16,755
DIFFERENT CATEGORIES -- I JUST
833
00:34:16,755 --> 00:34:33,772
WON AN OSCAR.
834
00:34:33,772 --> 00:34:39,811
>> Announcer: PLEASE WELCOME
835
00:34:39,811 --> 00:34:49,788
CARA DELEVIGNE.
836
00:34:49,788 --> 00:34:52,023
>> TO TRY AND SUMMARIZE THE
837
00:34:52,023 --> 00:34:52,624
EXPERIENCES OF ALL THOSE WHO
838
00:34:52,624 --> 00:34:54,526
IDENTIFY AS WOMEN IN ONE MOVIE
839
00:34:54,526 --> 00:34:56,628
WOULD BE IMPOSSIBLE --
840
00:34:56,628 --> 00:34:58,730
BUT THE SEVEN SHORT FILMS HELMED
841
00:34:58,730 --> 00:35:00,899
BY SEVEN FEMALE DIRECTORS THAT
842
00:35:00,899 --> 00:35:02,434
MAKE UP “TELL IT LIKE A WOMAN,”
843
00:35:02,434 --> 00:35:03,969
DEMONSTRATE HOW IMPORTANT IT IS
844
00:35:03,969 --> 00:35:05,036
FOR INDIVIDUALS TO CONTROL THEIR
845
00:35:05,036 --> 00:35:07,172
OWN NARRATIVES.
846
00:35:07,172 --> 00:35:08,740
WHEN WE GET TO TELL OUR OWN
847
00:35:08,740 --> 00:35:11,943
STORIES, WE CAN THRIVE.
848
00:35:11,943 --> 00:35:12,677
HERE PERFORMING “APPLAUSE” FROM
849
00:35:12,677 --> 00:35:13,979
“TELL IT LIKE A WOMAN,” PLEASE
850
00:35:13,979 --> 00:35:16,114
WELCOME HONORARY OSCAR WINNER
851
00:35:16,114 --> 00:35:21,486
DIANE WARREN AND SOFIA CARSON.
852
00:35:21,486 --> 00:35:28,560
♪
853
00:35:28,560 --> 00:35:32,230
♪ RECOGNIZE WHO YOU ARE
854
00:35:32,230 --> 00:35:34,899
SOMETIMES I KNOW IT'S SO
855
00:35:34,899 --> 00:35:39,070
HARD BUT YOU SHINE YOU'RE
856
00:35:39,070 --> 00:35:42,741
A SUPERNOVA SUPERSTAR ♪
857
00:35:42,741 --> 00:35:52,751
♪ THEY CAN'T STOP YOU
858
00:35:52,751 --> 00:35:56,254
DARE TO STAND UP
859
00:35:56,254 --> 00:35:56,988
RAISE YOUR HANDS UP
860
00:35:56,988 --> 00:36:03,161
YEAH, YEAH ♪
861
00:36:03,161 --> 00:36:05,597
14-TIME ACADEMY AWARD NOMINEE,
862
00:36:05,597 --> 00:36:07,132
DIANE WARREN.
863
00:36:07,132 --> 00:36:07,599
♪ GIVE YOURSELF SOME
864
00:36:07,599 --> 00:36:08,600
APPLAUSE YOU DESERVE IT
865
00:36:08,600 --> 00:36:09,601
GIVE YOURSELF SOME
866
00:36:09,601 --> 00:36:10,702
RESPECT 'CAUSE YOU'VE ♪
867
00:36:10,702 --> 00:36:12,270
♪ EARNED IT GIVE
868
00:36:12,270 --> 00:36:14,372
YOURSELF SOME LOVE
869
00:36:14,372 --> 00:36:15,974
'CAUSE YOU'RE WORTH IT
870
00:36:15,974 --> 00:36:19,110
YOU'RE WORTH IT ♪
871
00:36:19,110 --> 00:36:21,746
♪ YEAH, HELL, YEAH
872
00:36:21,746 --> 00:36:23,848
LET 'EM KNOW YOU KNOW IT
873
00:36:23,848 --> 00:36:25,950
GO AND SHOW YOU OWN IT
874
00:36:25,950 --> 00:36:27,585
YOU'RE BOLD, YOU'RE BAD ♪
875
00:36:27,585 --> 00:36:32,257
♪ YOU'RE STRONG, GIVE
876
00:36:32,257 --> 00:36:33,391
YOURSELF SOME APPLAUSE
877
00:36:33,391 --> 00:36:35,493
GIVE YOURSELF
878
00:36:35,493 --> 00:36:40,732
SOME APPLAUSE ♪
879
00:36:40,732 --> 00:36:41,800
>> TO EACH AND EVERY SINGLE
880
00:36:41,800 --> 00:36:44,402
WOMAN IN THIS ROOM --
881
00:36:44,402 --> 00:36:47,038
AND TO ALL THE WOMAN IN THE
882
00:36:47,038 --> 00:36:48,073
WORLD --
883
00:36:48,073 --> 00:36:56,014
GIVE YOURSELF SOME APPLAUSE.
884
00:36:56,014 --> 00:36:56,481
♪ GIVE YOURSELF SOME
885
00:36:56,481 --> 00:36:57,048
APPLAUSE YOU DESERVE IT
886
00:36:57,048 --> 00:36:59,718
GIVE YOURSELF♪
887
00:36:59,718 --> 00:37:01,286
SOME RESPECT ♪
888
00:37:01,286 --> 00:37:01,820
♪ 'CAUSE YOU'VE EARNED IT
889
00:37:01,820 --> 00:37:03,388
GIVE YOURSELF SOME LOVE
890
00:37:03,388 --> 00:37:03,955
'CAUSE YOU'RE WORTH IT
891
00:37:03,955 --> 00:37:07,092
YOU'RE WORTH IT ♪
892
00:37:07,092 --> 00:37:10,228
♪ YEAH, HELL, YEAH
893
00:37:10,228 --> 00:37:13,898
LET 'EM KNOW YOU KNOW IT
894
00:37:13,898 --> 00:37:14,365
GO AND SHOW YOU OWN IT
895
00:37:14,365 --> 00:37:16,000
YOU'RE BOLD, YOU'RE BAD ♪
896
00:37:16,000 --> 00:37:17,035
♪ YOU'RE STRONG SO GIVE
897
00:37:17,035 --> 00:37:19,170
YOURSELF SOME APPLAUSE
898
00:37:19,170 --> 00:37:21,306
APPLAUSE, APPLAUSE, GIVE
899
00:37:21,306 --> 00:37:22,307
YOURSELF SOME RESPECT ♪
900
00:37:22,307 --> 00:37:24,943
♪ CAUSE YOU'VE EARNED IT
901
00:37:24,943 --> 00:37:36,020
GIVE YOURSELF SOME LOVE
902
00:37:36,020 --> 00:37:37,088
GIVE YOURSELF
903
00:37:37,088 --> 00:37:41,893
SOME APPLAUSE ♪
904
00:37:41,893 --> 00:37:57,542
>> Announcer: COMING UP,
905
00:37:57,542 --> 00:37:58,076
RIZ AHMED AND
906
00:37:58,076 --> 00:37:59,110
AHMIR QUESTLOVE THOMPSON.
907
00:37:59,110 --> 00:38:00,745
LATER, JENNIFER CONNELLY AND
908
00:38:00,745 --> 00:38:01,813
SAMUEL L. JACKSON.
909
00:38:01,813 --> 00:38:03,348
TO HEAR BEHIND THE SCENES
910
00:38:03,348 --> 00:38:04,916
STORIES FROM THE MAKEUP AND
911
00:38:04,916 --> 00:38:06,017
HAIRSTYLING NOMINEES, SCAN THE
912
00:38:06,017 --> 00:38:11,356
QR CODE.
913
00:38:23,108 --> 00:38:26,037
>> Announcer: WELCOME BACK TO
914
00:38:26,037 --> 00:38:27,038
THE OSCARS.
915
00:38:27,038 --> 00:38:27,672
WITH SIX NOMINATIONS, THE NEXT
916
00:38:27,672 --> 00:38:28,273
NOMINEE FOR BEST PICTURE, IS
917
00:38:28,273 --> 00:38:33,011
"TAR."
918
00:38:33,011 --> 00:38:36,648
>>> ONE OF THE MOST IMPORTANT
919
00:38:36,648 --> 00:38:38,416
MUSICAL FIGURES OF OUR TIME.
920
00:38:38,416 --> 00:38:41,219
LYDIA TAR.
921
00:38:41,219 --> 00:38:43,221
♪
922
00:38:43,221 --> 00:38:45,490
>> WHAT IS IT?
923
00:38:45,490 --> 00:38:49,260
>> I HAVE A PROBLEM.
924
00:38:49,260 --> 00:38:50,261
>> YOU HONESTLY BELIEVE WHAT
925
00:38:50,261 --> 00:38:51,496
THEY'RE SAYING?
926
00:38:51,496 --> 00:38:56,601
>> I'M WORRIED.
927
00:38:56,601 --> 00:38:57,735
SHE'S STARTING TO DISAPPEAR INTO
928
00:38:57,735 --> 00:38:57,969
HERSELF.
929
00:38:57,969 --> 00:39:05,243
>> BEAUTIFUL.
930
00:39:05,243 --> 00:39:12,217
>> THAT IS "TAR," CATE BLANCHETT
931
00:39:12,217 --> 00:39:13,952
IS NOMINATED FOR THE EIGHTH TIME
932
00:39:13,952 --> 00:39:14,619
TONIGHT.
933
00:39:14,619 --> 00:39:16,254
SHE'S INCREDIBLE, AS SHE ALWAYS
934
00:39:16,254 --> 00:39:19,724
IS, AND THE MOVIE IS --
935
00:39:19,724 --> 00:39:20,592
ABSOLUTELY MASTERFUL.
936
00:39:20,592 --> 00:39:22,026
LET ME TELL YOU, YOU SEE ONLY
937
00:39:22,026 --> 00:39:23,828
ONE MOVIE THIS YEAR THAT STARTS
938
00:39:23,828 --> 00:39:25,663
WITH THE MAIN CHARACTER BEING
939
00:39:25,663 --> 00:39:28,766
INTERVIEWED FOR 15 MINUTES BY
940
00:39:28,766 --> 00:39:31,102
"NEW YORKER STAFF WRITER," MAKE
941
00:39:31,102 --> 00:39:31,970
IT "TAR."
942
00:39:31,970 --> 00:39:33,771
YOU'LL BE GLAD YOU DID.
943
00:39:33,771 --> 00:39:36,040
THE NEXT MOVIE IS DOCUMENTARY
944
00:39:36,040 --> 00:39:37,208
FEATURE, WHICH IS WHERE WE HAD
945
00:39:37,208 --> 00:39:39,143
THAT LITTLE SKIRMISH LAST YEAR.
946
00:39:39,143 --> 00:39:40,478
HOPEFULLY THIS TIME IT GOES OFF
947
00:39:40,478 --> 00:39:41,346
WITHOUT A HITCH.
948
00:39:41,346 --> 00:39:43,214
OR AT LEAST WITHOUT HITCH.
949
00:39:43,214 --> 00:39:46,351
PLEASE PUT YOUR HANDS TOGETHER
950
00:39:46,351 --> 00:39:47,986
AND THEN KEEP THEM TO YOURSELF
951
00:39:47,986 --> 00:39:51,956
FOR OSCAR WINNERS RIZ AHMED AND
952
00:39:51,956 --> 00:39:57,295
AMIR QUESTLOVE THOMPSON.
953
00:39:57,295 --> 00:40:05,570
>> YOU KNOW, THEY SAY TRUTH IS
954
00:40:05,570 --> 00:40:06,304
STRANGER THAN FICTION.
955
00:40:06,304 --> 00:40:08,306
WELL, THIS YEAR'S NOMINEES FOR
956
00:40:08,306 --> 00:40:09,507
BEST DOCUMENTARY TOLD STORIES
957
00:40:09,507 --> 00:40:11,809
THAT YOU REALLY COULD NOT MAKE
958
00:40:11,809 --> 00:40:14,012
UP, WITH EMOTIONAL RAWNESS THAT
959
00:40:14,012 --> 00:40:16,180
MOST FICTION CAN ONLY BE
960
00:40:16,180 --> 00:40:16,814
INSPIRED BY.
961
00:40:16,814 --> 00:40:18,349
AND I LOVED YOUR DOCUMENTARY
962
00:40:18,349 --> 00:40:19,651
LAST YEAR.
963
00:40:19,651 --> 00:40:21,386
LIKE THIS YEAR'S NOMINEES, IT --
964
00:40:21,386 --> 00:40:21,586
YEAH.
965
00:40:21,586 --> 00:40:21,920
>> THANK YOU.
966
00:40:21,920 --> 00:40:25,490
THANK YOU.
967
00:40:25,490 --> 00:40:26,524
>> I LOVED IT.
968
00:40:26,524 --> 00:40:27,792
>> THANK YOU.
969
00:40:27,792 --> 00:40:29,427
>> AND WHAT WAS SO SPECIAL ABOUT
970
00:40:29,427 --> 00:40:31,262
IT, LIKE A LOT OF THESE
971
00:40:31,262 --> 00:40:32,830
NOMINEES, IT TOLD AN AMAZING
972
00:40:32,830 --> 00:40:33,298
UNTOLD STORY.
973
00:40:33,298 --> 00:40:34,132
>> THANK YOU, MAN.
974
00:40:34,132 --> 00:40:36,334
>> YOU KNOW, MAKING A
975
00:40:36,334 --> 00:40:39,537
DOCUMENTARY USING NEVER BEFORE
976
00:40:39,537 --> 00:40:40,872
SEEN FOOTAGE, IT GIVES NEW LIFE
977
00:40:40,872 --> 00:40:41,806
AND NEW MEANS.
978
00:40:41,806 --> 00:40:42,440
IT'S JUST ONE OF THE TECHNIQUES
979
00:40:42,440 --> 00:40:46,044
USED BY THESE DOCUMENTARIANS.
980
00:40:46,044 --> 00:40:49,714
BASICALLY OTHERS USE ARCHIVAL
981
00:40:49,714 --> 00:40:50,348
PHOTOGRAPHS IN INNOVATIVE WAYS,
982
00:40:50,348 --> 00:40:50,982
OR SPENT YEARS FOLLOWING THEIR
983
00:40:50,982 --> 00:40:51,983
SUBJECTS, BOTH ANIMAL AND HUMAN,
984
00:40:51,983 --> 00:40:54,452
>> BUT NO MATTER THE APPROACH,
985
00:40:54,452 --> 00:41:00,491
THEY CAPTURE THE UNIVERSAL TRUTH
986
00:41:00,491 --> 00:41:04,195
TRUTHS.
987
00:41:04,195 --> 00:41:05,830
>> AND WHAT BROUGHT THESE
988
00:41:05,830 --> 00:41:07,098
STORIES TO THE LIFE ON SCREEN
989
00:41:07,098 --> 00:41:09,567
ARE THESE FILMMAKERS UNIQUE
990
00:41:09,567 --> 00:41:10,868
LENSES AND POINTS OF VIEW.
991
00:41:10,868 --> 00:41:12,670
>> SO, HERE ARE THE NOMINEES FOR
992
00:41:12,670 --> 00:41:14,939
BEST DOCUMENTARY FEATURE FILM.
993
00:41:14,939 --> 00:41:16,007
"ALL THAT BREATHES"
994
00:41:16,007 --> 00:41:16,574
SHAUNAK SEN, AMAN MANN, AND
995
00:41:16,574 --> 00:41:21,779
TEDDY LEIFER.
996
00:41:21,779 --> 00:41:23,281
[ SPEAKING IN NON-ENGLISH
997
00:41:23,281 --> 00:41:27,385
LANGUAGE ].
998
00:41:27,385 --> 00:41:29,053
>> "ALL THE BEAUTY AND THE
999
00:41:29,053 --> 00:41:29,487
BLOODSHED"
1000
00:41:29,487 --> 00:41:30,521
LAURA POITRAS, HOWARD GERTLER,
1001
00:41:30,521 --> 00:41:32,623
JOHN LYONS, NAN GOLDIN, AND
1002
00:41:32,623 --> 00:41:35,226
YONI GOLIJOV.
1003
00:41:35,226 --> 00:41:37,161
>> MANY PEOPLE HAVE STARTED TO
1004
00:41:37,161 --> 00:41:39,764
REFUSE DONATIONS.
1005
00:41:39,764 --> 00:41:41,132
>> "FIRE OF LOVE."
1006
00:41:41,132 --> 00:41:41,699
SARA DOSA, SHANE BORIS, AND
1007
00:41:41,699 --> 00:41:45,003
INA FICHMAN.
1008
00:41:45,003 --> 00:41:45,536
[ SPEAKING IN NON-ENGLISH
1009
00:41:45,536 --> 00:41:50,375
LANGUAGE ].
1010
00:41:50,375 --> 00:41:52,643
>> "HOUSE MADE OF SPLINTERS."
1011
00:41:52,643 --> 00:41:53,177
SIMON LERENG WILMONT AND
1012
00:41:53,177 --> 00:41:56,814
MONICA HELLSTROM.
1013
00:41:56,814 --> 00:41:57,348
[ SPEAKING IN NON-ENGLISH
1014
00:41:57,348 --> 00:42:01,552
LANGUAGE ].
1015
00:42:01,552 --> 00:42:02,820
>> "NAVALNY."
1016
00:42:02,820 --> 00:42:03,888
DANIEL ROHER, ODESSA RAE,
1017
00:42:03,888 --> 00:42:04,489
DIANE BECKER, MELANIE MILLER,
1018
00:42:04,489 --> 00:42:10,128
AND SHANE BORIS.
1019
00:42:10,128 --> 00:42:10,661
[ SPEAKING IN NON-ENGLISH
1020
00:42:10,661 --> 00:42:18,569
LANGUAGE ].
1021
00:42:18,569 --> 00:42:23,274
>> AND THE OSCAR GOES TO --
1022
00:42:23,274 --> 00:42:24,342
"NAVALNY"
1023
00:42:24,342 --> 00:42:25,910
DANIEL ROHER, ODESSA RAE,
1024
00:42:25,910 --> 00:42:26,511
DIANE BECKER, MELANIE MILLER,
1025
00:42:26,511 --> 00:42:31,783
AND SHANE BORIS.
1026
00:42:31,783 --> 00:42:35,420
>> DIRECTOR DANIEL ROHER AND HIS
1027
00:42:35,420 --> 00:42:37,655
TEAM FILMED ALEXEI NAVALNY WHILE
1028
00:42:37,655 --> 00:42:41,426
HE WAS IN HIDING FROM THE
1029
00:42:41,426 --> 00:42:42,794
RUSSIAN GOVERNMENT AT A REMOTE
1030
00:42:42,794 --> 00:42:50,735
LOCATION IN GERMANY.
1031
00:42:50,735 --> 00:43:02,346
>> THANK YOU TO THE ACADEMY.
1032
00:43:02,346 --> 00:43:08,119
WE ARE HUMBLED TO BE IN THE
1033
00:43:08,119 --> 00:43:13,724
COMPANY OF THESE DOCUMENTARIANS.
1034
00:43:13,724 --> 00:43:15,393
FOR EVERYONE WHO HELPED MAKE
1035
00:43:15,393 --> 00:43:17,295
THIS FILM, YOUR BRAVERY AND THIS
1036
00:43:17,295 --> 00:43:18,362
COURAGE MADE THIS FILM POSSIBLE.
1037
00:43:18,362 --> 00:43:20,465
WE OWE SO MUCH TO OUR BULGARIAN
1038
00:43:20,465 --> 00:43:25,736
NERD WITH A LAPTOP.
1039
00:43:25,736 --> 00:43:27,105
YOU RISKED EVERYTHING TO TELL
1040
00:43:27,105 --> 00:43:29,273
THIS STORY AND ITS INVESTIGATIVE
1041
00:43:29,273 --> 00:43:30,741
JOURNALISTS LIKE YOU AND MARIA
1042
00:43:30,741 --> 00:43:35,279
THAT EMPOWER OUR WORK.
1043
00:43:35,279 --> 00:43:40,918
TO THE NAVALNY FAMILY, THANK YOU
1044
00:43:40,918 --> 00:43:41,686
FOR YOUR COURAGE, THE WORLD IS
1045
00:43:41,686 --> 00:43:48,126
WITH YOU.
1046
00:43:48,126 --> 00:43:49,460
AND THERE'S ONE PERSON WHO
1047
00:43:49,460 --> 00:43:52,130
COULDN'T BE WITH US HERE
1048
00:43:52,130 --> 00:43:53,164
TONIGHT.
1049
00:43:53,164 --> 00:43:54,332
ALEXEI NAVALNY, THE LEADER OF
1050
00:43:54,332 --> 00:43:58,236
THE RUSSIAN OPPOSITION.
1051
00:43:58,236 --> 00:43:59,770
REMAINS IN SOLITARY CONFINEMENT
1052
00:43:59,770 --> 00:44:01,239
FOR WHAT HE CALLS, I WANT TO
1053
00:44:01,239 --> 00:44:02,940
MAKE SURE WE GET HIS WORDS
1054
00:44:02,940 --> 00:44:04,509
EXACTLY RIGHT, VLADIMIR PUTIN'S
1055
00:44:04,509 --> 00:44:06,077
UNJUST WAR OF AGGRESSION IN
1056
00:44:06,077 --> 00:44:06,310
UKRAINE.
1057
00:44:06,310 --> 00:44:07,745
I WOULD LIKE TO DEDICATE THIS
1058
00:44:07,745 --> 00:44:09,914
AWARD TO NAVALNY, TO ALL
1059
00:44:09,914 --> 00:44:12,083
POLITICAL PRISONERS AROUND THE
1060
00:44:12,083 --> 00:44:12,283
WORLD.
1061
00:44:12,283 --> 00:44:14,252
THE WORLD HAS NOT FORGOTTEN YOUR
1062
00:44:14,252 --> 00:44:15,153
MESSAGE TO US ALL.
1063
00:44:15,153 --> 00:44:17,288
WE CANNOT, WE MUST NOT BE AFRAID
1064
00:44:17,288 --> 00:44:21,726
TO OPPOSE DICTATORS AND AU
1065
00:44:21,726 --> 00:44:25,730
AUTHORI
1066
00:44:25,730 --> 00:44:26,130
AUTHORITARIANISM.
1067
00:44:26,130 --> 00:44:27,632
I WANT TO INVITE YULIYA TO SAY A
1068
00:44:27,632 --> 00:44:31,235
FEW QUICK REMARKS.
1069
00:44:31,235 --> 00:44:34,172
>> THANK YOU, DANIEL.
1070
00:44:34,172 --> 00:44:36,474
AND THANK YOU TO EVERYBODY HERE.
1071
00:44:36,474 --> 00:44:39,944
MY HUSBAND IS IN PRISON JUST FOR
1072
00:44:39,944 --> 00:44:40,912
TELLING THE TRUTH.
1073
00:44:40,912 --> 00:44:44,749
MY HUSBAND IS IN PRISON JUST FOR
1074
00:44:44,749 --> 00:44:50,154
DEFENDING DEMOCRACY.
1075
00:44:50,154 --> 00:44:52,056
ALEXEI, I AM DREAMING THE DAY
1076
00:44:52,056 --> 00:44:54,225
WHEN YOU WILL BE FREE.
1077
00:44:54,225 --> 00:44:58,095
AND OUR COUNTRY WILL BE FREE.
1078
00:44:58,095 --> 00:44:58,563
STAY STRONG, MY LOVE.
1079
00:44:58,563 --> 00:45:06,637
THANK YOU.
1080
00:45:06,637 --> 00:45:21,185
>> EMOTIONAL YEAR.
1081
00:45:21,185 --> 00:45:23,087
>> YEAH, IT IS.
1082
00:45:23,087 --> 00:45:25,556
>> MOST OF THE FILM AND VIDEO WE
1083
00:45:25,556 --> 00:45:27,458
WATCH THESE DAYS IS SHORT FORM.
1084
00:45:27,458 --> 00:45:28,759
AND THESE NEXT NOMINEES ARE
1085
00:45:28,759 --> 00:45:29,860
PUSHING THE POSSIBILITIES OF
1086
00:45:29,860 --> 00:45:31,629
THAT MEDIUM TO ITS FULLEST.
1087
00:45:31,629 --> 00:45:32,230
IF FEATURE FILMS ARE NOVELS,
1088
00:45:32,230 --> 00:45:34,565
SHORT FILMS ARE LIKE POETRY.
1089
00:45:34,565 --> 00:45:35,199
YOU GOT TO DISTILL DOWN ALL THAT
1090
00:45:35,199 --> 00:45:36,701
EMOTION, SUSPENSE, AND IMPACT
1091
00:45:36,701 --> 00:45:37,201
DOWN TO A FRACTION OF THE
1092
00:45:37,201 --> 00:45:38,236
LENGTH.
1093
00:45:38,236 --> 00:45:39,837
>> HERE ARE THE NOMINEES FOR
1094
00:45:39,837 --> 00:45:45,009
BEST LIVE ACTION SHORT FILM.
1095
00:45:45,009 --> 00:45:45,643
"AN IRISH GOODBYE"
1096
00:45:45,643 --> 00:45:48,779
TOM BERKELEY AND ROSS WHITE.
1097
00:45:48,779 --> 00:45:50,414
"IVALU"
1098
00:45:50,414 --> 00:45:50,915
ANDERS WALTER AND
1099
00:45:50,915 --> 00:45:53,551
REBECCA PRUZAN.
1100
00:45:53,551 --> 00:45:55,152
"LE PUPILLE"
1101
00:45:55,152 --> 00:45:56,754
ALICE ROHRWACHER AND
1102
00:45:56,754 --> 00:45:57,788
ALFONSO CUARON.
1103
00:45:57,788 --> 00:46:00,424
"NIGHT RIDE"
1104
00:46:00,424 --> 00:46:01,525
EIRIK TVEITEN AND
1105
00:46:01,525 --> 00:46:03,261
GAUTE LID LARSSEN.
1106
00:46:03,261 --> 00:46:04,629
"THE RED SUITCASE"
1107
00:46:04,629 --> 00:46:10,935
CYRUS NESHVAD.
1108
00:46:10,935 --> 00:46:17,008
>> AND THE OSCAR GOES TO -- "AN
1109
00:46:17,008 --> 00:46:18,609
IRISH GOOD-BYE."
1110
00:46:18,609 --> 00:46:21,212
TOM BERKELEY AND ROSS WHITE.
1111
00:46:21,212 --> 00:46:23,648
>> TOM BERKELEY VOICED PRINCE
1112
00:46:23,648 --> 00:46:24,181
HARRY'S THOUGHTS IN A TV
1113
00:46:24,181 --> 00:46:26,284
DOCUMENTARY.
1114
00:46:26,284 --> 00:46:28,452
ROSS WHITE HAILS FROM BELFAST,
1115
00:46:28,452 --> 00:46:30,554
THE FILMING LOCATION OF "AN
1116
00:46:30,554 --> 00:46:36,560
IRISH GOOD-BYE."
1117
00:46:36,560 --> 00:46:51,542
>> DEARY ME.
1118
00:46:51,542 --> 00:46:53,177
THANK YOU SO MUCH TO THE ACADEMY
1119
00:46:53,177 --> 00:46:54,578
FOR THIS INCREDIBLE, INCREDIBLE
1120
00:46:54,578 --> 00:46:55,880
HONOR.
1121
00:46:55,880 --> 00:46:57,548
THANK YOU TO OUR FELLOW
1122
00:46:57,548 --> 00:46:59,050
NOMINEES, ALL THE NOMINEES FOR
1123
00:46:59,050 --> 00:47:00,451
YOUR WORK, IT INSPIRES US SO
1124
00:47:00,451 --> 00:47:02,520
VERY, VERY MUCH.
1125
00:47:02,520 --> 00:47:04,055
THANK YOU TO EVERYBODY BACK HOME
1126
00:47:04,055 --> 00:47:07,258
IN NORTHERN IRELAND WHO HELPED
1127
00:47:07,258 --> 00:47:08,092
US MAKE THIS FIFILM.
1128
00:47:08,092 --> 00:47:10,928
YOU KNOW WHO YOU ARE.
1129
00:47:10,928 --> 00:47:11,796
THERE'S SOMETHING VERY IMPORTANT
1130
00:47:11,796 --> 00:47:13,264
WE'D LIKE TO SPEAK ABOUT, AS
1131
00:47:13,264 --> 00:47:13,464
WELL.
1132
00:47:13,464 --> 00:47:15,433
>> THIS AWARD IS ACTUALLY THE
1133
00:47:15,433 --> 00:47:16,033
SECOND-MOST IMPORTANT THING
1134
00:47:16,033 --> 00:47:20,137
ABOUT TODAY, BECAUSE IT'S THIS
1135
00:47:20,137 --> 00:47:20,538
MAN'S BIRTHDAY.
1136
00:47:20,538 --> 00:47:22,807
HE'S OUT HERE IN HOLLYWOOD,
1137
00:47:22,807 --> 00:47:24,975
WEARING A LEOPARD PRINT SUIT
1138
00:47:24,975 --> 00:47:25,209
JACKET.
1139
00:47:25,209 --> 00:47:27,211
WE LOVE TO USE THE REST OF OUR
1140
00:47:27,211 --> 00:47:29,113
TIME UP HERE TO SING FOR JAMES.
1141
00:47:29,113 --> 00:47:32,183
♪ HAPPY BIRTHDAY TO YOU
1142
00:47:32,183 --> 00:47:35,653
♪ HAPPY BIRTHDAY TO YOU
1143
00:47:35,653 --> 00:47:37,555
♪ HAPPY BIRTHDAY DEAR JAMES
1144
00:47:37,555 --> 00:47:41,492
♪ HAPPY BIRTHDAY TO YOU
1145
00:47:48,910 --> 00:47:52,503
>> Announcer: WELCOME BACK TO
1146
00:47:52,503 --> 00:47:54,205
THE DOLBY THEATRE.
1147
00:47:54,205 --> 00:47:56,307
NOMINATED FOR NINE OSCARS, THIS
1148
00:47:56,307 --> 00:47:56,907
IS "ALL QUIET ON THE WESTERN
1149
00:47:56,907 --> 00:48:00,845
FRONT."
1150
00:48:00,845 --> 00:48:21,866
♪
1151
00:48:21,866 --> 00:48:27,805
♪
1152
00:48:27,805 --> 00:48:40,317
>> Announcer: AND NOW,
1153
00:48:40,317 --> 00:48:40,785
MICHAEL B. JORDAN AND
1154
00:48:40,785 --> 00:48:52,263
JONATHAN MAJORS.
1155
00:48:52,263 --> 00:48:59,870
>> HEY.
1156
00:48:59,870 --> 00:49:00,237
>> WE LOVE YOU.
1157
00:49:00,237 --> 00:49:02,006
>> A QUESTION.
1158
00:49:02,006 --> 00:49:02,473
>> ANSWER.
1159
00:49:02,473 --> 00:49:03,240
>> OKAY, A QUESTION FOR MY
1160
00:49:03,240 --> 00:49:04,675
DIRECTOR.
1161
00:49:04,675 --> 00:49:05,009
YOU READY?
1162
00:49:05,009 --> 00:49:06,644
>> LET'S DO IT.
1163
00:49:06,644 --> 00:49:08,412
>> HOW DO YOU MAKE A CHARACTER
1164
00:49:08,412 --> 00:49:10,548
MASSIVE, IMPOSING, AND
1165
00:49:10,548 --> 00:49:11,215
DOMINATING?
1166
00:49:11,215 --> 00:49:12,183
>> OH.
1167
00:49:12,183 --> 00:49:17,054
WELL, FIRST OF ALL, WE CAST YOU.
1168
00:49:17,054 --> 00:49:19,256
>> THAT'S A GREAT ANSWER.
1169
00:49:19,256 --> 00:49:19,590
>> THANK YOU.
1170
00:49:19,590 --> 00:49:19,857
THANK YOU.
1171
00:49:19,857 --> 00:49:21,692
>> SECOND, GIVE THE
1172
00:49:21,692 --> 00:49:22,560
CINEMATOGRAPHER THE SPACE TO PUT
1173
00:49:22,560 --> 00:49:26,797
THE CAMERA LOW, POINTING UP,
1174
00:49:26,797 --> 00:49:27,398
LIKE SPIKE LEE AND HIS
1175
00:49:27,398 --> 00:49:28,432
CINEMATOGRAPHER,
1176
00:49:28,432 --> 00:49:28,966
ERNEST DICKERSON DID WITH
1177
00:49:28,966 --> 00:49:29,533
"MALCOLM X," AS YOU CAN SEE
1178
00:49:29,533 --> 00:49:30,835
RIGHT HERE.
1179
00:49:30,835 --> 00:49:32,970
WITH THEIR SIGNATURE DOUBLE
1180
00:49:32,970 --> 00:49:33,971
DOLLY SHOT.
1181
00:49:33,971 --> 00:49:34,605
CINEMATOGRAPHERS FIND NEW WAYS
1182
00:49:34,605 --> 00:49:36,106
TO PUSH THE LIMITS OF FILM AND
1183
00:49:36,106 --> 00:49:37,107
STORYTELLING EVERY YEAR.
1184
00:49:37,107 --> 00:49:38,175
BACK IN THE DAY, DIRECTOR
1185
00:49:38,175 --> 00:49:39,777
ORSON WELLES AND HIS
1186
00:49:39,777 --> 00:49:41,378
CINEMATOGRAPHER GREGG TOLAND HAD
1187
00:49:41,378 --> 00:49:42,379
TO BE INNOVATIVE.
1188
00:49:42,379 --> 00:49:43,013
BECAUSE THEY WERE USING A CAMERA
1189
00:49:43,013 --> 00:49:47,184
LIKE THIS.
1190
00:49:47,184 --> 00:49:49,086
>> OH, THAT'S A BEAST.
1191
00:49:49,086 --> 00:49:50,254
>> UH-HUH.
1192
00:49:50,254 --> 00:49:51,555
YEAH, THAT WAS BEFORE CELL
1193
00:49:51,555 --> 00:49:52,256
PHONES.
1194
00:49:52,256 --> 00:49:54,358
SO, THEY ACTUALLY CUT A HOLE IN
1195
00:49:54,358 --> 00:49:55,793
THE FLOOR AND PHYSICALLY LOWERED
1196
00:49:55,793 --> 00:49:57,895
THE CAMERA.
1197
00:49:57,895 --> 00:49:58,128
>> OKAY.
1198
00:49:58,128 --> 00:49:58,996
THAT'S WHAT I CALL A WORKOUT AND
1199
00:49:58,996 --> 00:50:01,899
A FLEX.
1200
00:50:01,899 --> 00:50:02,733
>> PRETTY BIG FLEX.
1201
00:50:02,733 --> 00:50:05,669
BUT THE RESULT WAS THIS SHOT.
1202
00:50:05,669 --> 00:50:07,304
SOMETIMES THE SIMPLEST SOLUTIONS
1203
00:50:07,304 --> 00:50:09,907
ARE THE MOST CREATIVE.
1204
00:50:09,907 --> 00:50:12,009
>> IN FACT, CREATIVE VISION IS A
1205
00:50:12,009 --> 00:50:13,077
TRAIT SHARED BY THESE NEXT
1206
00:50:13,077 --> 00:50:14,111
OUTSTANDING ARTISTS.
1207
00:50:14,111 --> 00:50:15,679
HERE ARE THE NOMINEES FOR
1208
00:50:15,679 --> 00:50:21,018
ACHIEVEMENT IN CINEMATOGRAPHY --
1209
00:50:21,018 --> 00:50:22,586
"ALL QUIET ON THE WESTERN FRONT"
1210
00:50:22,586 --> 00:50:26,257
JAMES FRIEND.
