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>>> THERE'S NO PLACE LIKE HOME.
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THERE'S NO PLACE LIKE HOME.
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♪
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♪
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♪
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>> OF ALL THE PLACES I COULD BE,
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I WOULD ALWAYS WANT TO BE HERE
WITH YOU.
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[ CHEERS AND APPLAUSE ]
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♪ SOMEWHERE
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OVER THE RAINBOW ♪
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♪ WAY UP HIGH
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THERE'S A LAND ♪
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♪ THAT I'VE HEARD OF ONCE
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IN A LULLABY ♪
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♪ SOMEWHERE
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OVER THE RAINBOW ♪
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♪ SKIES ARE BLUE
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AND THE DREAMS THAT YOU
DARE TO DREAM
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REALLY DO COME TRUE ♪
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♪ SOMEDAY I'LL WISH
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UPON A STAR ♪
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♪ AND WAKE UP WHERE
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THE CLOUDS ARE FAR BEHIND ME ♪
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♪ WHERE TROUBLES MELT
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LIKE LEMON DROPS ♪
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♪ OH WAY ABOVE
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THE CHIMNEY TOPS ♪
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♪ THAT'S WHERE YOU'LL
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FIND ME ♪
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♪ SOMEWHERE
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OVER THE RAINBOW ♪
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♪ BLUEBIRDS FLY
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BIRDS FLY ♪
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♪ OVER THE RAINBOW
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WHY THEN, OH WHY CAN'T I ♪
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♪ IF HAPPYLITTLE
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BLUEBIRDS FLY
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BEYOND THE RAINBOW ♪
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♪ WHY, OH WHY
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CAN'T I ♪
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[ CHEERS AND APPLAUSE ]
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♪
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♪ WHEN I THINK OF HOME
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I THINK OF A PLACE ♪
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♪ WHERE THERE'S LOVE
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OVERFLOWING ♪
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♪ I WISH I WAS HOME
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I WISH I WAS BACK THERE ♪
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♪ WITH THE THINGS
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I'VE BEEN KNOWING ♪
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♪ WIND THAT MAKES
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THE TALL GRASS BEND
INTO LEANING ♪
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♪ SUDDENLY
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THE RAINDROPS THAT FALL ♪
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♪ THEY HAVE A MEANING
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SPRINKLING THE SCENE
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MAKES IT ALL CLEAN ♪
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♪ SUDDENLY, MY WORLD'S GONE
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AND CHANGED ITS FATE ♪
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♪ BUT I STILL KNOW
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WHERE I'M GOING ♪
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♪ I HAVE HAD MYMIND
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SPUN AROUND IN SPACE ♪
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♪ AND YET I WATCHED IT
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GROWING ♪
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♪ AND I'VELEARNED
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THAT WE MUST LOOK INSIDE ♪
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♪ OUR HEARTS TO FIND
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A WORLD FULL OF LOVE ♪
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♪ LIKE YOURS
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LIKE MINE
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LIKE HOME ♪
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[ CHEERS AND APPLAUSE ]
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♪
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♪ UNLIMITED
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TOGETHER WE'RE UNLIMITED ♪
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♪ TOGETHERWE'LL BE
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THE GREATEST TEAM
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THERE'S EVER BEEN ♪
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♪ GLINDA, DREAMSTHE WAY
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WE PLANNED 'EM
IF WE WORK IN TANDEM ♪
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♪ THERE'S NO FIGHT
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WE CANNOT WIN ♪
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♪ JUST YOU AND I
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DEFYING GRAVITY ♪
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♪ WITH YOU AND I
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DEFYING GRAVITY ♪
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♪ THEY'LL NEVER
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BRING US DOWN ♪
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♪ SO IF YOU CARE TO FIND ME
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LOOK TO THE WESTERN SKY ♪
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♪ AS SOMEONE TOLD ME LATELY
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EVERYONE DESERVES
THE CHANCE TO FLY ♪
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♪ AND IF I'M FLYING SOLO
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AT LEAST I'M FLYING FREE ♪
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♪ TOTHOSE WHO'DGROUND ME
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TAKE A MESSAGE BACK FROM ME ♪
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♪ TELL THEM HOW I AM
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DEFYING GRAVITY ♪
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♪ I'M FLYING HIGH
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DEFYING GRAVITY ♪
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♪ AND SOON I'LL MATCH THEM
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IN RENOWN ♪
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♪ AND NOBODY IN ALLOF OZ
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NO WIZARD THAT THERE IS OR WAS ♪
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♪ IS EVERGONNA
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BRING ME DOWN ♪
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♪ I HOPE YOU'RE HAPPY
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LOOK AT HER ♪
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♪ SHE'S WICKED
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GET HER ♪
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♪ BRING ME
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NO ONE MOURNS THE WICKED ♪
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♪ DOWN
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SO WE'VE GOT TO BRING HER DOWN ♪
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♪
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[ CHEERS AND APPLAUSE ]
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[ CHEERS AND APPLAUSE ]
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>> CONAN, YOU'RE ON. CONAN?
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CONAN.
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♪
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♪
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>> NOW, WHERE'S THAT SHOE?
COME ON, COME ON.
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COME ON.
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>> CONAN, EVERYONE'S WAITING.
CONAN?
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>> OKAY, GIVE ME A MINUTE.
IT'S DOWN THERE. OKAY. I SEE YOU.
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COME ON, SHOE.
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♪ WHERE ARE YOU
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HA, HA! HA, HA, HA.
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>> Announcer: PLEASE WELCOME
FOUR-TIME OSCAR VIEWER CONAN
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O'BRIEN.
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♪
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[ CHEERS AND APPLAUSE ]
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>> THANK YOU VERY MUCH!
THANK YOU. PLEASE SIT DOWN.
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[ LAUGHTER ]
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SERIOUSLY, SIT DOWN.
YOU NEVER STOOD. OKAY. ALL RIGHT.
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HI, DEMI. HOW ARE YOU?
THAT WAS WEIRD.
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[ LAUGHTER ]
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YEAH, AWKWARD.
I'M MISSING SOME CAR KEYS?
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ANYWAY. THIS IS VERY EXCITING.
HELLO.
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I'M YOUR HOST, CONAN O'BRIEN.
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[ CHEERS AND APPLAUSE ]
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YEAH. THANK YOU. THANK YOU.
I KNOW WHAT YOU'RE THINKING, DID
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CONAN NOT HAVE WORK DONE?
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[ LAUGHTER ]
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SERIOUSLY. HE LOOKS HIS AGE.
I SHOULD HAVE DONE SOMETHING.
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I AM EXCITED TO BE HERE.
WELCOME TO THE 97th ACADEMY
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AWARDS.
IT'S HOLLYWOOD'S BIGGEST NIGHT
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THAT STARTS AT 4:00 IN THE
AFTERNOON.
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[ LAUGHTER ]
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EVERYONE HERE JUST HAD BRUNCH.
I DON'T UNDERSTAND IT.
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BUT IT'S THE OSCARS, AND I SAY
LET'S DO THIS THING.
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ARE YOU READY TO GO? I AM.
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[ CHEERS AND APPLAUSE ]
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I'M WALKING TO SHOW I HAVE
CONTROL OF THE STAGE.
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A COMPLETE UNKNOWN. A REAL --
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[ CHEERS AND APPLAUSE ]
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A REAL PAIN. NOSFERATU.
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[ APPLAUSE ]
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THESE ARE JUST SOME OF THE NAMES
I WAS CALLED ON THE RED CARPET.
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[ LAUGHTER ]
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I THINK TWO ARE FAIR.
WE'RE HERE TO CELEBRATE THE
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MOVIE INDUSTRY.
WHAT A YEAR FOR THE MOVIE
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INDUSTRY.
NETFLIX LEADS ALL STUDIOS WITH
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AN IMPRESSIVE 18, COUNT THEM, 18
PRICE INCREASES.
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[ LAUGHTER ]
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YES.
AND I THINK THEY CAN BEAT THAT
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NEXT YEAR.
AND HOW ABOUT THOSE LADIES,
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ARIANA AND CYNTHIA?
WEREN'T THEY AMAZING?
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[ CHEERS AND APPLAUSE ]
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THEY WERE INCREDIBLE.
"WICKED" IS NOMINATED TONIGHT IN
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TEN CATEGORIES. YEAH. YEAH!
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[ APPLAUSE ]
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YEAH! IT'S THE PERFECT MOVIE FOR
ANYONE WHO'S EVER FINISHED
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WATCHING "THE WIZARD OF OZ" AND
THOUGHT, SURE, BUT WHERE DID ALL
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THE MINOR CHARACTERS GO TO
COLLEGE?
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[ LAUGHTER ]
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THAT'S THE STORY.
I LOVE "THE BRUTALIST."
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I REALLY DID.
I LOVED "THE BRUTALIST."
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[ APPLAUSE ]
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"THE BRUTALIST" ALSO RECEIVED
TEN NOMINATIONS. YEAH.
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NO, I LOVED "THE BRUTALIST."
I REALLY DID.
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I DIDN'T WANT IT TO END.
AND LUCKILY IT DIDN'T.
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[ LAUGHTER ]
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"CONCLAVE." I'M A CATHOLIC BOY.
I LOVED "CONCLAVE." YEAH.
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[ APPLAUSE ]
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THE MOVIE "CONCLAVE" IS
NOMINATED FOR BEST PICTURE
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TONIGHT.
IF YOU HAVEN'T SEEN "CONCLAVE,"
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ITS LOG LINE IS "A MOVIE ABOUT
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THE CATHOLIC CHURCH, BUT DON'T
WORRY."
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[ LAUGHTER ]
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YOU'VE GOT TO HOLD ON THAT ONE
AND JUST WAIT. YEAH.
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AND THEN IT COMES ROLLING BACK
AT YOU.
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RALPH FIENNES IS EXCELLENT IN
"CONCLAVE." YEAH.
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[ APPLAUSE ]
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YOU ARE. EXCELLENT. TRUE FACT.
THIS IS ACTUALLY RALPH FIENNES'
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THIRD TIME BEING NOMINATED. YEAH.