1211
00:50:26,257 --> 00:50:26,857
"BARDO, FALSE CHRONICLE OF A
1212
00:50:26,857 --> 00:50:28,392
HANDFUL OF TRUTHS"
1213
00:50:28,392 --> 00:50:30,995
DARIUS KHONDJI.
1214
00:50:30,995 --> 00:50:31,562
"ELVIS"
1215
00:50:31,562 --> 00:50:36,834
MANDY WALKER.
1216
00:50:36,834 --> 00:50:37,868
"EMPIRE OF LIGHT"
1217
00:50:37,868 --> 00:50:42,606
ROGER DEAKINS.
1218
00:50:42,606 --> 00:50:46,544
"TAR"
1219
00:50:46,544 --> 00:50:51,181
FLORIAN HOFFMEISTER.
1220
00:50:51,181 --> 00:50:53,050
>> OKAY.
1221
00:50:53,050 --> 00:50:57,321
AND THE OSCAR GOES TO --
1222
00:50:57,321 --> 00:50:57,955
"ALL QUIET ON THE WESTERN FRONT"
1223
00:50:57,955 --> 00:51:05,596
JAMES FRIEND.
1224
00:51:05,596 --> 00:51:14,405
>> JAMES FRIEND STUDIED
1225
00:51:14,405 --> 00:51:17,708
ELECTROTECHNICAL ENGINEERING AND
1226
00:51:17,708 --> 00:51:22,546
FIRST WORKED AS AN ELECTRICIAN.
1227
00:51:22,546 --> 00:51:25,349
HE FIRST ASPIRED TO BECOME A
1228
00:51:25,349 --> 00:51:29,887
FILMMAKER AT 13 WHEN SHE HE SAW
1229
00:51:29,887 --> 00:51:33,490
YEN."
1230
00:51:33,490 --> 00:51:35,826
>> IT'S NOT MY BIRTHDAY.
1231
00:51:35,826 --> 00:51:37,728
BUT I FEEL LIKE IT IS.
1232
00:51:37,728 --> 00:51:40,731
I MEAN -- WHAT AN HONOR,
1233
00:51:40,731 --> 00:51:41,532
ACADEMY, THANK YOU SO MUCH.
1234
00:51:41,532 --> 00:51:46,537
THANK YOU FOR EVERYTHING AND MY
1235
00:51:46,537 --> 00:51:49,139
FELLOW NOMINEES.
1236
00:51:49,139 --> 00:51:52,343
YOUR WORK IS JUST OUTSTANDING
1237
00:51:52,343 --> 00:51:54,745
AND INSPIRES ME AND JUST THANK
1238
00:51:54,745 --> 00:51:55,079
YOU.
1239
00:51:55,079 --> 00:51:55,446
FOR EVERYTHING.
1240
00:51:55,446 --> 00:51:59,917
MY ENTIRE CREW, WHO MADE THIS
1241
00:51:59,917 --> 00:52:02,920
HAPPEN FOR ME, MADE ME LOOK
1242
00:52:02,920 --> 00:52:05,923
BETTER THAN I AM.
1243
00:52:05,923 --> 00:52:08,192
MY DARLING MOM AND DAD, WHO,
1244
00:52:08,192 --> 00:52:12,696
WHEN I WAS -- SAID I WANT TO RUN
1245
00:52:12,696 --> 00:52:14,732
OFF TO THE CIRCUS, JOIN THE
1246
00:52:14,732 --> 00:52:17,234
CIRCUS OF THE FILM INDUSTRY,
1247
00:52:17,234 --> 00:52:18,402
THEY BELIEVED IN ME AND THANK
1248
00:52:18,402 --> 00:52:19,737
YOU.
1249
00:52:19,737 --> 00:52:25,542
AND MY BEAUTIFUL WIFE AND KARA
1250
00:52:25,542 --> 00:52:26,744
GENE, MY BROTHER AND MY SISTER
1251
00:52:26,744 --> 00:52:28,746
WHO JUST -- YEAH, PUSHED ME AND
1252
00:52:28,746 --> 00:52:31,081
PUSHED ME AND PUSHED ME.
1253
00:52:31,081 --> 00:52:39,256
AND EDWARD BERGER AND -- JUST
1254
00:52:39,256 --> 00:52:39,990
THANK YOU SO MUCH.
1255
00:52:39,990 --> 00:52:43,861
I JUST -- I'M SO -- IF I MISSED
1256
00:52:43,861 --> 00:52:46,664
ANYONE -- BUT THANK YOU SO MUCH,
1257
00:52:46,664 --> 00:52:47,464
FROM THE BOTTOM OF MY HEART.
1258
00:52:47,464 --> 00:52:56,674
THANK YOU SO MUCH.
1259
00:52:56,674 --> 00:52:57,274
>> Announcer: PLEASE WELCOME
1260
00:52:57,274 --> 00:53:06,817
DONNIE YEN.
1261
00:53:06,817 --> 00:53:08,786
>> AS AN ACTION FILMMAKER WHO
1262
00:53:08,786 --> 00:53:14,792
HAS CHOREOGRAPHED AND PERFORMED
1263
00:53:14,792 --> 00:53:17,761
IN COUNTLESS FIGHT SCENES IN
1264
00:53:17,761 --> 00:53:19,363
80 MOVIES, I KNOW YOU SHOULD
1265
00:53:19,363 --> 00:53:19,997
ALWAYS BE PREPARED FOR WHATEVER
1266
00:53:19,997 --> 00:53:22,032
TWISTS AND TURNS COME YOUR WAY.
1267
00:53:22,032 --> 00:53:26,737
ONE MINUTE YOU'RE FINE, THE
1268
00:53:26,737 --> 00:53:30,407
NEXT, YOUR FINGERS ARE HOT DOGS.
1269
00:53:30,407 --> 00:53:32,476
EVERY DAY, WE'RE CONFRONTED WITH
1270
00:53:32,476 --> 00:53:34,078
NEW CHOICES AND IT'S HARD TO
1271
00:53:34,078 --> 00:53:35,612
KNOW WHICH PATH YOU SHOULD
1272
00:53:35,612 --> 00:53:38,282
FOLLOW.
1273
00:53:38,282 --> 00:53:39,316
THIS NEXT SONG REMINDS US THAT
1274
00:53:39,316 --> 00:53:40,951
YOU DON'T NEED TO KNOW HOW TO
1275
00:53:40,951 --> 00:53:48,425
VERSE JUMP OR EXPERIENCE THE
1276
00:53:48,425 --> 00:53:51,328
ENTIRE MULTIVERSE AT ONCE.
1277
00:53:51,328 --> 00:53:53,464
YOU JUST NEED TO ENJOY THE RIDE.
1278
00:53:53,464 --> 00:53:54,098
HERE TO PERFORM "THIS IS A LIFE"
1279
00:53:54,098 --> 00:53:56,633
FROM "EVERYTHING EVERYWHERE ALL
1280
00:53:56,633 --> 00:54:02,439
AT ONCE," PLEASE WELCOME
1281
00:54:02,439 --> 00:54:03,006
SON LUX, STEPHANIE HSU, AND
1282
00:54:03,006 --> 00:54:04,508
ACADEMY AWARD WINNER
1283
00:54:04,508 --> 00:54:12,216
DAVID BYRNE.
1284
00:54:12,216 --> 00:54:22,693
♪
1285
00:54:22,693 --> 00:54:24,795
♪ THIS IS A LIFE
1286
00:54:24,795 --> 00:54:28,565
EVERY POSSIBILITY
1287
00:54:28,565 --> 00:54:29,566
FREE FROM DESTINY ♪
1288
00:54:29,566 --> 00:54:31,068
♪ I CHOOSE YOU
1289
00:54:31,068 --> 00:54:35,839
AND YOU CHOOSE ME
1290
00:54:35,839 --> 00:54:39,543
LOVE ONLY WHAT WE SOW ♪
1291
00:54:39,543 --> 00:54:40,577
♪ EVERY SPACE AND EVERY TIME
1292
00:54:40,577 --> 00:54:45,916
NOT ONLY WHAT WE SHOW
1293
00:54:45,916 --> 00:54:53,824
THIS IS A LIGHT ♪
1294
00:54:53,824 --> 00:54:54,391
♪ MANY LIVES THAT
1295
00:54:54,391 --> 00:54:55,926
COULD'VE BEEN ♪
1296
00:54:55,926 --> 00:54:59,596
♪ FREE FROM ENTROPY
1297
00:54:59,596 --> 00:55:02,766
ENTANGLED FOR ETERNITY ♪
1298
00:55:02,766 --> 00:55:10,140
♪ NOT ONLY HANDS AND TOES
1299
00:55:10,140 --> 00:55:15,913
NOT ONLY WHAT WE'VE KNOWN ♪
1300
00:55:15,913 --> 00:55:22,586
♪ WE FIND THIS LIFE
1301
00:55:22,586 --> 00:55:34,431
SOMEHOW ALRIGHT ♪
1302
00:55:34,431 --> 00:55:35,599
♪ THIS IS THE LIFE
1303
00:55:35,599 --> 00:55:38,735
♪ SLOW AND SUDDEN MIRACLES
1304
00:55:38,735 --> 00:55:42,439
VIEW OF OTHER WORLDS
1305
00:55:42,439 --> 00:55:44,575
FROM OUR WINDOWSILLS ♪
1306
00:55:44,575 --> 00:55:48,212
♪ WITH THE WEIGHT
1307
00:55:48,212 --> 00:55:53,483
OF ETERNITY ♪
1308
00:55:53,483 --> 00:55:57,221
♪ AT THE SPEED OF LIGHT
1309
00:55:57,221 --> 00:56:05,128
THIS IS A LIFE
1310
00:56:05,128 --> 00:56:14,137
THIS IS OUR LIFE ♪
1311
00:56:14,137 --> 00:56:24,081
>> Announcer: COMING UP,
1312
00:56:24,081 --> 00:56:24,648
MARGOT ROBBIE AND
1313
00:56:24,648 --> 00:56:26,717
MORGAN FREEMAN.
1314
00:56:26,717 --> 00:56:28,352
LATER, JULIA LOUIS-DREYFUS AND
1315
00:56:28,352 --> 00:56:28,952
PAUL DANO WITH THE AWARD FOR
1316
00:56:28,952 --> 00:56:30,988
COSTUME DESIGN.
1317
00:56:30,988 --> 00:56:34,591
TO MEET OUR NOMINATED DESIGNERS,
1318
00:56:34,591 --> 00:56:36,793
SCAN THE QR CODE ON YOUR SCREEN.
1319
00:56:43,905 --> 00:56:47,804
>> Announcer: WE'RE BACK.
1320
00:56:47,804 --> 00:56:48,872
WITH TWO NOMINATIONS, OUR NEXT
1321
00:56:48,872 --> 00:56:49,940
NOMINEE FOR BEST PICTURE IS
1322
00:56:49,940 --> 00:56:54,444
"WOMEN TALKING."
1323
00:56:54,444 --> 00:56:57,147
♪
1324
00:56:57,147 --> 00:56:58,782
>> WE WERE GIVEN TWO DAYS TO
1325
00:56:58,782 --> 00:57:00,484
FORGIVE THE ATTACKERS BEFORE
1326
00:57:00,484 --> 00:57:01,318
THEY RETURNED.
1327
00:57:01,318 --> 00:57:03,220
IF WE DID NOT FORGIVE THEM, WE
1328
00:57:03,220 --> 00:57:04,922
WOULD BE ORDERED TO LEAVE THE
1329
00:57:04,922 --> 00:57:05,155
COLONY.
1330
00:57:05,155 --> 00:57:07,591
>> WE MUST DECIDE NOW TO STAY
1331
00:57:07,591 --> 00:57:11,161
AND FIGHT OR LEAVE.
1332
00:57:11,161 --> 00:57:12,696
>> IS THIS HOW WE WANT TO TEACH
1333
00:57:12,696 --> 00:57:14,431
OUR DAUGHTERS TO DEFEND
1334
00:57:14,431 --> 00:57:14,765
THEMSELVES?
1335
00:57:14,765 --> 00:57:16,633
>> WE'VE LIBERATED OURSELVES.
1336
00:57:16,633 --> 00:57:17,434
WE WILL HAVE TO ASK OURSELVES
1337
00:57:17,434 --> 00:57:21,972
WHO WE ARE.
1338
00:57:21,972 --> 00:57:34,851
>> Announcer: HERE ARE OSCAR
1339
00:57:34,851 --> 00:57:35,886
WINNER JENNIFER CONNELLY AND
1340
00:57:35,886 --> 00:57:37,487
HONORARY OSCAR WINNER
1341
00:57:37,487 --> 00:57:46,730
SAMUEL L. JACKSON.
1342
00:57:46,730 --> 00:57:56,440
>> AS WE'VE SEEN TONIGHT, EVERY
1343
00:57:56,440 --> 00:57:57,474
ARTISTIC CONTRIBUTION IS VITAL
1344
00:57:57,474 --> 00:57:58,041
TO THE PROCESS OF MAKING A
1345
00:57:58,041 --> 00:58:02,112
MOVIE.
1346
00:58:02,112 --> 00:58:04,614
AS ACTORS, WE WORK VERY CLOSELY
1347
00:58:04,614 --> 00:58:06,483
WITH HAIR AND MAKEUP TEAMS.
1348
00:58:06,483 --> 00:58:08,085
>> THEY'RE OUR FRIENDS.
1349
00:58:08,085 --> 00:58:10,220
THEY'RE OUR THERAPISTS.
1350
00:58:10,220 --> 00:58:11,288
IN FACT, JENNIFER AND I HAVE HAD
1351
00:58:11,288 --> 00:58:16,360
THE PLEASURE OF BEING PERSONALLY
1352
00:58:16,360 --> 00:58:17,594
TRANSFORMED BY SEVERAL OF THE
1353
00:58:17,594 --> 00:58:17,861
NOMINEES.
1354
00:58:17,861 --> 00:58:19,496
BUT WE WISH THEM ALL GOOD LUCK,
1355
00:58:19,496 --> 00:58:21,298
EVEN THE ONES WE HAVEN'T WORKED
1356
00:58:21,298 --> 00:58:23,266
WITH, BECAUSE WE MAY END UP IN
1357
00:58:23,266 --> 00:58:25,268
YOUR CHAIRS, TOO.
1358
00:58:25,268 --> 00:58:28,939
>> THE ASTONISHING WORK THAT
1359
00:58:28,939 --> 00:58:31,041
THESE ARTISTS HAVE ACCOMPLISHED
1360
00:58:31,041 --> 00:58:32,676
THIS YEAR DISPLAYED THEIR
1361
00:58:32,676 --> 00:58:33,677
PROFOUND SKILL AND TECHNICAL
1362
00:58:33,677 --> 00:58:36,446
EXPERTISE.
1363
00:58:36,446 --> 00:58:37,647
THESE FILMS WOULDN'T BE THE SAME
1364
00:58:37,647 --> 00:58:38,348
WITHOUT THEM.
1365
00:58:38,348 --> 00:58:39,383
>> AND WE CAN THANK THESE GIFTED
1366
00:58:39,383 --> 00:58:40,917
COLLABORATORS FOR ALWAYS HELPING
1367
00:58:40,917 --> 00:58:43,053
US LOOK THE PART.
1368
00:58:43,053 --> 00:58:44,621
HERE ARE THE NOMINEES FOR
1369
00:58:44,621 --> 00:58:45,188
ACHIEVEMENT IN MAKEUP AND
1370
00:58:45,188 --> 00:58:48,525
HAIRSTYLING.
1371
00:58:48,525 --> 00:58:50,460
"ALL QUIET ON THE WESTERN FRONT"
1372
00:58:50,460 --> 00:58:52,529
HEIKE MERKER AND
1373
00:58:52,529 --> 00:58:55,165
LINDA EISENHAMEROVA.
1374
00:58:55,165 --> 00:58:57,267
"THE BATMAN"
1375
00:58:57,267 --> 00:58:58,835
NAOMI DONNE, MIKE MARINO, AND
1376
00:58:58,835 --> 00:59:03,040
MIKE FONTAINE.
1377
00:59:03,040 --> 00:59:06,476
"BLACK PANTHER: WAKANDA FOREVER"
1378
00:59:06,476 --> 00:59:08,378
CAMILLE FRIEND AND JOEL HARLOW.
1379
00:59:08,378 --> 00:59:12,015
"ELVIS"
1380
00:59:12,015 --> 00:59:12,649
MARK COULIER, JASON BAIRD, AND
1381
00:59:12,649 --> 00:59:16,820
ALDO SIGNORETTI.
1382
00:59:16,820 --> 00:59:18,889
"THE WHALE"
1383
00:59:18,889 --> 00:59:19,456
ARIEN MOROT, JUDY CHIN, AND
1384
00:59:19,456 --> 00:59:26,263
ANNEMARIE BRADLEY.
1385
00:59:26,263 --> 00:59:31,968
>> AND THE OSCAR GOES TO --
1386
00:59:31,968 --> 00:59:33,570
"THE WHALE"
1387
00:59:33,570 --> 00:59:34,604
ADRIEN MOROT, JUDY CHIN, AND
1388
00:59:34,604 --> 00:59:40,343
ANNEMARIE BRADLEY.
1389
00:59:40,343 --> 00:59:43,080
>> THE TEAM TRANSFORMED BRENDAN
1390
00:59:43,080 --> 00:59:44,948
FRASER INTO THE WHALE THROUGH
1391
00:59:44,948 --> 00:59:47,184
THE FIRST-TIME USE OF ALL
1392
00:59:47,184 --> 00:59:49,986
DIGITAL PROSTHETIC MAKEUP FOR A
1393
00:59:49,986 --> 00:59:51,354
MAJOR FEATURE.
1394
00:59:51,354 --> 01:00:06,436
THIS PUSH ED FRASER AND ALLOWED
1395
01:00:06,436 --> 01:00:08,672
FOR THE MOST EMOTIONAL RANGE OF
1396
01:00:08,672 --> 01:00:13,343
EXPRESSION.
1397
01:00:13,343 --> 01:00:18,815
>> THANK YOU.
1398
01:00:18,815 --> 01:00:19,382
>> THANK YOU.
1399
01:00:19,382 --> 01:00:21,852
>> THANK YOU SO MUCH.
1400
01:00:21,852 --> 01:00:23,920
WOW.
1401
01:00:23,920 --> 01:00:26,089
WE'D LIKE TO THANK THE AMAZING
1402
01:00:26,089 --> 01:00:27,657
MAKEUP ARTISTS THAT WORKED WITH
1403
01:00:27,657 --> 01:00:28,692
US TO CREATE THE CHARACTER OF
1404
01:00:28,692 --> 01:00:30,427
CHARLIE.
1405
01:00:30,427 --> 01:00:36,666
SO KATHY, CHRIS GALLAGHER, THE
1406
01:00:36,666 --> 01:00:38,602
ENTIRE MAKEUP TEAM, OUR
1407
01:00:38,602 --> 01:00:40,270
DIRECTOR, DARREN, WHO PUSHED US
1408
01:00:40,270 --> 01:00:40,637
TO NEW HEIGHTS.
1409
01:00:40,637 --> 01:00:42,305
THANK YOU.
1410
01:00:42,305 --> 01:00:44,040
OUR AMAZING ACTOR, BRENDAN
1411
01:00:44,040 --> 01:00:46,143
FRASER OVER THERE.
1412
01:00:46,143 --> 01:00:47,077
THANK YOU.
1413
01:00:47,077 --> 01:00:50,881
THANK YOU.
1414
01:00:50,881 --> 01:00:54,584
OUR PRODUCER, THE STUDIO A-24,
1415
01:00:54,584 --> 01:00:55,919
AND THE ACADEMY, THANK YOU SO
1416
01:00:55,919 --> 01:01:00,123
MUCH.
1417
01:01:00,123 --> 01:01:01,158
>> THANK YOU, DARREN, FOR
1418
01:01:01,158 --> 01:01:11,067
EVERYTHING.
1419
01:01:11,067 --> 01:01:12,602
>> Announcer: HERE ARE TWO-TIME
1420
01:01:12,602 --> 01:01:13,236
OSCAR NOMINEE MARGOT ROBBIE AND
1421
01:01:13,236 --> 01:01:14,237
ACADEMY AWARD WINNER
1422
01:01:14,237 --> 01:01:25,582
MORGAN FREEMAN.
1423
01:01:25,582 --> 01:01:31,588
>> IN 1923, THE WARNER BROTHERS
1424
01:01:31,588 --> 01:01:35,292
BET IT ALL ON A BOLD DREAM AND A
1425
01:01:35,292 --> 01:01:36,893
PROMISING BUT UNPROVEN NEW
1426
01:01:36,893 --> 01:01:38,461
MEDIUM THAT WOULD PUSH THE
1427
01:01:38,461 --> 01:01:42,699
LIMITS OF SOUND AND CINEMA.
1428
01:01:42,699 --> 01:01:44,201
THEIR BIG GAMBLE PAID OFF, AND
1429
01:01:44,201 --> 01:01:45,802
THE MODERN CINEMATIC EXPERIENCE
1430
01:01:45,802 --> 01:01:48,438
WAS BORN.
1431
01:01:48,438 --> 01:01:49,506
>> THE SAME SPIRIT THAT POWERED
1432
01:01:49,506 --> 01:01:51,041
A CENTURY OF UNFORGETTABLE
1433
01:01:51,041 --> 01:01:53,810
MOVIES CONTINUES TO BE A DRIVING
1434
01:01:53,810 --> 01:01:56,413
FORCE TODAY, AS WARNER BROTHERS
1435
01:01:56,413 --> 01:01:57,047
UNLEASHES THE BOLD AND IMPACTFUL
1436
01:01:57,047 --> 01:01:58,882
STORYTELLING OF AN ARRAY OF
1437
01:01:58,882 --> 01:01:59,950
ARTISTS, GEORGE MILLER,
1438
01:01:59,950 --> 01:02:03,119
BONG JOON-HO, MICHAEL B. JORDAN,
1439
01:02:03,119 --> 01:02:04,187
GRETA GERWIG, SO MANY MORE, TO
1440
01:02:04,187 --> 01:02:05,755
CAPTIVATE THE IMAGINATIONS OF
1441
01:02:05,755 --> 01:02:07,390
AUDIENCES EVERYWHERE, WHILE
1442
01:02:07,390 --> 01:02:08,925
REMINDING US OF THE POWER AND
1443
01:02:08,925 --> 01:02:09,993
JOY THAT ONLY THE BIG SCREEN CAN
1444
01:02:09,993 --> 01:02:12,128
DELIVER.
1445
01:02:12,128 --> 01:02:14,764
>> THIS YEAR, WARNER BROTHERS
1446
01:02:14,764 --> 01:02:16,299
MARKS ITS 100th ANNIVERSARY,
1447
01:02:16,299 --> 01:02:16,933
CELEBRATING EVERY STORY AND ALL
1448
01:02:16,933 --> 01:02:18,902
OF THE AMAZING CHARACTERS
1449
01:02:18,902 --> 01:02:22,072
BROUGHT TO LIFE OVER THE YEARS.
1450
01:02:22,072 --> 01:02:22,606
>> WHERE ELSE BUT AT
1451
01:02:22,606 --> 01:02:24,174
WARNER BROTHERS COULD
1452
01:02:24,174 --> 01:02:25,275
HARLEY QUINN HANG OUT WITH
1453
01:02:25,275 --> 01:02:29,479
"SHAWSHANK'S" OWN RED REDDING?
1454
01:02:29,479 --> 01:02:31,014
>> OR "THE DARK KNIGHT'S"
1455
01:02:31,014 --> 01:02:33,149
LUCIUS FOX HANG OUT WITH THE
1456
01:02:33,149 --> 01:02:37,387
INCOMPARABLE BARBIE?
1457
01:02:37,387 --> 01:02:38,421
>> AS BOGIE SAYS, "IT'S THE
1458
01:02:38,421 --> 01:02:41,258
STUFF THAT DREAMS ARE MADE OF."
1459
01:02:47,821 --> 01:02:51,768
>> Announcer: WELCOME BACK TO
1460
01:02:51,768 --> 01:02:52,969
THE OSCARS.
1461
01:02:52,969 --> 01:02:55,438
WITH NINE NOMINATIONS, INCLUDING
1462
01:02:55,438 --> 01:02:59,109
BEST PICTURE, THIS IS "THE
1463
01:02:59,109 --> 01:03:01,645
BANSHEES OF INISHERIN."
1464
01:03:01,645 --> 01:03:03,847
>> IF I'VE DONE SOMETHING TO
1465
01:03:03,847 --> 01:03:04,080
YOU --
1466
01:03:04,080 --> 01:03:06,383
>> I JUST DON'T LIKE YOU NO
1467
01:03:06,383 --> 01:03:06,583
MORE.
1468
01:03:06,583 --> 01:03:10,887
>> I NEED TO SPEND THE TIME LEFT
1469
01:03:10,887 --> 01:03:11,154
COMPOSING.
1470
01:03:11,154 --> 01:03:13,456
>> EVERYONE KNOWS THAT NAME.
1471
01:03:13,456 --> 01:03:16,293
>> IF HE DON'T, THERE GOES THAT
1472
01:03:16,293 --> 01:03:16,526
THEORY.
1473
01:03:16,526 --> 01:03:17,694
>> HE'S ALWAYS BEEN DULL.
1474
01:03:17,694 --> 01:03:19,296
>> YOU USED TO BE NICE.
1475
01:03:19,296 --> 01:03:20,897
AND NOW, YOU KNOW WHAT YOU ARE?
1476
01:03:20,897 --> 01:03:22,632
NOT NICE.
1477
01:03:22,632 --> 01:03:24,768
>> THAT WOULDN'T BE A SIN NOW,
1478
01:03:24,768 --> 01:03:25,869
WOULD IT?
1479
01:03:25,869 --> 01:03:27,804
>> SOME THINGS ARE NOT WORTH
1480
01:03:27,804 --> 01:03:28,938
MOVING ON FROM, AND I THINK
1481
01:03:28,938 --> 01:03:36,313
TAT'S A GOOD THING.
1482
01:03:36,313 --> 01:03:48,391
>> THIS IS JENNY.
1483
01:03:48,391 --> 01:03:51,494
THERE SHE IS, ONE OF THE STARS
1484
01:03:51,494 --> 01:03:55,532
OF "BANSHEES OF INISHERIN."
1485
01:03:55,532 --> 01:03:56,066
HI, JENNY.
1486
01:03:56,066 --> 01:03:57,901
NOT ONLY IS JENNY AN ACTOR,
1487
01:03:57,901 --> 01:04:00,537
SHE'S A CERTIFIED EMOTIONAL
1488
01:04:00,537 --> 01:04:01,271
SUPPORT DONKEY.
1489
01:04:01,271 --> 01:04:03,306
AT LEAST THAT'S WHAT WE TOLD THE
1490
01:04:03,306 --> 01:04:04,574
AIRLINE TO GET HER ON THE PLANE
1491
01:04:04,574 --> 01:04:04,974
FROM IRELAND.
1492
01:04:04,974 --> 01:04:09,145
IF YOU ARE FEELING UPSET OR
1493
01:04:09,145 --> 01:04:10,747
ANXIOUS OR MAYBE YOU JUST LOVE
1494
01:04:10,747 --> 01:04:11,981
MULES, FEEL FREE TO COME UP AND
1495
01:04:11,981 --> 01:04:12,782
GIVE HER A HUG.
1496
01:04:12,782 --> 01:04:14,284
AND JENNY, THERE'S YOUR FRIEND
1497
01:04:14,284 --> 01:04:15,885
COLIN RIGHT THERE.
1498
01:04:15,885 --> 01:04:19,522
AND THERE'S YOUR FRIEND BRENDAN,
1499
01:04:19,522 --> 01:04:20,557
WHOSE FINGER YOU ATE.
1500
01:04:20,557 --> 01:04:21,424
YOU WANT TO SAY THANK YOU.
1501
01:04:21,424 --> 01:04:23,026
ALL RIGHT.
1502
01:04:23,026 --> 01:04:24,294
LET'S GET YOU BACK ON THAT
1503
01:04:24,294 --> 01:04:28,431
SPIRIT AIRLINES FLIGHT NOW, HUH?
1504
01:04:28,431 --> 01:04:30,433
NEXT, WITH THE AWARD FOR COSTUME
1505
01:04:30,433 --> 01:04:33,236
DESIGN, PLEASE WELCOME STEVEN
1506
01:04:33,236 --> 01:04:36,873
SPIELBERG'S FATHER AND
1507
01:04:36,873 --> 01:04:37,507
JONAH HILL'S MOM, PAUL DANO, AND
1508
01:04:37,507 --> 01:04:46,950
JULIA LOUIS-DREYFUS!
1509
01:04:46,950 --> 01:04:57,427
>> I WOULD JUST LIKE TO BEGIN BY
1510
01:04:57,427 --> 01:04:58,995
SAYING THANK YOU TO THE ACADEMY,
1511
01:04:58,995 --> 01:05:01,898
BECAUSE FOR THOSE THAT DO NOT
1512
01:05:01,898 --> 01:05:04,067
KNOW, EVERY YEAR, THE OSCAR FOR
1513
01:05:04,067 --> 01:05:06,569
COSTUME DESIGN IS PRESENTED BY
1514
01:05:06,569 --> 01:05:08,571
THE MOST STYLISH AND
1515
01:05:08,571 --> 01:05:09,372
FASHION-FORWARD ACTRESS IN
1516
01:05:09,372 --> 01:05:12,542
HOLLYWOOD.
1517
01:05:12,542 --> 01:05:16,513
>> AND PAUL DANO.
1518
01:05:16,513 --> 01:05:19,349
>> BEING NOMINATED FOR AN OSCAR
1519
01:05:19,349 --> 01:05:21,284
IS THE SECOND-GREATEST HONOR A
1520
01:05:21,284 --> 01:05:22,919
COSTUME DESIGNER CAN RECEIVE.
1521
01:05:22,919 --> 01:05:25,455
THE GREATEST HONOR IS WHEN AN
1522
01:05:25,455 --> 01:05:27,123
ACTOR ACCIDENTALLY TAKES THEIR
1523
01:05:27,123 --> 01:05:27,857
BEAUTIFULLY DESIGNED COSTUME
1524
01:05:27,857 --> 01:05:29,692
HOME WITH THEM.
1525
01:05:29,692 --> 01:05:32,662
>> SEEING THESE EXQUISITE
1526
01:05:32,662 --> 01:05:34,097
DESIGNS UP CLOSE, YOU KNOW
1527
01:05:34,097 --> 01:05:35,932
EXACTLY WHY THEIR DESIGNERS ARE
1528
01:05:35,932 --> 01:05:38,268
NOMINATED TONIGHT, AND EXACTLY
1529
01:05:38,268 --> 01:05:40,737
WHY THEY MIGHT END UP HIDDEN IN
1530
01:05:40,737 --> 01:05:42,772
AN ACTOR'S CAR TRUNK OR GYM BAG.
1531
01:05:42,772 --> 01:05:44,307
AND BY THE WAY, JULIA --
1532
01:05:44,307 --> 01:05:44,707
>> YES.
1533
01:05:44,707 --> 01:05:46,109
>> THAT IS A GORGEOUS DRESS
1534
01:05:46,109 --> 01:05:46,843
YOU'RE WEARING.
1535
01:05:46,843 --> 01:05:48,144
>> OH, THANK YOU SO MUCH.
1536
01:05:48,144 --> 01:05:51,548
IT'S FROM "NATIONAL LAMPOON'S
1537
01:05:51,548 --> 01:05:55,018
CHRISTMAS VACATION," 1989.
1538
01:05:55,018 --> 01:05:56,653
>> HERE ARE THE NOMINEES FOR
1539
01:05:56,653 --> 01:06:04,594
ACHIEVEMENT IN COSTUME DESIGN.
1540
01:06:04,594 --> 01:06:05,228
>> "BABYLON," COSTUME DESIGN BY
1541
01:06:05,228 --> 01:06:06,162
MARY ZOPHRES.
1542
01:06:06,162 --> 01:06:06,696
"BLACK PANTHER: WAKANDA
1543
01:06:06,696 --> 01:06:07,263
FOREVER," COSTUME DESIGN BY
1544
01:06:07,263 --> 01:06:10,366
RUTH CARTER.
1545
01:06:10,366 --> 01:06:11,935
"ELVIS," COSTUME DESIGN BY
1546
01:06:11,935 --> 01:06:16,706
CATHERINE MARTIN.
1547
01:06:16,706 --> 01:06:18,775
"EVERYTHING EVERYWHERE ALL AT
1548
01:06:18,775 --> 01:06:22,946
ONCE," COSTUME DESIGN BY
1549
01:06:22,946 --> 01:06:23,313
SHIRLEY KURATA.
1550
01:06:23,313 --> 01:06:25,081
"MRS. HARRIS GOES TO PARIS,"
1551
01:06:25,081 --> 01:06:31,454
COSTUME DESIGN BY JENNY BEAVAN.
1552
01:06:31,454 --> 01:06:36,192
>> AND THE OSCAR GOES TO --
1553
01:06:36,192 --> 01:06:41,264
"BLACK PANTHER: WAKANDA
1554
01:06:41,264 --> 01:06:43,199
FOREVER," RUTH CARTER.
1555
01:06:43,199 --> 01:06:44,767
>> RUTH CARTER'S FIRST JOB IN
1556
01:06:44,767 --> 01:06:46,769
FILM WAS DESIGNING COSTUMES FOR
1557
01:06:46,769 --> 01:06:50,940
SPIKE LEE'S 1988 FILM "SCHOOL
1558
01:06:50,940 --> 01:06:53,076
DAYS."
1559
01:06:53,076 --> 01:06:53,376
K
1560
01:06:53,376 --> 01:06:58,882
RUTH CARTER USED 3D TECHNOLOGY
1561
01:06:58,882 --> 01:07:01,251
FOR THE QUEEN IN "BLACK PANTHER:
1562
01:07:01,251 --> 01:07:03,720
WAKANDA FOREVER."
1563
01:07:03,720 --> 01:07:05,221
>> THANK YOU.
1564
01:07:05,221 --> 01:07:05,722
OH, MY --
1565
01:07:05,722 --> 01:07:06,122
>> BEAUTIFUL WORK.
1566
01:07:06,122 --> 01:07:12,929
>> WOW.
1567
01:07:12,929 --> 01:07:13,129
NICE.
1568
01:07:13,129 --> 01:07:15,832
NICE TO SEE YOU AGAIN.
1569
01:07:15,832 --> 01:07:18,768
THANK YOU TO THE ACADEMY FOR
1570
01:07:18,768 --> 01:07:22,972
RECOGNIZING THE SUPERHERO THAT
1571
01:07:22,972 --> 01:07:24,440
IS A BLACK WOMAN.
1572
01:07:24,440 --> 01:07:27,510
SHE ENDURES, SHE LOVES, SHE
1573
01:07:27,510 --> 01:07:31,314
OVERCOMES, SHE IS EVERY WOMAN IN
1574
01:07:31,314 --> 01:07:31,581
THIS FILM.
1575
01:07:31,581 --> 01:07:34,083
SHE IS MY MOTHER.
1576
01:07:34,083 --> 01:07:36,653
THIS PAST WEEK, MABLE CARTER
1577
01:07:36,653 --> 01:07:38,454
BECAME AN ANCESTOR.
1578
01:07:38,454 --> 01:07:42,225
THIS FILM PREPARED ME FOR THIS
1579
01:07:42,225 --> 01:07:42,458
MOMENT.
1580
01:07:42,458 --> 01:07:43,326
CHADWICK, PLEASE TAKE CARE OF
1581
01:07:43,326 --> 01:07:47,564
MOM.
1582
01:07:47,564 --> 01:07:51,234
RYAN, NATE, THANK YOU BOTH FOR
1583
01:07:51,234 --> 01:07:52,001
YOUR VISION.
1584
01:07:52,001 --> 01:07:53,937
TOGETHER, WE ARE RESHAPING HOW
1585
01:07:53,937 --> 01:08:01,978
CULTURE IS REPRESENTED.
1586
01:08:01,978 --> 01:08:07,150
THE MARVEL FAMILY, KEVIN,
1587
01:08:07,150 --> 01:08:09,919
VICTORIA ALONZO, LOUIS, AND
1588
01:08:09,919 --> 01:08:10,553
THEIR ARSENAL OF GENIUS, THANK
1589
01:08:10,553 --> 01:08:11,087
YOU.
1590
01:08:11,087 --> 01:08:15,258
I SHARE THIS WITH MANY DEDICATED
1591
01:08:15,258 --> 01:08:18,027
ARTISTS WHOSE HANDS AND HEARTS
1592
01:08:18,027 --> 01:08:24,500
HELPED MANIFEST THE COSTUMES OF
1593
01:08:24,500 --> 01:08:24,734
WAKANDA.
1594
01:08:24,734 --> 01:08:25,768
THIS IS FOR MY MOTHER.
1595
01:08:25,768 --> 01:08:34,877
SHE WAS 101.
1596
01:08:34,877 --> 01:08:39,749
>> Announcer: PLEASE WELCOME
1597
01:08:39,749 --> 01:08:48,224
DEEPIKA PADUKONE.
1598
01:08:48,224 --> 01:08:51,961
>> AN IRRESISTIBLY CATCHY
1599
01:08:51,961 --> 01:08:54,097
CHORUS, ELECTRIFYING BEAT, AND
1600
01:08:54,097 --> 01:08:56,165
KILLER DANCE MOVES TO MATCH HAVE
1601
01:08:56,165 --> 01:08:56,766
MADE THIS NEXT SONG A GLOBAL
1602
01:08:56,766 --> 01:09:04,040
SENSATION.
1603
01:09:04,040 --> 01:09:06,743
IT PLAYS DURING A PIVOTAL SCENE
1604
01:09:06,743 --> 01:09:14,083
IN "RRR," A MOVIE ABOUT THE
1605
01:09:14,083 --> 01:09:16,252
FRIENDSHIP BETWEEN REAL-LIFE
1606
01:09:16,252 --> 01:09:20,423
INDIAN REVOLUTIONARIES,
1607
01:09:20,423 --> 01:09:20,957
ALLURI SITARAMA RAJU AND
1608
01:09:20,957 --> 01:09:23,593
KOMARAM BHEEM.
1609
01:09:23,593 --> 01:09:25,194
IN ADDITION TO BEING SUNG IN
1610
01:09:25,194 --> 01:09:27,296
TELEGU AND ILLUSTRATING THE
1611
01:09:27,296 --> 01:09:29,399
FILM'S ANTI-COLONIALIST THEMES,
1612
01:09:29,399 --> 01:09:34,137
IT'S ALSO A TOTAL BANGER.
1613
01:09:34,137 --> 01:09:36,739
IT'S EARNED MILLIONS OF VIEWS ON
1614
01:09:36,739 --> 01:09:37,240
YOUTUBE AND TIKTOK, HAS
1615
01:09:37,240 --> 01:09:38,875
AUDIENCES DANCING IN MOVIE
1616
01:09:38,875 --> 01:09:40,977
THEATERS ALL AROUND THE WORLD,
1617
01:09:40,977 --> 01:09:43,079
AND IS ALSO THE FIRST SONG EVER
1618
01:09:43,079 --> 01:09:44,714
FROM AN INDIAN PRODUCTION TO BE
1619
01:09:44,714 --> 01:09:54,190
NOMINATED FOR AN OSCAR.
1620
01:09:54,190 --> 01:09:56,292
DO YOU KNOW NAATU?
1621
01:09:56,292 --> 01:10:01,564
IF YOU DON'T, YOU'RE ABOUT TO.
1622
01:10:01,564 --> 01:10:02,598
FROM THE FILM, "RRR," THIS IS
1623
01:10:02,598 --> 01:10:05,535
"NAATU NAATU!"
1624
01:10:05,535 --> 01:10:10,006
[ THE FOLLOWING SONG HAS BEEN
1625
01:10:10,006 --> 01:10:10,573
TRANSLATED TO ENGLISH FROM
1626
01:10:10,573 --> 01:10:13,209
TELUGU ]
1627
01:10:13,209 --> 01:10:14,143
♪ LIKE AN AGGRESSIVE BULL
1628
01:10:14,143 --> 01:10:14,677
JUMPING AMIDST
1629
01:10:14,677 --> 01:10:16,279
DUST IN THE FIELDS ♪
1630
01:10:16,279 --> 01:10:17,847
♪ YOU TOO DANCE
1631
01:10:17,847 --> 01:10:19,482
THE DRUM IS RINGING LOUDLY ♪
1632
01:10:19,482 --> 01:10:19,949
♪ FLY AND DANCE
1633
01:10:19,949 --> 01:10:21,050
LIKE THE INDIAN DEITY
1634
01:10:21,050 --> 01:10:22,618
POTHARAJU ♪
1635
01:10:22,618 --> 01:10:23,686
♪ HAVING A STICK BATTLE
1636
01:10:23,686 --> 01:10:24,787
WITH ROUGH SHOES ♪
1637
01:10:24,787 --> 01:10:25,788
♪ DANCE LIKE A GANG
1638
01:10:25,788 --> 01:10:26,322
OF YOUNG BOYS ♪
1639
01:10:26,322 --> 01:10:27,190
♪ ASSEMBLING UNDER THE
1640
01:10:27,190 --> 01:10:27,724
SHADE OF A BANYAN TREE ♪
1641
01:10:27,724 --> 01:10:28,424
♪ DANCE LIKE AS IF
1642
01:10:28,424 --> 01:10:28,925
YOU ARE EATING A
1643
01:10:28,925 --> 01:10:29,492
JOWAR ROTI WITH A CHILI ♪
1644
01:10:29,492 --> 01:10:29,992
♪ LISTEN TO MY SONG
1645
01:10:29,992 --> 01:10:31,060
♪ LISTEN TO MY SONG
1646
01:10:31,060 --> 01:10:31,594
♪ LISTEN TO MY SONG
1647
01:10:31,594 --> 01:10:32,161
♪ LET'S DANCE, DANCE
1648
01:10:32,161 --> 01:10:33,696
AND DANCE
1649
01:10:33,696 --> 01:10:35,331
LET'S DANCE OH BRAVE ♪
1650
01:10:35,331 --> 01:10:35,798
♪ LET'S DANCE, DANCE
1651
01:10:35,798 --> 01:10:37,900
AND DANCE
1652
01:10:37,900 --> 01:10:40,970
LET'S DANCE CRAZILY ♪
1653
01:10:40,970 --> 01:10:42,638
♪ DANCE AS IF
1654
01:10:42,638 --> 01:10:43,272
YOU HAVE EATEN GREEN CHILIES ♪
1655
01:10:43,272 --> 01:10:48,878
♪ DANCE LIKE A SHARP KNIFE
1656
01:10:48,878 --> 01:11:05,828
♪
1657
01:11:05,828 --> 01:11:06,362
♪ LIKE BEATING A DRUM
1658
01:11:06,362 --> 01:11:06,896
WHICH MAKES YOUR
1659
01:11:06,896 --> 01:11:07,463
HEART BEAT FASTER ♪
1660
01:11:07,463 --> 01:11:08,998
♪ LIKE THE SHRILL VOICE
1661
01:11:08,998 --> 01:11:09,499
OF A BIRD THAT CAN
1662
01:11:09,499 --> 01:11:10,633
MAKE YOUR EAR NUMB ♪
1663
01:11:10,633 --> 01:11:12,135
♪ LIKE THE SONG WHICH CAN
1664
01:11:12,135 --> 01:11:12,668
MAKE YOUR FINGERS SNAP
1665
01:11:12,668 --> 01:11:14,270
IN RHYTHM ♪
1666
01:11:14,270 --> 01:11:14,771
♪ LIKE THE WILD DANCE
1667
01:11:14,771 --> 01:11:15,805
WITH A FAST BEAT ♪
1668
01:11:15,805 --> 01:11:20,009
♪ LIKE THE DANCE WHICH
1669
01:11:20,009 --> 01:11:21,611
MAKES YOUR BODY SWEAT ♪
1670
01:11:21,611 --> 01:11:23,713
♪ LISTEN TO MY SONG
1671
01:11:23,713 --> 01:11:24,247
♪ LISTEN TO MY SONG
1672
01:11:24,247 --> 01:11:24,781
♪ LISTEN TO MY SONG
1673
01:11:24,781 --> 01:11:26,883
♪ LET'S DANCE, DANCE
1674
01:11:26,883 --> 01:11:29,018
AND DANCE
1675
01:11:29,018 --> 01:11:31,120
LET'S DANCE OH BRAVE ♪
1676
01:11:31,120 --> 01:11:31,587
♪ LET'S DANCE, DANCE
1677
01:11:31,587 --> 01:11:33,256
AND DANCE
1678
01:11:33,256 --> 01:11:39,495
LET'S DANCE CRAZILY ♪
1679
01:11:39,495 --> 01:11:49,071
♪
1680
01:11:49,071 --> 01:11:52,975
♪ LET'S DANCE, DANCE
1681
01:11:52,975 --> 01:11:57,480
AND DANCE ♪
1682
01:11:57,480 --> 01:11:58,548
♪ LET'S DANCE, DANCE
1683
01:11:58,548 --> 01:12:07,623
AND DANCE ♪
1684
01:12:07,623 --> 01:12:19,368
♪
1685
01:12:19,368 --> 01:12:39,789
>> Announcer: COMING UP,
1686
01:12:39,789 --> 01:12:40,289
SALMA HAYEK PINAULT AND
1687
01:12:40,289 --> 01:12:41,357
ANTONIO BANDERAS.
1688
01:12:41,357 --> 01:12:42,925
AND LATER, HUGH GRANT AND
1689
01:12:42,925 --> 01:12:44,026
ANDIE MacDOWELL PRESENT THE
1690
01:12:44,026 --> 01:12:45,561
OSCAR FOR PRODUCTION DESIGN.
1691
01:12:45,561 --> 01:12:47,163
TO LEARN MORE ABOUT OUR
1692
01:12:47,163 --> 01:12:49,298
NOMINATED PRODUCTION DESIGNERS,
1693
01:12:49,298 --> 01:12:53,736
SCAN THE QR CODE ON YOUR SCREEN.
1694
01:12:56,241 --> 01:13:10,853
♪
1695
01:13:10,853 --> 01:13:14,790
>>> I JUST NEED TO GET 30
1696
01:13:14,790 --> 01:13:18,461
SECONDS OF ROOM TONE.
1697
01:13:18,461 --> 01:13:19,195
WE GOOD?
1698
01:13:19,195 --> 01:13:19,695
OKAY.
1699
01:13:19,695 --> 01:13:21,097
SEE, FOLKS, IT'S NOT JUST ABOUT
1700
01:13:21,097 --> 01:13:22,164
THE ACTORS.
1701
01:13:22,164 --> 01:13:23,532
SOMETIMES WE LIKE TO DO JOKES
1702
01:13:23,532 --> 01:13:25,167
FOR THE TECHNICAL CATEGORIES.
1703
01:13:25,167 --> 01:13:26,235
AND THAT WAS A LITTLE SOMETHING
1704
01:13:26,235 --> 01:13:28,604
FOR THE AUDIO TEAM.
1705
01:13:28,604 --> 01:13:30,840
THANKS FOR ALL THE WARM HANDS
1706
01:13:30,840 --> 01:13:32,541
AND MICROPHONES, GUYS.
1707
01:13:32,541 --> 01:13:34,477
AND BY THE WAY, I KNOW WE LOST
1708
01:13:34,477 --> 01:13:36,112
AN HOUR BECAUSE OF DAYLIGHT
1709
01:13:36,112 --> 01:13:38,014
SAVINGS TIME, BUT I SPOKE TO THE
1710
01:13:38,014 --> 01:13:39,515
PRODUCERS, AND GOOD NEWS, WE'VE
1711
01:13:39,515 --> 01:13:40,049
ADDED THAT HOUR INTO THE
1712
01:13:40,049 --> 01:13:43,052
TELECAST.
1713
01:13:43,052 --> 01:13:44,153
PLEASE WELCOME EVA LONGORIA AND
1714
01:13:44,153 --> 01:13:45,154
THE PRESIDENT OF THE ACADEMY,
1715
01:13:45,154 --> 01:13:51,427
JANET YANG.
1716
01:13:51,427 --> 01:14:02,204
>> HELLO, EVERYONE.
1717
01:14:02,204 --> 01:14:03,439
HOW HAVE YOU BEEN ENJOYING THE
1718
01:14:03,439 --> 01:14:06,275
SHOW SO FAR?
1719
01:14:06,275 --> 01:14:07,677
YOU'RE SUCH A BEAUTIFUL
1720
01:14:07,677 --> 01:14:10,479
AUDIENCE, YOU MAKE OUR JOB
1721
01:14:10,479 --> 01:14:10,713
EASIER.
1722
01:14:10,713 --> 01:14:12,181
I'M SO THRILLED AND PROUD TO
1723
01:14:12,181 --> 01:14:12,815
LEAD THE ACADEMY, ALONG WITH OUR
1724
01:14:12,815 --> 01:14:18,020
EXTRAORDINARY CEO, BILL KRAMER,
1725
01:14:18,020 --> 01:14:20,523
AND OUR INCREDIBLY DEDICATED
1726
01:14:20,523 --> 01:14:22,258
BOARD OF GOVERNORS.
1727
01:14:22,258 --> 01:14:23,793
YOU MAY KNOW US BEST FOR THE
1728
01:14:23,793 --> 01:14:26,462
OSCARS AND CELEBRATING CURRENT
1729
01:14:26,462 --> 01:14:30,166
FILMS EACH YEAR, BUT THE ACADEMY
1730
01:14:30,166 --> 01:14:30,766
WORKS YEAR-ROUND TO PRESERVE
1731
01:14:30,766 --> 01:14:32,735
FILM HISTORY, AS WELL AS INSPIRE
1732
01:14:32,735 --> 01:14:35,371
AND NURTURE FUTURE GENERATIONS
1733
01:14:35,371 --> 01:14:35,871
OF FILM ARTISTS AND
1734
01:14:35,871 --> 01:14:37,473
TECHNOLOGISTS.
1735
01:14:37,473 --> 01:14:40,609
WE HAVE ROBUST TALENT
1736
01:14:40,609 --> 01:14:41,243
DEVELOPMENT PROGRAMS, THE MOST
1737
01:14:41,243 --> 01:14:42,211
EXTRAORDINARY GLOBAL FILM
1738
01:14:42,211 --> 01:14:44,880
COLLECTION, AND THE LARGEST FILM
1739
01:14:44,880 --> 01:14:46,449
MUSEUM IN THE WORLD -- THE
1740
01:14:46,449 --> 01:14:46,983
ACADEMY MUSEUM OF MOTION
1741
01:14:46,983 --> 01:14:53,823
PICTURES.
1742
01:14:53,823 --> 01:14:55,458
>> IF YOU HAVE VISITED US IN
1743
01:14:55,458 --> 01:14:57,026
LOS ANGELES OR VIRTUALLY, YOU
1744
01:14:57,026 --> 01:14:58,594
KNOW THAT OUR FANTASTIC MUSEUM
1745
01:14:58,594 --> 01:15:00,196
OFFERS EXCEPTIONAL EXHIBITIONS,
1746
01:15:00,196 --> 01:15:02,264
SCREENINGS, AND EDUCATIONAL
1747
01:15:02,264 --> 01:15:04,367
PROGRAMS THAT ILLUMINATE THE
1748
01:15:04,367 --> 01:15:07,536
VAST WORLD OF CINEMA.
1749
01:15:07,536 --> 01:15:10,272
YOU'LL LEARN ABOUT THE WORK OF
1750
01:15:10,272 --> 01:15:12,508
ALL THE COLLABORATORS THAT MAKE
1751
01:15:12,508 --> 01:15:15,177
MOVIES UNFORGIVABLE.
1752
01:15:15,177 --> 01:15:15,811
YOU WILL BE TRANSPORTED, MOVED,
1753
01:15:15,811 --> 01:15:16,412
AND INSPIRED, IN WAYS THAT NO
1754
01:15:16,412 --> 01:15:21,150
MUSEUM HAS DONE BEFORE.
1755
01:15:21,150 --> 01:15:23,753
>> HERE AT THE ACADEMY MUSEUM OF
1756
01:15:23,753 --> 01:15:25,488
MOTION PICTURES, WE TELL THE
1757
01:15:25,488 --> 01:15:26,455
DIVERSE AND INSPIRING STORIES OF
1758
01:15:26,455 --> 01:15:28,924
CINEMA.
1759
01:15:28,924 --> 01:15:30,893
>> WE CREATE IMMERSIVE
1760
01:15:30,893 --> 01:15:34,196
EXHIBITIONS LIKE "THE G
1761
01:15:34,196 --> 01:15:35,698
GODFATHER," WHICH CELEBRATES THE
1762
01:15:35,698 --> 01:15:36,699
PROCESS OF MAKING THIS
1763
01:15:36,699 --> 01:15:38,167
UNFORGETTABLE MASTERPIECE.
1764
01:15:38,167 --> 01:15:40,236
>> WE SHOWCASE HOW FILMMAKERS
1765
01:15:40,236 --> 01:15:42,605
HAVE INVENTED WORLDS AND
1766
01:15:42,605 --> 01:15:43,672
CHARACTERS THROUGH ANIMATION,
1767
01:15:43,672 --> 01:15:46,542
COSTUME DESIGN, AND MORE.
1768
01:15:46,542 --> 01:15:48,811
>> WE BRING ICONIC PROPS BACK TO
1769
01:15:48,811 --> 01:15:49,011
LIFE.
1770
01:15:49,011 --> 01:15:53,983
FROM SAM'S PIANO TO BRUCE'S
1771
01:15:53,983 --> 01:15:56,452
SHARK FROM "JAWS."
1772
01:15:56,452 --> 01:15:58,687
>> WE BRING IMPORTANT FILM
1773
01:15:58,687 --> 01:16:04,560
HISTORY TO LIGHT.
1774
01:16:04,560 --> 01:16:07,229
>> WE CELEBRATE GLOBAL CINEMA
1775
01:16:07,229 --> 01:16:09,432
AND INSPIRE THE NEXT GENERATIONS
1776
01:16:09,432 --> 01:16:11,333
OF FILMMAKERS.
1777
01:16:11,333 --> 01:16:13,369
>> AND, OF COURSE, WE OFFER AN
1778
01:16:13,369 --> 01:16:16,505
UP CLOSE LOOK AT THE OSCARS,
1779
01:16:16,505 --> 01:16:18,274
SCREENINGS OF CLASSIC FILMS, AND
1780
01:16:18,274 --> 01:16:20,342
A FANTASTIC MUSEUM STORE.
1781
01:16:20,342 --> 01:16:22,111
>> THE ACADEMY MUSEUM IS WHERE
1782
01:16:22,111 --> 01:16:23,279
WE COME TOGETHER THROUGH OUR
1783
01:16:23,279 --> 01:16:27,016
PASSION FOR CINEMA.
1784
01:16:27,016 --> 01:16:29,185
JOIN US IN PERSON IN LOS
1785
01:16:29,185 --> 01:16:30,653
ANGELES, LEARN MORE ON OUR
1786
01:16:30,653 --> 01:16:32,388
SOCIAL, AND CHECK US OUT ONLINE
1787
01:16:32,388 --> 01:16:37,226
AT ACADEMYMUSEUM.ORG.
1788
01:16:37,226 --> 01:16:41,964
>> Announcer: AND NOW, ACADEMY
1789
01:16:41,964 --> 01:16:42,531
AWARD NOMINEES
1790
01:16:42,531 --> 01:16:43,065
SALMA HAYEK PINAULT
1791
01:16:43,065 --> 01:16:48,337
ANTONIO BANDERAS.
1792
01:16:48,337 --> 01:16:54,043
>> MOVIE LOVERS FROM AROUND THE
1793
01:16:54,043 --> 01:16:55,611
GLOBE GO TO SEE MOVIES TO
1794
01:16:55,611 --> 01:16:56,212
EXPERIENCE THE FULL RANGE OF
1795
01:16:56,212 --> 01:16:59,315
EMOTIONS --
1796
01:16:59,315 --> 01:17:03,552
TO LAUGH, TO CRY, TO ESCAPE,
1797
01:17:03,552 --> 01:17:04,153
ULTIMATELY TO BE TOLD A GOOD
1798
01:17:04,153 --> 01:17:04,620
STORY.
1799
01:17:04,620 --> 01:17:07,756
>> WE WANT TO SEE COMPELLING
1800
01:17:07,756 --> 01:17:08,290
CHARACTERS GO THROUGH THE
1801
01:17:08,290 --> 01:17:10,392
DYNAMIC RANGE OF HUMAN
1802
01:17:10,392 --> 01:17:12,528
EXPERIENCES, SPANNING FROM JOY
1803
01:17:12,528 --> 01:17:14,630
AND GUILT TO TRIUMPH AND LOVE.
1804
01:17:14,630 --> 01:17:18,267
>> THE NOMINEES IN THIS NEXT
1805
01:17:18,267 --> 01:17:23,005
CATEGORY COME TO US FROM POLAND,
1806
01:17:23,005 --> 01:17:23,639
BELGIUM, ARGENTINA, IRELAND, AND
1807
01:17:23,639 --> 01:17:25,641
GERMANY.
1808
01:17:25,641 --> 01:17:26,275
ALTHOUGH THESE FILMMAKERS MAY BE
1809
01:17:26,275 --> 01:17:28,811
FROM DIFFERENT COUNTRIES AND
1810
01:17:28,811 --> 01:17:30,646
CULTURES, THEY HAVE PROVEN THAT
1811
01:17:30,646 --> 01:17:32,515
THE LANGUAGE OF STORYTELLING IS
1812
01:17:32,515 --> 01:17:34,083
UNIVERSAL.
1813
01:17:34,083 --> 01:17:35,684
>> HERE ARE THE NOMINEES FOR
1814
01:17:35,684 --> 01:17:38,521
BEST INTERNATIONAL FEATURE
1815
01:17:38,521 --> 01:17:38,854
FILM --
1816
01:17:38,854 --> 01:17:42,024
FROM GERMANY, "ALL QUIET ON THE
1817
01:17:42,024 --> 01:17:42,691
WESTERN FRONT," DIRECTED BY
1818
01:17:42,691 --> 01:17:46,729
EDWARD BERGER.
1819
01:17:46,729 --> 01:17:48,864
FROM ARGENTINA,
1820
01:17:48,864 --> 01:17:50,499
"ARGENTINA, 1985," DIRECTED BY
1821
01:17:50,499 --> 01:17:53,569
SANTIAGO MITRE.
1822
01:17:53,569 --> 01:17:54,203
FROM BELGIUM, "CLOSE," DIRECTED
1823
01:17:54,203 --> 01:17:57,239
BY LUKAS DHONT.
1824
01:17:57,239 --> 01:17:58,807
FROM POLAND, "EO," DIRECTED BY
1825
01:17:58,807 --> 01:18:01,944
JERZY SKOLIMOWSKI.
1826
01:18:01,944 --> 01:18:06,649
FROM IRELAND, "THE QUIET GIRL,"
1827
01:18:06,649 --> 01:18:09,919
DIRECTED BY COLM BAIREAD.
1828
01:18:09,919 --> 01:18:15,724
>> AND THE OSCAR GOES TO --
1829
01:18:15,724 --> 01:18:17,193
EDWARD BERGER, "ALL QUIET ON THE
1830
01:18:17,193 --> 01:18:21,363
WESTERN FRONT."
1831
01:18:21,363 --> 01:18:22,731
>> THIS IS THE 12th NOMINATION
1832
01:18:22,731 --> 01:18:24,567
FOR GERMANY AND THIRD WIN.
1833
01:18:24,567 --> 01:18:25,801
"ALL QUIET ON THE WESTERN FRONT"
1834
01:18:25,801 --> 01:18:28,504
IS THE EIGHTH NONENGLISH
1835
01:18:28,504 --> 01:18:31,507
LANGUAGE FILM TO BE NOMINATED
1836
01:18:31,507 --> 01:18:32,741
FOR BOS INTERNATIONAL FEATURE
1837
01:18:32,741 --> 01:18:33,642
FILM AND BEST PICTURE IN THE
1838
01:18:33,642 --> 01:18:40,416
SAME YEAR.
1839
01:18:40,416 --> 01:19:01,136
>> THANK YOU.
1840
01:19:01,136 --> 01:19:03,372
THIS MEANS SO MUCH TO US.
1841
01:19:03,372 --> 01:19:04,640
SO, I MET SO MANY NEW FRIENDS ON
1842
01:19:04,640 --> 01:19:06,976
THIS MOVIE.
1843
01:19:06,976 --> 01:19:09,111
MY CINEMATOGRAPHER JAMES FRIEND,
1844
01:19:09,111 --> 01:19:11,714
WHO HAS WON AN ACADEMY AWARD.
1845
01:19:11,714 --> 01:19:13,449
MY COSTUME DESIGNER, MY
1846
01:19:13,449 --> 01:19:17,653
PRODUCTION DESIGN ER, MY HAIR AD
1847
01:19:17,653 --> 01:19:21,890
MAKEUP DESIGNER, AND I OWE
1848
01:19:21,890 --> 01:19:22,658
EVERYTHING TO YOU.
1849
01:19:22,658 --> 01:19:23,492
I OWE EVERYTHING TO YOU AND THE
1850
01:19:23,492 --> 01:19:25,127
REST OF MY CREW.
1851
01:19:25,127 --> 01:19:27,596
BUT THE OTHER DAY, I WALKED INTO
1852
01:19:27,596 --> 01:19:32,101
A BRUNCH HERE AND I MET ANOTHER
1853
01:19:32,101 --> 01:19:35,571
CINEMATOGRAPHER, JAMES -- IT'S
1854
01:19:35,571 --> 01:19:38,474
ANOTHER MOVIE, FLORIAN, WHO WAS
1855
01:19:38,474 --> 01:19:41,210
ALSO NOMINATED FOR "TAR."
1856
01:19:41,210 --> 01:19:42,711
WE HELD EACH OTHER -- WE ARE
1857
01:19:42,711 --> 01:19:44,013
FROM THE SAME TOLD.
1858
01:19:44,013 --> 01:19:45,481
WE HELD EACH OTHER AND FOR 30
1859
01:19:45,481 --> 01:19:47,249
YEARS, WE MADE OUR FIRST MOVIE
1860
01:19:47,249 --> 01:19:49,018
TOGETHER, I WAS HIS ASSISTANCE,
1861
01:19:49,018 --> 01:19:50,185
AND WE HELD EACH OTHER AND FOR
1862
01:19:50,185 --> 01:19:52,988
30 YEARS, IT FELT LIKE THERE WAS
1863
01:19:52,988 --> 01:19:54,423
AN EMBRACE OF ALL THE HARD WORK
1864
01:19:54,423 --> 01:19:57,660
THAT WENT INTO THIS, AND IT'S
1865
01:19:57,660 --> 01:19:59,795
JUST DEEPLY MOVING FOR ALL OF
1866
01:19:59,795 --> 01:19:59,995
US.
1867
01:19:59,995 --> 01:20:01,530
THANK YOU NETFLIX FOR SUPPORTING
1868
01:20:01,530 --> 01:20:01,697
US.
1869
01:20:01,697 --> 01:20:05,768
THANK YOU TO MY WIFE AND MY
1870
01:20:05,768 --> 01:20:06,869
KIDS.
1871
01:20:06,869 --> 01:20:11,407
THANK YOU TED, SASHA, SCOTT, AND
1872
01:20:11,407 --> 01:20:14,710
DAVID FOR MAKING OUR MOVIE.
1873
01:20:14,710 --> 01:20:18,647
THANK YOU, THESE TWO WONDERFUL
1874
01:20:18,647 --> 01:20:19,715
ACTORS.
1875
01:20:19,715 --> 01:20:24,186
MY PRODUCER, DANIEL, THE ACTORS,
1876
01:20:24,186 --> 01:20:28,624
AND ESPECIALLY FELIX, THIS
1877
01:20:28,624 --> 01:20:34,396
WAS -- THIS WAS YOUR FIRST M
1878
01:20:34,396 --> 01:20:36,231
MOVIE -- THIS WAS YOUR FIRST
1879
01:20:36,231 --> 01:20:39,134
MOVIE AND YOU CARRIED US ON YOUR
1880
01:20:39,134 --> 01:20:40,536
SHOULDERS AS IF IT WAS NOTHING.
1881
01:20:40,536 --> 01:20:42,104
WITHOUT YOU, NONE OF US WOULD BE
1882
01:20:42,104 --> 01:20:42,304
HERE.
1883
01:20:42,304 --> 01:20:49,178
THANK YOU, FELIX.
1884
01:20:49,178 --> 01:20:54,583
>> Announcer: COMING UP,
1885
01:20:54,583 --> 01:20:55,017
PEDRO PASCAL AND
1886
01:20:55,017 --> 01:20:56,518
ELIZABETH OLSEN.
1887
01:20:56,518 --> 01:20:58,320
AND LATER, MINDY KALING AND
1888
01:20:58,320 --> 01:20:58,954
JOHN CHO PRESENT BEST ORIGINAL
1889
01:20:58,954 --> 01:20:59,922
SCORE.
1890
01:20:59,922 --> 01:21:00,956
WILL JOHN WILLIAMS MAKE OSCAR
1891
01:21:00,956 --> 01:21:03,659
HISTORY TONIGHT?
1892
01:21:03,659 --> 01:21:04,293
TO MEET OUR NOMINATED COMPOSERS,
1893
01:21:04,293 --> 01:21:06,295
SCAN THE QR CODE.
1894
01:21:11,865 --> 01:21:15,137
>> Announcer: WELCOME BACK TO
1895
01:21:15,137 --> 01:21:17,206
THE OSCARS AT THE DOLBY THEATRE.
1896
01:21:17,206 --> 01:21:18,240
WITH SEVEN NOMINATIONS TONIGHT,
1897
01:21:18,240 --> 01:21:19,274
INCLUDING BEST PICTURE, THIS IS
1898
01:21:19,274 --> 01:21:24,213
"THE FABELMANS."
1899
01:21:24,213 --> 01:21:30,552
>> IN THIS FAMILY, IT'S THE
1900
01:21:30,552 --> 01:21:33,489
SCIENTISTS VERSUS THE ARTISTS.
1901
01:21:33,489 --> 01:21:35,657
>> SHOULD AN'T YOU BE FILMING
1902
01:21:35,657 --> 01:21:35,858
THIS?
1903
01:21:35,858 --> 01:21:38,193
>> $100 FOR A HOBBY?
1904
01:21:38,193 --> 01:21:40,829
>> CAN YOU STOP CALLING IT A
1905
01:21:40,829 --> 01:21:41,130
HOBBY?
1906
01:21:41,130 --> 01:21:43,766
>> YOU ALWAYS DISMISS WHAT HE
1907
01:21:43,766 --> 01:21:44,800
DOES.
1908
01:21:44,800 --> 01:21:46,335
IT'S PLAYFUL FOR IMAGINATIVE.
1909
01:21:46,335 --> 01:21:48,036
>> YOU STOP MAKING MOVIES, IT
1910
01:21:48,036 --> 01:21:49,438
WILL BREAK YOUR MOTHER'S HEART.
1911
01:21:49,438 --> 01:21:51,840
>> YOU DO WHAT YOUR HEART SAYS
1912
01:21:51,840 --> 01:21:52,374
YOU HAVE TO.
1913
01:21:52,374 --> 01:22:02,484
YOU DON'T OWE ANYONE YOUR LIFE.
1914
01:22:02,484 --> 01:22:04,987
>> WELL, WE ARE AT THE OSCARS,
1915
01:22:04,987 --> 01:22:06,522
WE HAVE MANY MORE AWARDS TO GO.
1916
01:22:06,522 --> 01:22:08,056
HOW ARE YOU GUYS HOLDING UP?
1917
01:22:08,056 --> 01:22:10,893
EVERYBODY OKAY?
1918
01:22:10,893 --> 01:22:12,494
YEAH, YOU'RE HANGING IN THERE?
1919
01:22:12,494 --> 01:22:14,329
I PUT FOOD UNDER YOUR SEATS, I
1920
01:22:14,329 --> 01:22:15,097
DON'T KNOW IF YOU NOTICED IT.
1921
01:22:15,097 --> 01:22:18,901
ALL RIGHT.
1922
01:22:18,901 --> 01:22:20,235
THIS POINT IN THE SHOW KIND OF
1923
01:22:20,235 --> 01:22:21,103
MAKES YOU MISS THE SLAPPING A
1924
01:22:21,103 --> 01:22:25,040
LITTLE, RIGHT?
1925
01:22:25,040 --> 01:22:26,708
THREE OF THE EIGHT CATEGORIES
1926
01:22:26,708 --> 01:22:28,811
THAT HAVE MAKING THIS SHOW
1927
01:22:28,811 --> 01:22:31,180
LONGER TONIGHT ARE FOR SHORTS,
1928
01:22:31,180 --> 01:22:31,480
IRONICALLY.
1929
01:22:31,480 --> 01:22:33,081
HERE WITH THE OSCARS FOR
1930
01:22:33,081 --> 01:22:35,517
DOCUMENTARY AND ANIMATED SHORTS,
1931
01:22:35,517 --> 01:22:36,885
ELIZABETH OLSEN AND A GUY MOST
1932
01:22:36,885 --> 01:22:40,422
OF AMERICA IS WATCHING ON EITHER
1933
01:22:40,422 --> 01:22:42,224
HBO OR DOISNEY PLUS RIGHT NOW,
1934
01:22:42,224 --> 01:22:48,697
PEDRO PASCAL.
1935
01:22:48,697 --> 01:22:56,405
>> RATHER THAN SHY AWAY FROM A
1936
01:22:56,405 --> 01:22:57,439
CHALLENGE, THE FILMMAKERS IN
1937
01:22:57,439 --> 01:22:59,041
THESE NEXT CATEGORIES HAVE
1938
01:22:59,041 --> 01:23:00,609
EMBRACED IT, PRESENTING STORIES
1939
01:23:00,609 --> 01:23:02,711
IN A LIMITED TIME FRAME.
1940
01:23:02,711 --> 01:23:04,847
>> BUT THESE LIMITS HAD NO
1941
01:23:04,847 --> 01:23:06,415
EFFECT ON THE TYPES OF STORIES
1942
01:23:06,415 --> 01:23:07,015
THEY COULD TELL OR THE DEPTHS
1943
01:23:07,015 --> 01:23:09,618
THEY COULD EXPLORE.
1944
01:23:09,618 --> 01:23:10,686
>> HERE ARE THE NOMINEES FOR
1945
01:23:10,686 --> 01:23:14,890
BEST DOCUMENTARY SHORT FILM.
1946
01:23:14,890 --> 01:23:17,025
>> "THE ELEPHANT WHISPERERS"
1947
01:23:17,025 --> 01:23:17,526
KARTIKI GONSALVES AND
1948
01:23:17,526 --> 01:23:19,661
GUNEET MONGA.
1949
01:23:19,661 --> 01:23:21,730
"HAULOUT"
1950
01:23:21,730 --> 01:23:23,332
EVGENIA ARBUGAEVA AND
1951
01:23:23,332 --> 01:23:25,934
MAXIM ARBUGAEV.
1952
01:23:25,934 --> 01:23:26,969
"HOW DO YOU MEASURE A YEAR?"
1953
01:23:26,969 --> 01:23:32,241
JAY ROSENBLATT.