IF HE DOESN'T -- IF HE DOESN'T
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WIN TONIGHT, WE ALL GET TO CALL
HIM "RALPH."
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"HEY, RALPH, GET ME A TOWEL."
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[ LAUGHTER ]
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CAN'T TELL IF HE'S LAUGHING OR
NOT. IT DOESN'T MATTER.
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[ LAUGHTER ]
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NOT GETTING PAID A LOT.
HEY, YOU KNOW WHAT?
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I LOVED "ANORA." I REALLY DID.
YEAH.
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[ CHEERS AND APPLAUSE ]
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YEAH. TRUE STORY.
LITTLE FACT FOR YOU.
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"ANORA" USES THE F WORD 479
TIMES. THAT'S THREE MORE THAN THE
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RECORD SET BY KARLA SOFIA
GASCON'S PUBLICIST.
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[ LAUGHTER ]
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YOU TWEETED WHAT?
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[ CHEERS AND APPLAUSE ]
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[ LAUGHTER ]
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I'M HAVING FUN.
KARLA SOFIA GASCON IS HERE
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TONIGHT. AND --
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[ APPLAUSE ]
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YEAH. YEAH.
AND KARLA, IF YOU ARE GOING TO
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TWEET ABOUT THE OSCARS,
REMEMBER, MY NAME IS JIMMY
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KIMMEL.
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[ LAUGHTER ]
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BEFORE WE GO ANY FURTHER I WANT
YOU TO KNOW, WE DID NOT USE A.I.
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TO MAKE THIS SHOW. NO A.I.
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[ APPLAUSE ]
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YEAH. NO A.I.! YEAH.
WE WOULD NEVER DO THAT.
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WE USED CHILD LABOR.
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[ LAUGHTER ]
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HEY, THEY'RE STILL PEOPLE.
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OF COURSE WE LOST LITTLE BILLY,
BUT THAT'S SAD. ANYWAY.
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ANOTHER MOVIE NOMINATED FOR BEST
PICTURE IS "I'M STILL HERE."
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INCREDIBLE FILM.
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[ CHEERS AND APPLAUSE ]
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YEAH.
YEAH, "I'M STILL HERE" IS ABOUT
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A WOMAN WHO FORGES AHEAD ALONE
AFTER HER HUSBAND GOES MISSING.
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YEAH.
WHEN MY WIFE SAW IT SHE CALLED
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IT THE FEEL-GOOD MOVIE OF THE
YEAR.
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[ LAUGHTER ]
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THANKS, ONE GUY. HEY.
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[ LAUGHTER ]
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TIMMY CHALAMET IS UP FOR BEST
ACTOR TONIGHT. YOU'RE AMAZING.
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[ APPLAUSE ]
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AND YOU LOOK AMAZING.
I BOW TO YOU. I LOVE THAT SUIT.
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YOU WILL NOT GET HIT ON YOUR
BIKE TONIGHT.
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[ LAUGHTER ]
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FAITH. AMAZING ACTOR.
TIMOTHEE IS NOMINATED FOR HIS
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00:16:19,249 --> 00:16:21,652
PORTRAYAL OF BOB DYLAN. YEAH.
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00:16:21,652 --> 00:16:21,952
[ APPLAUSE ]
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BOB DYLAN WANTED TO BE HERE
TONIGHT, BUT NOT THAT BADLY.
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[ LAUGHTER ]
248
00:16:32,529 --> 00:16:39,870
TIMOTHEE CHALAMET IS ALSO IN
"DUNE TWO." YEAH.
249
00:16:39,870 --> 00:16:40,237
[ APPLAUSE ]
250
00:16:40,237 --> 00:16:45,909
"DUNE TWO" IS NOMINATED FOR BEST
PICTURE, DIRECTOR DENIS
251
00:16:45,909 --> 00:16:49,246
VILLENEUVE. AND GUESS WHAT?
I'M TOLD HE BANNED SMARTPHONES
252
00:16:49,246 --> 00:16:53,817
ON THE SET OF "DUNE TWO."
DID YOU KNOW THAT? YEAH.
253
00:16:53,817 --> 00:16:58,755
APPARENTLY, HIS ACTORS KEPT
GOOGLING "WHAT IS THIS MOVIE
254
00:16:58,755 --> 00:16:59,156
ABOUT?"
255
00:16:59,156 --> 00:17:03,026
[ LAUGHTER ]
256
00:17:03,026 --> 00:17:06,029
WE'LL HANG AFTERWARDS, TIMMY.
IT'S GOING TO BE FUN.
257
00:17:06,029 --> 00:17:07,230
THAT WAS A NO.
258
00:17:07,230 --> 00:17:07,531
[ LAUGHTER ]
259
00:17:07,531 --> 00:17:10,634
YOU KNOW, ONE OF MY FAVORITE
MOVIES DIDN'T GET NOMINATED THIS
260
00:17:10,634 --> 00:17:15,105
YEAR, "BABYGIRL." YEAH.
I LOVE THAT FILM.
261
00:17:15,105 --> 00:17:15,839
[ APPLAUSE ]
262
00:17:15,839 --> 00:17:19,142
YEAH.
IN THE FILM "BABYGIRL" ANTONIO
263
00:17:19,142 --> 00:17:23,080
BANDERAS PLAYS A MAN WHO DOESN'T
KNOW HOW TO GIVE HIS WIFE AN
264
00:17:23,080 --> 00:17:24,081
ORGASM.
BANDERAS DESCRIBED IT AS THE
265
00:17:24,081 --> 00:17:31,188
MOST CHALLENGING ROLE OF HIS
CAREER.
266
00:17:31,188 --> 00:17:31,488
[ LAUGHTER ]
267
00:17:31,488 --> 00:17:34,658
YEAH.
SHOULD HAVE COME TO ME, MAN.
268
00:17:34,658 --> 00:17:38,695
SHOULD HAVE COME TO ME.
269
00:17:38,695 --> 00:17:40,864
[ LAUGHTER ]
270
00:17:40,864 --> 00:17:45,435
HEY, BIG NEWS RECENTLY.
AMAZON HAS TAKEN OVER THE 007
271
00:17:45,435 --> 00:17:48,405
FRANCHISE.
AND THEY JUST ANNOUNCED THE NEXT
272
00:17:48,405 --> 00:17:51,508
JAMES BOND. DID YOU KNOW THAT?
YEAH. IT'S AMAZON SENIOR VICE
273
00:17:51,508 --> 00:17:58,415
PRESIDENT OF GLOBAL AFFAIRS,
274
00:17:58,415 --> 00:18:04,121
STEVE BEFZKY.
275
00:18:04,121 --> 00:18:06,056
[ LAUGHTER ]
276
00:18:06,056 --> 00:18:11,795
LADIES LOVE HIM.
SPEAKING OF AMAZON, WE HAVE SOME
277
00:18:11,795 --> 00:18:14,931
FOOTAGE OF AMAZON CHIEF JEFF
BEZOS ARRIVING TONIGHT ON THE
278
00:18:14,931 --> 00:18:17,467
RED CARPET. THIS IS GREAT.
LET'S SEE IF WE CAN GET OUT
279
00:18:17,467 --> 00:18:19,469
THERE. AND HERE HE COMES.
280
00:18:19,469 --> 00:18:22,305
[ LAUGHTER ]
281
00:18:22,305 --> 00:18:27,844
YEAH. THERE HE IS.
HE SEEMS UNDAMAGED. HEY.
282
00:18:27,844 --> 00:18:33,517
AT LEAST HE MADE IT.
WAIT, WHERE'S JEFF?
283
00:18:33,517 --> 00:18:39,856
WHAT HAPPENED TO MR. BEZOS?
284
00:18:39,856 --> 00:18:47,097
OH, FOR GOD'S SAKE. WHY? WHY!
285
00:18:47,097 --> 00:18:52,669
LOOK FOR HIM ON EBAY NEXT WEEK.
LET ME EXPLAIN WHAT WE'RE DOING
286
00:18:52,669 --> 00:18:54,204
TONIGHT.
WE HAVE A GREAT SHOW, BUT BEFORE
287
00:18:54,204 --> 00:18:57,574
WE CONTINUE THERE ARE A FEW
HOUSEKEEPING RULES I'M
288
00:18:57,574 --> 00:19:00,844
IMPLEMENTING TO KEEP THE OSCARS
RUNNING SMOOTHLY. OSCAR?
289
00:19:00,844 --> 00:19:03,513
FIRST, IF YOUR ACCEPTANCE SPEECH
GOES TOO LONG, INSTEAD OF
290
00:19:03,513 --> 00:19:07,017
PLAYING YOU OFF WITH MUSIC WE
HAVE SOMETHING MUCH MORE
291
00:19:07,017 --> 00:19:09,986
POWERFUL.
WE'LL CUT TO JOHN LITHGOW IN THE
292
00:19:09,986 --> 00:19:16,026
AUDIENCE LOOKING NOT ANGRY BUT
SLIGHTLY DISAPPOINTED.
293
00:19:16,026 --> 00:19:28,839
[ LAUGHTER ]
294
00:19:28,839 --> 00:19:29,139
[ APPLAUSE ]
295
00:19:29,139 --> 00:19:30,874
THAT JUST FREEZES YOU IN YOUR
TRACKS.
296
00:19:30,874 --> 00:19:33,343
I COULD NOT KEEP SPEAKING IF I
SAW THAT. I COULDN'T.
297
00:19:33,343 --> 00:19:37,781
THAT'S AMAZING. THANK YOU, SIR.
AND IF YOU STILL WON'T GET OFF
298
00:19:37,781 --> 00:19:39,950
THE STAGE, I'M GOING TO PLAY
HARDBALL.
299
00:19:39,950 --> 00:19:44,120
I'M GOING TO SHOW ONE OF YOUR
OLD HEADSHOTS. OKAY?
300
00:19:44,120 --> 00:19:51,828
THIS MEANS YOU, GUY PEARCE.
THERE YOU ARE.
301
00:19:51,828 --> 00:19:52,128
[ LAUGHTER ]
302
00:19:52,128 --> 00:19:56,433
I LOVED YOU WITH GUNS N' ROSES.