1954
01:23:32,241 --> 01:23:33,275
♪ MEASURE A YEAR
1955
01:23:33,275 --> 01:23:34,843
"THE MARTHA MITCHELL EFFECT"
1956
01:23:34,843 --> 01:23:38,013
ANNE ALVERGUE AND BETH LEVISON.
1957
01:23:38,013 --> 01:23:41,483
"STRANGER AT THE GATE"
1958
01:23:41,483 --> 01:23:48,590
JOSHUA SEFTEL AND CONALL JONES.
1959
01:23:48,590 --> 01:23:55,998
AND THE OSCAR GOES TO --
1960
01:23:55,998 --> 01:23:56,532
"THE ELEPHANT WHISPERERS"
1961
01:23:56,532 --> 01:23:57,599
KARTIKI GONSALVES AND
1962
01:23:57,599 --> 01:24:01,470
GUNEET MONGA.
1963
01:24:01,470 --> 01:24:05,240
>> GUNEET MONGA WAS ONE OF THE
1964
01:24:05,240 --> 01:24:08,710
FIRST PRODUCERS FROM INDIA TO BE
1965
01:24:08,710 --> 01:24:13,682
INDUCTED IN THE FILM MAKING HLL
1966
01:24:13,682 --> 01:24:17,653
OF FAME.
1967
01:24:17,653 --> 01:24:29,197
>> I STAND HERE TODAY TO SPEAK
1968
01:24:29,197 --> 01:24:30,799
FOR THE SACRED BOND BETWEEN US
1969
01:24:30,799 --> 01:24:32,568
AND OUR NATURAL WORLD.
1970
01:24:32,568 --> 01:24:35,304
FOR THE RESPECT OF INDIGENOUS
1971
01:24:35,304 --> 01:24:35,604
COMMUNITIES.
1972
01:24:35,604 --> 01:24:37,773
AND EMPATHY TOWARDS OTHER LIVING
1973
01:24:37,773 --> 01:24:39,241
BEINGS WE SHARE OUR SPACE WITH.
1974
01:24:39,241 --> 01:24:41,510
AND FINALLY, FOR COEXISTENCE.
1975
01:24:41,510 --> 01:24:44,846
THANK YOU TO THE ACADEMY FOR
1976
01:24:44,846 --> 01:24:46,415
RECOGNIZING OUR FILM,
1977
01:24:46,415 --> 01:24:47,583
HIGHLIGHTING INDIGENOUS PEOPLE
1978
01:24:47,583 --> 01:24:48,617
AND ANIMALS.
1979
01:24:48,617 --> 01:24:50,118
TO NETFLIX FOR BELIEVING IN THE
1980
01:24:50,118 --> 01:24:52,988
POWER OF THIS FILM.
1981
01:24:52,988 --> 01:24:56,892
FOR SHARING THEIR SACRED TRIBAL
1982
01:24:56,892 --> 01:24:57,192
WISDOM.
1983
01:24:57,192 --> 01:25:00,195
TO OUR GUNEET, MY PRODUCER, AND
1984
01:25:00,195 --> 01:25:01,997
DOUGLAS BLUSH, MY MENTOR, AND MY
1985
01:25:01,997 --> 01:25:03,799
ENTIRE TEAM, AND FINALLY, TO MY
1986
01:25:03,799 --> 01:25:05,167
MOTHER, FATHER, AND SISTER, WHO
1987
01:25:05,167 --> 01:25:06,768
ARE UP THERE SOMEWHERE.
1988
01:25:06,768 --> 01:25:08,337
YOU ARE THE CENTER OF MY
1989
01:25:08,337 --> 01:25:08,737
UNIVERSE.
1990
01:25:08,737 --> 01:25:23,452
TO MY MOTHERLAND, INDIA.
1991
01:25:23,452 --> 01:25:39,401
>> THESE NEXT NOMINEES USED
1992
01:25:39,401 --> 01:25:41,003
ANIMATION TO MAKE THE MOST OF
1993
01:25:41,003 --> 01:25:42,571
THEIR LIMITED SCREEN TIME,
1994
01:25:42,571 --> 01:25:44,673
EMPLOYING A VARIETY OF VISUAL
1995
01:25:44,673 --> 01:25:46,775
STYLES AND TECHNIQUES TO CARRY
1996
01:25:46,775 --> 01:25:47,476
OUT A STORY IN 40 MINUTES OR
1997
01:25:47,476 --> 01:25:50,445
LESS.
1998
01:25:50,445 --> 01:25:51,013
>> IN JUST 24 MINUTES, ONE
1999
01:25:51,013 --> 01:25:52,080
NOMINEE EVEN MANAGED TO FIT IN
2000
01:25:52,080 --> 01:25:57,352
AN ENTIRE YEAR'S WORTH OF --
2001
01:25:57,352 --> 01:25:58,787
>> WHAT?
2002
01:25:58,787 --> 01:25:58,987
WHAT?
2003
01:25:58,987 --> 01:25:59,888
>> WELL, YOU'LL FIND OUT WHEN
2004
01:25:59,888 --> 01:26:00,789
YOU WATCH THIS.
2005
01:26:00,789 --> 01:26:03,992
>> HOW THRILLING.
2006
01:26:03,992 --> 01:26:04,626
HERE ARE THE NOMINEES FOR BEST
2007
01:26:04,626 --> 01:26:08,730
ANIMATED SHORT FILM.
2008
01:26:08,730 --> 01:26:09,364
"THE BOY, THE MOLE, THE FOX AND
2009
01:26:09,364 --> 01:26:11,366
THE HORSE"
2010
01:26:11,366 --> 01:26:11,900
CHARLIE MACKESY AND
2011
01:26:11,900 --> 01:26:13,435
MATTHEW FREUD.
2012
01:26:13,435 --> 01:26:15,671
"THE FLYING SAILOR"
2013
01:26:15,671 --> 01:26:22,377
AMANDA FORBIS AND WENDY TILBY.
2014
01:26:22,377 --> 01:26:22,744
"ICE MERCHANTS"
2015
01:26:22,744 --> 01:26:28,183
JOAO GONZALEZ AND BRUNO CAETANO.
2016
01:26:28,183 --> 01:26:29,284
"MY YEAR OF DICKS"
2017
01:26:29,284 --> 01:26:29,785
SARA GUNNARSDOTTIR AND
2018
01:26:29,785 --> 01:26:32,454
PAMELA RIBON.
2019
01:26:32,454 --> 01:26:34,022
"AN OSTRICH TOLD ME THE WORLD IS
2020
01:26:34,022 --> 01:26:35,657
FAKE, AND I THINK I BELIEVE IT"
2021
01:26:35,657 --> 01:26:42,064
LACHLAN PENDRAGON.
2022
01:26:42,064 --> 01:26:44,900
>> AND THE OSCAR GOES TO --
2023
01:26:44,900 --> 01:26:45,534
"THE BOY, THE MOLE, THE FOX AND
2024
01:26:45,534 --> 01:26:46,968
THE HORSE"
2025
01:26:46,968 --> 01:26:47,502
CHARLIE MACKESY AND
2026
01:26:47,502 --> 01:26:52,708
MATTHEW FREUD.
2027
01:26:52,708 --> 01:26:54,309
>> THE ANIMATION TEAM BEHIND
2028
01:26:54,309 --> 01:26:56,344
"THE BOY, THE MOLE, THE FOX, AND
2029
01:26:56,344 --> 01:26:58,346
THE HORSE" WORKED REMOTELY
2030
01:26:58,346 --> 01:26:59,347
THROUGHOUT COVID TO CREATE A
2031
01:26:59,347 --> 01:27:01,516
LOOK THAT CLOSELY RESEMBLED THE
2032
01:27:01,516 --> 01:27:03,151
INK AND WATERCOLOR ILLUSTRATIONS
2033
01:27:03,151 --> 01:27:03,752
FROM THE BOOK ON WHICH IT WAS
2034
01:27:03,752 --> 01:27:11,493
BASED.
2035
01:27:11,493 --> 01:27:13,161
>> WE NEVER MADE A FILM BEFORE,
2036
01:27:13,161 --> 01:27:14,062
SO, THIS IS BEWILDERING BEYOND
2037
01:27:14,062 --> 01:27:17,332
AND -- I KNOW THE PROTOCOL IS TO
2038
01:27:17,332 --> 01:27:19,367
SAY THANK YOU A LOT, BUT I'M
2039
01:27:19,367 --> 01:27:20,502
BRITISH, SO I'M MORE COMFORTABLE
2040
01:27:20,502 --> 01:27:23,939
SAYING SORRY.
2041
01:27:23,939 --> 01:27:25,540
SO, I'M REALLY SORRY TO ALL THE
2042
01:27:25,540 --> 01:27:26,708
PEOPLE WHO SHOULD BE ON THIS
2043
01:27:26,708 --> 01:27:29,745
STAGE WITH US, EXTRAORDINARY
2044
01:27:29,745 --> 01:27:32,881
TEAM WITH CARA SPELLER AND PETER
2045
01:27:32,881 --> 01:27:37,018
AND J. J. AND HANNAH AND IZZO AND
2046
01:27:37,018 --> 01:27:39,821
JOHN AND OVER 100 ANIMATORS.
2047
01:27:39,821 --> 01:27:41,156
I'M REALLY SORRY TO MY CHILDREN
2048
01:27:41,156 --> 01:27:43,291
AND MY GIRLFRIEND AND MY
2049
01:27:43,291 --> 01:27:44,793
COLLEAGUES AT FREUD FOR
2050
01:27:44,793 --> 01:27:46,027
BASICALLY BEING ABSENT FOR THE
2051
01:27:46,027 --> 01:27:47,162
LAST TWO YEARS, AS THIS FILM
2052
01:27:47,162 --> 01:27:48,964
TOOK FLIGHT.
2053
01:27:48,964 --> 01:27:52,768
BUT THIS STATUE IS FOR THE DOG
2054
01:27:52,768 --> 01:27:57,005
AND THE BOY.
2055
01:27:57,005 --> 01:27:59,641
>> HELLO.
2056
01:27:59,641 --> 01:27:59,908
I'M SORRY.
2057
01:27:59,908 --> 01:28:00,609
I'LL BE BRIEF.
2058
01:28:00,609 --> 01:28:03,912
IT'S A RECURRING THEME, THE
2059
01:28:03,912 --> 01:28:04,146
APOLOGY.
2060
01:28:04,146 --> 01:28:05,947
I WAS IN MY VILLAGE VERY
2061
01:28:05,947 --> 01:28:08,283
RECENTLY, A LADY CAME UP TO ME
2062
01:28:08,283 --> 01:28:10,685
AND SAID, I HEAR YOU'RE GOING TO
2063
01:28:10,685 --> 01:28:11,520
THAT OSCAR THING.
2064
01:28:11,520 --> 01:28:13,421
I SAID, I THINK I'LL NEED HELP
2065
01:28:13,421 --> 01:28:14,156
WITH MY CLOTHES.
2066
01:28:14,156 --> 01:28:16,024
AND SHE SAID, YOU WILL.
2067
01:28:16,024 --> 01:28:17,459
AND IT'S A RECURRING THEME WITH
2068
01:28:17,459 --> 01:28:20,028
CLOTHING AND MYSELF, AND SHE
2069
01:28:20,028 --> 01:28:21,296
THEN SAID, THERE WAS A LONG
2070
01:28:21,296 --> 01:28:22,697
PAUSE, SHE SAID, YOU KNOW,
2071
01:28:22,697 --> 01:28:24,199
CHARLIE, I THINK IT TAKES A LOT
2072
01:28:24,199 --> 01:28:25,634
OF COURAGE TO MAKE A FILM.
2073
01:28:25,634 --> 01:28:27,135
AND I THINK WHEN YOU GO THERE,
2074
01:28:27,135 --> 01:28:28,436
THERE WILL BE A LOT OF VERY,
2075
01:28:28,436 --> 01:28:29,971
VERY BRAVE PEOPLE IN THE SAME
2076
01:28:29,971 --> 01:28:30,172
ROOM.
2077
01:28:30,172 --> 01:28:31,907
AND I LOOKED AT HER, I SAID,
2078
01:28:31,907 --> 01:28:33,375
YEAH, I THINK YOU'RE RIGHT.
2079
01:28:33,375 --> 01:28:35,243
AND IT'S REALLY TRUE.
2080
01:28:35,243 --> 01:28:36,444
AND THE PEOPLE THAT I'VE WORKED
2081
01:28:36,444 --> 01:28:37,746
WITH, THEY'VE TOLERATED ME FOR
2082
01:28:37,746 --> 01:28:39,948
TWO YEARS.
2083
01:28:39,948 --> 01:28:40,782
AND THEY'RE BRAVE AND KIND AND
2084
01:28:40,782 --> 01:28:42,184
THANK YOU SO MUCH AND THANK YOU
2085
01:28:42,184 --> 01:28:44,786
TO MY MOM AND MY FAMILY AND MY
2086
01:28:44,786 --> 01:28:47,088
DOG WHO I'VE LEFT BEHIND WHO IS
2087
01:28:47,088 --> 01:28:51,693
ACTUALLY IN A HOTEL, I HATE TO
2088
01:28:51,693 --> 01:28:52,160
SAY THAT.
2089
01:28:52,160 --> 01:28:53,862
I WASN'T REALLY MEANT TO SAY
2090
01:28:53,862 --> 01:28:54,496
THAT.
2091
01:28:54,496 --> 01:28:55,130
ANYWAY, THANK YOU SO, SO MUCH
2092
01:28:55,130 --> 01:28:55,397
FOR THIS.
2093
01:28:55,397 --> 01:29:03,071
THANK YOU.
2094
01:29:03,071 --> 01:29:16,718
>> I WROTE THIS SONG WITH MY
2095
01:29:16,718 --> 01:29:21,289
FRIEND BLOODPOP FOR THE FILM
2096
01:29:21,289 --> 01:29:23,258
"TOP GUN: MAVERICK" IN MY STUDIO
2097
01:29:23,258 --> 01:29:25,460
BASEMENT.
2098
01:29:25,460 --> 01:29:28,063
IT'S DEEPLY PERSONAL FOR ME AND
2099
01:29:28,063 --> 01:29:31,900
I THINK THAT WE ALL NEED EACH
2100
01:29:31,900 --> 01:29:33,368
OTHER, WE NEED A LOT OF LOVE TO
2101
01:29:33,368 --> 01:29:36,304
WALK THROUGH THIS LIFE.
2102
01:29:36,304 --> 01:29:39,307
AND WE ALL NEED A HERO
2103
01:29:39,307 --> 01:29:41,376
SOMETIMES, THERE'S HEROES ALL
2104
01:29:41,376 --> 01:29:42,777
AROUND US.
2105
01:29:42,777 --> 01:29:44,679
IN UNASSUMING PLACES, BUT -- YOU
2106
01:29:44,679 --> 01:29:47,949
MIGHT FIND THAT YOU CAN BE YOUR
2107
01:29:47,949 --> 01:29:49,417
OWN HERO, EVEN IF YOU FEEL
2108
01:29:49,417 --> 01:29:55,090
BROKEN INSIDE.
2109
01:29:55,090 --> 01:30:04,566
♪ HOLD MY HAND
2110
01:30:04,566 --> 01:30:07,936
♪ EVERYTHING WILL BE OKAY
2111
01:30:07,936 --> 01:30:13,608
♪ I HEARD FROM THE HEAVENS ♪
2112
01:30:13,608 --> 01:30:15,844
♪ THAT CLOUDS HAVE BEEN GRAY
2113
01:30:15,844 --> 01:30:19,114
♪ PULL ME CLOSE
2114
01:30:19,114 --> 01:30:23,018
♪ WRAP ME IN YOUR ACHING ARMS
2115
01:30:23,018 --> 01:30:27,322
♪ I SEE THAT YOU'RE HURTING
2116
01:30:27,322 --> 01:30:30,792
♪ WHY DID YOU TAKE SO LONG
2117
01:30:30,792 --> 01:30:34,329
♪ TO TELL ME YOU NEED ME
2118
01:30:34,329 --> 01:30:37,933
♪ I SEE THAT YOU'RE BLEEDING
2119
01:30:37,933 --> 01:30:43,305
♪ YOU DON'T NEED TO SHOW ME
2120
01:30:43,305 --> 01:30:44,439
AGAIN ♪
2121
01:30:44,439 --> 01:30:47,309
♪ BUT IF YOU DECIDE TO
2122
01:30:47,309 --> 01:30:50,779
♪ I'LL RIDE IN THIS LIFE WITH
2123
01:30:50,779 --> 01:30:51,179
YOU ♪
2124
01:30:51,179 --> 01:30:56,051
♪ I WON'T LET GO TIL THE END
2125
01:30:56,051 --> 01:31:07,395
♪ SO CRY TONIGHT
2126
01:31:07,395 --> 01:31:11,499
♪ BUT DON'T YOU LET GO OF MY
2127
01:31:11,499 --> 01:31:12,100
HAND ♪
2128
01:31:12,100 --> 01:31:19,808
♪ YOU CAN CRY EVERY LAST TEAR
2129
01:31:19,808 --> 01:31:26,881
♪ I WON'T LEAVE TIL I UND
2130
01:31:26,881 --> 01:31:27,649
UNDERSTAND ♪
2131
01:31:27,649 --> 01:31:30,318
♪ PROMISE ME
2132
01:31:30,318 --> 01:31:32,988
♪ JUST HOLD MY HAND
2133
01:31:32,988 --> 01:31:33,888
♪ HOLD MY HAND
2134
01:31:33,888 --> 01:31:35,890
♪ HOLD MY
2135
01:31:35,890 --> 01:31:36,958
♪ HOLD MY HAND
2136
01:31:36,958 --> 01:31:40,128
♪ HOLD MY HAND
2137
01:31:40,128 --> 01:31:41,930
♪ I'LL BE RIGHT HERE
2138
01:31:41,930 --> 01:31:45,967
♪ HOLD MY HAND
2139
01:31:45,967 --> 01:31:46,735
♪ HOLD MY HAND
2140
01:31:46,735 --> 01:31:48,536
♪ HOLD MY
2141
01:31:48,536 --> 01:31:49,871
♪ HOLD MY HAND
2142
01:31:49,871 --> 01:31:51,039
♪ HOLD MY HAND
2143
01:31:51,039 --> 01:31:54,442
♪ I'LL BE RIGHT HERE
2144
01:31:54,442 --> 01:32:01,416
♪ HOLD MY HAND
2145
01:32:01,416 --> 01:32:03,785
♪ I KNOW YOU'RE SCARED
2146
01:32:03,785 --> 01:32:07,088
♪ AND YOUR PAIN IS IMPERFECT
2147
01:32:07,088 --> 01:32:11,059
♪ BUT DON'T GIVE UP ON
2148
01:32:11,059 --> 01:32:11,860
YOURSELF ♪
2149
01:32:11,860 --> 01:32:14,729
♪ I HEARD A STORY
2150
01:32:14,729 --> 01:32:15,263
♪ A GIRL
2151
01:32:15,263 --> 01:32:16,564
♪ SHE ONCE TOLD ME
2152
01:32:16,564 --> 01:32:22,904
♪ THAT I WOULD BE HAPPY AGAIN
2153
01:32:22,904 --> 01:32:41,489
♪ HOLD MY HAND
2154
01:32:41,489 --> 01:32:53,501
♪ DON'T YOU LET GO OF MY HAND
2155
01:32:53,501 --> 01:33:03,478
♪ I HEARD FROM THE HEAVENS
2156
01:33:03,478 --> 01:33:21,096
>> Announcer: COMING UP,
2157
01:33:21,096 --> 01:33:24,265
ANDIE MacDOWELL, HUGH GRANT,
2158
01:33:24,265 --> 01:33:25,333
MINDY KALING, AND JOHN CHO.
2159
01:33:25,333 --> 01:33:26,901
AND LATER, ANDREW GARFIELD,
2160
01:33:26,901 --> 01:33:28,470
FLORENCE PUGH, JANELLE MONAE,
2161
01:33:28,470 --> 01:33:30,038
AND JESSICA CHASTAIN.
2162
01:33:30,038 --> 01:33:31,606
TO HEAR OUR VISUAL EFFECTS
2163
01:33:31,606 --> 01:33:32,874
NOMINEES DISCUSSING THEIR WORK,
2164
01:33:32,874 --> 01:33:33,942
SCAN THE QR CODE.
2165
01:33:39,460 --> 01:33:41,983
>> Announcer: WELCOME BACK TO
2166
01:33:41,983 --> 01:33:44,519
THE OSCARS.
2167
01:33:44,519 --> 01:33:46,087
NOW, WITH THREE NOMINATIONS,
2168
01:33:46,087 --> 01:33:46,654
HERE'S BEST PICTURE NOMINEE
2169
01:33:46,654 --> 01:33:50,458
"TRIANGLE OF SADNESS."
2170
01:33:50,458 --> 01:33:54,762
>>> THE SUCCESS OF A LUXURY
2171
01:33:54,762 --> 01:33:57,065
CRUISE DEPENDS ON TWO MOMENTS.
2172
01:33:57,065 --> 01:34:00,034
THE FIRST HOURS AND THE LAST DAY
2173
01:34:00,034 --> 01:34:01,102
THE GUESTS ARE ONBOARD.
2174
01:34:01,102 --> 01:34:03,838
>> EVERYBODY, LET'S KEEP CALM.
2175
01:34:03,838 --> 01:34:05,740
AND WHILE YOU'RE SUMMING IN
2176
01:34:05,740 --> 01:34:06,107
ABUNDANCE --
2177
01:34:06,107 --> 01:34:07,242
>> IT'S NOT ABOUT THE MONEY.
2178
01:34:07,242 --> 01:34:08,610
>> IT'S NOT ABOUT THE MONEY.
2179
01:34:08,610 --> 01:34:10,011
>> THE REST OF THE WORLD IS
2180
01:34:10,011 --> 01:34:11,079
DROWNING IN MISERY.
2181
01:34:11,079 --> 01:34:12,514
THAT'S NOT THE WAY IT'S MEANT TO
2182
01:34:12,514 --> 01:34:13,281
BE.
2183
01:34:13,281 --> 01:34:15,083
I KNOW YOU HAVE A GOOD HEART IN
2184
01:34:15,083 --> 01:34:16,684
THERE SOMEWHERE.
2185
01:34:16,684 --> 01:34:21,689
>> EVERYONE'S EQUAL.
2186
01:34:21,689 --> 01:34:32,934
>> Announcer: AND NOW,
2187
01:34:32,934 --> 01:34:50,451
HUGH GRANT AND ANDIE MacDOWELL.
2188
01:34:50,451 --> 01:34:54,722
>> LOVELY TO BE HERE.
2189
01:34:54,722 --> 01:34:57,192
>> IT IS LOVELY.
2190
01:34:57,192 --> 01:34:58,493
WE'RE ACTUALLY HERE TO DO TWO
2191
01:34:58,493 --> 01:34:59,994
THINGS.
2192
01:34:59,994 --> 01:35:00,628
THE FIRST IS TO RAISE AWARENESS
2193
01:35:00,628 --> 01:35:04,732
ABOUT THE VITAL IMPORTANCE OF
2194
01:35:04,732 --> 01:35:06,834
USING A GOOD MOISTURIZER.
2195
01:35:06,834 --> 01:35:10,872
ANDIE HAS BEEN WEARING ONE EVERY
2196
01:35:10,872 --> 01:35:12,207
DAY FOR THE LAST 29 YEARS.
2197
01:35:12,207 --> 01:35:14,943
I HAVE NEVER USED ONE IN MY
2198
01:35:14,943 --> 01:35:15,743
LIFE.
2199
01:35:15,743 --> 01:35:19,981
STILL STUNNING.
2200
01:35:19,981 --> 01:35:22,083
BASICALLY A SCROTUM.
2201
01:35:22,083 --> 01:35:24,385
>> THE SECOND -- THE SECOND IS
2202
01:35:24,385 --> 01:35:25,486
TO CELEBRATE THE ROLE OF THE
2203
01:35:25,486 --> 01:35:26,588
PRODUCTION DESIGNER IN THE
2204
01:35:26,588 --> 01:35:27,355
MAKING OF A GREAT MOVIE.
2205
01:35:27,355 --> 01:35:29,791
WHAT ARE YOU DOING?
2206
01:35:29,791 --> 01:35:33,161
THESE UNSUNG GENIUSES, ARMED
2207
01:35:33,161 --> 01:35:34,762
WITH WORLD-BUILDING IMAGINATIONS
2208
01:35:34,762 --> 01:35:37,265
THAT SOMETIMES EXCEED ALL
2209
01:35:37,265 --> 01:35:38,700
BUDGETS, CREATE NEW ENVIRONMENTS
2210
01:35:38,700 --> 01:35:41,069
FROM THIN AIR.
2211
01:35:41,069 --> 01:35:42,103
>> HERE ARE THE NOMINEES FOR
2212
01:35:42,103 --> 01:35:42,637
ACHIEVEMENT IN PRODUCTION
2213
01:35:42,637 --> 01:35:47,875
DESIGN.
2214
01:35:47,875 --> 01:35:48,509
"ALL QUIET ON THE WESTERN FRONT"
2215
01:35:48,509 --> 01:35:48,977
PRODUCTION DESIGN BY
2216
01:35:48,977 --> 01:35:50,011
CHRISTIAN M. GOLDBECK.
2217
01:35:50,011 --> 01:35:52,680
SET DECORATION BY
2218
01:35:52,680 --> 01:35:53,181
ERNESTINE HIPPER.
2219
01:35:53,181 --> 01:35:54,749
"AVATAR: THE WAY OF WATER"
2220
01:35:54,749 --> 01:35:56,951
PRODUCTION DESIGN BY DYLAN COLE
2221
01:35:56,951 --> 01:35:58,486
AND BEN PROCTER.
2222
01:35:58,486 --> 01:36:01,656
SET DECORATION BY VANESSA COLE.
2223
01:36:01,656 --> 01:36:02,690
"BABYLON"
2224
01:36:02,690 --> 01:36:03,725
PRODUCTION DESIGN BY
2225
01:36:03,725 --> 01:36:05,326
FLORENCIA MARTIN.
2226
01:36:05,326 --> 01:36:06,894
SET DECORATION BY
2227
01:36:06,894 --> 01:36:12,700
ANTHONY CARLINO.
2228
01:36:12,700 --> 01:36:14,802
"ELVIS"
2229
01:36:14,802 --> 01:36:15,270
PRODUCTION DESIGN BY
2230
01:36:15,270 --> 01:36:15,737
CATHERINE MARTIN AND
2231
01:36:15,737 --> 01:36:17,438
KAREN MURPHY.
2232
01:36:17,438 --> 01:36:21,643
SET DECORATION BY BEV DUNN.
2233
01:36:21,643 --> 01:36:22,710
"THE FABELMANS"
2234
01:36:22,710 --> 01:36:23,278
PRODUCTION DESIGN BY
2235
01:36:23,278 --> 01:36:28,683
RICK CARTER.
2236
01:36:28,683 --> 01:36:35,189
SET DECORATION BY KAREN O'HARA.
2237
01:36:35,189 --> 01:36:35,957
>> OH, THANK YOU.
2238
01:36:35,957 --> 01:36:39,127
AND THE OSCAR GOES TO -- "ALL
2239
01:36:39,127 --> 01:36:46,301
QUIET ON THE WESTERN FRONT."
2240
01:36:46,301 --> 01:36:46,768
PRODUCTION DESIGN BY
2241
01:36:46,768 --> 01:36:47,869
CHRISTIAN M. GOLDBECK.
2242
01:36:47,869 --> 01:36:48,269
SET DECORATION BY
2243
01:36:48,269 --> 01:36:57,178
ERNESTINE HIPPER.
2244
01:36:57,178 --> 01:37:14,796
>> THANK YOU SO MUCH, DEAR
2245
01:37:14,796 --> 01:37:15,029
ACADEMY.
2246
01:37:15,029 --> 01:37:17,298
I'M COMPLETELY BLOWN AWAY.
2247
01:37:17,298 --> 01:37:19,033
I WOULD LIKE TO THANK, FIRST OF
2248
01:37:19,033 --> 01:37:21,736
ALL, OUR BEAUTIFUL DIRECTOR,
2249
01:37:21,736 --> 01:37:22,470
EDWARD BERGER.
2250
01:37:22,470 --> 01:37:26,240
WITHOUT YOU, I COULD NHAVE NOT
2251
01:37:26,240 --> 01:37:26,708
DONE IT.
2252
01:37:26,708 --> 01:37:27,442
THIS WHOLE THING WAS A REAL TEAM
2253
01:37:27,442 --> 01:37:30,178
EFFORT.
2254
01:37:30,178 --> 01:37:31,813
MY HEART GOES OUT TO ALL THE
2255
01:37:31,813 --> 01:37:34,982
OTHER HODs WHO WORKED ON THIS
2256
01:37:34,982 --> 01:37:36,250
PROJECT, I COULD HAVE NOT DONE
2257
01:37:36,250 --> 01:37:38,820
IT WITHOUT YOU.
2258
01:37:38,820 --> 01:37:41,522
THANK YOU SO TAKE ME ON THE
2259
01:37:41,522 --> 01:37:41,723
SHOW.
2260
01:37:41,723 --> 01:37:42,557
ABSOLUTE PLEASURE.
2261
01:37:42,557 --> 01:37:50,031
AND FIRST OF ALL, I WANT TO GIVE
2262
01:37:50,031 --> 01:37:52,166
THIS TO MY TWO BEAUTIFUL SONS.
2263
01:37:52,166 --> 01:37:56,237
THANK YOU.
2264
01:37:56,237 --> 01:37:59,107
>> THIS IS -- I HAVE TO THANK MY
2265
01:37:59,107 --> 01:38:01,576
PARENTS, MOMMA, PAPA, I LOVE
2266
01:38:01,576 --> 01:38:01,809
YOU.
2267
01:38:01,809 --> 01:38:03,244
AND MY SISTERS AND MY DEAR
2268
01:38:03,244 --> 01:38:03,478
FRIENDS.
2269
01:38:03,478 --> 01:38:11,386
AND -- WHEN I STARTED THIS, I
2270
01:38:11,386 --> 01:38:15,390
WAS TOLD, DON'T EVER FORGET, YOU
2271
01:38:15,390 --> 01:38:16,891
ARE ONLY AS GOOD AS YOUR TEAM,
2272
01:38:16,891 --> 01:38:19,260
SO, THIS IS ALL THE HARDWORKING
2273
01:38:19,260 --> 01:38:21,763
PEOPLE IN PRAGUE, AND ALL THE
2274
01:38:21,763 --> 01:38:24,265
TEAMS THAT HELPED ME TO GET ON
2275
01:38:24,265 --> 01:38:25,600
THIS STAGE.
2276
01:38:25,600 --> 01:38:26,234
ACADEMY AND EVERYBODY, THANK YOU
2277
01:38:26,234 --> 01:38:28,603
SO MUCH.
2278
01:38:28,603 --> 01:38:29,504
THIS IS SO -- I'M SO HONORED.
2279
01:38:29,504 --> 01:38:36,744
THANK YOU.
2280
01:38:36,744 --> 01:38:48,556
>> Announcer: PLEASE WELCOME
2281
01:38:48,556 --> 01:38:56,130
JOHN CHO AND MINDY KALING.
2282
01:38:56,130 --> 01:39:00,601
>> THE MUSICAL SCORE OF A MOTION
2283
01:39:00,601 --> 01:39:01,235
PICTURE CAN EVOKE A MULTITUDE OF
2284
01:39:01,235 --> 01:39:02,203
FEELINGS.
2285
01:39:02,203 --> 01:39:06,974
THE FEAR OF UNSEEN DANGER, THE
2286
01:39:06,974 --> 01:39:07,542
EXCITEMENT OF DEATH-DEFYING
2287
01:39:07,542 --> 01:39:09,110
ACTION.
2288
01:39:09,110 --> 01:39:12,513
♪
2289
01:39:12,513 --> 01:39:16,017
>> THE "HELL NO" WHEN LYDIA TAR
2290
01:39:16,017 --> 01:39:17,885
SEES A REPLACEMENT CONDUCTOR.
2291
01:39:17,885 --> 01:39:19,153
♪
2292
01:39:19,153 --> 01:39:20,688
>> THE TERROR OF MISPRONOUNCING
2293
01:39:20,688 --> 01:39:21,322
"THE BANSHEES OF INISHERIN" ON
2294
01:39:21,322 --> 01:39:22,590
NATIONAL TELEVISION.
2295
01:39:22,590 --> 01:39:25,760
♪
2296
01:39:25,760 --> 01:39:30,465
>> THE HORROR OF A MOVIE
2297
01:39:30,465 --> 01:39:31,098
STARTING AND REALIZING I LEFT MY
2298
01:39:31,098 --> 01:39:32,934
PHONE IN THE CAR.
2299
01:39:32,934 --> 01:39:35,203
>> YEAH, YIKES.
2300
01:39:35,203 --> 01:39:35,570
I'VE BEEN THERE.
2301
01:39:35,570 --> 01:39:36,204
HERE ARE THE NOMINEES FOR BEST
2302
01:39:36,204 --> 01:39:39,407
ORIGINAL SCORE.
2303
01:39:39,407 --> 01:39:42,510
"ALL QUIET ON THE WESTERN FRONT"
2304
01:39:42,510 --> 01:39:43,978
BY VOLKER BERTELMANN.
2305
01:39:43,978 --> 01:39:46,581
♪
2306
01:39:46,581 --> 01:39:48,115
"BABYLON" BY JUSTIN HURWITZ.
2307
01:39:48,115 --> 01:39:56,057
♪
2308
01:39:56,057 --> 01:39:56,724
"THE BANSHEES OF INISHERIN" BY
2309
01:39:56,724 --> 01:39:57,091
CARTER BURWELL.
2310
01:39:57,091 --> 01:40:02,663
♪
2311
01:40:02,663 --> 01:40:08,436
"EVERYTHING EVERYWHERE ALL AT
2312
01:40:08,436 --> 01:40:12,240
ONCE" BY SON LUX.
2313
01:40:12,240 --> 01:40:13,307
♪
2314
01:40:13,307 --> 01:40:13,808
"THE FABELMANS" BY
2315
01:40:13,808 --> 01:40:14,509
JOHN WILLIAMS.
2316
01:40:14,509 --> 01:40:21,449
♪
2317
01:40:21,449 --> 01:40:25,186
>> AND THE OSCAR GOES TO -- "ALL
2318
01:40:25,186 --> 01:40:32,560
QUIET ON THE WESTERN FRONT",
2319
01:40:32,560 --> 01:40:34,328
H
2320
01:40:34,328 --> 01:40:41,002
VOLKER BERTELMANN.
2321
01:40:41,002 --> 01:40:45,840
PIANO AT THE AGE OF 9 AND FORMED
2322
01:40:45,840 --> 01:40:47,275
HIS FIRST ROCK BAND AT 14.
2323
01:40:47,275 --> 01:40:49,477
WHILE IN SCHOOL, HE BEGAN
2324
01:40:49,477 --> 01:40:50,111
STUDYING MEDICINE AND THEN
2325
01:40:50,111 --> 01:40:57,118
SWITCHED TO BUSINESS ECONOMICS.
2326
01:40:57,118 --> 01:40:59,587
>> WELL, THANK YOU SO MUCH.
2327
01:40:59,587 --> 01:41:01,355
THANKS TO THE ACADEMY FOR THIS
2328
01:41:01,355 --> 01:41:04,458
HUGE RECOGNITION.
2329
01:41:04,458 --> 01:41:06,360
WHEN I WAS WORKING ON THE FILM,
2330
01:41:06,360 --> 01:41:10,431
I WAS THINKING A COUPLE OF TIMES
2331
01:41:10,431 --> 01:41:11,299
OF MY MOM, BECAUSE SHE WAS
2332
01:41:11,299 --> 01:41:14,468
TELLING ME EVERY NOW AND THEN,
2333
01:41:14,468 --> 01:41:17,772
WHEN YOU WANT TO CHANGE HUMANITY
2334
01:41:17,772 --> 01:41:18,873
AND EMPATHY IN THE WORLD, YOU
2335
01:41:18,873 --> 01:41:22,577
HAVE TO START BY YOURSELF.
2336
01:41:22,577 --> 01:41:25,012
AND WITH YOUR OWN SURROUNDINGS.
2337
01:41:25,012 --> 01:41:28,449
BECAUSE YOU LEARN BY THAT AND
2338
01:41:28,449 --> 01:41:32,620
YOU CAN SHOW ACTUALLY WHERE WE
2339
01:41:32,620 --> 01:41:33,254
ALL -- HOW WE ALL CAN LIVE
2340
01:41:33,254 --> 01:41:36,090
TOGETHER, SO, YOU KNOW, BY
2341
01:41:36,090 --> 01:41:37,892
WORKING ON A FILM LIKE THAT, YOU
2342
01:41:37,892 --> 01:41:39,293
ALWAYS ARE DEEPLY TOUCHED AND
2343
01:41:39,293 --> 01:41:39,994
SOMETIMES YOU HAVE TO MAKE THE
2344
01:41:39,994 --> 01:41:43,230
SCREEN VERY SMALL, BECAUSE THERE
2345
01:41:43,230 --> 01:41:48,569
IS SO MUCH EXPLOSIONS HAPPENING.
2346
01:41:48,569 --> 01:41:51,205
I WANT TO SAY THANK YOU TO MY
2347
01:41:51,205 --> 01:41:54,508
WIFE, ELIZABETH, AND MY KIDS UP
2348
01:41:54,508 --> 01:41:58,479
THERE, LOTTIE, PAULINA, AND
2349
01:41:58,479 --> 01:41:58,679
LUCAS.
2350
01:41:58,679 --> 01:41:59,647
TO EDWARD BERGER AND THE WHOLE
2351
01:41:59,647 --> 01:42:04,552
CAST AND CREW FOR THEIR AMAZING
2352
01:42:04,552 --> 01:42:04,885
CRAFTSMANSHIP.
2353
01:42:04,885 --> 01:42:06,187
TO NETFLIX FOR THEIR HUGE
2354
01:42:06,187 --> 01:42:08,222
SUPPORT.
2355
01:42:08,222 --> 01:42:11,792
AND TO MY FELLOW NOMINEES,
2356
01:42:11,792 --> 01:42:17,264
CARTER, JOHN, JUSTIN, SON LUX,
2357
01:42:17,264 --> 01:42:18,432
FOR -- THAT I CAN BE APART OF
2358
01:42:18,432 --> 01:42:24,939
SUCH A -- UNIQUE, HUMAN AND
2359
01:42:24,939 --> 01:42:28,476
DIVERSE GROUP OF TALENTED
2360
01:42:28,476 --> 01:42:28,743
COMPOSERS.
2361
01:42:28,743 --> 01:42:30,878
THAT'S FOR ME A BIG GIFT.
2362
01:42:30,878 --> 01:42:33,381
AND LAST BUT NOT LEAST, I WANT
2363
01:42:33,381 --> 01:42:34,415
TO THANK ALL OF YOU FOR THIS
2364
01:42:34,415 --> 01:42:35,449
WONDERFUL EVENING.
2365
01:42:35,449 --> 01:42:43,958
THANK YOU SO MUCH.
2366
01:42:43,958 --> 01:42:48,696
>> HI, I'M BILL KRAMER, CEO OF
2367
01:42:48,696 --> 01:42:50,097
THE ACADEMY OF MOTION PICTURE
2368
01:42:50,097 --> 01:42:51,032
ARTS AND SCIENCES.
2369
01:42:51,032 --> 01:42:54,435
THROUGHOUT THE YEAR, THE ACAD
2370
01:42:54,435 --> 01:42:56,337
RECOGNIZES AND CELEBRATES ALL
2371
01:42:56,337 --> 01:42:57,571
ASPECTS OF THE FILM INDUSTRY,
2372
01:42:57,571 --> 01:42:59,006
AND THE DIVERSE, TALENTED PEOPLE
2373
01:42:59,006 --> 01:43:02,476
WHO MAKE MOVIES.
2374
01:43:02,476 --> 01:43:04,912
IN SEPTEMBER, THE ACADEMY
2375
01:43:04,912 --> 01:43:06,247
ANNOUNCED THE 49th STUDENT
2376
01:43:06,247 --> 01:43:07,281
ACADEMY AWARDS.
2377
01:43:07,281 --> 01:43:08,983
IN OCTOBER, AT THE ACADEMY
2378
01:43:08,983 --> 01:43:10,084
MUSEUM GALA, MIKY LEE,
2379
01:43:10,084 --> 01:43:12,186
STEVE McQUEEN, JULIA ROBERTS,
2380
01:43:12,186 --> 01:43:14,288
AND TILDA SWINTON WERE HONORED
2381
01:43:14,288 --> 01:43:17,458
FOR THEIR POWERFUL WORK AND
2382
01:43:17,458 --> 01:43:19,060
COMMITMENT TO CINEMA.
2383
01:43:19,060 --> 01:43:20,628
AT NOVEMBER'S GOVERNORS AWARDS,
2384
01:43:20,628 --> 01:43:22,196
THE ACADEMY PRESENTED HONORARY
2385
01:43:22,196 --> 01:43:26,967
OSCARS TO EUZHAN PALCY,
2386
01:43:26,967 --> 01:43:27,968
DIANE WARREN, AND PETER WEIR FOR
2387
01:43:27,968 --> 01:43:28,569
THEIR GROUNDBREAKING ARTISTRY
2388
01:43:28,569 --> 01:43:29,070
AND THE JEAN HERSHOLT
2389
01:43:29,070 --> 01:43:31,605
HUMANITARIAN AWARD TO
2390
01:43:31,605 --> 01:43:32,273
MICHAEL J. FOX.
2391
01:43:32,273 --> 01:43:34,575
AND IN FEBRUARY, AT THE
2392
01:43:34,575 --> 01:43:39,180
ACADEMY'S SCI-TECH AWARDS,
2393
01:43:39,180 --> 01:43:39,814
14 RECIPIENTS RECEIVED TECHNICAL
2394
01:43:39,814 --> 01:43:40,247
ACHIEVEMENT AWARDS.
2395
01:43:40,247 --> 01:43:40,815
SCIENTIFIC AND ENGINEERING
2396
01:43:40,815 --> 01:43:41,415
AWARDS WERE PRESENTED TO FOUR
2397
01:43:41,415 --> 01:43:43,484
RECIPIENTS.
2398
01:43:43,484 --> 01:43:46,587
RYAN LANEY RECEIVED AN AWARD OF
2399
01:43:46,587 --> 01:43:48,556
COMMENDATION.
2400
01:43:48,556 --> 01:43:52,626
AND THE GORDON E. SAWYER AWARD
2401
01:43:52,626 --> 01:43:55,062
WAS PRESENTED TO IAIN NEIL.
2402
01:43:55,062 --> 01:43:56,897
FOR MORE INFORMATION ON THESE
2403
01:43:56,897 --> 01:43:57,431
AWARDS AND EVERYTHING THE
2404
01:43:57,431 --> 01:43:58,065
ACADEMY DOES YEAR-ROUND, PLEASE
2405
01:43:58,065 --> 01:44:03,671
VISIT OSCARS.ORG.
2406
01:44:03,671 --> 01:44:14,548
♪
2407
01:44:14,548 --> 01:44:16,016
>> Announcer: COMING UP,
2408
01:44:16,016 --> 01:44:17,618
ELIZABETH BANKS WITH
2409
01:44:17,618 --> 01:44:18,219
THE OSCAR FOR VISUAL EFFECTS.
2410
01:44:18,219 --> 01:44:19,220
PLUS, A PERFORMANCE BY RIHANNA.
2411
01:44:19,220 --> 01:44:22,356
LATER, IDRIS ELBA, NICOLE KIDMAN
2412
01:44:22,356 --> 01:44:22,923
AND JOHN TRAVOLTA, PLUS THE
2413
01:44:22,923 --> 01:44:23,958
AWARDS FOR ORIGINAL AND ADAPTED
2414
01:44:23,958 --> 01:44:25,559
SCREENPLAYS.
2415
01:44:25,559 --> 01:44:27,128
TO HEAR FROM THE NOMINATED
2416
01:44:27,128 --> 01:44:31,031
WRITERS, SCAN THE QR CODE.
2417
01:44:36,872 --> 01:44:41,008
THE OSCARS ARE BACK.
2418
01:44:41,008 --> 01:44:41,575
WITH EIGHT NOMINATIONS,
2419
01:44:41,575 --> 01:44:43,144
INCLUDING BEST PICTURE, THIS IS
2420
01:44:43,144 --> 01:44:50,117
"ELVIS."
2421
01:44:50,117 --> 01:44:53,053
>> THE WAY YOU SING, IT'S GOD
2422
01:44:53,053 --> 01:44:53,254
GIVEN.
2423
01:44:53,254 --> 01:44:57,525
CAN'T BE NOTHING WRONG WITH IT.
2424
01:44:57,525 --> 01:44:58,959
>> I THINK IF YOU DREAM IT,
2425
01:44:58,959 --> 01:44:59,894
YOU'LL DO IT.
2426
01:44:59,894 --> 01:45:03,330
>> GOT TO BE MAKING THE MOST I
2427
01:45:03,330 --> 01:45:03,697
CAN.
2428
01:45:03,697 --> 01:45:06,033
THIS CAN ALL BE OVER IN A FLASH.
2429
01:45:06,033 --> 01:45:08,803
A LOT OF PEOPLE SAYING A LOT OF
2430
01:45:08,803 --> 01:45:09,036
THINGS.
2431
01:45:09,036 --> 01:45:09,637
BUT IN THE END, YOU GOT TO
2432
01:45:09,637 --> 01:45:13,240
LISTEN TO YOURSELF.
2433
01:45:13,240 --> 01:45:17,812
♪
2434
01:45:17,812 --> 01:45:36,964
♪
2435
01:45:36,964 --> 01:45:37,565
>> Announcer: AND NOW, PLEASE
2436
01:45:37,565 --> 01:45:44,004
WELCOME ELIZABETH BANKS.
2437
01:45:44,004 --> 01:45:52,513
>> HIT THE MARK.
2438
01:45:52,513 --> 01:45:53,247
THANK YOU.
2439
01:45:53,247 --> 01:45:54,415
OH, MY GOD.
2440
01:45:54,415 --> 01:45:56,250
HE TRIPPED ME.
2441
01:45:56,250 --> 01:45:58,052
I RECENTLY DIRECTED THE FILM
2442
01:45:58,052 --> 01:45:58,986
"COCAINE BEAR."
2443
01:45:58,986 --> 01:46:03,791
AND -- THANK YOU.
2444
01:46:03,791 --> 01:46:05,893
WITHOUT VISUAL EFFECTS, THIS IS
2445
01:46:05,893 --> 01:46:07,962
WHAT THE BEAR WOULD LOOK LIKE.
2446
01:46:07,962 --> 01:46:10,798
IT'S -- TERRIFYING.
2447
01:46:10,798 --> 01:46:13,534
STOP IT.
2448
01:46:13,534 --> 01:46:14,902
NO DIRECTOR WANTS TO DEAL WITH
2449
01:46:14,902 --> 01:46:15,469
THIS.
2450
01:46:15,469 --> 01:46:15,669
OKAY.
2451
01:46:15,669 --> 01:46:16,470
WHAT ARE YOU DOING?
2452
01:46:16,470 --> 01:46:17,338
STOP IT.
2453
01:46:17,338 --> 01:46:20,541
STOP -- PUT YOUR PAW DOWN.
2454
01:46:20,541 --> 01:46:22,343
WHY ARE YOU -- ARE YOU TRYING TO
2455
01:46:22,343 --> 01:46:22,843
SCORE RIGHT NOW?
2456
01:46:22,843 --> 01:46:24,545
YOU NEED TO WAIT FOR THE
2457
01:46:24,545 --> 01:46:25,512
AFTERPARTY LIKE EVERYBODY ELSE.
2458
01:46:25,512 --> 01:46:27,214
THE COKE IS NOT REAL.
2459
01:46:27,214 --> 01:46:29,283
IT'S VISUAL EFFECTS, RIGHT?
2460
01:46:29,283 --> 01:46:33,287
WHY ARE YOU DRAGGING SIGOURNEY
2461
01:46:33,287 --> 01:46:33,687
WEAVER INTO THIS?
2462
01:46:33,687 --> 01:46:40,060
SHE DOESN'T -- THE NAVI ARE NOT
2463
01:46:40,060 --> 01:46:40,527
REAL.
2464
01:46:40,527 --> 01:46:42,062
IS THIS "ALL QUIET ON THE
2465
01:46:42,062 --> 01:46:42,863
WESTERN FRONT?"
2466
01:46:42,863 --> 01:46:44,732
YEAH, THAT'S VISUAL EFFECTS.
2467
01:46:44,732 --> 01:46:46,600
IT WAS A REAL WAR, BUT REAL
2468
01:46:46,600 --> 01:46:47,601
VISUAL EFFECTS.
2469
01:46:47,601 --> 01:46:49,670
BATMAN FLYING AROUND IS NOT
2470
01:46:49,670 --> 01:46:49,870
REAL.
2471
01:46:49,870 --> 01:46:50,437
TOM CRUISE FLYING AROUND IS
2472
01:46:50,437 --> 01:46:54,108
REAL.
2473
01:46:54,108 --> 01:46:59,780
BUT ALSO VISUAL EFFECTS.
2474
01:46:59,780 --> 01:47:00,014
WAKANDA?
2475
01:47:00,014 --> 01:47:04,385
WAKANDA IS TOTALLY REAL.
2476
01:47:04,385 --> 01:47:06,754
VISUAL EFFECTS CAN ENHANCE
2477
01:47:06,754 --> 01:47:08,756
ANY -- I'M SORRY, MY VOICE.
2478
01:47:08,756 --> 01:47:12,459
VISUAL EFFECTS CAN ENHANCE ANY
2479
01:47:12,459 --> 01:47:14,228
STORY AND WITHOUT VISUAL
2480
01:47:14,228 --> 01:47:17,398
EFFECTS, "COCAINE BEAR" WOULD
2481
01:47:17,398 --> 01:47:19,400
HAVE BEEN SOME ACTOR IN A BEAR
2482
01:47:19,400 --> 01:47:21,535
SUIT PROBABLY ON COCAINE.
2483
01:47:21,535 --> 01:47:23,437
HERE ARE THE NOMINEES FOR
2484
01:47:23,437 --> 01:47:25,973
ACHIEVEMENT IN VISUAL EFFECTS.
2485
01:47:25,973 --> 01:47:28,008
GET OUT!
2486
01:47:28,008 --> 01:47:30,577
"ALL QUIET ON THE WESTERN FRONT"
2487
01:47:30,577 --> 01:47:33,247
FRANK PETZOLD, VIKTOR MULLER,
2488
01:47:33,247 --> 01:47:37,985
MARKUS FRANK, AND KAMIL JAFAR.
2489
01:47:37,985 --> 01:47:38,519
"AVATAR: THE WAY OF WATER"
2490
01:47:38,519 --> 01:47:40,054
JOE LETTERI, RICHARD BANEHAM,
2491
01:47:40,054 --> 01:47:42,222
ERIC SAINDON, AND
2492
01:47:42,222 --> 01:47:42,723
DANIEL BARRETT.
2493
01:47:42,723 --> 01:47:45,893
"THE BATMAN"
2494
01:47:45,893 --> 01:47:46,427
DAN LEMMON, RUSSELL EARL,
2495
01:47:46,427 --> 01:47:46,961
ANDERS LANGLANDS, AND
2496
01:47:46,961 --> 01:47:52,066
DOMINIC TUOHY.
2497
01:47:52,066 --> 01:47:53,267
"BLACK PANTHER: WAKANDA FOREVER"
2498
01:47:53,267 --> 01:47:55,336
GEOFFREY BAUMANN, CRAIG HAMMACK,
2499
01:47:55,336 --> 01:47:55,869
R. CHRISTOPHER WHITE, AND
2500
01:47:55,869 --> 01:47:59,039
DAN SUDICK.
2501
01:47:59,039 --> 01:48:02,176
"TOP GUN: MAVERICK"
2502
01:48:02,176 --> 01:48:02,710
RYAN TUDHOPE, SETH HILL,
2503
01:48:02,710 --> 01:48:03,777
BRYAN LITSON, AND
2504
01:48:03,777 --> 01:48:10,050
SCOTT R. FISHER.
2505
01:48:10,050 --> 01:48:13,454
AND THE OSCAR GOES TO --
2506
01:48:13,454 --> 01:48:13,954
"AV
2507
01:48:13,954 --> 01:48:18,692
"AVATAR: THE WAY OF WATER."
2508
01:48:18,692 --> 01:48:19,293
JOE LETTERI, RICHARD BANEHAM,
2509
01:48:19,293 --> 01:48:19,760
ERIC SAINDON, AND
2510
01:48:19,760 --> 01:48:21,729
DANIEL BARRETT.
2511
01:48:21,729 --> 01:48:23,797
>> THE DESIGNERS INCORPORATED
2512
01:48:23,797 --> 01:48:26,033
ELEMENTS OF THE ACTORS INTO THE
2513
01:48:26,033 --> 01:48:27,701
CHARACTERS' DESIGNS TO HELP
2514
01:48:27,701 --> 01:48:28,502
TRANSLATE THEIR PERFORMANCES AND
2515
01:48:28,502 --> 01:48:35,075
BRING THEM TO LIFE.
2516
01:48:35,075 --> 01:48:51,992
>> TO JAMES CAMERON, JIM
2517
01:48:51,992 --> 01:48:53,594
CAMERON, WHOSE ARTISTIC
2518
01:48:53,594 --> 01:48:57,264
THUMBPRINT IS ON EVERY SCENE OF
2519
01:48:57,264 --> 01:48:58,065
THIS MOVIE.
2520
01:48:58,065 --> 01:49:02,569
AND JON LANDAU, THE ENGINE THAT
2521
01:49:02,569 --> 01:49:03,604
DROVE US FORWARD.
2522
01:49:03,604 --> 01:49:05,005
WE WOULD LIKE TO THANK THE LAB
2523
01:49:05,005 --> 01:49:07,241
IN L. A., THE LAB AND THE STAGE
2524
01:49:07,241 --> 01:49:07,875
CREW, IN L. A. AND NEW ZEALAND.
2525
01:49:07,875 --> 01:49:16,050
AND WEATHER EFFECTS, TWO TALES
2526
01:49:16,050 --> 01:49:17,017
AND STRONG.
2527
01:49:17,017 --> 01:49:18,485
LINA WITH THE PRODUCTION TEAM,
2528
01:49:18,485 --> 01:49:20,020
JOE LEADING THE ARTISTS, AND
2529
01:49:20,020 --> 01:49:22,923
ARMY OF ARTISTS AND THE
2530
01:49:22,923 --> 01:49:24,558
AMAZINGLY TALENTED SUPERVISOR
2531
01:49:24,558 --> 01:49:28,195
THAT WE HAVE.
2532
01:49:28,195 --> 01:49:29,997
EFFECTS STAND ON THE SHOULDERS
2533
01:49:29,997 --> 01:49:31,698
OF OUR ACTORS.
2534
01:49:31,698 --> 01:49:32,199
THEIR PERFORMANCES ARE
2535
01:49:32,199 --> 01:49:32,499
EVERYTHING.
2536
01:49:32,499 --> 01:49:34,034
>> WE NEED TO THANK OUR FALL I
2537
01:49:34,034 --> 01:49:41,542
WILLS.
2538
01:49:41,542 --> 01:49:42,743
>> OH, THAT IS UNFORTUNATE, I
2539
01:49:42,743 --> 01:49:46,713
HAPPEN TO KNOW, BEFORE HE WAS
2540
01:49:46,713 --> 01:49:49,616
CUT OFF, THE "AVATAR" VISUAL
2541
01:49:49,616 --> 01:49:51,185
TEAM ASKED ME TO ANNOUNCE THAT
2542
01:49:51,185 --> 01:49:53,387
IF ANYONE'S INTERESTED, THE
2543
01:49:53,387 --> 01:49:55,355
VISUAL EFFECTS AFTERPARTY IS AT
2544
01:49:55,355 --> 01:49:59,426
CGI FRIDAY'S.
2545
01:49:59,426 --> 01:50:00,527
THEY TRICKED ME AGAIN.
2546
01:50:00,527 --> 01:50:01,862
ALL RIGHT, NOW WE'RE GOING TO DO
2547
01:50:01,862 --> 01:50:03,464
SOMETHING I DON'T THINK HAS EVER
2548
01:50:03,464 --> 01:50:04,765
BEEN DONE AT THE OSCARS.
2549
01:50:04,765 --> 01:50:06,467
WHILE WE RESET THE STAGE FOR A
2550
01:50:06,467 --> 01:50:08,735
VERY SPECIAL PERFORMANCE, WE
2551
01:50:08,735 --> 01:50:09,403
INVITED VIEWERS WATCHING FROM
2552
01:50:09,403 --> 01:50:11,138
ALL OVER TO SEND QUESTIONS FOR
2553
01:50:11,138 --> 01:50:12,773
THE STARS AND NOW I'M GOING TO
2554
01:50:12,773 --> 01:50:14,041
ASK SOME OF THE STARS SOME OF
2555
01:50:14,041 --> 01:50:15,676
THE QUESTIONS THAT THE VIEWERS
2556
01:50:15,676 --> 01:50:16,577
SENT IN.
2557
01:50:16,577 --> 01:50:20,247
STARTING WITH MALALA, WHO IS
2558
01:50:20,247 --> 01:50:20,447
HERE.
2559
01:50:20,447 --> 01:50:20,681
WELCOME.
2560
01:50:20,681 --> 01:50:22,216
>> THANK YOU SO MUCH.
2561
01:50:22,216 --> 01:50:25,119
>> GREAT TO HAVE YOU HERE AND
2562
01:50:25,119 --> 01:50:26,053
CONGRATULATIONS ON THE MOVIE.
2563
01:50:26,053 --> 01:50:29,223
THIS QUESTION IS FROM JOANNE
2564
01:50:29,223 --> 01:50:29,857
FROM NEW YORK.
2565
01:50:29,857 --> 01:50:32,659
YOUR WORK ON HUMAN RIGHTS AND
2566
01:50:32,659 --> 01:50:33,360
EDUCATION FOR CHILDREN IS AN
2567
01:50:33,360 --> 01:50:35,462
INSPIRATION.
2568
01:50:35,462 --> 01:50:37,965
I WAS WONDERING, DO YOU THINK
2569
01:50:37,965 --> 01:50:44,671
HARRY STYLES SPIT ON CHRIS PINE?
2570
01:50:44,671 --> 01:50:45,772
>> I ONLY TALK ABOUT PEACE.
2571
01:50:45,772 --> 01:50:47,307
>> YOU KNOW WHAT, THAT'S WHY
2572
01:50:47,307 --> 01:50:47,975
YOU'RE MALALA AND NOBODY ELSE
2573
01:50:47,975 --> 01:50:51,845
IS.
2574
01:50:51,845 --> 01:50:54,014
THAT'S A GREAT ANSWER, MALALA.
2575
01:50:54,014 --> 01:50:57,384
THE WINNER IS MALALA-LAND,
2576
01:50:57,384 --> 01:50:57,751
EVERYBODY.
2577
01:50:57,751 --> 01:51:00,521
AND THE NEXT QUESTION IS FROM
2578
01:51:00,521 --> 01:51:02,222
JOEY FROM LAS VEGAS FOR COLIN
2579
01:51:02,222 --> 01:51:04,057
FARRELL.
2580
01:51:04,057 --> 01:51:05,926
>> HAVEN'T SEEN JOEY IN YEARS.
2581
01:51:05,926 --> 01:51:07,494
>> WELL, JOEY WOULD LIKE TO ASK
2582
01:51:07,494 --> 01:51:10,464
YOU, HE SAID, COLIN, I LOVED
2583
01:51:10,464 --> 01:51:12,599
YOUR PERFORMANCE, MY QUESTION
2584
01:51:12,599 --> 01:51:13,767
IS, WHAT WERE YOU SAYING IN THE
2585
01:51:13,767 --> 01:51:16,670
MOVIE?
2586
01:51:16,670 --> 01:51:18,438
>> I'D LIKE HIM TO GO ON YOUTUBE
2587
01:51:18,438 --> 01:51:20,974
AND CHECK OUT "SNL" LAST NIGHT
2588
01:51:20,974 --> 01:51:22,242
AND HE'LL HAVE A GOOD IDEA.
2589
01:51:22,242 --> 01:51:24,077
>> THAT WAY HE'LL FIGURE IT OUT?
2590
01:51:24,077 --> 01:51:24,912
>> ALL RIGHT.
2591
01:51:24,912 --> 01:51:26,680
AND I APOLOGIZE FOR JOEY.
2592
01:51:26,680 --> 01:51:28,348
IF YOU AND THE DONKEY GO OUT
2593
01:51:28,348 --> 01:51:30,517
AFTER, TEXT ME, OKAY?
2594
01:51:30,517 --> 01:51:38,859
LOOK AT THIS CR-- JESSICA,
2595
01:51:38,859 --> 01:51:39,459
JESSICA, HI.
2596
01:51:39,459 --> 01:51:40,794
THERE'S NO NAME ON THIS ONE.
2597
01:51:40,794 --> 01:51:43,997
IT SAYS, JESSICA, WAS IT
2598
01:51:43,997 --> 01:51:48,235
DIFFICULT FILMING YOUR MOVIE
2599
01:51:48,235 --> 01:51:49,903
BECAUSE YOUR COSTAR MATT DAMON
2600
01:51:49,903 --> 01:51:51,538
CAN'T READ AND SMELLS LIKE DOG
2601
01:51:51,538 --> 01:51:51,805
MEDICINE?
2602
01:51:51,805 --> 01:51:53,240
>> I DIDN'T REALLY HAVE A LOT OF
2603
01:51:53,240 --> 01:51:54,541
SCENES WITH HIM, SO IT WAS FINE.
2604
01:51:54,541 --> 01:51:56,076
>> EXCELLENT, WONDERFUL.
2605
01:51:56,076 --> 01:51:58,345
ANOTHER FUN FACT, OH, THEY FEED
2606
01:51:58,345 --> 01:52:00,247
MATT DAMON PEANUT BUTTER ON SET
2607
01:52:00,247 --> 01:52:01,515
TO MAKE IT LOOK LIKE HE'S
2608
01:52:01,515 --> 01:52:01,748
TALKING.
2609
01:52:01,748 --> 01:52:05,986
THAT'S -- COCAINE BEAR, LEAVE
2610
01:52:05,986 --> 01:52:07,254
MALALA ALONE!
2611
01:52:07,254 --> 01:52:08,488
ALL RIGHT, WE GOT TO GET THIS
2612
01:52:08,488 --> 01:52:09,389
GUY OUT OF HERE.
2613
01:52:09,389 --> 01:52:12,259
PLEASE SAY HELLO FROM "BLACK
2614
01:52:12,259 --> 01:52:18,699
PANTHER," DANAI GURIRA.
2615
01:52:18,699 --> 01:52:27,074
>> LUDWIG GORANSSON,
2616
01:52:27,074 --> 01:52:29,209
RYAN COOGLER, TEMS, AND RIHANNA
2617
01:52:29,209 --> 01:52:31,311
WROTE A BALLAD THAT SPEAKS FROM
2618
01:52:31,311 --> 01:52:32,346
THE HEART AND AS A TRIBUTE TO
2619
01:52:32,346 --> 01:52:40,053
THE LATE CHADWICK BOSEMAN.
2620
01:52:40,053 --> 01:52:42,389
CHADWICK'S POWERFUL ARTISTRY,
2621
01:52:42,389 --> 01:52:45,025
MAGNETISM, AND INCOMPARABLE
2622
01:52:45,025 --> 01:52:45,659
HUMANITY LEFT AN INDELIBLE MARK
2623
01:52:45,659 --> 01:52:48,195
ON OUR HEARTS.
2624
01:52:48,195 --> 01:52:49,763
CHADWICK EMBODIED THE WAKANDAN
2625
01:52:49,763 --> 01:52:51,331
KING, T'CHALLA.
2626
01:52:51,331 --> 01:52:56,570
THE ONE CHOSEN TO UPLIFT, TO
2627
01:52:56,570 --> 01:52:57,104
PROTECT, TO KEEP US SAFE.
2628
01:52:57,104 --> 01:52:58,171
HIS LEGACY WILL LIVE ON FOR
2629
01:52:58,171 --> 01:53:00,307
FUTURE GENERATIONS.
2630
01:53:00,307 --> 01:53:04,011
AND AS WE SAY IN WAKANDA,
2631
01:53:04,011 --> 01:53:05,012
"ENKOSI, KUMKANI."
2632
01:53:05,012 --> 01:53:13,487
THANK YOU, KING.
2633
01:53:13,487 --> 01:53:16,123
NOMINATED TONIGHT FOR ORIGINAL
2634
01:53:16,123 --> 01:53:18,258
SONG, PERFORMING "LIFT ME UP,"
2635
01:53:18,258 --> 01:53:20,360
ROYALTY IN HER OWN RIGHT,
2636
01:53:20,360 --> 01:53:24,097
RIHANNA.
2637
01:53:24,097 --> 01:53:46,053
♪
2638
01:53:46,053 --> 01:53:50,223
♪
2639
01:53:50,223 --> 01:53:54,227
♪ LIFT ME UP
2640
01:53:54,227 --> 01:53:58,799
♪ HOLD ME DOWN
2641
01:53:58,799 --> 01:54:03,537
KEEP ME CLOSE
2642
01:54:03,537 --> 01:54:07,207
SAFE AND SOUND ♪
2643
01:54:07,207 --> 01:54:09,843
♪ BURNING IN A
2644
01:54:09,843 --> 01:54:11,978
HOPELESS DREAM
2645
01:54:11,978 --> 01:54:14,181
HOLD ME ♪
2646
01:54:14,181 --> 01:54:18,285
♪ WHEN YOU GO TO SLEEP
2647
01:54:18,285 --> 01:54:20,487
KEEP ME IN THE WARMTH
2648
01:54:20,487 --> 01:54:21,488
OF YOUR LOVE ♪
2649
01:54:21,488 --> 01:54:22,022
♪ WHEN YOU DEPART
2650
01:54:22,022 --> 01:54:24,658
KEEP ME SAFE
2651
01:54:24,658 --> 01:54:29,930
SAFE AND SOUND ♪
2652
01:54:29,930 --> 01:54:34,668
♪ LIFT ME UP
2653
01:54:34,668 --> 01:54:38,338
HOLD ME DOWN
2654
01:54:38,338 --> 01:54:44,144
KEEP ME SAFE ♪
2655
01:54:44,144 --> 01:54:52,619
♪ SAFE AND SOUND
2656
01:54:52,619 --> 01:54:54,788
DROWNING IN AN ENDLESS SEA
2657
01:54:54,788 --> 01:54:57,891
TAKE SOME TIME ♪
2658
01:54:57,891 --> 01:55:00,026
♪ AND STAY WITH ME
2659
01:55:00,026 --> 01:55:02,095
OOOH
2660
01:55:02,095 --> 01:55:02,629
KEEP ME IN THE STRENGTH ♪
2661
01:55:02,629 --> 01:55:02,863
♪ OOOH
2662
01:55:02,863 --> 01:55:03,697
OF YOUR ARMS
2663
01:55:03,697 --> 01:55:06,233
OOOH ♪
2664
01:55:06,233 --> 01:55:07,401
♪ KEEP ME SAFE
2665
01:55:07,401 --> 01:55:10,003
OOOH
2666
01:55:10,003 --> 01:55:11,037
SAFE AND SOUND ♪
2667
01:55:11,037 --> 01:55:13,640
♪ OOOH
2668
01:55:13,640 --> 01:55:13,907
LIFT ME UP
2669
01:55:13,907 --> 01:55:14,741
LIFT ME UP ♪
2670
01:55:14,741 --> 01:55:16,843
♪ IN YOUR ARMS
2671
01:55:16,843 --> 01:55:17,344
HOLD ME DOWN
2672
01:55:17,344 --> 01:55:18,412
I NEED LOVE ♪
2673
01:55:18,412 --> 01:55:19,479
I NEED LOVE
2674
01:55:19,479 --> 01:55:21,047
I NEED LOVE
2675
01:55:21,047 --> 01:55:23,683
KEEP ME CLOSE ♪
2676
01:55:23,683 --> 01:55:26,887
♪ HOLD ME
2677
01:55:26,887 --> 01:55:27,387
HOLD ME
2678
01:55:27,387 --> 01:55:32,159
SAFE AND SOUND ♪
2679
01:55:32,159 --> 01:55:32,659
♪ HOLD ME HOLD ME
2680
01:55:32,659 --> 01:55:33,193
HOLD ME HOLD ME
2681
01:55:33,193 --> 01:55:37,397
LIFT ME UP ♪
2682
01:55:37,397 --> 01:55:37,798
♪ HOLD ME HOLD ME
2683
01:55:37,798 --> 01:55:38,999
HOLD ME HOLD ME
2684
01:55:38,999 --> 01:55:41,067
HOLD ME DOWN ♪
2685
01:55:41,067 --> 01:55:41,601
♪ HOLD ME
2686
01:55:41,601 --> 01:55:45,806
HOLD ME
2687
01:55:45,806 --> 01:55:47,908
KEEP ME SAFE ♪
2688
01:55:47,908 --> 01:55:52,145
♪ WE NEED LIGHT
2689
01:55:52,145 --> 01:56:01,221
WE NEED LOVE ♪
2690
01:56:01,221 --> 01:56:15,302
>> Announcer: COMING UP,
2691
01:56:15,302 --> 01:56:16,369
ANDREW GARFIELD AND
2692
01:56:16,369 --> 01:56:17,404
FLORENCE PUGH PRESENT THE OSCARS
2693
01:56:17,404 --> 01:56:18,472
FOR ORIGINAL AND ADAPTED
2694
01:56:18,472 --> 01:56:20,040
SCREENPLAYS.
2695
01:56:20,040 --> 01:56:21,641
LATER, HALLE BERRY AND
2696
01:56:21,641 --> 01:56:24,277
HARRISON FORD.
2697
01:56:24,277 --> 01:56:24,911
TO HEAR FROM THE SOUND NOMINEES,
2698
01:56:24,911 --> 01:56:28,882
SCAN THE QR CODE.
2699
01:56:35,727 --> 01:56:38,825
>> Announcer: WE'RE BACK WITH
2700
01:56:38,825 --> 01:56:40,927
OUR NEXT BEST PICTURE NOMINEE.
2701
01:56:40,927 --> 01:56:44,631
NOMINATED FOR 11 OSCARS, THIS IS
2702
01:56:44,631 --> 01:56:45,665
"EVERYTHING EVERYWHERE ALL AT
2703
01:56:45,665 --> 01:56:49,135
ONCE."
2704
01:56:49,135 --> 01:56:53,607
>> MY DEAR EVELYN, EVERY
2705
01:56:53,607 --> 01:56:55,242
REJECTION, EVERY DISAPPOINTMENT,
2706
01:56:55,242 --> 01:57:03,884
HAS LED YOU TO THIS MOMENT.
2707
01:57:03,884 --> 01:57:14,361
♪
2708
01:57:14,361 --> 01:57:22,335
>> WE ARE BACK AT THE OSCARS.
2709
01:57:22,335 --> 01:57:23,670
AS YOU CAN SEE, I'VE CHANGED
2710
01:57:23,670 --> 01:57:27,173
FROM A BLACK TUXEDO JACKET WHAT
2711
01:57:27,173 --> 01:57:28,008
A WHITE ONE.