YOU WERE AMAZING.
303
00:19:56,433 --> 00:20:00,837
IT MEANS -- IT MEANS YOU, ZOE
SALDANA.
304
00:20:00,837 --> 00:20:04,774
THAT'S A NICE HEADSHOT.
305
00:20:04,774 --> 00:20:05,208
[ APPLAUSE ]
306
00:20:05,208 --> 00:20:08,345
AND IT MEANS YOU, TIMOTHEE
CHALAMET.
307
00:20:08,345 --> 00:20:16,353
[ LAUGHTER ]
308
00:20:16,353 --> 00:20:20,323
[ APPLAUSE ]
309
00:20:20,323 --> 00:20:25,162
YOU KNOW, I DID THAT TO THEM,
AND SO IT'S ONLY FAIR TO DO IT
310
00:20:25,162 --> 00:20:29,199
TO ME. LET'S SHOW IT. COME ON.
THERE YOU GO.
311
00:20:29,199 --> 00:20:29,833
[ LAUGHTER ]
312
00:20:29,833 --> 00:20:32,636
YEAH.
THAT WAS TAKEN WHEN I WAS 38
313
00:20:32,636 --> 00:20:34,571
YEARS OLD.
314
00:20:34,571 --> 00:20:34,871
[ LAUGHTER ]
315
00:20:34,871 --> 00:20:41,478
WHAT DID YOU THINK OF THAT BIT,
MR. LITHGOW?
316
00:20:41,478 --> 00:20:45,882
[ LAUGHTER ]
317
00:20:45,882 --> 00:20:52,122
HE'S STILL COMMITTING. I LOVE IT.
THAT'S ACTING. THAT'S ACTING!
318
00:20:52,122 --> 00:20:55,725
AND FINALLY, FOR SUCH A
PRESTIGIOUS NIGHT IT'S IMPORTANT
319
00:20:55,725 --> 00:20:58,595
THAT EVERYONE IS PROPERLY
DRESSED. OKAY?
320
00:20:58,595 --> 00:21:04,834
YOU'RE DRESSED WELL. ADAM.
321
00:21:04,834 --> 00:21:11,808
>> CONAN.
WHAT'S UP, MY BROTHER?
322
00:21:11,808 --> 00:21:12,108
[ LAUGHTER ]
323
00:21:12,108 --> 00:21:13,476
WHAT'S GOING ON, MAN?
324
00:21:13,476 --> 00:21:15,445
>> ADAM, WHAT ARE YOU WEARING?
325
00:21:15,445 --> 00:21:17,847
>> WHAT ARE YOU DOING RIGHT NOW?
326
00:21:17,847 --> 00:21:20,216
>> I'M ASKING YOU WHAT YOU'RE
WEARING.
327
00:21:20,216 --> 00:21:22,886
>> NOBODY EVEN THOUGHT ABOUT
WHAT I WAS WEARING TILL YOU
328
00:21:22,886 --> 00:21:26,323
BROUGHT IT UP!
329
00:21:26,323 --> 00:21:26,623
[ LAUGHTER ]
330
00:21:26,623 --> 00:21:28,959
>> YOU'RE DRESSED LIKE A GUY
PLAYING VIDEO POKER AT 2:00
331
00:21:28,959 --> 00:21:29,526
A.M., ADAM.
332
00:21:29,526 --> 00:21:32,429
>> YOU KNOW WHAT, CONAN?
I LIKE THE WAY I LOOK.
333
00:21:32,429 --> 00:21:36,099
BECAUSE I'M A GOOD PERSON.
I DON'T CARE ABOUT WHAT I WEAR
334
00:21:36,099 --> 00:21:42,973
OR WHAT I DON'T WEAR.
IF MY SNAZZY GYM SHORTS AND
335
00:21:42,973 --> 00:21:45,475
FLUFFY SWEATSHIRT OFFEND YOU SO
MUCH THAT YOU HAD TO MOCK ME IN
336
00:21:45,475 --> 00:21:48,845
FRONT OF MY PEERS!
337
00:21:48,845 --> 00:21:51,348
>> ADAM, I APOLOGIZE.
338
00:21:51,348 --> 00:21:55,452
>> I'M GOING. OFF I GO.
YEAH, I'M LEAVING. I HAVE TO.
339
00:21:55,452 --> 00:22:00,123
IT'S NOT YOU. NO, IT'S NOT YOU.
IT'S HIM!
340
00:22:00,123 --> 00:22:01,625
HE'S THE ONE -- YOU CAUSED THIS.
341
00:22:01,625 --> 00:22:04,494
>> I'M SORRY. I'M SORRY.
342
00:22:04,494 --> 00:22:08,365
>> YOU ARE ALL WELCOME TO JOIN
ME FOR A GAME OF FIVE-ON-FIVE
343
00:22:08,365 --> 00:22:12,435
BASKETBALL AT VETERAN PARK
TONIGHT MIDNIGHT TIPOFF.
344
00:22:12,435 --> 00:22:18,074
THE GUY FROM "NOSFERATU," WHERE
IS HE? HE'S ON MY TEAM.
345
00:22:18,074 --> 00:22:24,080
ONE MORE THING. CHALAMET!
346
00:22:24,080 --> 00:22:28,685
[ CHEERS AND APPLAUSE ]
347
00:22:28,685 --> 00:22:34,257
>> THERE HE GOES!
348
00:22:34,257 --> 00:22:36,092
>> YEAH!
349
00:22:36,092 --> 00:22:39,796
[ APPLAUSE ]
350
00:22:39,796 --> 00:22:43,333
>> OH, MY GOD.
THANK YOU, ADAM.
351
00:22:43,333 --> 00:22:46,503
IF I COULD CHANGE THE TONE FOR
JUST ONE SECOND, I'M GOING TO DO
352
00:22:46,503 --> 00:22:50,006
THIS RIGHT NOW.
THE PEOPLE OF LOS ANGELES HAVE
353
00:22:50,006 --> 00:22:52,676
CLEARLY BEEN THROUGH A
DEVASTATING ORDEAL, AND THIS
354
00:22:52,676 --> 00:22:55,679
NEEDS TO BE ADDRESSED AND SHOULD
BE ADDRESSED.
355
00:22:55,679 --> 00:23:01,484
IN MOMENTS SUCH AS THIS ANY
AWARDS SHOW CAN SEEM
356
00:23:01,484 --> 00:23:04,954
SELF-INDULGENT AND SUPERFLUOUS.
BUT WHAT I WANT TO DO IS HAVE US
357
00:23:04,954 --> 00:23:09,392
ALL REMEMBER WHY WE GATHER HERE
TONIGHT. OKAY?
358
00:23:09,392 --> 00:23:13,029
YES, WE WILL HONOR MANY
BEAUTIFUL AND TALENTED A-LIST
359
00:23:13,029 --> 00:23:16,599
STARS.
BUT THE OSCARS ALSO SHINES A
360
00:23:16,599 --> 00:23:21,638
LIGHT ON AN INCREDIBLE COMMUNITY
OF PEOPLE YOU WILL NEVER SEE.
361
00:23:21,638 --> 00:23:26,576
CRAFTSPEOPLE, ARTISANS,
TECHNICIANS, COSTUMERS.
362
00:23:26,576 --> 00:23:27,077
[ CHEERS AND APPLAUSE ]
363
00:23:27,077 --> 00:23:30,513
THAT'S RIGHT.
I CAN'T NAME THEM ALL.
364
00:23:30,513 --> 00:23:33,583
THERE ARE TOO MANY.
HARD-WORKING MEN AND WOMEN
365
00:23:33,583 --> 00:23:37,921
BEHIND THE CAMERA WHO HAVE
DEVOTED THEIR LIVES TO MAKING
366
00:23:37,921 --> 00:23:42,092
FILM. NOW, YES, MANY PEOPLE WE
CELEBRATE TONIGHT ARE NOT FAMOUS.
367
00:23:42,092 --> 00:23:46,496
THEY'RE NOT WEALTHY.
BUT THEY ARE DEVOTED TO A CRAFT
368
00:23:46,496 --> 00:23:50,533
THAT CAN IN MOMENTS BRING US ALL
A LITTLE CLOSER TOGETHER.
369
00:23:50,533 --> 00:23:56,473
NOW, FOR ALMOST A CENTURY WE
HAVE PAUSED EVERY SPRING TO
370
00:23:56,473 --> 00:24:00,243
ELEVATE AND CELEBRATE AN ART
FORM THAT HAS THE POWER AT ITS
371
00:24:00,243 --> 00:24:06,916
VERY BEST TO UNITE US.
SO YES, EVEN IN THE FACE OF
372
00:24:06,916 --> 00:24:10,286
TERRIBLE WILDFIRES AND DIVISIVE
POLITICS THE WORK, WHICH IS WHAT
373
00:24:10,286 --> 00:24:13,790
THIS IS ABOUT, THE WORK
CONTINUES.
374
00:24:13,790 --> 00:24:18,928
AND NEXT YEAR AND FOR YEARS TO
COME THROUGH TRAUMA AND JOY THIS
375
00:24:18,928 --> 00:24:25,435
SEEMINGLY ABSURD RITUAL IS GOING
TO BE HERE. I WILL NOT.
376
00:24:25,435 --> 00:24:30,206
I'M LEAVING HOLLYWOOD TO RUN A
BED AND BREAKFAST IN ORLANDO.
377
00:24:30,206 --> 00:24:30,507
[ LAUGHTER ]
378
00:24:30,507 --> 00:24:34,577
AND I'D LIKE TO SEE YOU THERE.
BUT THE MAGIC, THE MADNESS, THE
379
00:24:34,577 --> 00:24:38,148
GRANDEUR AND THE JOY OF FILM
380
00:24:38,148 --> 00:24:43,853
WORLDWIDE IS GOING TO BE WITH US
FOREVER.
381
00:24:43,853 --> 00:24:44,387
[ APPLAUSE ]
382
00:24:44,387 --> 00:24:49,926
SO WITHOUT FURTHER DELAY LET'S
GET THINGS STARTED.
383
00:24:49,926 --> 00:24:54,831
NOW, I KNOW IN THE PAST THIS
SHOW HAS GONE LONG. OKAY?
384
00:24:54,831 --> 00:24:57,534
THAT'S NOT GOING TO HAPPEN.
I'M GOING TO RUN A TIGHT SHIP.
385
00:24:57,534 --> 00:25:03,606
I'LL SAY THIS CLEARLY.
I'M GOING TO MAKE IT VERY PLAIN.
386
00:25:03,606 --> 00:25:07,477
I AM NOT GOING TO WASTE YOUR
TIME TONIGHT.
387
00:25:07,477 --> 00:25:09,712
♪
388
00:25:09,712 --> 00:25:15,452
♪ 'CAUSE THAT WOULD BE INSANE
389
00:25:15,452 --> 00:25:17,086
♪ I WON'T WASTE TIME
390
00:25:17,086 --> 00:25:18,922
♪ HE WON'T WASTE TIME
391
00:25:18,922 --> 00:25:20,990
♪ I WON'T WASTE TIME
392
00:25:20,990 --> 00:25:23,860
♪ THERE'S 23 AWARDS TO GIVE
393
00:25:23,860 --> 00:25:25,495
♪ IT'S ALL TIMED TO PERFECTION
394
00:25:25,495 --> 00:25:28,031
♪ TO WASTE TIME ON SOME ID KWLO
395
00:25:28,031 --> 00:25:29,399
CY WOULD BE A DERELICTION ♪
396
00:25:29,399 --> 00:25:30,333
♪ I WON'T WASTE TIME
397
00:25:30,333 --> 00:25:32,802
♪ I WON'T WASTE TIME
398
00:25:32,802 --> 00:25:35,972
♪ HE WON'T WASTE TIME
399
00:25:35,972 --> 00:25:37,407
♪ WHY WOULD I WASTE TIME
400
00:25:37,407 --> 00:25:41,444
♪ THERE'S NO GOOD REASON
401
00:25:41,444 --> 00:25:47,517
♪ IT'S SUCH, SUCH AN AUDACIOUS
402
00:25:47,517 --> 00:25:47,750
CRIME ♪
403
00:25:47,750 --> 00:25:50,520
♪ NOW FOR NO GOOD REASON SAND
404
00:25:50,520 --> 00:25:55,492
WORM FROM DUNE TWO PLAYING
CHOPSTICKS ON THE PIANO ♪
405
00:25:55,492 --> 00:26:02,432
♪
406
00:26:02,432 --> 00:26:03,867
♪ HEY, CHECK IT OUT, SOMEONE
407
00:26:03,867 --> 00:26:07,470
WHO'S NOT EVEN NOMINATED ♪
408
00:26:07,470 --> 00:26:09,105
♪ DANCING DEADPOOL
409
00:26:09,105 --> 00:26:10,473
♪ I WON'T WASTE TIME
410
00:26:10,473 --> 00:26:12,175
♪ I WON'T WASTE TIME
411
00:26:12,175 --> 00:26:13,643
♪ HE WON'T WASTE TIME
412
00:26:13,643 --> 00:26:14,844
♪ I WON'T WASTE TIME
413
00:26:14,844 --> 00:26:16,079
♪ HE WON'T WASTE TIME
414
00:26:16,079 --> 00:26:18,414
♪ I WON'T WASTE TIME
415
00:26:18,414 --> 00:26:21,150
♪ I
416
00:26:21,150 --> 00:26:21,384
♪ RE
417
00:26:21,384 --> 00:26:23,419
♪ FUSE
418
00:26:23,419 --> 00:26:25,588
♪ TO
419
00:26:25,588 --> 00:26:25,889
♪ WASTE
420
00:26:25,889 --> 00:26:26,890
♪ YOUR
421
00:26:26,890 --> 00:26:27,724
♪ PRECIOUS
422
00:26:27,724 --> 00:26:29,025
♪ TIME
423
00:26:29,025 --> 00:26:30,460
♪ I WON'T WASTE TIME
424
00:26:30,460 --> 00:26:35,131
♪ I WON'T WASTE TIME ♪
425
00:26:35,131 --> 00:26:35,632
[ CHEERS AND APPLAUSE ]
426
00:26:35,632 --> 00:26:38,935
WELL, WE'RE 40 MINUTES OVER. HEY.
PLEASE WELCOME SOMEONE I LOVE.
427
00:26:38,935 --> 00:26:43,306
HE'S ONE OF OUR GREATEST ACTORS
AND AN ACADEMY AWARD WINNER.
428
00:26:43,306 --> 00:26:51,114
I ADORE THIS MAN.
ROBERT DOWNEY JR.!
429
00:26:51,981 --> 00:26:58,588
♪
430
00:26:58,588 --> 00:27:01,491
>> WOWEY.
YEAH, RIGHT OFF THE BAT I WANT
431
00:27:01,491 --> 00:27:08,898
TO CHECK IN WITH MY BOYS.
YURA BORISOV, WHERE YOU AT?
432
00:27:08,898 --> 00:27:11,334
WASN'T HE AMAZING IN "ANORA"?
433
00:27:11,334 --> 00:27:11,601
[ APPLAUSE ]
434
00:27:11,601 --> 00:27:13,803
AS THE DUTIFUL MOB ASSOCIATE
WITH A CONSCIENCE.
435
00:27:13,803 --> 00:27:15,738
BREAKTHROUGH PERFORMANCE.
WELCOME TO THE BIG TIME, BROTHER.
436
00:27:15,738 --> 00:27:17,440
YOU HAVE A BRIGHT FUTURE.
YOU'RE IN THE RIGHT PLACE.
437
00:27:17,440 --> 00:27:22,478
AM I CORRECT? YES.
I GOTTA LOCATE THE CULK.
438
00:27:22,478 --> 00:27:28,584
WHERE -- HEY! KIERAN. HEY, MAN.
YOU NAILED IT, RIGHT?
439
00:27:28,584 --> 00:27:31,521
[ APPLAUSE ]
440
00:27:31,521 --> 00:27:35,725
PRETTY MUCH MODELED THE ENTIRE
BREADTH AND DEPTH OF HUMAN
441
00:27:35,725 --> 00:27:38,261
EXPERIENCE, WE FELT IT.
WE FELT "A REAL PAIN."
442
00:27:38,261 --> 00:27:41,664
IT WAS DEEP AND MESSY.
I CAN RELATE.
443
00:27:41,664 --> 00:27:45,535
IF -- IF YOU'D SIMPLY CEASED
TRYING TO BE AS WITTY AS ME WHEN
444
00:27:45,535 --> 00:27:48,071
ON AN AWARDS SEASON ROLL, YOU'D
BE PERFECT.
445
00:27:48,071 --> 00:27:48,671
[ LAUGHTER ]
446
00:27:48,671 --> 00:27:53,876
JUST FOOD FOR THOUGHT.
HOW ABOUT MR. NORTON AS PETE
447
00:27:53,876 --> 00:27:54,444
SEAGER?
448
00:27:54,444 --> 00:27:54,744
[ APPLAUSE ]
449
00:27:54,744 --> 00:28:01,484
THE FOUNDING FATHER OF FOLK.
I SAW EDWARD IN PREP, WITH SUCH
450
00:28:01,484 --> 00:28:05,521
PASSIONATE, SOPHISTICATION,
DEDICATION, HUMILITY, HE WAS
451
00:28:05,521 --> 00:28:09,158
LIKE REMOVING TEETH, HE WAS
BECOMING AN EFFORTLESSLY MAGICAL
452
00:28:09,158 --> 00:28:13,496
MUSICIAN. HE'S AN ACTOR'S ACTOR.
HE'S A TOTAL PRO.
453
00:28:13,496 --> 00:28:19,235
THIS IS HIS FOURTH NOMINATION.
AND IN I.M.O. HE'S BEEN WORTHY
454
00:28:19,235 --> 00:28:21,204
OF HIGH HONORS SINCE WHAT, 1997.
COME ON.
455
00:28:21,204 --> 00:28:28,911
[ APPLAUSE ]
456
00:28:28,911 --> 00:28:31,314
SO HURTLING ALONG, I KNOW GUY
PEARCE A BIT, AND I SAW NONE OF
457
00:28:31,314 --> 00:28:38,855
HIM IN "THE BRUTALIST."
IT WAS UNRECOGNIZABLE, DUDE.
458
00:28:38,855 --> 00:28:39,422
BRILLIANT.
459
00:28:39,422 --> 00:28:39,722
[ APPLAUSE ]
460
00:28:39,722 --> 00:28:45,695
YOU MADE -- YOU MADE ADMIRATION
SEEM DANGEROUS, CHARM LOOK LIKE
461
00:28:45,695 --> 00:28:46,596
CONTROL, AND BEAUTY FEEL LIKE
POSSESSION.
462
00:28:46,596 --> 00:28:47,196
THERE IS NO DOUBT AS TO YOUR
463
00:28:47,196 --> 00:28:54,737
PROWESS.
464
00:28:54,737 --> 00:28:58,875
CHAMELEON CHATUS -- STATUS
ACHIEVED. BRAVO. WELL DONE.
465
00:28:58,875 --> 00:28:59,175
[ APPLAUSE ]
466
00:28:59,175 --> 00:29:01,144
NOW, AS WE ALL KNOW,
JEREMY STRONG IS IRREFUTABLY THE
467
00:29:01,144 --> 00:29:02,078
MOST SERIOUS ACTOR ON EARTH.
468
00:29:02,078 --> 00:29:06,115
[ LAUGHTER ]
469
00:29:06,115 --> 00:29:10,887
HE'S ALSO LIKE A BROTHER TO ME.
AND I'VE WATCHED HIM COME FROM
470
00:29:10,887 --> 00:29:13,990
SLEEPING IN THE BLEACHERS
OUTSIDE THE OSCARS THE NIGHT
471
00:29:13,990 --> 00:29:18,161
THAT I WAS NOMINATED FOR
"CHAPLIN" IN 1993 TO HIS
472
00:29:18,161 --> 00:29:22,131
BLISTERING PORTRAYAL OF ROY COHN
IN "THE APPRENTICE" WHICH WAS
473
00:29:22,131 --> 00:29:24,667
A -- IT'S A MASTER CLASS.