2712
01:57:28,008 --> 01:57:29,809
THE WHITE JACKET REPRESENTS THAT
2713
01:57:29,809 --> 01:57:30,443
WE'VE REACHED THE POINT IN THE
2714
01:57:30,443 --> 01:57:34,948
BROADCAST WHERE I SPILLED
2715
01:57:34,948 --> 01:57:38,218
GUACAMOLE ON THE BLACK JACKET.
2716
01:57:38,218 --> 01:57:40,787
"EVERYTHING EVERYWHERE ALL AT
2717
01:57:40,787 --> 01:57:43,290
ONCE" IS THE MOST NOMINATED FILM
2718
01:57:43,290 --> 01:57:45,792
OF THE YEAR, AND I WANT TO
2719
01:57:45,792 --> 01:57:47,827
MENTION -- ONE OF ITS GREAT
2720
01:57:47,827 --> 01:57:50,997
STARS, 94-YEAR-OLD JAMES HONG,
2721
01:57:50,997 --> 01:57:51,932
WHO IS SITTING RIGHT HERE.
2722
01:57:51,932 --> 01:57:57,170
JAMES IS A LEGEND, JAMES HAS
2723
01:57:57,170 --> 01:57:58,572
BEEN IN MORE THAN 650 MOVIES AND
2724
01:57:58,572 --> 01:57:59,339
TV SHOWS.
2725
01:57:59,339 --> 01:58:01,374
HE DIDN'T EVEN START ACTING
2726
01:58:01,374 --> 01:58:02,776
PROFESSIONALLY UNTIL HE WAS 25
2727
01:58:02,776 --> 01:58:03,510
YEARS OLD.
2728
01:58:03,510 --> 01:58:05,178
BEFORE THAT, HE WAS A CIVIL
2729
01:58:05,178 --> 01:58:07,080
ENGINEER WHO HELPED DESIGN THE
2730
01:58:07,080 --> 01:58:08,548
ROAD SYSTEM HERE IN LOS ANGELES,
2731
01:58:08,548 --> 01:58:10,250
AND JAMES, ALLOW ME TO SAY, YOU
2732
01:58:10,250 --> 01:58:12,519
ARE ONE OF OUR GREAT LIVING
2733
01:58:12,519 --> 01:58:14,020
ACTORS AND ONE OF OUR WORST
2734
01:58:14,020 --> 01:58:16,923
CIVIL ENGINEERS.
2735
01:58:16,923 --> 01:58:21,861
THE ROADS ARE UNCONSCIONABLE.
2736
01:58:21,861 --> 01:58:23,763
BUT WE ABSOLUSALUTE YOU.
2737
01:58:23,763 --> 01:58:25,298
OUR NEXT TWO CATEGORIES HONOR
2738
01:58:25,298 --> 01:58:27,400
THE LONELY NERDS WHO SPEND DAY
2739
01:58:27,400 --> 01:58:29,369
AFTER DAY IN FRONT OF THEIR
2740
01:58:29,369 --> 01:58:29,769
COMPUTER SCREENS.
2741
01:58:29,769 --> 01:58:30,804
THEY ARE CALLED WRITER.
2742
01:58:30,804 --> 01:58:32,706
AND SOME OF THEM ARE ABOUT TO
2743
01:58:32,706 --> 01:58:35,075
GET AN OSCAR, WHICH IS GOING TO
2744
01:58:35,075 --> 01:58:38,778
CRUSH ON THEIR TINDER PROFILES.
2745
01:58:38,778 --> 01:58:40,246
PLEASE WELCOME OSCAR
2746
01:58:40,246 --> 01:58:40,814
NOMINEES FLORENCE PUGH AND
2747
01:58:40,814 --> 01:58:46,953
ANDREW GARFIELD.
2748
01:58:46,953 --> 01:58:51,458
>> SO, THE BEST SCREENPLAYS TO
2749
01:58:51,458 --> 01:58:53,259
READ ARE JUST AS ALIVE AS THE
2750
01:58:53,259 --> 01:58:54,861
FILMS THEY EVENTUALLY BECOME.
2751
01:58:54,861 --> 01:58:55,895
>> BUT BEFORE THE WORDS CAN
2752
01:58:55,895 --> 01:58:56,529
FLOW, WRITERS NEED THAT CREATIVE
2753
01:58:56,529 --> 01:58:59,099
SPARK.
2754
01:58:59,099 --> 01:59:03,236
>> RUBEN OSTLUND SAYS HE WANTED
2755
01:59:03,236 --> 01:59:06,139
TO CREATE A ROLLERCOASTER RIDE
2756
01:59:06,139 --> 01:59:06,906
YES, I AGREE.
2757
01:59:06,906 --> 01:59:08,875
HE WANTED TO CREATE A
2758
01:59:08,875 --> 01:59:09,676
ROLLERCOASTER RIDE FOR ADULTS
2759
01:59:09,676 --> 01:59:11,044
WITH HIS TAKE ON THE
2760
01:59:11,044 --> 01:59:12,612
UBER-WEALTHY.
2761
01:59:12,612 --> 01:59:13,647
TONY KUSHNER COLLABORATED WITH
2762
01:59:13,647 --> 01:59:16,016
STEVEN SPIELBERG REMOTELY DURING
2763
01:59:16,016 --> 01:59:18,251
THE PANDEMIC AFTER YEARS OF
2764
01:59:18,251 --> 01:59:18,818
CONVINCING HIM TO TELL HIS
2765
01:59:18,818 --> 01:59:20,020
PERSONAL STORY.
2766
01:59:20,020 --> 01:59:20,553
>> FOR DANIEL KWAN AND
2767
01:59:20,553 --> 01:59:22,122
DANIEL SCHEINERT, THEIR
2768
01:59:22,122 --> 01:59:24,224
SCREENPLAY CAME INTO FOCUS WITH
2769
01:59:24,224 --> 01:59:24,858
THE PHRASE, "LET'S PUT MY MOM IN
2770
01:59:24,858 --> 01:59:30,030
THE MATRIX."
2771
01:59:30,030 --> 01:59:32,666
MARTIN McDONAGH WANTED TO
2772
01:59:32,666 --> 01:59:33,767
EXPLORE THE EXPERIENCE OF A
2773
01:59:33,767 --> 01:59:34,300
BREAKUP, SO HE IMAGINED TWO
2774
01:59:34,300 --> 01:59:34,868
BUDDIES AT THE END OF THEIR
2775
01:59:34,868 --> 01:59:38,438
FRIENDSHIP.
2776
01:59:38,438 --> 01:59:44,811
>> AND TODD FIELD WANTED TO
2777
01:59:44,811 --> 01:59:46,413
DEVELOP THE
2778
01:59:46,413 --> 01:59:46,946
WORLD OF CATE BLANCHETT'S
2779
01:59:46,946 --> 01:59:47,580
CHARACTER OVER A SERIES OF VIDEO
2780
01:59:47,580 --> 01:59:47,981
MEETINGS.
2781
01:59:47,981 --> 01:59:49,049
>> HERE ARE THE NOMINEES FOR
2782
01:59:49,049 --> 01:59:50,083
BEST ORIGINAL SCREENPLAY.
2783
01:59:50,083 --> 01:59:50,650
"THE BANSHEES OF INISHERIN,"
2784
01:59:50,650 --> 01:59:51,985
WRITTEN BY MARTIN McDONAGH.
2785
01:59:51,985 --> 01:59:53,787
>> IT TAKES TWO TO TANGO.
2786
01:59:53,787 --> 01:59:56,523
>> I DON'T WANT TO TANGO.
2787
01:59:56,523 --> 01:59:58,558
>> "EVERYTHING EVERYWHERE ALL AT
2788
01:59:58,558 --> 02:00:00,026
ONCE."
2789
02:00:00,026 --> 02:00:00,593
WRITTEN BY DANIEL KWAN AND
2790
02:00:00,593 --> 02:00:01,761
DANIEL SCHEINERT.
2791
02:00:01,761 --> 02:00:03,963
>> I GOT BORED ONE DAY, AND I
2792
02:00:03,963 --> 02:00:05,498
PUT EVERYTHING ON A BAGEL.
2793
02:00:05,498 --> 02:00:07,500
>> "THE FABELMANS,"
2794
02:00:07,500 --> 02:00:08,101
WRITTEN BY STEVEN SPIELBERG AND
2795
02:00:08,101 --> 02:00:09,502
TONY KUSHNER.
2796
02:00:09,502 --> 02:00:10,937
>> WE'VE GONE TOO FAR IN OUR
2797
02:00:10,937 --> 02:00:12,906
STORY TO ACTUALLY SAY THE END.
2798
02:00:12,906 --> 02:00:15,975
>> "TAR," WRITTEN BY TODD FIELD.
2799
02:00:15,975 --> 02:00:17,544
>> YOU CAN BOTHER SOMEONE ELSE
2800
02:00:17,544 --> 02:00:18,712
TO TRY AND TEACH YOU TO CRAWL TO
2801
02:00:18,712 --> 02:00:20,947
THE PODIUM.
2802
02:00:20,947 --> 02:00:24,818
>> "TRIANGLE OF SADNESS,"
2803
02:00:24,818 --> 02:00:28,054
WRITTEN BY RUBEN OSTLUND.
2804
02:00:28,054 --> 02:00:31,057
>> WHAT AM I, CAPTAIN?
2805
02:00:31,057 --> 02:00:31,691
>> VERY GOOD.
2806
02:00:31,691 --> 02:00:34,861
>> AND THE OSCAR GOES TO --
2807
02:00:34,861 --> 02:00:35,462
"EVERYTHING EVERYWHERE ALL AT
2808
02:00:35,462 --> 02:00:38,431
ONCE,"
2809
02:00:38,431 --> 02:00:44,404
DANIEL KWAN, DANIEL SCHEINERT.
2810
02:00:44,404 --> 02:00:46,673
>> THEY BEGAN CONCEIVING THEIR
2811
02:00:46,673 --> 02:00:48,742
SCREENPLAY IN 2010, EVENTUALLY
2812
02:00:48,742 --> 02:00:51,911
NARROWING DOWN THEIR FRAGMENTED
2813
02:00:51,911 --> 02:00:59,419
IDEAS BY 100.
2814
02:00:59,419 --> 02:01:00,887
>> OH, MY GOD.
2815
02:01:00,887 --> 02:01:01,688
AH!
2816
02:01:01,688 --> 02:01:05,992
ALL RIGHT.
2817
02:01:05,992 --> 02:01:07,761
OKAY, I HAD -- I HAD A FANTASY
2818
02:01:07,761 --> 02:01:09,662
AS A KID OF WINNING AN AWARD AND
2819
02:01:09,662 --> 02:01:11,898
GOING UP AND TELLING OFF ALL THE
2820
02:01:11,898 --> 02:01:12,999
TEACHERS THAT GAVE MY BROTHER
2821
02:01:12,999 --> 02:01:14,667
AND I DETENTION, SO, HERE GOES.
2822
02:01:14,667 --> 02:01:15,502
I'M JUST KIDDING.
2823
02:01:15,502 --> 02:01:16,703
THESE ARE TEACHERS THAT CHANGED
2824
02:01:16,703 --> 02:01:18,204
MY LIFE, MOST OF THEM PUBLIC
2825
02:01:18,204 --> 02:01:19,205
SCHOOL TEACHERS.
2826
02:01:19,205 --> 02:01:24,277
MR. TOOL, MR. HUDSON, MR.
2827
02:01:24,277 --> 02:01:27,280
CHAMBERS, AND ETHAN HALLMAN.
2828
02:01:27,280 --> 02:01:29,682
YOU GUYS EDUCATED ME, YOU
2829
02:01:29,682 --> 02:01:31,151
INSPIRED ME, AND YOU TAUGHT ME
2830
02:01:31,151 --> 02:01:33,253
TO BE LESS OF A BUTTHEAD.
2831
02:01:33,253 --> 02:01:33,887
YOUR TURN.
2832
02:01:33,887 --> 02:01:35,688
>> ALL RIGHT, MY FAST SPIEL, I
2833
02:01:35,688 --> 02:01:37,357
NEVER THOUGHT OF MYSELF AS A
2834
02:01:37,357 --> 02:01:38,958
SCREENWRITER OR A STORYTELLER, I
2835
02:01:38,958 --> 02:01:40,059
NEVER THOUGHT I WAS GOOD ENOUGH,
2836
02:01:40,059 --> 02:01:41,494
I HAVE SELF-ESTEEM PROBLEMS.
2837
02:01:41,494 --> 02:01:42,829
I HAVE TO THANK ALL THE
2838
02:01:42,829 --> 02:01:45,698
PEOPLE -- YES -- SO -- THANK
2839
02:01:45,698 --> 02:01:46,099
YOU.
2840
02:01:46,099 --> 02:01:47,767
OH, GOD.
2841
02:01:47,767 --> 02:01:47,967
GUYS.
2842
02:01:47,967 --> 02:01:50,236
MY IMPOSTER SYNDROME IS AT AN
2843
02:01:50,236 --> 02:01:50,770
ALL-TIME HIGH.
2844
02:01:50,770 --> 02:01:52,338
I NEED TO THANK THE PEOPLE WHO
2845
02:01:52,338 --> 02:01:54,340
MADE ME THE STORYTELLER THAT I
2846
02:01:54,340 --> 02:01:56,042
AM, STARTING WITH MY MOM, WHO
2847
02:01:56,042 --> 02:01:57,210
PROTECTED ME AS A CHILD,
2848
02:01:57,210 --> 02:01:58,912
PROTECTED THE INNER STORYTELLER.
2849
02:01:58,912 --> 02:02:00,480
MY MOM IS HERE, I DON'T KNOW
2850
02:02:00,480 --> 02:02:01,214
WHERE SHE IS.
2851
02:02:01,214 --> 02:02:02,649
THANK YOU FOR ALL THE SACRIFICE
2852
02:02:02,649 --> 02:02:03,817
SHE GAVE ME.
2853
02:02:03,817 --> 02:02:05,418
MY WIFE WHO PROTECTS ME EVERY
2854
02:02:05,418 --> 02:02:06,519
DAY FROM THE MOST NEGATIVE
2855
02:02:06,519 --> 02:02:07,954
THOUGHTS I HAVE, ESPECIALLY WHEN
2856
02:02:07,954 --> 02:02:09,689
I'M WRITING AND ESPECIALLY I
2857
02:02:09,689 --> 02:02:12,325
NEED TO THANK DANIEL, WHO IS MY
2858
02:02:12,325 --> 02:02:13,526
CONFIDENCE, HE IS THE PERSONAL
2859
02:02:13,526 --> 02:02:16,830
WHO TOLD ME I WAS A STORY TELLE
2860
02:02:16,830 --> 02:02:18,898
AND A FILMMAKER BEFORE I COULD
2861
02:02:18,898 --> 02:02:20,667
SAY THAT MYSELF AND I WOULD NOT
2862
02:02:20,667 --> 02:02:22,435
BE HERE WITHOUT HIM.
2863
02:02:22,435 --> 02:02:23,536
AND TO MY FELLOW NOMINEES, THANK
2864
02:02:23,536 --> 02:02:31,244
YOU SO MUCH, GUYS, THANK YOU.
2865
02:02:31,244 --> 02:02:38,318
>> AND NOW TO THE BRILLIANT
2866
02:02:38,318 --> 02:02:40,453
SCREENWRITERS WHO APPLIED THEIR
2867
02:02:40,453 --> 02:02:42,555
POINTS OF VIEW TO THE WORK OF A
2868
02:02:42,555 --> 02:02:45,191
CANADIAN AUTHOR, ICONIC MOVIE
2869
02:02:45,191 --> 02:02:47,293
CHARACTERS OF THE PAST, A GERMAN
2870
02:02:47,293 --> 02:02:49,395
WAR NOVEL, A PUZZLING WHODUNIT,
2871
02:02:49,395 --> 02:02:50,997
AND EVEN A JAPANESE FILM BASED
2872
02:02:50,997 --> 02:02:52,031
ON A NOVELLA BY LEO TOLSTOY.
2873
02:02:52,031 --> 02:02:53,600
>> HERE ARE THE NOMINEES FOR
2874
02:02:53,600 --> 02:02:57,770
BEST ADAPTED SCREENPLAY.
2875
02:02:57,770 --> 02:02:58,404
"ALL QUIET ON THE WESTERN FRONT"
2876
02:02:58,404 --> 02:02:59,906
SCREENPLAY BY EDWARD BERGER,
2877
02:02:59,906 --> 02:03:00,974
LESLEY PATERSON AND IAN STOKELL.
2878
02:03:00,974 --> 02:03:03,076
BASED ON THE NOVEL BY
2879
02:03:03,076 --> 02:03:05,712
ERICH MARIA REMARQUE.
2880
02:03:05,712 --> 02:03:06,279
"GLASS ONION: A KNIVES OUT
2881
02:03:06,279 --> 02:03:08,348
MYSTERY"
2882
02:03:08,348 --> 02:03:09,949
WRITTEN BY RIAN JOHNSON.
2883
02:03:09,949 --> 02:03:10,583
BASED ON CHARACTERS CREATED BY
2884
02:03:10,583 --> 02:03:13,119
RIAN JOHNSON.
2885
02:03:13,119 --> 02:03:14,721
"LIVING"
2886
02:03:14,721 --> 02:03:17,857
WRITTEN BY KAZUO ISHIGURO.
2887
02:03:17,857 --> 02:03:18,424
BASED ON THE FILM "IKIRU,"
2888
02:03:18,424 --> 02:03:19,492
WRITTEN BY AKIRA KUROSAWA,
2889
02:03:19,492 --> 02:03:21,060
SHINOBU HASHIMOTO AND
2890
02:03:21,060 --> 02:03:23,696
HIDEO OGUNI.
2891
02:03:23,696 --> 02:03:24,731
"TOP GUN: MAVERICK"
2892
02:03:24,731 --> 02:03:28,434
SCREENPLAY BY EHREN KRUGER,
2893
02:03:28,434 --> 02:03:28,935
ERIC WARREN SINGER, AND
2894
02:03:28,935 --> 02:03:29,435
CHRISTOPHER McQUARRIE.
2895
02:03:29,435 --> 02:03:30,036
STORY BY PETER CRAIG AND
2896
02:03:30,036 --> 02:03:32,605
JUSTIN MARKS.
2897
02:03:32,605 --> 02:03:37,343
BASED ON CHARACTERS CREATED BY
2898
02:03:37,343 --> 02:03:38,945
JIM CASH AND JACK EPPS JR.
2899
02:03:38,945 --> 02:03:39,312
"WOMEN TALKING"
2900
02:03:39,312 --> 02:03:40,513
SCREENPLAY BY SARAH POLLEY.
2901
02:03:40,513 --> 02:03:42,115
BASED UPON THE BOOK BY
2902
02:03:42,115 --> 02:03:47,186
MIRIAM TOEWS.
2903
02:03:47,186 --> 02:03:51,157
>> AND THE OSCAR GOES TO --
2904
02:03:51,157 --> 02:03:54,460
"WOMEN TALKING."
2905
02:03:54,460 --> 02:03:56,696
SARAH POLLEY.
2906
02:03:56,696 --> 02:03:59,465
>> BORN IN TORONTO, SARAH POLLEY
2907
02:03:59,465 --> 02:04:00,266
MADE HER BIG SCREEN DEBUT AS A
2908
02:04:00,266 --> 02:04:03,403
CHILD IN THE DISNEY CLASSIC,
2909
02:04:03,403 --> 02:04:09,909
"ONE MAGIC CHRISTMAS."
2910
02:04:09,909 --> 02:04:26,426
>> THANK YOU!
2911
02:04:26,426 --> 02:04:28,227
UM -- FIRST OF ALL, I JUST WANT
2912
02:04:28,227 --> 02:04:30,330
TO THANK THE ACADEMY FOR NOT
2913
02:04:30,330 --> 02:04:31,998
BEING MORTALLY OFFENDED BY THE
2914
02:04:31,998 --> 02:04:32,999
WORDS WOMEN AND TALKING PUT SO
2915
02:04:32,999 --> 02:04:36,169
CLOSE TOGETHER LIKE THAT.
2916
02:04:36,169 --> 02:04:38,271
CHEERS.
2917
02:04:38,271 --> 02:04:40,206
M
2918
02:04:40,206 --> 02:04:43,176
MIRIAN TOEWS WROTE THIS NOVEL,
2919
02:04:43,176 --> 02:04:43,776
WHERE PEOPLE DON'T AGREE ON
2920
02:04:43,776 --> 02:04:45,178
EVERY SINGLE ISSUE, MANAGE TO
2921
02:04:45,178 --> 02:04:47,113
SIT TOGETHER IN A ROOM AND CARVE
2922
02:04:47,113 --> 02:04:48,047
OUT A WAY TOGETHER FREE OF
2923
02:04:48,047 --> 02:04:50,450
VIOLENCE.
2924
02:04:50,450 --> 02:04:52,652
THEY DO SO NOT JUST BY TALKING,
2925
02:04:52,652 --> 02:04:54,387
BUT ALSO BY LISTENING.
2926
02:04:54,387 --> 02:04:56,155
THE LAST LINE OF OUR FILM IS
2927
02:04:56,155 --> 02:04:57,390
DELIVERED BY A YOUNG WOMAN TO A
2928
02:04:57,390 --> 02:05:00,326
NEW BABY AND SHE SAYS, "YOUR
2929
02:05:00,326 --> 02:05:01,995
STORY WILL BE DIFFERENT FROM
2930
02:05:01,995 --> 02:05:02,462
OURS."
2931
02:05:02,462 --> 02:05:04,163
IT'S A PROMISE, A COMMITMENT,
2932
02:05:04,163 --> 02:05:05,598
AND AN ANCHOR AND IT'S WHAT I
2933
02:05:05,598 --> 02:05:07,700
WOULD LIKE TO SAY WITH ALL OF MY
2934
02:05:07,700 --> 02:05:11,204
MIGHT TO MY THREE KIDS, EVE,
2935
02:05:11,204 --> 02:05:12,672
ISLA, AND AMY, AS THEY MAKE
2936
02:05:12,672 --> 02:05:13,639
THEIR WAY THROUGH THIS
2937
02:05:13,639 --> 02:05:14,741
BEAUTIFUL, COMPLICATED WORLD.
2938
02:05:14,741 --> 02:05:16,209
THANK YOU TO THE BEST MAN I'VE
2939
02:05:16,209 --> 02:05:18,644
EVER KNOWN, DAVID, FOR GIVING ME
2940
02:05:18,644 --> 02:05:20,179
THE OPTIMISM TO BELIEVE WE CAN
2941
02:05:20,179 --> 02:05:22,715
AND WILL DO BETTER.
2942
02:05:22,715 --> 02:05:24,951
DEDE GARDNER AND FRANCIS
2943
02:05:24,951 --> 02:05:26,853
McDORMANT, THANK YOU FOR MAKING
2944
02:05:26,853 --> 02:05:29,355
THIS SPACE FOR ME.
2945
02:05:29,355 --> 02:05:31,824
WE HAVE THE MOST INCREDIBLE CAST
2946
02:05:31,824 --> 02:05:33,259
AND THE MOST INCREDIBLE CREW,
2947
02:05:33,259 --> 02:05:34,460
SOME OF WHOM ARE HERE TONIGHT,
2948
02:05:34,460 --> 02:05:35,728
PLEASE STAND UP IF YOU ARE THERE
2949
02:05:35,728 --> 02:05:37,797
OR IF YOU ARE IN THE NOSE
2950
02:05:37,797 --> 02:05:40,867
BLEEDS, AND EVERYBODY AT HOME
2951
02:05:40,867 --> 02:05:41,534
WHO WORKED ON THIS FILM.
2952
02:05:41,534 --> 02:05:44,670
OH, MY -- I ACCEPT THIS ON ALL
2953
02:05:44,670 --> 02:05:47,240
OF OUR BEHALF.
2954
02:05:47,240 --> 02:05:47,507
THANK YOU.
2955
02:05:47,507 --> 02:05:48,241
THANK YOU.
2956
02:05:48,241 --> 02:05:56,215
WOW.
2957
02:05:56,215 --> 02:05:57,316
>> Announcer: COMING UP,
2958
02:05:57,316 --> 02:05:58,885
JANELLE MONAE AND KATE HUDSON.
2959
02:05:58,885 --> 02:06:00,486
AND LATER, IDRIS ELBA AND
2960
02:06:00,486 --> 02:06:01,554
NICOLE KIDMAN WITH THE OSCAR FOR
2961
02:06:01,554 --> 02:06:03,656
BEST DIRECTOR.
2962
02:06:03,656 --> 02:06:04,290
PLUS, A SPECIAL PERFORMANCE BY
2963
02:06:04,290 --> 02:06:06,259
LENNY KRAVITZ.
2964
02:06:06,259 --> 02:06:07,860
TO MEET THE NOMINATED FILM
2965
02:06:07,860 --> 02:06:12,498
EDITORS, SCAN THE QR CODE.
2966
02:06:18,329 --> 02:06:20,873
♪
2967
02:06:20,873 --> 02:06:22,375
>> Announcer: WE'RE BACK AT THE
2968
02:06:22,375 --> 02:06:22,975
DOLBY THEATRE WITH OUR FINAL
2969
02:06:22,975 --> 02:06:25,645
NOMINEE FOR BEST PICTURE.
2970
02:06:25,645 --> 02:06:27,213
NOMINATED FOR SIX OSCARS, THIS
2971
02:06:27,213 --> 02:06:32,952
IS "TOP GUN: MAVERICK."
2972
02:06:32,952 --> 02:06:36,622
>> HIS EXPLOITS ARE LEGENDARY.
2973
02:06:36,622 --> 02:06:38,458
WHAT HE HAS TO TEACH YOU MAY
2974
02:06:38,458 --> 02:06:39,092
MAKE THE DIFFERENCE BETWEEN LIFE
2975
02:06:39,092 --> 02:06:41,761
AND DEATH.
2976
02:06:41,761 --> 02:06:43,396
>> TRUST YOUR INSTINCTS.
2977
02:06:43,396 --> 02:06:49,702
DON'T THINK, JUST DO.
2978
02:06:49,702 --> 02:06:51,737
>> I'M NOT A TEACHER, ICE.
2979
02:06:51,737 --> 02:06:54,507
I'M A FIGHTER PILOT.
2980
02:06:54,507 --> 02:07:02,315
>> THE NAVY NEEDS MAVERICK.
2981
02:07:02,315 --> 02:07:09,956
>> PLEASE SAY HELLO TO THE
2982
02:07:09,956 --> 02:07:11,290
PILOTS FROM "TOP GUN: MAVERICK"
2983
02:07:11,290 --> 02:07:12,892
HERE IN THE LOWER BALCONY.
2984
02:07:12,892 --> 02:07:15,561
ON BEHALF OF A GRATEFUL NATION,
2985
02:07:15,561 --> 02:07:16,395
WE SALUTE YOU.
2986
02:07:16,395 --> 02:07:25,972
AND WE -- AND WE THANK YOU FOR
2987
02:07:25,972 --> 02:07:29,709
YOUR PRETEND SERVICE.
2988
02:07:29,709 --> 02:07:31,344
NOW IT'S TIME TO THE INTERACTIVE
2989
02:07:31,344 --> 02:07:33,079
PART OF THE SHOW.
2990
02:07:33,079 --> 02:07:34,447
EVERYBODY GET OUT YOUR PHONES.
2991
02:07:34,447 --> 02:07:35,148
IT'S TIME TO VOTE.
2992
02:07:35,148 --> 02:07:36,482
IF YOU THINK ROBERT BLAKE SHOULD
2993
02:07:36,482 --> 02:07:42,722
BE PART OF THE INMEMORIAM
2994
02:07:42,722 --> 02:07:44,390
MONTAGE, TEXT GIMME A BLAKE TO
2995
02:07:44,390 --> 02:07:45,958
THE NUMBER ON YOUR SCREEN, OR TO
2996
02:07:45,958 --> 02:07:47,560
ANY NUMBER, TEXT THAT TO YOUR
2997
02:07:47,560 --> 02:07:49,762
MOTHER, IF YOU LIKE.
2998
02:07:49,762 --> 02:07:53,032
MESSAGE AND DATA RATES MY APPLY.
2999
02:07:53,032 --> 02:07:56,068
ALL RIGHT, HERE FROM "GLASS
3000
02:07:56,068 --> 02:08:01,941
ONION," JANELLE MONAE AND OSCAR
3001
02:08:01,941 --> 02:08:02,909
NOMINEE KATE HUDSON WITH THE
3002
02:08:02,909 --> 02:08:07,180
OSCAR FOR SOUND.
3003
02:08:07,180 --> 02:08:20,426
♪
3004
02:08:20,426 --> 02:08:23,029
>> CINEMA MAY BE A VISUAL
3005
02:08:23,029 --> 02:08:24,030
MEDIUM, BUT THERE'S A REASON
3006
02:08:24,030 --> 02:08:24,630
MOVIES DIDN'T STAY SILENT FOR
3007
02:08:24,630 --> 02:08:25,598
LONG.
3008
02:08:25,598 --> 02:08:28,367
>> SOUND TEAMS TRANSFORM IMAGES
3009
02:08:28,367 --> 02:08:30,336
INTO FULLY DIMENSIONAL MOMENTS
3010
02:08:30,336 --> 02:08:32,438
BY DESIGNING, RECORDING, MIXING,
3011
02:08:32,438 --> 02:08:35,474
AND EDITING EVERYTHING YOU HEAR.
3012
02:08:35,474 --> 02:08:37,577
>> YEAH, AND WE MEAN EVERYTHING.
3013
02:08:37,577 --> 02:08:39,178
SURE, THE BATMOBILE SOUNDS
3014
02:08:39,178 --> 02:08:41,747
AWESOME, BUT SOMEBODY HAS TO
3015
02:08:41,747 --> 02:08:42,882
FIGURE OUT WHAT BATMAN'S GARAGE
3016
02:08:42,882 --> 02:08:43,716
DOOR SOUNDS LIKE.
3017
02:08:43,716 --> 02:08:45,384
>> THAT'S RIGHT, KATE.
3018
02:08:45,384 --> 02:08:47,420
AND SOMEONE ELSE HAS TO MAKE
3019
02:08:47,420 --> 02:08:49,855
F-18s SOUND KIND OF F-18-ISH,
3020
02:08:49,855 --> 02:08:50,056
RIGHT?
3021
02:08:50,056 --> 02:08:50,823
>> TOTALLY.
3022
02:08:50,823 --> 02:08:53,226
AND WHO DECIDES WHAT A NAVI
3023
02:08:53,226 --> 02:08:54,460
BRAID SOUNDS LIKE WHEN IT HITS
3024
02:08:54,460 --> 02:08:58,264
THE WATER?
3025
02:08:58,264 --> 02:08:58,698
>> I WONDERED THAT.
3026
02:08:58,698 --> 02:09:00,233
>> WELL, THESE AMAZING ARTISTS.
3027
02:09:00,233 --> 02:09:02,768
>> IT'S THESE AMAZING ARTISTS.
3028
02:09:02,768 --> 02:09:03,803
>> HERE ARE THE NOMINEES FOR
3029
02:09:03,803 --> 02:09:05,171
ACHIEVEMENT IN SOUND.
3030
02:09:05,171 --> 02:09:10,376
"ALL QUIET ON THE WESTERN FRONT"
3031
02:09:10,376 --> 02:09:10,977
VIKTOR PRÁ IL, FRANK KRUSE,
3032
02:09:10,977 --> 02:09:14,513
MARKUS STEMLER, LARS GINZEL, AND
3033
02:09:14,513 --> 02:09:15,748
STEFAN KORTE.
3034
02:09:15,748 --> 02:09:16,282
"AVATAR: THE WAY OF WATER"
3035
02:09:16,282 --> 02:09:17,850
JULIAN HOWARTH,
3036
02:09:17,850 --> 02:09:19,452
GWENDOLYN YATES WHITTLE,
3037
02:09:19,452 --> 02:09:21,020
DICK BERNSTEIN,
3038
02:09:21,020 --> 02:09:23,122
CHRISTOPHER BOYES, GARY SUMMERS,
3039
02:09:23,122 --> 02:09:25,258
AND MICHAEL HEDGES.
3040
02:09:25,258 --> 02:09:28,427
"THE BATMAN"
3041
02:09:28,427 --> 02:09:29,996
STUART WILSON, WILLIAM FILES,
3042
02:09:29,996 --> 02:09:34,200
DOUGLAS MURRAY, AND ANDY NELSON.
3043
02:09:34,200 --> 02:09:36,302
"ELVIS"
3044
02:09:36,302 --> 02:09:38,971
DAVID LEE, WAYNE PASHLEY,
3045
02:09:38,971 --> 02:09:44,210
ANDY NELSON, AND MICHAEL KELLER.
3046
02:09:44,210 --> 02:09:46,846
"TOP GUN: MAVERICK"
3047
02:09:46,846 --> 02:09:49,982
MARK WEINGARTEN,
3048
02:09:49,982 --> 02:09:50,549
JAMES H. MATHER, AL NELSON,
3049
02:09:50,549 --> 02:09:55,821
CHRIS BURDON, AND MARK TAYLOR.
3050
02:09:55,821 --> 02:10:01,127
>> AND THE OSCAR GOES TO --
3051
02:10:01,127 --> 02:10:02,695
"TOP GUN: MAVERICK"
3052
02:10:02,695 --> 02:10:03,729
MARK WEINGARTEN,
3053
02:10:03,729 --> 02:10:05,364
JAMES H. MATHER, AL NELSON,
3054
02:10:05,364 --> 02:10:10,536
CHRIS BURDON, AND MARK TAYLOR.
3055
02:10:10,536 --> 02:10:13,105
>> THE TEAM BEHIND "TOP GUN:
3056
02:10:13,105 --> 02:10:14,840
MAVERICK" SPANNED TWO
3057
02:10:14,840 --> 02:10:16,142
CONTINENTS, AND CREATED MUCH OF
3058
02:10:16,142 --> 02:10:18,110
THE SOUND DESIGN BY RECORDING
3059
02:10:18,110 --> 02:10:19,745
REAL AIRCRAFT CARRIERS AND JET
3060
02:10:19,745 --> 02:10:27,420
ENGINES.
3061
02:10:27,420 --> 02:10:49,108
>> THANK YOU, ACADEMY.
3062
02:10:49,108 --> 02:10:50,509
AND THANK YOU TO EVERYONE WHO
3063
02:10:50,509 --> 02:10:53,179
SAW AND HEARD THIS FILM.
3064
02:10:53,179 --> 02:11:00,086
TOGETHER, IN THEATERS.
3065
02:11:00,086 --> 02:11:02,154
THANK YOU TO OUR INCREDIBLY
3066
02:11:02,154 --> 02:11:04,090
COLLABORATIVE FILMMAKERS, OUR
3067
02:11:04,090 --> 02:11:09,495
DIRECTOR AND OUR PRODUCERS.
3068
02:11:09,495 --> 02:11:10,896
THANK YOU TO THE SOUND ARTISTS
3069
02:11:10,896 --> 02:11:16,369
WHO SHARE THIS AWARD WITH US AT
3070
02:11:16,369 --> 02:11:20,606
SKYWALKER SOUND AND SOUNDBYTE
3071
02:11:20,606 --> 02:11:21,741
STUDIOS IN LONDON.
3072
02:11:21,741 --> 02:11:32,685
AND TO OUR FAMILIES.
3073
02:11:32,685 --> 02:11:38,524
>> WE DID IT.
3074
02:11:38,524 --> 02:11:43,662
>> YES.
3075
02:11:43,662 --> 02:11:45,030
>> TONIGHT, WE'VE HAD THE
3076
02:11:45,030 --> 02:11:46,465
PLEASURE OF SEEING PERFORMANCES
3077
02:11:46,465 --> 02:11:47,299
OF THIS YEAR'S BEST ORIGINAL
3078
02:11:47,299 --> 02:11:49,001
SONGS.