474
00:29:24,667 --> 00:29:25,168
[ CHEERS AND APPLAUSE ]
475
00:29:25,168 --> 00:29:28,237
A MASTER CLASS, FULL STOP.
LOOK AT HIM NOW.
476
00:29:28,237 --> 00:29:33,076
GIVE HIM SOME LOVE. WHOO.
STIFF COMPETITION.
477
00:29:33,076 --> 00:29:39,382
HOW'S IT GONNA GO? LET'S SEE.
PUCKER UP, GENTLEMEN.
478
00:29:39,382 --> 00:29:43,519
AND THE OSCAR GOES TO --
KIERAN CULKIN.
479
00:29:43,519 --> 00:29:49,025
"A REAL PAIN."
480
00:29:49,025 --> 00:29:52,995
>> Announcer: THIS IS THE FIRST
OSCAR WIN AND NOMINATION FOR
481
00:29:52,995 --> 00:29:56,099
KIERAN CULKIN.
482
00:29:56,099 --> 00:30:06,008
[ CHEERS AND APPLAUSE ]
483
00:30:06,008 --> 00:30:08,311
>> THANKS. OH, MY GOD.
THAT'S CRAZY.
484
00:30:08,311 --> 00:30:13,316
I DON'T EVEN KNOW -- MR. DOWNEY,
SIR, THANKS FOR HANDING THIS TO
485
00:30:13,316 --> 00:30:16,919
ME. THIS MEANS A LOT COMING FROM
YOU. THANK YOU.
486
00:30:16,919 --> 00:30:19,655
HE'S RIGHT, BY THE WAY.
JEREMY, YOU'RE AMAZING IN "THE
487
00:30:19,655 --> 00:30:24,527
APPRENTICE." I LOVE YOUR WORK.
IT'S [ MUTED ]. THERE YOU GO.
488
00:30:24,527 --> 00:30:27,530
I CURSED. I DIDN'T MEAN TO.
I'M NOT SUPPOSED TO SINGLE
489
00:30:27,530 --> 00:30:29,599
ANYONE OUT. IT'S FAVORITISM.
BUT YOU WERE GREAT.
490
00:30:29,599 --> 00:30:33,870
AND I'VE ALREADY LOST WHATEVER
SPEECH I'VE PREPARED.
491
00:30:33,870 --> 00:30:36,038
20 SECONDS OR WHATEVER.
I HAVE NO IDEA HOW I GOT HERE.
492
00:30:36,038 --> 00:30:37,840
I'VE JUST BEEN ACTING MY WHOLE
LIFE.
493
00:30:37,840 --> 00:30:41,144
IT'S JUST BEEN PART OF WHAT I DO.
I FELT LIKE THIS IS NEVER MY
494
00:30:41,144 --> 00:30:43,146
TRAJECTORY.
BUT HOWEVER I GOT HERE I KNOW
495
00:30:43,146 --> 00:30:46,816
THAT EMILY EITHERERSON SANS MY
MANAGER OF 30 YEARS IT'S BECAUSE
496
00:30:46,816 --> 00:30:48,818
OF YOU, THANK YOU FOR BEING
THERE.
497
00:30:48,818 --> 00:30:51,220
I LEAN ON YOU FOR EVERYTHING.
PLEASE DON'T GO ANYWHERE.
498
00:30:51,220 --> 00:30:53,923
I'D BE COMPLETELY LOST WITHOUT
YOU. I LOVE YOU. AND THE MOVIE.
499
00:30:53,923 --> 00:30:55,491
JESSE EISENBERG.
500
00:30:55,491 --> 00:30:58,895
[ APPLAUSE ]
501
00:30:58,895 --> 00:31:00,763
THANK YOU FOR THIS MOVIE.
YOU'RE A GENIUS.
502
00:31:00,763 --> 00:31:04,100
I WOULD NEVER SAY THAT TO YOUR
FACE. I'LL NEVER SAY IT AGAIN.
503
00:31:04,100 --> 00:31:06,235
SO SOAK IT UP.
THANK YOU FOR THIS MOVIE.
504
00:31:06,235 --> 00:31:10,139
THANK YOU SEARCHLIGHT, TOPIC
STUDIOS, M DAVE AND ALLY AT
505
00:31:10,139 --> 00:31:10,706
FRUIT TREE.
506
00:31:10,706 --> 00:31:30,126
I'M GOING TO SPEED THIS UP
507
00:31:30,126 --> 00:31:33,596
PLEASE DON'T PLAY THE MUSIC
BECAUSE I WANT TO TELL A QUICK
508
00:31:33,596 --> 00:31:35,865
STORY ABOUT JAZZ.
ABOUT A YEAR AGO I WAS ON A
509
00:31:35,865 --> 00:31:37,967
STAGE LIKE THIS AND I VERY
STUPIDLY PUBLICLY SAID I WANT A
510
00:31:37,967 --> 00:31:42,672
THIRD KID FROM HER BECAUSE SHE
SAID IF I WON THE AWARD SHE
511
00:31:42,672 --> 00:31:44,707
WOULD GIVE ME THE KID.
TURNS OUT SHE SAID THAT BECAUSE
512
00:31:44,707 --> 00:31:47,476
SHE DIDN'T THINK I WAS GOING TO
WIN.
513
00:31:47,476 --> 00:31:51,447
AND PEOPLE CAME UP TO HER AND
WERE LIKE REALLY ANNOYING HER.
514
00:31:51,447 --> 00:31:55,384
I THINK IT GOT TO HER.
BUT ANYWAY, AFTER THE SHOW WE'RE
515
00:31:55,384 --> 00:31:58,354
WALKING THROUGH A PARKING LOT,
SHE'S HOLDING THE EMMY, TRYING
516
00:31:58,354 --> 00:32:00,489
TO FIND OUR CAR.
EMILY YOU WERE THERE SO YOU'RE A
517
00:32:00,489 --> 00:32:03,025
WITNESS.
AND SHE GOES, OH GOD, I DID SAY
518
00:32:03,025 --> 00:32:04,460
THAT.
I GUESS I OWE YOU A THIRD KID.
519
00:32:04,460 --> 00:32:07,797
AND I TURNED TO HER AND I SAID
REALLY I WANT FOUR.
520
00:32:07,797 --> 00:32:12,101
AND SHE TURNED TO ME I SWEAR TO
GOD THIS HAPPENED THIS WAS JUST
521
00:32:12,101 --> 00:32:13,202
OVER A YEAR AGO.
SHE SAID, "I WILL GIVE YOU FOUR
522
00:32:13,202 --> 00:32:15,538
WHEN YOU WIN AN OSCAR."
523
00:32:15,538 --> 00:32:16,072
[ APPLAUSE ]
524
00:32:16,072 --> 00:32:19,842
I HELD MY HAND OUT. SHE SHOOK IT.
AND I HAVE NOT BROUGHT IT UP
525
00:32:19,842 --> 00:32:22,545
ONCE UNTIL JUST NOW.
YOU REMEMBER THAT, HONEY? YOU DO?
526
00:32:22,545 --> 00:32:24,247
OKAY.
THEN I JUST HAVE THIS TO SAY TO
527
00:32:24,247 --> 00:32:29,986
YOU, JAZZ, LOVE OF MY LIFE.
YE OF LITTLE FAITH.
528
00:32:29,986 --> 00:32:31,153
[ LAUGHTER ]
529
00:32:31,153 --> 00:32:35,691
NO PRESSURE. I LOVE YOU.
I'M REALLY SORRY I DID THIS
530
00:32:35,691 --> 00:32:37,193
AGAIN.
AND LET'S GET CRACKING ON THOSE
531
00:32:37,193 --> 00:32:39,929
KIDS. WHAT DO YOU SAY?
I LOVE YOU.
532
00:32:39,929 --> 00:32:40,930
I LOVE YOU JASON AND BOO.
533
00:32:40,930 --> 00:32:48,037
I LOVE YOU 52.
534
00:32:48,037 --> 00:32:52,675
[ CHEERS AND APPLAUSE ]
535
00:32:54,944 --> 00:32:58,347
♪
536
00:32:58,347 --> 00:33:02,852
>> Announcer: COMING UP NEXT,
ANDREW GARFIELD AND GOLDIE HAWN.
537
00:33:02,852 --> 00:33:05,221
HERE ON THE OSCARS FROM THE
DOLBY THEATER AT OVATION
538
00:33:05,221 --> 00:33:07,189
HOLLYWOOD.
539
00:33:13,663 --> 00:33:19,929
[ APPLAUSE ]
540
00:33:19,929 --> 00:33:22,565
♪ I LEFT HOME
541
00:33:22,565 --> 00:33:26,035
♪ I'VE BEEN RAMBLING AROUND
542
00:33:26,035 --> 00:33:29,005
>>> WHAT IS FOLK MUSIC THAN A
543
00:33:29,005 --> 00:33:36,112
HUMAN VOICE AND A GUITAR IN THE
MOST SIMPLEISTIC WAY.
544
00:33:36,112 --> 00:33:39,215
>> IT FELT SO DIGNIFIED AND
HUMBLED.
545
00:33:39,215 --> 00:33:44,754
WE ARE LIFE TO A THING THAT
HAPPENED 60 YEARS AGO.
546
00:33:44,754 --> 00:33:51,294
♪ I CAN'T GO HOME, IT'S LATE
547
00:33:51,294 --> 00:33:51,794
[ APPLAUSE ]
548
00:33:51,794 --> 00:33:54,430
>> Announcer: PLEASE WELCOME
TWO-TIME OSCAR NOMINEE,
549
00:33:54,430 --> 00:33:54,964
ANDREW GARFIELD AND OSCAR
550
00:33:54,964 --> 00:34:08,978
WINNER, GOLDIE HAWN.
551
00:34:08,978 --> 00:34:09,278
[ APPLAUSE ]
552
00:34:09,278 --> 00:34:14,016
>> DARLING. I LOVE YOU.
I LOVE YOU.
553
00:34:14,016 --> 00:34:21,057
>> GOLDIE, CAN I TELL YOU
SOMETHING?
554
00:34:21,057 --> 00:34:23,025
THERE IS ONE PERSON WHO GAVE MY
MUM, DURING HER LIFE, THE MOST
555
00:34:23,025 --> 00:34:28,631
JOY AND COMFORT.
AND TONIGHT, I FEEL SO LUCKY,
556
00:34:28,631 --> 00:34:33,035
'CAUSE I GET TO THANK THAT
PERSON FROM THE BOTTOM OF MY
557
00:34:33,035 --> 00:34:36,439
HEART, GOLDIE HAWN.
558
00:34:36,439 --> 00:34:42,712
>> OH, ANDREW, THAT TOUCHES ME
SO MUCH.
559
00:34:42,712 --> 00:34:45,214
>> I CAN FEEL HER SMILING AT US.
560
00:34:45,214 --> 00:34:49,585
>> I'M SMILING, TOO. OKAY.
561
00:34:49,585 --> 00:34:50,052
>> I HAVE MORE TO SAY.
562
00:34:50,052 --> 00:34:52,989
>> YOU DO?
563
00:34:52,989 --> 00:34:59,662
>> YOU GAVE US MOVIES FILLED
WITH JOY, UPLIFTING OUR SPIRITS,
564
00:34:59,662 --> 00:35:04,400
AND MADE US FEEL THAT ALL WAS
RIGHT WITH THE WORLD.
565
00:35:04,400 --> 00:35:09,505
>> THANK YOU. I LOVED IT.
I WAS LUCKY MAKING MOVIES IN
566
00:35:09,505 --> 00:35:12,875
THIS AMAZING HOLLYWOOD AND
MAKING PEOPLE LAUGH AND MAYBE
567
00:35:12,875 --> 00:35:20,249
SOME DIDN'T. BUT THAT'S OKAY.
568
00:35:20,249 --> 00:35:24,420
SWEETHEART, CAN YOU READ THAT?
I'M COMPLETELY BLIND.
569
00:35:24,420 --> 00:35:34,330
I HAVE CATARACTS.
570
00:35:34,330 --> 00:35:35,364
>> THIS IS THE MAGIC OF WHAT
STORYTELLING CAN DO.
571
00:35:35,364 --> 00:35:36,899
IT CAN TRANSCEND SPACE AND TIME
AND CONNECT US TO THE DEEPEST
572
00:35:36,899 --> 00:35:39,535
PART OF OURSELVES.
THE ANIMATED FILMS NOMINATED
573
00:35:39,535 --> 00:35:45,675
THIS YEAR --
THEY DO IT IN SPADES.
574
00:35:45,675 --> 00:35:48,311
>> THEY DO IT IN SPADES.
575
00:35:48,311 --> 00:35:51,414
>> TO ALL THE NOMINEES, THANK
YOU ALL FOR WHAT YOU'VE GIVEN
576
00:35:51,414 --> 00:35:57,753
US, FOR THE YEARS YOU'VE SPENT
CREATING THESE BEAUTIFUL FILMS.
577
00:35:57,753 --> 00:36:00,356
>> "FLOW."
GINTS ZILBALODIS, MATISS KAZA,
578
00:36:00,356 --> 00:36:14,537
RON DYENS, AND GREGORY ZALCMAN.
579
00:36:14,537 --> 00:36:16,439
>> I'M ANXIETY.
580
00:36:16,439 --> 00:36:25,615
WE ARE ACCEPT JAZZED TO BE HERE.
581
00:36:25,615 --> 00:36:29,785
>> "MEMOIR OF A SNAIL."
ADAM ELLIOT AND LIZ KEARNEY.
582
00:36:29,785 --> 00:36:32,321
>> WHY ARE YOU DRESSED LIKE AN
ANT?
583
00:36:32,321 --> 00:36:32,688
>> I'M A SNAIL.
584
00:36:32,688 --> 00:36:36,092
>> FUNNY.
585
00:36:36,092 --> 00:36:37,026
>> "WALLACE & GROMIT: VENGEANCE
MOST FOWL."
586
00:36:37,026 --> 00:36:41,964
NICK PARK, MERLIN CROSSINGHAM,
AND RICHARD BEEK.
587
00:36:41,964 --> 00:36:47,036
>> TAKE IT AWAY. CHIEF?
588
00:36:47,036 --> 00:36:51,274
>> DID WE GET HIM?
589
00:36:51,274 --> 00:36:54,810
>> "THE WILD ROBOT."
CHRIS SANDERS AND JEFF HERMANN.
590
00:36:54,810 --> 00:36:56,345
>> WHERE IS YOUR MOMMY?
591
00:36:56,345 --> 00:37:00,816
>> THE MONSTER.
592
00:37:00,816 --> 00:37:07,290
>> YOU GOTTA DIE FASTER.
593
00:37:07,290 --> 00:37:07,723
>> OKAY.
594
00:37:07,723 --> 00:37:18,301
AND THE OSCAR GOES TO -- "FLOW."
595
00:37:18,301 --> 00:37:21,037
>> THIS IS THE FIRST OSCAR WIN
AND NOMINATION FOR THIS
596
00:37:21,037 --> 00:37:26,409
PRODUCING TEAM.
GINTS ZILBALODIS, MATISS KAZA,
597
00:37:26,409 --> 00:37:31,781
RON DYENS, AND GREGORY ZALCMAN.
"FLOW" IS THE THIRD ANIMATED
598
00:37:31,781 --> 00:37:34,817
FILM TO BE NOMINATED FOR
INTERNATIONAL FEATURED FILM AND
599
00:37:34,817 --> 00:37:39,855
THE SECOND TO BE NOMINATED FOR
ANIMATED FEATURE AND
600
00:37:39,855 --> 00:37:41,223
INTERNATIONAL FEATURE FILM.
601
00:37:41,223 --> 00:37:45,695
>> THANK YOU TO THE ACADEMY.
THANK YOU TO BLENDER.
602
00:37:45,695 --> 00:37:47,396
THANK YOU TO MY MOM AND DAD.
603
00:37:47,396 --> 00:37:53,903
THANK YOU TO MY CATS AND DOGS.
604
00:37:53,903 --> 00:37:59,775
I'M MOVED BY THE WARM RECEPTION
OUR FILM HAS HAD.
605
00:37:59,775 --> 00:38:03,212
I HOPE IT WILL OPEN DOORS FOR
INDEPENDENT FILMMAKERS AROUND
606
00:38:03,212 --> 00:38:03,479
THE WORLD.
607
00:38:03,479 --> 00:38:08,084
[ CHEERS AND APPLAUSE ]
608
00:38:08,084 --> 00:38:12,488
THIS IS THE FIRST TIME I'VE COME
F
609
00:38:12,488 --> 00:38:18,594
-- A FILM FROM LATVIA HAS BEEN
NOMINATED.
610
00:38:18,594 --> 00:38:20,629
WE HOPE TO BE BACK SOON.
WE'RE ALL IN THE SAME BOAT.
611
00:38:20,629 --> 00:38:23,366
WE MUST OVERCOME OUR DIFFERENCES
AND FIND WAYS TO WORK TOGETHER.
612
00:38:23,366 --> 00:38:24,233
THANK YOU.
613
00:38:24,233 --> 00:38:31,273
[ APPLAUSE ]
614
00:38:36,946 --> 00:38:43,919
>> I'M GOING TO SEE IF I CAN SEE
IT.
615
00:38:43,919 --> 00:38:50,159
ARTFORM ALL ITS OWN.
HERE ARE FIVE NOMINEES THAT
616
00:38:50,159 --> 00:38:51,193
MASTERED IT IN ANIMATED SHORT.
"BEAUTIFUL MEN."
617
00:38:51,193 --> 00:38:54,864
NICOLAS KEPPENS AND
BRECHT VAN ELSLANDE.
618
00:38:54,864 --> 00:38:57,433
"IN THE SHADOW OF THE CYPRESS."
SHIRIN SOHANI AND
619
00:38:57,433 --> 00:39:05,808
HOSSEIN MOLAYEMI.
620
00:39:05,808 --> 00:39:06,609
"MAGIC CANDIES."
DAISUKE NISHIO AND
621
00:39:06,609 --> 00:39:07,910
TAKASHI WASHIO.
"WANDER TO WONDER."
622
00:39:07,910 --> 00:39:14,183
NINA GANTZ AND
STIENETTE BOSKLOPPER. "YUCK!"
623
00:39:14,183 --> 00:39:17,053
LOIC ESPUCHE AND
624
00:39:17,053 --> 00:39:23,859
JULIETTE MARQUET.
625
00:39:23,859 --> 00:39:28,230
>> AND THE OSCAR GOES TO --
626
00:39:28,230 --> 00:39:41,010
"IN THE SHADOW OF THE CYPRUS."
627
00:39:41,010 --> 00:39:48,584
>> HTHIS IS THE FIRST OSCAR WIN
628
00:39:48,584 --> 00:39:53,055
AND NOMINATION FOR
629
00:39:53,055 --> 00:39:57,059
SHIRIN SOHANI AND
630
00:39:57,059 --> 00:40:03,332
HOSSEIN MOLAYEMI.
631
00:40:03,332 --> 00:40:10,539
>> THANK YOU.
IT'S VERY SURREAL.
632
00:40:10,539 --> 00:40:17,246
BELIEVE ME OR NOT, THREE HOURS
AGO OUR PLANE LANDED IN L.A.
633
00:40:17,246 --> 00:40:23,352
BECAUSE OF OUR BAD ENGLISH, LET
634
00:40:23,352 --> 00:40:31,293
US READ FROM A TEXT. SORRY.
635
00:40:31,293 --> 00:40:34,697
>> WE HADN'T OBTAINED OUR VISA
UNTIL YESTERDAY.
636
00:40:34,697 --> 00:40:39,301
WE WERE TOTALLY DISAPPOINTED.
SO DISAPPOINTED.
637
00:40:39,301 --> 00:40:44,840
NOW, WE ARE HERE.
638
00:40:44,840 --> 00:40:47,209
[ APPLAUSE ]
639
00:40:47,209 --> 00:40:50,446
>> IT'S A MIRACLE.