3079
02:11:49,001 --> 02:11:51,637
ONCE AGAIN, HERE ARE THE
3080
02:11:51,637 --> 02:11:52,204
NOMINEES.
3081
02:11:52,204 --> 02:11:53,806
"APPLAUSE," FROM "TELL IT LIKE A
3082
02:11:53,806 --> 02:11:54,273
WOMAN,"
3083
02:11:54,273 --> 02:11:56,575
MUSIC AND LYRIC BY DIANE WARREN.
3084
02:11:56,575 --> 02:12:00,279
♪
3085
02:12:00,279 --> 02:12:00,880
"HOLD MY HAND" FROM "TOP GUN:
3086
02:12:00,880 --> 02:12:02,381
MAVERICK,"
3087
02:12:02,381 --> 02:12:03,983
MUSIC AND LYRIC BY LADY GAGA AND
3088
02:12:03,983 --> 02:12:05,785
BLOODPOP.
3089
02:12:05,785 --> 02:12:14,760
♪
3090
02:12:14,760 --> 02:12:16,395
"LIFT ME UP" FROM "BLACK
3091
02:12:16,395 --> 02:12:17,930
PANTHER: WAKANDA FOREVER,"
3092
02:12:17,930 --> 02:12:19,498
MUSIC BY TEMS, RIHANNA,
3093
02:12:19,498 --> 02:12:21,100
RYAN COOGLER, AND
3094
02:12:21,100 --> 02:12:22,635
LUDWIG GORANSSON,
3095
02:12:22,635 --> 02:12:24,069
LYRIC BY TEMS AND RYAN COOGLER.
3096
02:12:24,069 --> 02:12:27,773
♪
3097
02:12:27,773 --> 02:12:29,875
"NAATU NAATU" FROM "RRR,"
3098
02:12:29,875 --> 02:12:31,477
MUSIC BY M. M. KEERAVAANI,
3099
02:12:31,477 --> 02:12:36,182
LYRIC BY CHANDRABOSE.
3100
02:12:36,182 --> 02:12:36,348
♪
3101
02:12:36,348 --> 02:12:36,849
"THIS IS A LIFE," FROM
3102
02:12:36,849 --> 02:12:37,450
"EVERYTHING EVERYWHERE ALL AT
3103
02:12:37,450 --> 02:12:39,418
ONCE,"
3104
02:12:39,418 --> 02:12:41,520
MUSIC BY RYAN LOTT, DAVID BYRNE,
3105
02:12:41,520 --> 02:12:42,154
AND MITSKI, LYRIC BY RYAN LOTT
3106
02:12:42,154 --> 02:12:42,688
AND DAVID BYRNE.
3107
02:12:42,688 --> 02:12:52,131
♪
3108
02:12:52,131 --> 02:12:52,998
>> ALL RIGHT.
3109
02:12:52,998 --> 02:12:56,368
YOU GUYS READY?
3110
02:12:56,368 --> 02:12:56,702
OH.
3111
02:12:56,702 --> 02:13:04,743
"RRR."
3112
02:13:04,743 --> 02:13:08,747
>> CHANDRABOSE HAD A DEGREE FOR
3113
02:13:08,747 --> 02:13:10,483
ELECTRONICS ENGINEERING BEFORE
3114
02:13:10,483 --> 02:13:18,791
BECOMING A LEER CYST.
3115
02:13:18,791 --> 02:13:21,093
M.M. KEERAVAANI LISTS JOHN
3116
02:13:21,093 --> 02:13:22,394
WILLIAMS AS ONE OF HIS
3117
02:13:22,394 --> 02:13:26,999
INFLUENCES.
3118
02:13:26,999 --> 02:13:34,507
>> THANK YOU, ACADEMY.
3119
02:13:34,507 --> 02:13:38,310
I GREW UP LISTENING TO THE
3120
02:13:38,310 --> 02:13:41,313
CARPENTERS AND NOW HERE I AM
3121
02:13:41,313 --> 02:13:48,153
WITH THE OSCARS.
3122
02:13:48,153 --> 02:13:49,455
♪ THERE WAS ONLY ONE WISH ON MY
3123
02:13:49,455 --> 02:13:56,662
MIND ♪
3124
02:13:56,662 --> 02:13:58,864
♪ SO WAS MY FAMILY'S
3125
02:13:58,864 --> 02:14:02,067
♪ RRR HAS TO WIN
3126
02:14:02,067 --> 02:14:05,738
♪ PRIDE OF EVERY INDIAN
3127
02:14:05,738 --> 02:14:07,840
♪ AND MUST PUT ME ON THE TOP OF
3128
02:14:07,840 --> 02:14:16,215
THE WORLD ♪
3129
02:14:16,215 --> 02:14:18,350
THANK YOU!
3130
02:14:18,350 --> 02:14:18,918
THANK YOU FOR MAKING THIS
3131
02:14:18,918 --> 02:14:19,885
POSSIBLE.
3132
02:14:19,885 --> 02:14:20,219
LOVE YOU ALL.
3133
02:14:20,219 --> 02:14:23,088
THANK YOU.
3134
02:14:23,088 --> 02:14:30,229
NAMASTE.
3135
02:14:30,229 --> 02:14:33,632
>> Announcer: HERE'S TWO-TIME
3136
02:14:33,632 --> 02:14:34,099
ACADEMY AWARD NOMINEE
3137
02:14:34,099 --> 02:14:42,708
JOHN TRAVOLTA.
3138
02:14:42,708 --> 02:14:47,846
>> OKAY.
3139
02:14:47,846 --> 02:14:50,649
SO, IN THIS INDUSTRY, WE HAVE
3140
02:14:50,649 --> 02:14:53,586
THE RARE LUXURY OF GETTING TO DO
3141
02:14:53,586 --> 02:14:58,090
WHAT WE LOVE FOR A LIVING, AND
3142
02:14:58,090 --> 02:14:58,724
SOMETIMES GETTING TO DO IT WITH
3143
02:14:58,724 --> 02:15:02,328
PEOPLE THAT WE COME TO LOVE.
3144
02:15:02,328 --> 02:15:04,196
AND SINCE TONIGHT IS A
3145
02:15:04,196 --> 02:15:06,966
CELEBRATION OF THE WORK AND THE
3146
02:15:06,966 --> 02:15:08,200
ACCOMPLISHMENTS OF OUR COMMUNITY
3147
02:15:08,200 --> 02:15:11,036
IN THIS PAST YEAR, IT IS ONLY
3148
02:15:11,036 --> 02:15:12,805
FITTING THEN THAT WE CELEBRATE
3149
02:15:12,805 --> 02:15:16,141
THOSE WE'VE LOST, WHO DEDICATED
3150
02:15:16,141 --> 02:15:18,344
THEIR LIVES TO THEIR CRAFT, BOTH
3151
02:15:18,344 --> 02:15:22,414
IN FRONT OF AND BEHIND THE
3152
02:15:22,414 --> 02:15:22,648
CAMERA.
3153
02:15:22,648 --> 02:15:25,017
THROUGH THEIR IMMEASURABLE
3154
02:15:25,017 --> 02:15:26,051
CONTRIBUTIONS.
3155
02:15:26,051 --> 02:15:31,123
EACH OF THEM LEFT A MARK THAT
3156
02:15:31,123 --> 02:15:32,157
SHARED AND INFORMED US.
3157
02:15:32,157 --> 02:15:34,393
THEY'VE TOUCHED OUR HEARTS,
3158
02:15:34,393 --> 02:15:36,562
THEY'VE MADE US SMILE, AND
3159
02:15:36,562 --> 02:15:40,466
BECAME DEAR FRIENDS.
3160
02:15:40,466 --> 02:15:43,135
WHO WE WILL ALWAYS REMAIN
3161
02:15:43,135 --> 02:15:52,277
HOPELESSLY DEVOTED TO.
3162
02:15:52,277 --> 02:15:55,080
SO, HERE TO HONOR, AND WITH A
3163
02:15:55,080 --> 02:15:57,516
VERY SPECIAL PERFORMANCE, PLEASE
3164
02:15:57,516 --> 02:15:58,050
WELCOME THE INCOMPARABLE
3165
02:15:58,050 --> 02:16:03,355
LENNY KRAVITZ.
3166
02:16:03,355 --> 02:16:07,626
♪
3167
02:16:07,626 --> 02:16:11,263
♪ CALLING ALL ANGELS
3168
02:16:11,263 --> 02:16:13,365
I NEED YOU
3169
02:16:13,365 --> 02:16:26,512
NEAR TO THE GROUND ♪
3170
02:16:26,512 --> 02:16:28,380
♪ I MISS YOU DEARLY
3171
02:16:28,380 --> 02:16:29,715
CAN YOU HEAR ME
3172
02:16:29,715 --> 02:16:40,392
ON YOUR CLOUD ♪
3173
02:16:40,392 --> 02:16:42,394
♪ ALL OF MY LIFE
3174
02:16:42,394 --> 02:16:45,531
I'VE BEEN WAITING
3175
02:16:45,531 --> 02:16:54,973
FOR SOMEONE TO LOVE ♪
3176
02:16:54,973 --> 02:16:57,609
♪ ALL OF MY LIFE
3177
02:16:57,609 --> 02:17:01,313
I'VE BEEN WAITING
3178
02:17:01,313 --> 02:17:11,857
FOR SOMETHING TO LOVE ♪
3179
02:17:11,857 --> 02:17:15,561
♪ CALLING ALL ANGELS
3180
02:17:15,561 --> 02:17:19,231
I NEED YOU
3181
02:17:19,231 --> 02:17:27,139
NEAR TO THE GROUND ♪
3182
02:17:27,139 --> 02:17:31,376
♪ I HAVE BEEN KNEELING
3183
02:17:31,376 --> 02:17:34,480
AND PRAYING
3184
02:17:34,480 --> 02:17:42,955
TO HEAR A SOUND ♪
3185
02:17:42,955 --> 02:17:47,726
♪ ALL OF MY LIFE
3186
02:17:47,726 --> 02:17:50,896
I'VE BEEN WAITING
3187
02:17:50,896 --> 02:17:59,271
FOR SOMEONE TO LOVE ♪
3188
02:17:59,271 --> 02:18:03,475
♪ ALL OF MY LIFE
3189
02:18:03,475 --> 02:18:05,577
I'VE BEEN WAITING
3190
02:18:05,577 --> 02:18:16,755
FOR SOMETHING TO LOVE ♪
3191
02:18:16,755 --> 02:18:31,904
♪
3192
02:18:31,904 --> 02:18:38,510
♪ ALL OF MY LIFE
3193
02:18:38,510 --> 02:18:38,911
I'VE BEEN WAITING
3194
02:18:38,911 --> 02:18:46,718
FOR SOMETHING TO LOVE ♪
3195
02:18:46,718 --> 02:18:50,923
♪ DAY BY DAY
3196
02:18:50,923 --> 02:18:54,092
THROUGH THE YEARS
3197
02:18:54,092 --> 02:18:58,831
MAKE MY WAY
3198
02:18:58,831 --> 02:19:02,501
♪ DAY BY DAY
3199
02:19:02,501 --> 02:19:06,705
THROUGH THE YEARS
3200
02:19:06,705 --> 02:19:10,509
DAY BY DAY ♪
3201
02:19:10,509 --> 02:19:16,381
♪ THROUGH THE YEARS
3202
02:19:16,381 --> 02:19:19,384
DAY BY DAY
3203
02:19:19,384 --> 02:19:23,088
THROUGH THE YEARS ♪
3204
02:19:23,088 --> 02:19:27,826
♪ DAY BY DAY
3205
02:19:27,826 --> 02:19:36,735
DAY BY DAY ♪
3206
02:19:36,735 --> 02:19:56,688
♪
3207
02:20:15,945 --> 02:20:37,129
♪
3208
02:20:37,129 --> 02:20:38,196
>> Announcer: PLEASE WELCOME
3209
02:20:38,196 --> 02:20:40,299
ZOE SALDANA AND THREE-TIME OSCAR
3210
02:20:40,299 --> 02:20:50,275
NOMINEE SIGOURNEY WEAVER.
3211
02:20:50,275 --> 02:20:51,343
>> WE MAY HAVE COME A LONG WAY
3212
02:20:51,343 --> 02:20:53,478
FROM ACTUALLY CUTTING AND
3213
02:20:53,478 --> 02:20:55,547
PASTING FILM TOGETHER BY HAND,
3214
02:20:55,547 --> 02:20:57,149
BUT EDITING REMAINS ONE OF THE
3215
02:20:57,149 --> 02:20:58,183
MOST COMPLEX PARTS OF THE
3216
02:20:58,183 --> 02:21:02,421
STORYTELLING PROCESS.
3217
02:21:02,421 --> 02:21:03,055
>> EDITORS HAVE TO COMB THROUGH
3218
02:21:03,055 --> 02:21:06,124
HOURS AND HOURS OF FOOTAGE AND
3219
02:21:06,124 --> 02:21:08,226
DECIDE WHICH TAKES MAKE THE
3220
02:21:08,226 --> 02:21:11,530
MOVIE AND WHICH WIND UP ON THE
3221
02:21:11,530 --> 02:21:13,131
CUTTING ROOM FLOOR.
3222
02:21:13,131 --> 02:21:14,700
>> AND WHETHER WORKING WITH A
3223
02:21:14,700 --> 02:21:15,801
MASSIVE MACHINE LIKE THIS OR AT
3224
02:21:15,801 --> 02:21:20,172
A COMPUTER, EDITORS STILL
3225
02:21:20,172 --> 02:21:24,209
ACCOMPLISH THE SAME AMAZING
3226
02:21:24,209 --> 02:21:25,844
FEAT, TRANSLATING TIME, RHYTHM,
3227
02:21:25,844 --> 02:21:28,246
AND PERFORMANCE INTO A
3228
02:21:28,246 --> 02:21:31,416
COMPELLING STORY ONSCREEN.
3229
02:21:31,416 --> 02:21:33,618
HERE ARE THE NOMINEES FOR
3230
02:21:33,618 --> 02:21:35,687
ACHIEVEMENT IN FILM EDITING.
3231
02:21:35,687 --> 02:21:36,254
"THE BANSHEES OF INISHERIN"
3232
02:21:36,254 --> 02:21:36,722
MIKKEL E. G. NIELSEN.
3233
02:21:36,722 --> 02:21:37,255
"ELVIS"
3234
02:21:37,255 --> 02:21:42,527
MATT VILLA AND JONATHAN REDMOND.
3235
02:21:42,527 --> 02:21:43,128
"EVERYTHING EVERYWHERE ALL AT
3236
02:21:43,128 --> 02:21:44,629
ONCE"
3237
02:21:44,629 --> 02:21:48,300
PAUL ROGERS.
3238
02:21:48,300 --> 02:21:49,334
"TAR"
3239
02:21:49,334 --> 02:21:55,140
MONIKA WILLI.
3240
02:21:55,140 --> 02:21:55,640
"TOP GUN: MAVERICK"
3241
02:21:55,640 --> 02:22:04,616
EDDIE HAMILTON.
3242
02:22:04,616 --> 02:22:09,254
>> AND THE OSCAR GOES TO --
3243
02:22:09,254 --> 02:22:12,591
"EVERYTHING EVERYWHERE ALL AT
3244
02:22:12,591 --> 02:22:15,460
ONCE," PAUL ROGERS.
3245
02:22:15,460 --> 02:22:18,096
>> EDITOR PAUL ROGERS MET THE
3246
02:22:18,096 --> 02:22:19,898
DANIELS, DIRECTORS OF
3247
02:22:19,898 --> 02:22:21,967
"EVERYTHING EVERYWHERE ALL AT
3248
02:22:21,967 --> 02:22:29,775
ONCE" AT A BIRTHDAY PARTY.
3249
02:22:29,775 --> 02:22:38,550
>> OH.
3250
02:22:38,550 --> 02:22:44,089
THANK YOU.
3251
02:22:44,089 --> 02:22:46,458
WOW, THIS IS -- THIS IS TOO
3252
02:22:46,458 --> 02:22:46,792
MUCH.
3253
02:22:46,792 --> 02:22:48,627
THIS IS MY SECOND FILM, Y'ALL.
3254
02:22:48,627 --> 02:22:52,097
THIS IS CRAZY.
3255
02:22:52,097 --> 02:22:53,498
I HAVE TO THANK MY WIFE, THE
3256
02:22:53,498 --> 02:22:54,833
MOST INCREDIBLE WOMAN IN THE
3257
02:22:54,833 --> 02:22:57,469
ROOM.
3258
02:22:57,469 --> 02:23:00,405
MY FAMILY, MY MOM IS UP HERE
3259
02:23:00,405 --> 02:23:02,107
SOMEWHERE, I DON'T KNOW, SHE'LL
3260
02:23:02,107 --> 02:23:02,741
SCREAM.
3261
02:23:02,741 --> 02:23:06,545
THERE SHE IS.
3262
02:23:06,545 --> 02:23:10,749
MY -- MY PARALAX FAMILY, LUKE
3263
02:23:10,749 --> 02:23:11,850
LYNCH, YOU KNOW.
3264
02:23:11,850 --> 02:23:18,223
MY TEAM, ASHISH, CARRIE UP
3265
02:23:18,223 --> 02:23:18,490
THERE.
3266
02:23:18,490 --> 02:23:20,358
DAN AND DANIEL, WHEREVER YOU
3267
02:23:20,358 --> 02:23:21,726
ARE, YEAH, THERE YOU ARE.
3268
02:23:21,726 --> 02:23:24,329
I HOPE YOU KNOW -- YOU KNOW,
3269
02:23:24,329 --> 02:23:25,363
LOOK, YOUR FRIENDS, THE PEOPLE
3270
02:23:25,363 --> 02:23:25,997
WHO CARE ABOUT YOU, WE'RE NOT
3271
02:23:25,997 --> 02:23:30,502
HERE BECAUSE OF THE INCREDIBLE,
3272
02:23:30,502 --> 02:23:33,071
WONDERFUL STRANGE MOVIES YOU
3273
02:23:33,071 --> 02:23:34,005
MAKE, WE'RE HERE BECAUSE YOU ARE
3274
02:23:34,005 --> 02:23:39,678
INCREDIBLE, KIND, DJENGGENEROUSY
3275
02:23:39,678 --> 02:23:39,945
PEOPLE.
3276
02:23:39,945 --> 02:23:42,247
AND IF THIS GOES AWAY, WE'RE
3277
02:23:42,247 --> 02:23:42,747
STILL WITH YOU.
3278
02:23:42,747 --> 02:23:44,382
TO THE CAST, IT'S BEEN THE HONOR
3279
02:23:44,382 --> 02:23:46,184
OF MY CAREER.
3280
02:23:46,184 --> 02:23:48,620
I HOPE I DID RIGHT BY YOU.
3281
02:23:48,620 --> 02:23:49,955
I CARE DEEPLY ABOUT EVERY ONE OF
3282
02:23:49,955 --> 02:23:50,856
YOU, SO -- YEAH.
3283
02:23:50,856 --> 02:23:59,131
THANK YOU.
3284
02:23:59,131 --> 02:24:09,808
>> NOT ONLY WAS PAUL'S SECOND
3285
02:24:09,808 --> 02:24:12,711
MOVIE, HE EDITED THE WHOLE THING
3286
02:24:12,711 --> 02:24:13,678
WHILE TRIPPING.
3287
02:24:13,678 --> 02:24:16,047
I THINK THAT'S VERY IMPRESSIVE.
3288
02:24:16,047 --> 02:24:17,582
ANYONE WHO HAS EVER RECEIVED A
3289
02:24:17,582 --> 02:24:20,519
TEXT MESSAGE FROM THEIR FATHER
3290
02:24:20,519 --> 02:24:21,920
KNOWS HOW IMPORTANT EDITING IS.
3291
02:24:21,920 --> 02:24:27,993
EDITORS -- DO AMAZING THINGS.
3292
02:24:27,993 --> 02:24:30,695
EDITORS CAN TURN 44,000 HOURS OF
3293
02:24:30,695 --> 02:24:32,731
VIOLENT INSURRECTION FOOTAGE
3294
02:24:32,731 --> 02:24:34,366
INTO A RESPECTFUL SIGHT-SEEING
3295
02:24:34,366 --> 02:24:39,838
TOUR OF THE CAPITOL.
3296
02:24:39,838 --> 02:24:42,274
THEIR WORK IS UNDERAPPRECIATED.
3297
02:24:42,274 --> 02:24:44,843
AND NOW HERE TO PRESENT THE
3298
02:24:44,843 --> 02:24:48,613
AWARD FOR DIRECTING, IDRIS ELBA
3299
02:24:48,613 --> 02:24:56,087
AND OSCAR WINNER NICOLE KIDMAN.
3300
02:24:56,087 --> 02:25:04,129
>> AT THE VERY FIRST OSCARS, TWO
3301
02:25:04,129 --> 02:25:05,197
AWARDS WERE PRESENTED FOR
3302
02:25:05,197 --> 02:25:06,264
DIRECTING.
3303
02:25:06,264 --> 02:25:07,832
ONE FOR COMEDY AND ONE FOR
3304
02:25:07,832 --> 02:25:10,635
DRAMA.
3305
02:25:10,635 --> 02:25:12,103
BUT THE FOLLOWING YEAR, THE
3306
02:25:12,103 --> 02:25:13,471
DIRECTING AWARDS WERE COMBINED
3307
02:25:13,471 --> 02:25:15,507
TO ACKNOWLEDGE THAT THE GENRE OF
3308
02:25:15,507 --> 02:25:17,008
THE MOVIE ISN'T WHAT MATTERS
3309
02:25:17,008 --> 02:25:19,477
MOST, BUT RATHER, THE VISION AND
3310
02:25:19,477 --> 02:25:21,313
SKILL OF THE FILMMAKER BRINGING
3311
02:25:21,313 --> 02:25:23,448
THE STORY TO THE BIG SCREEN.
3312
02:25:23,448 --> 02:25:26,785
>> THE MARK OF A CINEMATIC
3313
02:25:26,785 --> 02:25:30,622
GENIUS IS TO CRAFT AN EXPERIENCE
3314
02:25:30,622 --> 02:25:31,256
THAT NOT ONLY ENTERTAINS US FOR
3315
02:25:31,256 --> 02:25:32,457
A FEW HOURS, BUT ALSO STAYS WITH
3316
02:25:32,457 --> 02:25:35,660
US FOR A LIFETIME AND REMINDS US
3317
02:25:35,660 --> 02:25:36,261
WHY WE FELL IN LOVE WITH THE
3318
02:25:36,261 --> 02:25:38,563
MOVIES.
3319
02:25:38,563 --> 02:25:39,097
HERE ARE THE NOMINEES FOR
3320
02:25:39,097 --> 02:25:45,337
ACHIEVEMENT IN DIRECTING.
3321
02:25:45,337 --> 02:25:46,738
MARTIN McDONAGH, "THE BANSHEES
3322
02:25:46,738 --> 02:25:47,072
OF INISHERIN."
3323
02:25:47,072 --> 02:25:47,973
DANIEL KWAN AND
3324
02:25:47,973 --> 02:25:49,007
DANIEL SCHEINERT, "EVERYTHING
3325
02:25:49,007 --> 02:25:51,643
EVERYWHERE ALL AT ONCE."
3326
02:25:51,643 --> 02:25:54,779
STEVEN SPIELBERG, "THE
3327
02:25:54,779 --> 02:25:55,313
FABELMANS."
3328
02:25:55,313 --> 02:25:57,983
TODD FIELD, "TAR."
3329
02:25:57,983 --> 02:25:58,550
RUBEN OSTLUND, "TRIANGLE OF
3330
02:25:58,550 --> 02:26:05,657
SADNESS."
3331
02:26:05,657 --> 02:26:06,391
>> ALL RIGHT.
3332
02:26:06,391 --> 02:26:11,496
AND THE OSCAR GOES TO --
3333
02:26:11,496 --> 02:26:13,798
"EVERYTHING EVERYWHERE ALL AT
3334
02:26:13,798 --> 02:26:14,132
ONCE."
3335
02:26:14,132 --> 02:26:23,308
DANIEL KWAN AND DANIEL SCHEINRT.
3336
02:26:23,308 --> 02:26:23,708
KN
3337
02:26:23,708 --> 02:26:24,743
>> KNOWN AS THE DANIELS, THEY
3338
02:26:24,743 --> 02:26:26,711
MET STUDYING IN BOSTON.
3339
02:26:26,711 --> 02:26:28,847
THEY BEGAN THEIR CAREER AS MUSIC
3340
02:26:28,847 --> 02:26:35,654
VIDEO DIRECTORS.
3341
02:26:35,654 --> 02:26:36,921
>> OH, MY GOD.
3342
02:26:36,921 --> 02:26:39,190
THANK YOU, SIR.
3343
02:26:39,190 --> 02:26:40,792
OUR FELLOW NOMINEES, YOU GUYS
3344
02:26:40,792 --> 02:26:41,192
ARE OUR HEROES.
3345
02:26:41,192 --> 02:26:43,962
THIS IS WEIRD.
3346
02:26:43,962 --> 02:26:45,664
I -- WE WANT TO DEDICATE THIS TO
3347
02:26:45,664 --> 02:26:47,432
THE MOMMIES, ALL THE MOMMIES OF
3348
02:26:47,432 --> 02:26:50,969
THE WORLD, TO OUR MOMS.
3349
02:26:50,969 --> 02:26:52,270
SPECIFICALLY MY MOM AND DAD, KEN
3350
02:26:52,270 --> 02:26:54,572
AND BECKY, THANK YOU FOR NOT
3351
02:26:54,572 --> 02:26:55,840
SQUASHING MY CREATIVITY WHEN I
3352
02:26:55,840 --> 02:26:57,976
WAS MAKING DISTURBING HORROR
3353
02:26:57,976 --> 02:27:00,445
FILMS OR PERVERTED COMEDY FILMS
3354
02:27:00,445 --> 02:27:02,180
OR DRESSING IN DRAG AS A KID,
3355
02:27:02,180 --> 02:27:05,016
WHICH IS A THREAT TO NOBODY.
3356
02:27:05,016 --> 02:27:08,520
AND -- YEAH, THANK YOU TO
3357
02:27:08,520 --> 02:27:09,120
EVERYBODY WHO WORKED ON OUR
3358
02:27:09,120 --> 02:27:10,722
MOVIE.
3359
02:27:10,722 --> 02:27:12,624
>> I KNOW EVERY DIRECTOR AGREES
3360
02:27:12,624 --> 02:27:14,192
WITH ME WHEN I SAY A DIRECTOR IS
3361
02:27:14,192 --> 02:27:15,293
NOTHING WITHOUT THEIR INCREDIBLE
3362
02:27:15,293 --> 02:27:16,227
CAST AND CREW.
3363
02:27:16,227 --> 02:27:18,830
THIS IS MY FAMILY, MY FRIENDS.
3364
02:27:18,830 --> 02:27:20,999
IF OUR MOVIE HAS GREATNESS AND
3365
02:27:20,999 --> 02:27:22,133
GENIUS, IT'S ONLY BECAUSE THEY
3366
02:27:22,133 --> 02:27:24,302
HAVE GREATNESS AND GENIUS
3367
02:27:24,302 --> 02:27:25,503
FLOWING THROUGH THEIR HEARTS AND
3368
02:27:25,503 --> 02:27:28,707
SOULS AND MINDS AND GAVE THAT
3369
02:27:28,707 --> 02:27:29,974
PRECIOUS GIFT TO OUR FILM.
3370
02:27:29,974 --> 02:27:31,176
THE WORLD IS OPENING UP TO THE
3371
02:27:31,176 --> 02:27:32,811
FACT THAT GENIUS DOES NOT STEM
3372
02:27:32,811 --> 02:27:34,279
FROM INDIVIDUALS LIKE US ON
3373
02:27:34,279 --> 02:27:36,114
STAGE, BUT RATHER GENIUS EMERGES
3374
02:27:36,114 --> 02:27:37,148
FROM THE COLLECTIVE.
3375
02:27:37,148 --> 02:27:38,450
W ARE ALL PRODUCTS OF OUR
3376
02:27:38,450 --> 02:27:38,750
CONTEXT.
3377
02:27:38,750 --> 02:27:41,886
WE ARE ALL DESCENDANTS OF
3378
02:27:41,886 --> 02:27:43,355
SOMETHING AND SOMEONE AND I WANT
3379
02:27:43,355 --> 02:27:45,323
TO ACKNOWLEDGE MY CONTEXT, MY
3380
02:27:45,323 --> 02:27:46,291
IMMIGRANT PARENTS, MY FATHER,
3381
02:27:46,291 --> 02:27:48,259
WHO FELL IN LOVE WITH MOVIES,
3382
02:27:48,259 --> 02:27:50,161
BECAUSE HE NEEDED TO ESCAPE THE
3383
02:27:50,161 --> 02:27:52,230
WORLD AND PASSED THAT LOVE TO
3384
02:27:52,230 --> 02:27:52,397
ME.
3385
02:27:52,397 --> 02:27:54,366
MY MOTHER, WHO WANTED TO BE A
3386
02:27:54,366 --> 02:27:55,867
DANCER, AN ACTOR, A SINGER,
3387
02:27:55,867 --> 02:27:57,435
COULD NOT AFFORD THE LUXURY OF
3388
02:27:57,435 --> 02:27:58,970
THAT LIFE PATH AND GAVE IT TO
3389
02:27:58,970 --> 02:27:59,637
ME.
3390
02:27:59,637 --> 02:28:00,872
MY INCREDIBLE BROTHERS AND
3391
02:28:00,872 --> 02:28:02,407
SISTERS WHO HELPED ME SURVIVE
3392
02:28:02,407 --> 02:28:03,742
THE CHAOS OF CHILDHOOD.
3393
02:28:03,742 --> 02:28:06,211
MY FRIENDS WHO HIGH SCHOOL
3394
02:28:06,211 --> 02:28:07,078
WHO -- SORRY, I'M GOING TO KEEP
3395
02:28:07,078 --> 02:28:08,713
GOING.
3396
02:28:08,713 --> 02:28:11,049
THE RCCC, YOU TAUGHT ME THE
3397
02:28:11,049 --> 02:28:13,385
LIBERATING FREEDOM OF CREATIVITY
3398
02:28:13,385 --> 02:28:14,285
AND JOY.
3399
02:28:14,285 --> 02:28:20,959
MY INCREDIBLE SON GIO, YOU
3400
02:28:20,959 --> 02:28:22,560
REARRANGE MY DNA EVERY DAY, IT'S
3401
02:28:22,560 --> 02:28:23,561
AWFUL AND BEAUTIFUL AT THE SAME
3402
02:28:23,561 --> 02:28:23,762
TIME.
3403
02:28:23,762 --> 02:28:24,496
IF YOU EVER WATCH THIS, I HOPE
3404
02:28:24,496 --> 02:28:26,331
YOU KNOW THAT YOU SHOULD NEVER
3405
02:28:26,331 --> 02:28:27,899
HAVE TO LIVE UP TO THE STANDARD,
3406
02:28:27,899 --> 02:28:28,900
THIS IS NOT NORMAL.
3407
02:28:28,900 --> 02:28:30,068
THIS IS KIND OF CRAZY.
3408
02:28:30,068 --> 02:28:32,704
I WILL LOVE YOU NO MATTER WHAT.
3409
02:28:32,704 --> 02:28:47,652
I -- AND LASTLY, I WANT TO GO
3410
02:28:47,652 --> 02:28:49,154
BACK TO MY ORIGINAL POINT, THERE
3411
02:28:49,154 --> 02:28:51,189
IS GREATNESS IN EVERY PERSON.
3412
02:28:51,189 --> 02:28:52,323
DOESN'T MATTER WHO THEY ARE.
3413
02:28:52,323 --> 02:28:54,025
YOU HAVE A GENIUS THAT IS
3414
02:28:54,025 --> 02:28:54,959
WAITING TO ERUPT.
3415
02:28:54,959 --> 02:28:56,060
YOU JUST NEED TO FIND THE RIGHT
3416
02:28:56,060 --> 02:28:56,995
PEOPLE TO UNLOCK THAT.
3417
02:28:56,995 --> 02:28:58,329
THANK YOU SO MUCH TO EVERYONE
3418
02:28:58,329 --> 02:28:59,664
WHO HAS UNLOCKED MY GENIUS.
3419
02:28:59,664 --> 02:29:00,832
THIS MEANS SO MUCH TO US.
3420
02:29:00,832 --> 02:29:07,071
THANK YOU TO THE ACADEMY.
3421
02:29:07,071 --> 02:29:13,044
♪
3422
02:29:13,044 --> 02:29:14,646
>> Announcer: COMING UP,
3423
02:29:14,646 --> 02:29:15,680
JESSICA CHASTAIN AND HALLE BERRY
3424
02:29:15,680 --> 02:29:16,214
WITH LEAD ACTOR AND LEAD
3425
02:29:16,214 --> 02:29:17,816
ACTRESS.
3426
02:29:17,816 --> 02:29:20,785
PLUS, HARRISON FORD AND
3427
02:29:20,785 --> 02:29:22,287
PRESENTS BEST PICTURE.
3428
02:29:28,181 --> 02:29:34,566
♪
3429
02:29:34,566 --> 02:29:36,901
>>> WELCOME BACK TO THE OSCARS.
3430
02:29:36,901 --> 02:29:37,869
CONGRATULATIONS TO THE DANIELS
3431
02:29:37,869 --> 02:29:39,437
ON THEIR JOINT WIN FOR
3432
02:29:39,437 --> 02:29:39,704
DIRECTING.
3433
02:29:39,704 --> 02:29:41,239
WHAT A GREAT SPEECH.
3434
02:29:41,239 --> 02:29:42,807
SO MANY GREAT SPEECHES TONIGHT.
3435
02:29:42,807 --> 02:29:44,108
YOU KNOW, THERE WAS A TIME IN
3436
02:29:44,108 --> 02:29:45,743
THIS COUNTRY WHEN TWO MEN
3437
02:29:45,743 --> 02:29:47,812
WOULDN'T HAVE BEEN ALLOWED TO
3438
02:29:47,812 --> 02:29:51,149
SHARE CUSTODY OF AN OSCAR AND I
3439
02:29:51,149 --> 02:29:51,850
YOU T
3440
02:29:51,850 --> 02:29:52,383
THINK IT'S WONDERFUL.
3441
02:29:52,383 --> 02:29:53,518
THIS IS INTERESTING.
3442
02:29:53,518 --> 02:29:54,919
THE LAST DIRECTING TEAM TO WIN
3443
02:29:54,919 --> 02:29:58,790
AN OSCAR WAS CONGRESSMAN GEORGE
3444
02:29:58,790 --> 02:30:03,027
SANTOS.
3445
02:30:03,027 --> 02:30:04,529
WE ONLY HAVE THREE AWARDS LEFT
3446
02:30:04,529 --> 02:30:05,063
TO GO.
3447
02:30:05,063 --> 02:30:06,397
BUT WE'RE GOING TO STRETCH THEM
3448
02:30:06,397 --> 02:30:07,799
OUT AND REALLY MAKE A MEAL OUT
3449
02:30:07,799 --> 02:30:09,501
OF THEM.
3450
02:30:09,501 --> 02:30:11,402
HERE TO PRESENT ACTOR AND
3451
02:30:11,402 --> 02:30:12,537
ACTRESS IN A LEADIN ROLE,
3452
02:30:12,537 --> 02:30:14,906
PLEASE WELCOME OSCAR WINNERS
3453
02:30:14,906 --> 02:30:15,473
JESSICA CHASTAIN AND HALLE
3454
02:30:15,473 --> 02:30:23,882
BERRY.