IT'S A MIRACLE.
640
00:40:50,446 --> 00:40:54,884
SPEAKING IN FRONT OF THESE
EXPECTANT AUDIENCE IS HARD FOR
641
00:40:54,884 --> 00:40:59,955
US.
642
00:40:59,955 --> 00:41:06,896
>> WE'RE GOING TO DEDICATE
OUR -- NO. IT'S YOUR TURN.
643
00:41:06,896 --> 00:41:07,563
IT'S YOUR TURN.
644
00:41:07,563 --> 00:41:14,503
>> THIS IS YOUR TURN.
THIS IS THE FIRST PARAGRAPH.
645
00:41:14,503 --> 00:41:18,641
>> JUST THE FACT THAT WE MANAGED
TO MAKE THIS FILM UNDER THE
646
00:41:18,641 --> 00:41:23,045
EXTRAORDINARY CIRCUMSTANCES OF
OUR COUNTRY IS A MIRACLE.
647
00:41:23,045 --> 00:41:26,582
YES, IF WE PERSEVERE AND REMAIN
FAITHFUL --
648
00:41:26,582 --> 00:41:32,521
>> NO, NO, NO.
LET ME READ IT MYSELF.
649
00:41:32,521 --> 00:41:36,792
>> UNTIL YESTERDAY, WE HADN'T
EVEN OBTAINED OUR VISA.
650
00:41:36,792 --> 00:41:39,628
WE WERE TOTALLY DISAPPOINTED.
651
00:41:39,628 --> 00:41:46,769
NOW WE ARE STANDING HERE WITH
652
00:41:46,769 --> 00:41:49,705
THIS STATUE IN OUR HANDS.
THE FACT WE MANAGED TO MAKE THIS
653
00:41:49,705 --> 00:41:52,174
FILM UNDER THE EXTRAORDINARY
CIRCUMSTANCES OF OUR COUNTRY IS
654
00:41:52,174 --> 00:41:58,280
A MIRACLE.
YES, IF YOU PERSEVERE AND REMAIN
655
00:41:58,280 --> 00:42:03,819
FAITHFUL, MIRACLES DO HAPPEN.
WE ARE GOING TO DEDICATE OUR
656
00:42:03,819 --> 00:42:07,823
FILM AND THIS PRECIOUS AWARD TO
ALL THOSE WHO ARE STILL FIGHTING
657
00:42:07,823 --> 00:42:14,330
IN THE INNER AND OUTER BATTLES.
HEROICALLY AND NOBODY KNOWS
658
00:42:14,330 --> 00:42:16,999
ABOUT THAT, ESPECIALLY TO OUR
FELLOW IRANIANS WHO ARE STILL
659
00:42:16,999 --> 00:42:21,804
SUFFERING.
WE ARE SO GRATEFUL TO THE
660
00:42:21,804 --> 00:42:26,342
ACADEMY AND ALL THOSE WHO
SUPPORTED US IN THIS LONG
661
00:42:26,342 --> 00:42:30,412
JOURNEY, ESPECIALLY OUR FAMILIES.
THANK YOU VERY MUCH.
662
00:42:30,412 --> 00:42:30,913
>> THANK YOU VERY MUCH.
663
00:42:30,913 --> 00:42:35,184
[ APPLAUSE ]
664
00:42:44,660 --> 00:42:44,827
♪
665
00:42:44,827 --> 00:42:48,831
>> Announcer: JUST AHEAD, A VERY
SPECIAL PRESENTATION FOR COSTUME
666
00:42:48,831 --> 00:42:52,968
DESIGN WITH LILY-ROSE DEPP,
OSCAR NOMINEE JOHN LITHGOW,
667
00:42:52,968 --> 00:42:59,541
CONNIE NIELSEN, ELLE FANNING AND
BOWEN YANG.
668
00:42:59,541 --> 00:43:02,845
>> WHETHER YOU ARE IN THE
SPOTLIGHT OR BEHIND IT,
669
00:43:02,845 --> 00:43:08,317
PRUDENTIAL HONORS THE MOVIE
INDUSTRY TO KEEP MOVING FORWARD.
670
00:43:13,037 --> 00:43:20,575
[ APPLAUSE ]
671
00:43:20,575 --> 00:43:25,550
>>> I COULDN'T HAVE DONE IT
WITHOUT EVERYBODY.
672
00:43:25,550 --> 00:43:29,654
>> WE ALL WERE ALLOWED TO DREAM
BIGGER THAN ANY OF US HAD
673
00:43:29,654 --> 00:43:30,021
DREAMED BEFORE.
674
00:43:30,021 --> 00:43:31,756
>> THAT'S WHERE THE MAGIC COMES
FROM.
675
00:43:31,756 --> 00:43:34,993
>> LISTEN TO ME.
YOU CAN DO ANYTHING.
676
00:43:34,993 --> 00:43:40,064
>> I KNOW.
677
00:43:40,064 --> 00:43:46,971
♪ AHHHHHHH
678
00:43:46,971 --> 00:43:48,773
[ APPLAUSE ]
679
00:43:48,773 --> 00:43:56,047
>> WOW. HOW ABOUT "FLOW"?
THIS IS THE FIRST TIME LATVIA
680
00:43:56,047 --> 00:44:02,353
HAS WON AN OSCAR.
ISN'T THAT COOL? YEAH.
681
00:44:02,353 --> 00:44:05,757
[ APPLAUSE ]
682
00:44:05,757 --> 00:44:11,296
BALL IS IN YOUR COURT ESTONIA.
CHECK THIS OUT.
683
00:44:11,296 --> 00:44:14,599
TONIGHT'S OSCARS ARE BEING
WATCHED BY MORE THAN A BILLION
684
00:44:14,599 --> 00:44:18,102
PEOPLE ALL OVER THE WORLD. YES.
685
00:44:18,102 --> 00:44:18,403
[ APPLAUSE ]
686
00:44:18,403 --> 00:44:23,775
FOR THOSE OF YOU WATCHING IN
SPANISH SPEAKING COUNTRIES, I
687
00:44:23,775 --> 00:44:24,175
JUST WANT TO SAY --
688
00:44:32,350 --> 00:44:35,253
FOR THOSE OF YOU WATCHING FROM
INDIA, I WANT TO SAY --
689
00:44:44,729 --> 00:44:48,733
FOR THOSE OF YOU -- FOR THOSE OF
YOU WATCHING FROM CHINA --
690
00:45:00,745 --> 00:45:01,012
THANK YOU.
691
00:45:01,012 --> 00:45:01,512
[ CHEERS AND APPLAUSE ]
692
00:45:01,512 --> 00:45:08,286
YES.
NEXT UP, THE AWARD FOR COSTUME
693
00:45:08,286 --> 00:45:15,827
DESIGN. ALL RIGHT? STICK AROUND.
694
00:45:15,827 --> 00:45:18,930
>> Announcer: TO PRESENT THE
OSCAR FOR COSTUME DESIGN, PLEASE
695
00:45:18,930 --> 00:45:20,732
WELCOME LILY-ROSE DEPP,
ELLE FANNING, JOHN LITHGOW,
696
00:45:20,732 --> 00:45:28,239
CONNIE NIELSEN, AND BOWEN YANG.
697
00:45:28,239 --> 00:45:41,285
[ CHEERS AND APPLAUSE ]
698
00:45:41,285 --> 00:45:48,059
>> UM, GUYS?
I THOUGHT WE WERE ALL DOING THIS?
699
00:45:48,059 --> 00:45:54,432
>> OH YEAH, NO.
WE CHANGED OUR MINDS.
700
00:45:54,432 --> 00:46:00,171
>> THAT WOULD HAVE BEEN HELPFUL
TO COMMUNICATE IN THE GROUP CHAT.
701
00:46:00,171 --> 00:46:04,375
WE'RE PRESENTING FOR COSTUME
DESIGN.
702
00:46:04,375 --> 00:46:08,579
>> YEAH.
BUT IT WOULD HAVE BEEN SO
703
00:46:08,579 --> 00:46:10,915
CRINGE, BOWEN.
704
00:46:10,915 --> 00:46:16,054
>> I WAS GOING TO SAY THAT, TOO.
705
00:46:16,054 --> 00:46:17,722
>> WOW. ET TU, LITHGOW?
I GUESS I KNOW WHO'S WINNING THE
706
00:46:17,722 --> 00:46:21,759
OSCAR TONIGHT FOR LEAST
SUPPORTIVE BEST FRIEND.
707
00:46:21,759 --> 00:46:24,362
>> WE BARELY KNOW EACH OTHER.
708
00:46:24,362 --> 00:46:28,733
>> THAT'S ENOUGH, BESTIE.
JUST START THE CATEGORY.
709
00:46:28,733 --> 00:46:29,233
LILY-ROSE, YOU GO FIRST.
710
00:46:29,233 --> 00:46:31,202
>> THE FIVE OF US ALL HAD THE
HONOR OF WORKING WITH THE
711
00:46:31,202 --> 00:46:36,441
NOMINEES FOR COSTUME DESIGN.
LINDA MUIR, THE FIRST TIME I
712
00:46:36,441 --> 00:46:40,078
STEPPED INTO MY "NOSFERATU"
COSTUMES, I COULD FEEL THE
713
00:46:40,078 --> 00:46:43,714
WEIGHT OF HISTORY.
THE RESTRICTIONS HOLDING WOMEN
714
00:46:43,714 --> 00:46:45,049
DOWN, AND THE URGE TO BREAK FREE.
YOUR WORK DIDN'T JUST DRESS
715
00:46:45,049 --> 00:46:46,284
ELLEN HUTTER.
IT TRANSFORMED OUR ENTIRE VISION
716
00:46:46,284 --> 00:46:52,190
OF THE VAMPIRE.
HAUNTING AND UNFORGETTABLE.
717
00:46:52,190 --> 00:46:57,228
[ APPLAUSE ]
718
00:47:04,769 --> 00:47:06,738
>> ARIANNE PHILLIPS, WE MET WHEN
I WAS 13, BUT "A COMPLETE
719
00:47:06,738 --> 00:47:10,942
UNKNOWN" IS OUR FIRST FILM
COLLABORATION.