3455
02:30:23,882 --> 02:30:42,233
>> WHEN AN ACTOR OR ACTRESS
3456
02:30:42,233 --> 02:30:42,867
FIRST APPROACHES A ROLE, WE USE
3457
02:30:42,867 --> 02:30:43,801
EVERY TOOL AT OUR DISPOSAL TO
3458
02:30:43,801 --> 02:30:44,435
HELP US CREATE THE WORLD OF THE
3459
02:30:44,435 --> 02:30:46,437
CHARACTER.
3460
02:30:46,437 --> 02:30:50,141
>> YOU CAN FIND VALUABLE PIECES
3461
02:30:50,141 --> 02:30:52,243
OF INSIGHT FROM ANYTHING AROUND
3462
02:30:52,243 --> 02:30:56,147
YOU, THE SCRIPT, THE DIRECTOR,
3463
02:30:56,147 --> 02:30:58,449
OUR FELLOW ACTORS, THE COSTUME,
3464
02:30:58,449 --> 02:31:00,885
EVERYTHING.
3465
02:31:00,885 --> 02:31:01,486
>> YET IT'S WHAT A PERFORMER
3466
02:31:01,486 --> 02:31:02,487
BRINGS TO THE ROLE PERSONALLY,
3467
02:31:02,487 --> 02:31:03,121
THAT TRULY BRINGS THAT CHARACTER
3468
02:31:03,121 --> 02:31:05,056
INTO EXISTENCE.
3469
02:31:05,056 --> 02:31:06,658
THESE NOMINEES SHOWED
3470
02:31:06,658 --> 02:31:07,292
INTELLIGENCE, CURIOSITY, AND A
3471
02:31:07,292 --> 02:31:07,892
COMMITMENT TO REVEALING THEIR
3472
02:31:07,892 --> 02:31:09,327
CHARACTERS' HUMANITY IN EVERY
3473
02:31:09,327 --> 02:31:12,430
ASPECT OF THEIR PORTRAYALS.
3474
02:31:12,430 --> 02:31:13,498
>> HERE ARE THE NOMINEES FOR
3475
02:31:13,498 --> 02:31:14,098
PERFORMANCE BY AN ACTOR IN A
3476
02:31:14,098 --> 02:31:17,168
LEADING ROLE.
3477
02:31:17,168 --> 02:31:20,305
AUSTIN BUTLER, "ELVIS."
3478
02:31:20,305 --> 02:31:21,673
>> I'M GOING TO SHOW YOU WHAT
3479
02:31:21,673 --> 02:31:26,044
THE REAL ELVIS IS LIKE TONIGHT.
3480
02:31:26,044 --> 02:31:33,017
♪
3481
02:31:33,017 --> 02:31:33,351
I'M READY.
3482
02:31:33,351 --> 02:31:39,724
READY TO FLY.
3483
02:31:39,724 --> 02:31:43,394
>> COLIN FARRELL, "THE BANSHEES
3484
02:31:43,394 --> 02:31:46,497
OF INISHERIN."
3485
02:31:46,497 --> 02:31:50,902
>> NICE, GOOD GUYS.
3486
02:31:50,902 --> 02:31:52,604
YOU USED TO BE NICE.
3487
02:31:52,604 --> 02:31:54,772
OR DID YOU NEVER USED TO BE?
3488
02:31:54,772 --> 02:31:57,408
OH, GOD.
3489
02:31:57,408 --> 02:32:03,748
MAYBE YOU NEVER USED TO BE.
3490
02:32:03,748 --> 02:32:07,418
>> BRENDAN FRASER, "THE WHALE."
3491
02:32:07,418 --> 02:32:11,255
>> YOU'RE AN AMAZING PERSON,
3492
02:32:11,255 --> 02:32:11,556
ALLIE.
3493
02:32:11,556 --> 02:32:14,892
I COULDN'T ASK FOR A MORE
3494
02:32:14,892 --> 02:32:15,393
INCREDIBLE DAUGHTER.
3495
02:32:15,393 --> 02:32:16,661
>> ARE YOU TRYING TO PARENT ME
3496
02:32:16,661 --> 02:32:17,295
RIGHT NOW?
3497
02:32:17,295 --> 02:32:20,198
>> ALLIE, LOOK AT ME.
3498
02:32:20,198 --> 02:32:21,466
WHO WOULD WANT ME TO BE A PART
3499
02:32:21,466 --> 02:32:25,903
OF THEIR LIFE?
3500
02:32:25,903 --> 02:32:29,440
>> PAUL MESCAL, "AFTERSUN."
3501
02:32:29,440 --> 02:32:30,508
>> NEVER KNOW WHERE YOU'LL END
3502
02:32:30,508 --> 02:32:33,678
UP.
3503
02:32:33,678 --> 02:32:34,779
YOU CAN LIVE WHEREVER YOU WANT
3504
02:32:34,779 --> 02:32:35,647
TO LIVE.
3505
02:32:35,647 --> 02:32:36,781
YOU CAN BE WHOEVER YOU WANT TO
3506
02:32:36,781 --> 02:32:39,050
BE.
3507
02:32:39,050 --> 02:32:47,492
YOU HAVE TIME.
3508
02:32:47,492 --> 02:32:50,395
>> BILL NIGHY, "LIVING."
3509
02:32:50,395 --> 02:32:52,463
>> WHAT IS IT?
3510
02:32:52,463 --> 02:32:54,098
A SMALL WONDER I DIDN'T NOTICE
3511
02:32:54,098 --> 02:32:56,300
WHAT I WAS BECOMING.
3512
02:32:56,300 --> 02:32:57,769
THEN I REMEMBERED WHAT IT WAS
3513
02:32:57,769 --> 02:33:03,274
LIKE TO BE ALIVE.
3514
02:33:03,274 --> 02:33:07,078
YOU'VE ONLY TO BE ALIVE LIKE
3515
02:33:07,078 --> 02:33:11,215
THAT FOR ONE DAY.
3516
02:33:11,215 --> 02:33:21,826
>> AND THE OSCAR GOES TO --
3517
02:33:21,826 --> 02:33:26,464
BRENDAN FRASER, "THE WHALE."
3518
02:33:26,464 --> 02:33:28,800
>> AS A CHILD, BRENDAN FRASER
3519
02:33:28,800 --> 02:33:29,967
DEVELOPED AN INTEREST IN ACTING
3520
02:33:29,967 --> 02:33:31,969
AFTER SEEING A WEST END
3521
02:33:31,969 --> 02:33:32,570
PERFORMANCE OF THE MUSICAL
3522
02:33:32,570 --> 02:33:42,013
"OLIVER."
3523
02:33:42,013 --> 02:33:58,629
>> THANK YOU, THANK YOU.
3524
02:33:58,629 --> 02:33:59,831
SO THIS IS WHAT THE MULTIVERSE
3525
02:33:59,831 --> 02:34:01,199
LOOKS LIKE.
3526
02:34:01,199 --> 02:34:02,300
OH.
3527
02:34:02,300 --> 02:34:04,936
MY GOODNESS.
3528
02:34:04,936 --> 02:34:07,572
I THANK THE ACADEMY FOR THIS
3529
02:34:07,572 --> 02:34:09,574
HONOR AND FOR OUR STUDIO A-24
3530
02:34:09,574 --> 02:34:10,775
FOR MAKING SUCH A BOLD FILM.
3531
02:34:10,775 --> 02:34:16,314
AND -- I'M GRATEFUL TO DARREN
3532
02:34:16,314 --> 02:34:19,117
FOR THROWING ME A CREATIVE
3533
02:34:19,117 --> 02:34:20,585
LIFETIME AND HAULING ME ABOARD
3534
02:34:20,585 --> 02:34:23,087
THE GOOD SHIP "THE WHALE."
3535
02:34:23,087 --> 02:34:24,889
IT WAS WRITTEN BY SAMUEL D.
3536
02:34:24,889 --> 02:34:30,628
HUNTER WHO IS OUR LIGHTHOUSE.
3537
02:34:30,628 --> 02:34:33,765
GENTLEMEN, YOU LAID YOUR
3538
02:34:33,765 --> 02:34:36,134
WHALE-SIZED HEARTS BARE SO THAT
3539
02:34:36,134 --> 02:34:39,003
WE COULD SEE INTO YOUR SOULS
3540
02:34:39,003 --> 02:34:39,971
LIKE NO ONE ELSE COULD DO AND IT
3541
02:34:39,971 --> 02:34:43,508
IS MY HONOR TO BE NAMED
3542
02:34:43,508 --> 02:34:57,421
ALONGSIDE YOU IN THIS CATEGORY.
3543
02:34:57,421 --> 02:34:59,557
I WANT TO TELL YOU THAT ONLY
3544
02:34:59,557 --> 02:35:01,425
WHALES CAN SWIM AT THE DEPTH OF
3545
02:35:01,425 --> 02:35:08,800
THE TALENT OF HONG CHAU, AND I
3546
02:35:08,800 --> 02:35:09,433
STARTED IN THIS BUSINESS 30
3547
02:35:09,433 --> 02:35:13,437
YEARS AGO, AND THINGS -- THEY
3548
02:35:13,437 --> 02:35:14,972
DIDN'T COME EASILY TO ME, BUT
3549
02:35:14,972 --> 02:35:15,573
THERE WAS A FACILITY THAT I
3550
02:35:15,573 --> 02:35:18,876
DIDN'T -- I DOESN'T APPRECIATE
3551
02:35:18,876 --> 02:35:21,145
AT THE TIME UNTIL IT STOPPED.
3552
02:35:21,145 --> 02:35:25,149
AND I JUST WANT TO SAY THANK YOU
3553
02:35:25,149 --> 02:35:27,251
FOR THIS ACKNOWLEDGEMENT,
3554
02:35:27,251 --> 02:35:29,220
BECAUSE IT COULDN'T BE DONE
3555
02:35:29,220 --> 02:35:34,625
WITHOUT MY CAST, IT'S BEEN LIKE
3556
02:35:34,625 --> 02:35:36,427
I'VE BEEN IN A DIVING EXPEDITION
3557
02:35:36,427 --> 02:35:37,895
AT THE BOTTOM OF THE OCEAN AND
3558
02:35:37,895 --> 02:35:39,831
THE AIR ON THE LINE TO THE
3559
02:35:39,831 --> 02:35:40,898
SURFACE IS ON A LAUNCH BEING
3560
02:35:40,898 --> 02:35:43,100
WATCHED OVER BY SOME PEOPLE IN
3561
02:35:43,100 --> 02:35:48,039
MY LIFE, LIKE MY SONS, HOLDEN
3562
02:35:48,039 --> 02:35:50,208
AND LELAND AND GRIFFIN.
3563
02:35:50,208 --> 02:35:51,209
I LOVE YOU.
3564
02:35:51,209 --> 02:35:56,714
MY MANAGER JOANN, JENNIFER
3565
02:35:56,714 --> 02:36:01,719
PLANT, AND MY BEST FIRST MEATE,
3566
02:36:01,719 --> 02:36:02,086
JEANNE.
3567
02:36:02,086 --> 02:36:03,855
THANK YOU, AGAIN, EACH ONE AND
3568
02:36:03,855 --> 02:36:04,088
ALL.
3569
02:36:04,088 --> 02:36:04,589
I'M SO GRATEFUL TO YOU.
3570
02:36:04,589 --> 02:36:15,967
GOOD NIGHT.
3571
02:36:15,967 --> 02:36:24,575
>> AND NOW, HERE ARE THE
3572
02:36:24,575 --> 02:36:26,143
NOMINEES FOR PERFORMANCE BY AN
3573
02:36:26,143 --> 02:36:29,847
ACTRESS IN A LEADING ROLE.
3574
02:36:29,847 --> 02:36:31,883
CATE BLANCHETT, "TAR."
3575
02:36:31,883 --> 02:36:34,018
>> YOU WANT TO DANCE THE MASK,
3576
02:36:34,018 --> 02:36:37,755
YOU MUST SERVICE THE COMPOSER.
3577
02:36:37,755 --> 02:36:42,426
YOU GOT TO SUBLIMATE YOURSELF.
3578
02:36:42,426 --> 02:36:45,062
YOU MUST IN FACT STAND IN FRONT
3579
02:36:45,062 --> 02:36:45,830
OF THE PUBLIC AND GOD AND
3580
02:36:45,830 --> 02:36:52,503
OBLITERATE YOURSELF.
3581
02:36:52,503 --> 02:36:58,309
>> ANA DE ARMAS, "BLONDE."
3582
02:36:58,309 --> 02:37:03,481
>> IMAGINE YOU BELONG.
3583
02:37:03,481 --> 02:37:04,015
PEOPLE LOVE YOU.
3584
02:37:04,015 --> 02:37:08,986
THEY WANT YOU.
3585
02:37:08,986 --> 02:37:09,654
JUST THAT ALONE IS WORTH
3586
02:37:09,654 --> 02:37:15,426
ANYTHING.
3587
02:37:15,426 --> 02:37:23,267
>> ANDREA RISEBOROUGH, "TO
3588
02:37:23,267 --> 02:37:23,701
LE
3589
02:37:23,701 --> 02:37:23,935
LESLIE."
3590
02:37:23,935 --> 02:37:25,603
>> I'M DONE WITH HIDING.
3591
02:37:25,603 --> 02:37:26,637
I'M DONE WITH BEING RUN OFF.
3592
02:37:26,637 --> 02:37:28,172
I WANT TO BE A GOOD MOMMA.
3593
02:37:28,172 --> 02:37:34,912
I WANT TO BE A GOOD MOMMA AGAIN.
3594
02:37:34,912 --> 02:37:35,680
>> MICHELLE WILLIAMS, "THE
3595
02:37:35,680 --> 02:37:38,816
FABLESMANS."
3596
02:37:38,816 --> 02:37:41,552
>> DESPITE MY COUNTLESS FAULTS,
3597
02:37:41,552 --> 02:37:43,054
I'M NOT RUINING EVERYTHING FOR
3598
02:37:43,054 --> 02:37:43,321
EVERYONE.
3599
02:37:43,321 --> 02:37:47,158
I'M GOING TO NOT BE SELFISH.
3600
02:37:47,158 --> 02:37:54,165
I'M GOING TO BE YOUR MOM.
3601
02:37:54,165 --> 02:37:56,434
>> MICHELLE YEOH, "EVERYTHING
3602
02:37:56,434 --> 02:37:57,735
EVERYWHERE ALL AT ONCE."
3603
02:37:57,735 --> 02:37:59,337
>> MAYBE THERE IS SOMETHING OUT
3604
02:37:59,337 --> 02:38:01,105
THERE, SOMETHING THAT EXPLAINS
3605
02:38:01,105 --> 02:38:04,575
WHY, NO MATTER WHAT, I STILL
3606
02:38:04,575 --> 02:38:07,745
WANT TO BE HERE WITH YOU.
3607
02:38:07,745 --> 02:38:10,414
I WILL ALWAYS WANT TO BE HERE
3608
02:38:10,414 --> 02:38:17,855
WITH YOU.
3609
02:38:17,855 --> 02:38:28,232
>> AND THE OSCAR GOES TO --
3610
02:38:28,232 --> 02:38:29,066
MICHELLE YEOH, "EVERYTHING
3611
02:38:29,066 --> 02:38:32,770
EVERYWHERE ALL AT ONCE."
3612
02:38:32,770 --> 02:38:36,540
>> AS A CHILD, MICHELLE YEOH
3613
02:38:36,540 --> 02:38:37,775
STUDIED TO BECOME A BALLET
3614
02:38:37,775 --> 02:38:40,077
DANCER, AND DESPITE HER CAREER
3615
02:38:40,077 --> 02:38:42,747
IN ACTION FILMS, HAS NO FORMAL
3616
02:38:42,747 --> 02:38:52,423
TRAINING IN MARTIAL ARTS.
3617
02:38:52,423 --> 02:39:17,848
>> OH.
3618
02:39:17,848 --> 02:39:19,283
THANK YOU.
3619
02:39:19,283 --> 02:39:23,821
THANK YOU.
3620
02:39:23,821 --> 02:39:25,756
FOR ALL THE LITTLE BOYS AND
3621
02:39:25,756 --> 02:39:30,694
GIRLS WHO LOOK LIKE ME WATCHING
3622
02:39:30,694 --> 02:39:31,195
TON
3623
02:39:31,195 --> 02:39:32,663
TONIGHT, THIS IS A BEACON OF
3624
02:39:32,663 --> 02:39:34,465
HOPE AND POSSIBILITIES.
3625
02:39:34,465 --> 02:39:38,969
THIS IS PROOF THAT DREAMS DREAM
3626
02:39:38,969 --> 02:39:41,572
BIG AND DREAMS DO COME TRUE.
3627
02:39:41,572 --> 02:39:44,008
AND LADIES, DON'T LET ANYBODY
3628
02:39:44,008 --> 02:39:47,278
TELL YOU YOU ARE EVER PAST YOUR
3629
02:39:47,278 --> 02:39:47,478
PRIME.
3630
02:39:47,478 --> 02:40:02,293
NEVER GIVE UP.
3631
02:40:02,293 --> 02:40:03,327
I WOULDN'T BE STANDING HERE
3632
02:40:03,327 --> 02:40:05,496
TONIGHT WITHOUT THE DANIELS,
3633
02:40:05,496 --> 02:40:06,964
WITHOUT A-24, WITHOUT MY AMAZING
3634
02:40:06,964 --> 02:40:10,101
CAST AND CREW, WITHOUT EVERYONE
3635
02:40:10,101 --> 02:40:12,369
WHO WAS INVOLVED WITH
3636
02:40:12,369 --> 02:40:13,003
"EVERYTHING EVERYWHERE ALL AT
3637
02:40:13,003 --> 02:40:16,974
ONCE."
3638
02:40:16,974 --> 02:40:23,214
BUT -- I HAVE TO DEDICATE THIS
3639
02:40:23,214 --> 02:40:24,849
TO MY MOM, ALL THE MOMS IN THE
3640
02:40:24,849 --> 02:40:28,352
WORLD, BECAUSE THEY ARE REALLY
3641
02:40:28,352 --> 02:40:30,888
THE SUPERHEROES, AND WITHOUT
3642
02:40:30,888 --> 02:40:31,689
THEM, NONE OF US WILL BE HERE
3643
02:40:31,689 --> 02:40:45,035
TONIGHT.
3644
02:40:45,035 --> 02:40:47,004
SHE'S 84, AND I'M TAKING THIS
3645
02:40:47,004 --> 02:40:47,738
HOME TO HER.
3646
02:40:47,738 --> 02:40:50,007
SHE'S WATCHING RIGHT NOW IN
3647
02:40:50,007 --> 02:40:53,244
MALAYSIA WITH MY FAMILY AND
3648
02:40:53,244 --> 02:40:53,477
FRIENDS.
3649
02:40:53,477 --> 02:40:54,411
I LOVE YOU GUYS.
3650
02:40:54,411 --> 02:40:57,214
I'M BRINGING THIS HOME TO YOU.
3651
02:40:57,214 --> 02:40:59,350
AND ALSO TO MY EXTENDED FAMILY
3652
02:40:59,350 --> 02:41:01,118
IN HONG KONG, WHERE I STARTED MY
3653
02:41:01,118 --> 02:41:02,553
CAREER.
3654
02:41:02,553 --> 02:41:03,754
THANK YOU FOR LETTING ME STAND
3655
02:41:03,754 --> 02:41:05,289
ON YOUR SHOULDERS, GIVING ME A
3656
02:41:05,289 --> 02:41:07,124
LEG UP SO THAT I COULD BE HERE
3657
02:41:07,124 --> 02:41:08,225
TODAY.
3658
02:41:08,225 --> 02:41:11,428
AND TO MY GODCHILDREN, TO MY
3659
02:41:11,428 --> 02:41:14,498
SISTERS, ALL OF THEM, TO MY
3660
02:41:14,498 --> 02:41:18,102
BROTHERS, OH, GOD, TO MY FAMILY.
3661
02:41:18,102 --> 02:41:19,103
THANK YOU.
3662
02:41:19,103 --> 02:41:20,738
THANK YOU.
3663
02:41:20,738 --> 02:41:22,606
THANK YOU TO THE ACADEMY, THIS
3664
02:41:22,606 --> 02:41:23,207
IS HISTORY IN THE MAKING.
3665
02:41:23,207 --> 02:41:34,451
THANK YOU.
3666
02:41:34,451 --> 02:41:46,964
>> Announcer: AND NOW, PLEASE
3667
02:41:46,964 --> 02:41:49,266
WELCOME ACADEMY AWARD NOMINEE
3668
02:41:49,266 --> 02:41:58,142
HARRISON FORD.
3669
02:41:58,142 --> 02:42:02,813
>> THANK YOU.
3670
02:42:02,813 --> 02:42:05,583
FROM INTIMATE STORIES
3671
02:42:05,583 --> 02:42:06,750
BLOCKBUSTERS, THE FILMS
3672
02:42:06,750 --> 02:42:10,988
NOMINATED FOR OUR FINAL AWARD
3673
02:42:10,988 --> 02:42:12,223
TONIGHT BROUGHT MOVIE THEATERS
3674
02:42:12,223 --> 02:42:16,093
AROUND THE WORLD BACK TO
3675
02:42:16,093 --> 02:42:16,360
THEATERS.
3676
02:42:16,360 --> 02:42:19,597
WHETHER PROVIDING A FEW HOURS OF
3677
02:42:19,597 --> 02:42:20,231
WELCOME ESCAPE, OR THE
3678
02:42:20,231 --> 02:42:23,267
OPPORTUNITY TO CONNECT
3679
02:42:23,267 --> 02:42:25,236
EMOTIONALLY WITH DIFFERENT
3680
02:42:25,236 --> 02:42:29,306
CULTURES.
3681
02:42:29,306 --> 02:42:32,610
OR INSPIRING REFLECTION,
3682
02:42:32,610 --> 02:42:33,811
ENCOURAGING EMPATHY.
3683
02:42:33,811 --> 02:42:36,680
MOVIES CAN TRANSFORM OUR LIVES.
3684
02:42:36,680 --> 02:42:41,852
THE MOVIES WE HONOR TONIGHT HAVE
3685
02:42:41,852 --> 02:42:42,319
REAL POWER.
3686
02:42:42,319 --> 02:42:47,258
ONCE AGAIN, HERE ARE THE
3687
02:42:47,258 --> 02:42:47,791
NOMINEES FOR BEST PICTURE.
3688
02:42:47,791 --> 02:42:50,294
"ALL QUIET ON THE WESTERN FRONT"
3689
02:42:50,294 --> 02:42:51,862
"AVATAR: THE WAY OF WATER"
3690
02:42:51,862 --> 02:42:53,931
"THE BANSHEES OF INISHERIN"
3691
02:42:53,931 --> 02:42:57,067
"ELVIS"
3692
02:42:57,067 --> 02:42:57,668
"EVERYTHING EVERYWHERE ALL AT
3693
02:42:57,668 --> 02:42:59,236
ONCE"
3694
02:42:59,236 --> 02:43:01,105
"THE FABELMANS"
3695
02:43:01,105 --> 02:43:03,407
"TAR"
3696
02:43:03,407 --> 02:43:06,043
"TOP GUN: MAVERICK"
3697
02:43:06,043 --> 02:43:11,215
"TRIANGLE OF SADNESS"
3698
02:43:11,215 --> 02:43:16,587
"WOMEN TALKING"
3699
02:43:16,587 --> 02:43:20,691
AND THE OSCAR GOES TO --
3700
02:43:20,691 --> 02:43:22,159
"EVERYTHING EVERYWHERE ALL AT
3701
02:43:22,159 --> 02:43:30,701
ONCE."
3702
02:43:30,701 --> 02:43:33,270
>> NOMINATED FOR 11 ACADEMY
3703
02:43:33,270 --> 02:43:34,772
AWARDS, "EVERYTHING EVERYWHERE
3704
02:43:34,772 --> 02:43:37,174
ALL AT ONCE" WON SEVEN OSCARS
3705
02:43:37,174 --> 02:43:38,442
TONIGHT FOR ACTOR IN A
3706
02:43:38,442 --> 02:43:39,910
SUPPORTING ROLE, ACTRESS IN A
3707
02:43:39,910 --> 02:43:41,478
SUPPORTING ROLE, ORIGINAL
3708
02:43:41,478 --> 02:43:43,681
SCREENPLAY, FILM EDITING,
3709
02:43:43,681 --> 02:43:45,449
DIRECTING, ACTRESS IN A LEADING
3710
02:43:45,449 --> 02:43:57,728
ROLE, AND BEST PICTURE.
3711
02:43:57,728 --> 02:44:12,343
>> THIS FEELS INCREDIBLE.
3712
02:44:12,343 --> 02:44:16,180
THERE IS NO MOVIE WITHOUT OUR
3713
02:44:16,180 --> 02:44:17,614
BRILLIANT AND BIG-HEARTED CAST
3714
02:44:17,614 --> 02:44:18,248
AND CREW.
3715
02:44:18,248 --> 02:44:20,184
BUT NOT JUST THESE BEAUTIFUL
3716
02:44:20,184 --> 02:44:22,720
SOULS HERE, ALSO UP THERE AND IN
3717
02:44:22,720 --> 02:44:24,822
LITTLE TOKYO, WE SEE YOU.
3718
02:44:24,822 --> 02:44:27,391
SO, THIS AWARD IS OURS.
3719
02:44:27,391 --> 02:44:32,062
I REALLY -- IT IS -- IT'S
3720
02:44:32,062 --> 02:44:33,030
INTIMIDATING SPEAKING UP HERE,
3721
02:44:33,030 --> 02:44:35,332
LET ME JUST TELL YOU THAT.
3722
02:44:35,332 --> 02:44:36,533
I NEVER THOUGHT I WOULD GET TO
3723
02:44:36,533 --> 02:44:38,669
SAY THIS, SO I SAY IT WITH ONE
3724
02:44:38,669 --> 02:44:39,837
VOICE WITH ALL THESE PEOPLE,
3725
02:44:39,837 --> 02:44:41,438
THANK YOU TO THE ACADEMY.
3726
02:44:41,438 --> 02:44:43,707
A-24, THANK YOU SO MUCH.
3727
02:44:43,707 --> 02:44:45,342
YOU SAW OUR WEIRDNESS AND
3728
02:44:45,342 --> 02:44:47,144
SUPPORTED US FOR A YEAR, THAT'S
3729
02:44:47,144 --> 02:44:48,846
INCREDIBLE, THANK YOU.
3730
02:44:48,846 --> 02:44:52,349
TO MY BRILLIANT AND BEAUTIFUL
3731
02:44:52,349 --> 02:44:55,486
WIFE, IF ALL THE SHINY STUFF AND
3732
02:44:55,486 --> 02:44:57,221
TUXEDOS GOES AWAY, I WOULD LOVE
3733
02:44:57,221 --> 02:44:59,223
TO DO LAUNDRY AND TAXES WITH YOU
3734
02:44:59,223 --> 02:45:00,824
FOR THE REST OF MY LIFE.
3735
02:45:00,824 --> 02:45:02,860
BUT THIS IS FOR MY DAD, WHO LIKE
3736
02:45:02,860 --> 02:45:04,261
SO MANY IMMIGRANT PARENTS DIED
3737
02:45:04,261 --> 02:45:07,164
YOUNG AND HE IS SO PROUD OF ME,
3738
02:45:07,164 --> 02:45:13,203
NOT BECAUSE OF THIS, BUT BECAUSE
3739
02:45:13,203 --> 02:45:16,039
WE MADE THIS MOVIE WITH WHAT HE
3740
02:45:16,039 --> 02:45:17,441
TAUGHT ME TO DO, WHICH IS NO
3741
02:45:17,441 --> 02:45:21,145
PERSON IS MORE IMPORTANT THAN
3742
02:45:21,145 --> 02:45:21,378
PROFITS.
3743
02:45:21,378 --> 02:45:22,479
AND NO ONE IS MORE IMPORTANT
3744
02:45:22,479 --> 02:45:23,747
THAN ANYONE ELSE.
3745
02:45:23,747 --> 02:45:25,816
AND THESE WEIRDOS RIGHT HERE
3746
02:45:25,816 --> 02:45:30,587
SUPPORTED ME IN DOING THAT.
3747
02:45:30,587 --> 02:45:32,756
MEMORY ETERNAL.
3748
02:45:32,756 --> 02:45:33,857
DANIELS, I DON'T KNOW WHAT TO
3749
02:45:33,857 --> 02:45:34,024
SAY.
3750
02:45:34,024 --> 02:45:35,859
I LOVE YOU GUYS.
3751
02:45:35,859 --> 02:45:36,393
YOU JUST WON BEST PICTURE.
3752
02:45:36,393 --> 02:45:37,928
>> HEY!
3753
02:45:37,928 --> 02:45:40,097
>> WE'VE SAID ENOUGH TONIGHT.
3754
02:45:40,097 --> 02:45:41,331
THANK YOU SO MUCH TO EVERYONE
3755
02:45:41,331 --> 02:45:41,665
HERE.
3756
02:45:41,665 --> 02:45:42,866
YOU HAVE ALL INSPIRED ME.
3757
02:45:42,866 --> 02:45:44,401
ONE OF THE THINGS THAT I
3758
02:45:44,401 --> 02:45:46,036
REALIZED GROWING UP IS THAT ONE
3759
02:45:46,036 --> 02:45:47,905
OF THE BEST THINGS WE CAN DO FOR
3760
02:45:47,905 --> 02:45:50,307
EACH OTHER IS SHELTER EACH OTHER
3761
02:45:50,307 --> 02:45:52,042
FROM THE CHAOS OF THIS CRAZY
3762
02:45:52,042 --> 02:45:52,242
WORLD.
3763
02:45:52,242 --> 02:45:53,744
THANK YOU TO THE STORYTELLERS
3764
02:45:53,744 --> 02:45:54,778
HERE WHO DID THAT FOR ME.
3765
02:45:54,778 --> 02:45:56,547
THE WORLD IS CHANGING RAPIDLY
3766
02:45:56,547 --> 02:45:57,815
AND I FEAR OUR STORIES AREN'T
3767
02:45:57,815 --> 02:46:00,684
KEEPING AT PACE AND I --
3768
02:46:00,684 --> 02:46:02,119
SOMETIMES IT'S A LITTLE SCARY
3769
02:46:02,119 --> 02:46:03,687
KNOWING THAT MOVIES MOVE AT THE
3770
02:46:03,687 --> 02:46:05,122
RATE OF YEARS AND THE WORLD ON
3771
02:46:05,122 --> 02:46:06,723
THE INTERNET IS MOVING AT THE
3772
02:46:06,723 --> 02:46:09,526
RATE OF MILISECONDS, BUT I HAVE
3773
02:46:09,526 --> 02:46:11,094
GREAT FAITH IN OUR STORIES.
3774
02:46:11,094 --> 02:46:12,463
THESE STORIES HAVE CHANGED MY
3775
02:46:12,463 --> 02:46:15,699
LIFE AND THEY HAVE DONE THAT FOR
3776
02:46:15,699 --> 02:46:16,333
JEB
3777
02:46:16,333 --> 02:46:16,633
GENERATIONS.
3778
02:46:16,633 --> 02:46:18,302
HAVE A GREAT NIGHT, GUYS, THANK
3779
02:46:18,302 --> 02:46:18,836
YOU SO MUCH.
3780
02:46:18,836 --> 02:46:20,037
>> THANK YOU, EVERYONE, HAVE A
3781
02:46:20,037 --> 02:46:20,337
GREAT NIGHT.
3782
02:46:20,337 --> 02:46:29,947
THANK YOU FOR WATCHING!
3783
02:46:29,947 --> 02:46:30,681
>> WELL, THAT'S IT.
3784
02:46:30,681 --> 02:46:33,750
WE DID IT.
3785
02:46:33,750 --> 02:46:34,852
GREAT WORK, CRISIS TEAM.
3786
02:46:34,852 --> 02:46:36,286
THANKS TO THE ACADEMY FOR HAVING
3787
02:46:36,286 --> 02:46:36,987
ME AGAIN.
3788
02:46:36,987 --> 02:46:38,088
IT'S BEEN AN HONOR TO BE HERE
3789
02:46:38,088 --> 02:46:38,555
WITH YOU.
3790
02:46:38,555 --> 02:46:43,126
I WANT TO THANK GLENN WEISS,
3791
02:46:43,126 --> 02:46:46,096
MOLLY, RICKEY MINOR, OUR
3792
02:46:46,096 --> 02:46:48,298
ORCHESTRA, OUR ASL INTERPRETERS
3793
02:46:48,298 --> 02:46:51,235
AND THE ENTIRE CREW.
3794
02:46:51,235 --> 02:46:53,103
THANK YOU TO EVERYONE IN THE
3795
02:46:53,103 --> 02:46:53,370
CREW.
3796
02:46:53,370 --> 02:46:55,405
I'M SORRY TO MATT DAMON, WE RAN
3797
02:46:55,405 --> 02:46:56,373
OUT OF TIME.
3798
02:46:56,373 --> 02:46:57,541
THANK YOU FOR WATCHING.
3799
02:46:57,541 --> 02:46:59,309
WE NOW JOIN "GOOD MORNING
3800
02:46:59,309 --> 02:46:59,910
AMERICA" ALREADY IN PROGRESS.
3801
02:46:59,910 --> 02:47:08,385
GOOD NIGHT.
3802
02:47:08,385 --> 02:47:20,964
>> Announcer: THE ACADEMY
3803
02:47:20,964 --> 02:47:22,032
GRATEFULLY ACKNOWLEDGES OUR
3804
02:47:22,032 --> 02:47:23,100
AIRLINE PARTNER DELTA AIRLINES
3805
02:47:23,100 --> 02:47:24,635
FOR PROVIDING AIR TRANSPORTATION
3806
02:47:24,635 --> 02:47:28,338
FOR SOME OF THIS EVENING'S
3807
02:47:28,338 --> 02:47:28,906
PRESENTERS, PERFORMERS, AND
3808
02:47:28,906 --> 02:47:30,440
NOMINEES.
3809
02:47:30,440 --> 02:47:34,711
LED PROVIDED IN PART BY SENOVVA.
3810
02:47:34,711 --> 02:50:23,847
>> Announcer: ALL MEMBERS OF THE
3811
02:50:23,847 --> 02:50:24,448
ACADEMY WHO ARE ELIGIBLE ARE
3812
02:50:24,448 --> 02:50:24,915
INVITED TO VOTE THEIR
3813
02:50:24,915 --> 02:50:25,949
NOMINATIONS FOR BEST PICTURE.
3814
02:50:25,949 --> 02:50:27,250
IN MOST OTHER CATEGORIES, THE
3815
02:50:27,250 --> 02:50:28,085
NOMINATIONS ARE DECIDED BY A
3816
02:50:28,085 --> 02:50:29,152
VOTE OF THE MEMBERS WORKING IN
3817
02:50:29,152 --> 02:50:31,121
THAT SPECIFIC CATEGORY.
3818
02:50:31,121 --> 02:50:31,755
THEN THE ENTIRE MEMBERSHIP
3819
02:50:31,755 --> 02:50:33,356
CHOOSES FROM THOSE NOMINATIONS
3820
02:50:33,356 --> 02:50:34,925
THE RECIPIENTS OF THE OSCARS.
3821
02:50:34,925 --> 02:50:36,560
AND FINALLY, THE RESULTS OF ALL
3822
02:50:36,560 --> 02:50:37,594
THE SECRET VOTING ARE KNOWN ONLY
3823
02:50:37,594 --> 02:50:39,129
TO THE INDEPENDENT ACCOUNTING
3824
02:50:39,129 --> 02:50:40,230
FIRM OF PRICEWATERHOUSECOOPERS
3825
02:50:40,230 --> 02:50:41,264
UNTIL THE SEALED ENVELOPES ARE
3826
02:50:41,264 --> 02:50:44,801
OPENED ON THE AIR.
228726
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.