720
00:47:10,942 --> 00:47:12,510
I AM IN AWE OF YOUR ARTISTRY AND
YOUR DEDICATION TO EACH
721
00:47:12,510 --> 00:47:18,750
CHARACTER.
YOUR VINTAGE PIECES DROPPED ME
722
00:47:18,750 --> 00:47:21,352
STRAIGHT INTO 1960s
GREENWICH VILLAGE, THE ENERGY,
723
00:47:21,352 --> 00:47:25,523
THE REBELLION, THE MOMENT.
YOU TOOK ON THE TRANSFORMATION
724
00:47:25,523 --> 00:47:32,330
OF ROBERT ZIMMERMAN INTO
BOB DYLAN WITH YOUR WHOLE HEART.
725
00:47:32,330 --> 00:47:36,801
67 LOOKS FOR TIMMY ALONE, PLUS
120 SPEAKING ROLES AND
726
00:47:36,801 --> 00:47:38,202
5,000 BACKGROUND ARTISTS, ALL
WHILE LEADING WITH KINDNESS AND
727
00:47:38,202 --> 00:47:42,473
MAKING IT LOOK EFFORTLESS.
I LOVE YOU.
728
00:47:42,473 --> 00:47:44,442
YOU ARE TRULY A GENIUS.
729
00:47:44,442 --> 00:47:48,112
[ APPLAUSE ]
730
00:47:50,281 --> 00:47:51,315
>> HOW MANY PEOPLE DOES IT TAKE
731
00:47:51,315 --> 00:47:59,157
TO DRESS 108 CARDINALS?
NO, IT'S NOT THE SETUP TO A
732
00:47:59,157 --> 00:48:01,259
JOKE, IT'S THE IMPOSSIBLE TASK
LISY CHRISTL SOMEHOW MADE
733
00:48:01,259 --> 00:48:08,733
POSSIBLE IN "CONCLAVE."
734
00:48:08,733 --> 00:48:11,402
HER RESEARCH NOTES ALONE WERE
300 PAGES.
735
00:48:11,402 --> 00:48:18,943
THAT'S COMMITMENT.
LISY, YOU ARE EXTRAORDINARY.
736
00:48:18,943 --> 00:48:23,648
AND HONESTLY, I MISS THAT
COSTUME.
737
00:48:23,648 --> 00:48:27,318
AT LUNCH ON SET, THAT CASSOCK
WAS SO ROOMY AND FORGIVING,
738
00:48:27,318 --> 00:48:34,192
GOING FOR SECONDS WAS NEVER A
PROBLEM.
739
00:48:34,192 --> 00:48:35,860
[ APPLAUSE ]
740
00:48:40,064 --> 00:48:41,332
>> JANTY, WE MET ON "GLADIATOR,"
AND THE COSTUMES WERE SO AMAZING
741
00:48:41,332 --> 00:48:46,904
THAT YOU WON THE OSCAR.
25 YEARS LATER, I HAD THE
742
00:48:46,904 --> 00:48:52,143
PRIVILEGE OF WEARING YOUR
STUNNING COSTUMES AGAIN.
743
00:48:52,143 --> 00:48:55,246
YOU AND DAVE CROSSMAN, WITH AN
ARMY OF ARTISANS, CREATED
744
00:48:55,246 --> 00:49:00,952
THOUSANDS OF BREATHTAKING PIECES
FOR "GLADIATOR II."
745
00:49:00,952 --> 00:49:07,225
YOU HONOR THE ORIGINAL WHILE
MAKING SOMETHING ENTIRELY NEW.
746
00:49:07,225 --> 00:49:10,361
I FELT LIKE ROYALTY IN LUCILLA'S
GOLD DRAPED GOWNS.
747
00:49:10,361 --> 00:49:15,032
AND WHO DIDN'T LOVE DENZEL AND
THOSE EARRINGS?
748
00:49:15,032 --> 00:49:20,738
JANTY AND DAVE, YOU BROUGHT
HISTORY TO LIFE. THANK YOU.
749
00:49:20,738 --> 00:49:23,140
[ APPLAUSE ]
750
00:49:25,843 --> 00:49:35,653
>> TO BE COSTUMED BY THE GREAT
751
00:49:35,653 --> 00:49:37,221
PAUL TAZWELL IS ONE OF THE
BIGGEST HONORS OF MY ALLEGED
752
00:49:37,221 --> 00:49:39,390
CAREER.
BUT PAUL, I'M ACTUALLY UPSET
753
00:49:39,390 --> 00:49:43,494
WITH YOU.
BECAUSE I CAN'T TALK ABOUT YOUR
754
00:49:43,494 --> 00:49:46,097
COSTUMES WITHOUT SOUNDING LIKE A
TOTAL JACKASS.
755
00:49:46,097 --> 00:49:49,267
I DON'T WANT TO BE THE KIND OF
PERSON WHO SAYS "ELPHABA'S
756
00:49:49,267 --> 00:49:51,869
COSTUMING TELLS A STORY," BUT I
HAVE TO, BECAUSE IT DOES,
757
00:49:51,869 --> 00:49:58,142
BECAUSE OF YOU, YOU LEGEND.
758
00:49:58,142 --> 00:50:05,449
IF I HAVE TO SAY THE WORDS
"SUMPTUOUS FABRICS" ONE MORE
759
00:50:05,449 --> 00:50:06,550
TIME, I'M GOING TO "DEFY
GRAVITY" OFF THE SIDE OF THIS
760
00:50:06,550 --> 00:50:10,721
STAGE.
HOW VERY DARE YOU FOR BEING SUCH
761
00:50:10,721 --> 00:50:13,457
A ONE-OF-A-KIND TALENT.
I LOVE YOU SO MUCH.
762
00:50:13,457 --> 00:50:24,769
[ APPLAUSE ]
763
00:50:24,769 --> 00:50:34,979
>> AND THE OSCAR GOES TO --
764
00:50:34,979 --> 00:50:41,719
"WICKED," PAUL TAZWELL.
765
00:50:41,719 --> 00:50:49,060
HE WAS PREVIOUSLY NOMINATED FOR
"WEST SIDE STORY."
766
00:51:00,371 --> 00:51:03,007
>> THIS IS ABSOLUTELY
ASTOUNDING.
767
00:51:03,007 --> 00:51:06,477
THANK YOU, ACADEMY, FOR THIS
768
00:51:06,477 --> 00:51:12,283
VERY SIGNIFICANT HONOR.
769
00:51:12,283 --> 00:51:17,188
I'M THE FIRST BLACK MAN --
770
00:51:17,188 --> 00:51:19,156
[ CHEERS AND APPLAUSE ]
771
00:51:19,156 --> 00:51:23,728
TO RECEIVE COSTUME DESIGN AWARD
772
00:51:23,728 --> 00:51:32,203
FOR MY WORK ON "WICKED."
773
00:51:32,203 --> 00:51:32,503
[ APPLAUSE ]
774
00:51:32,503 --> 00:51:36,774
I'M SO PROUD OF THIS.
THANK YOU SO MUCH.
775
00:51:36,774 --> 00:51:40,711
THANK YOU, EVERYONE, IN THE UK
FOR ALL OF YOUR BEAUTIFUL WORK.
776
00:51:40,711 --> 00:51:46,450
I COULD NOT HAVE DONE THIS
WITHOUT YOU.
777
00:51:46,450 --> 00:51:51,188
MY MUSES, CYNTHIA AND ARIANA, I
LOVE YOU SO MUCH.
778
00:51:51,188 --> 00:51:55,526
ALL THE OTHER CAST, THANK YOU,
THANK YOU, THANK YOU FOR
779
00:51:55,526 --> 00:52:00,865
TRUSTING ME WITH BRINGING YOUR
CHARACTERS TO LIFE.
780
00:52:00,865 --> 00:52:03,534
THIS IS EVERYTHING. THANK YOU.
THANK YOU, JOHN, MARK, EVERYONE.
781
00:52:03,534 --> 00:52:04,201
THANK YOU.
782
00:52:04,201 --> 00:52:09,106
[ APPLAUSE ]
783
00:52:13,644 --> 00:52:24,588
♪
784
00:52:24,588 --> 00:52:27,825
>> Announcer: COMING UP NEXT,
AMY POEHLER PRESENTS THE AWARDS
785
00:52:27,825 --> 00:52:35,533
FOR ADAPTED AND ORIGINAL
SCREENPLAY.
786
00:52:35,533 --> 00:52:41,038
AND LATER, A VERY SPECIAL
TRIBUTE TO JAMES BOND.
787
00:52:41,038 --> 00:52:42,191
ONLY AT THE OSCARS ON ABC.
788
00:52:50,301 --> 00:52:54,271
[ APPLAUSE ]
789
00:52:54,271 --> 00:52:58,020
♪
790
00:52:58,020 --> 00:53:01,268
>>> "DUNE" IS THE RELATIONSHIP
OF HUMAN WITH NATURE.
791
00:53:01,268 --> 00:53:05,038
IT'S IMPORTANT TO BRING THAT
NATURE TO THE SCREEN.
792
00:53:05,038 --> 00:53:07,174
AND THE AUDIENCE WILL BELIEVE
793
00:53:07,174 --> 00:53:19,419
THIS WORLD IF IT FEELS REAL.
794
00:53:19,419 --> 00:53:21,355
[ APPLAUSE ]
795
00:53:21,355 --> 00:53:26,226
>> VERY QUICKLY, ANOTHER
CONGRATULATIONS TO PAUL TAZEWELL
796
00:53:26,226 --> 00:53:29,196
FROM "WICKED."
THE FIRST BLACK MAN TO WIN FOR
797
00:53:29,196 --> 00:53:31,732
COSTUME DESIGN.
798
00:53:31,732 --> 00:53:32,032
[ APPLAUSE ]
799
00:53:32,032 --> 00:53:35,836
WHICH I THINK IS IMPRESSIVE,
AMAZING.
800
00:53:35,836 --> 00:53:37,437
YOU KNOW WHAT THAT MEANS?
801
00:53:37,437 --> 00:53:45,345
BALL IS IN YOUR COURT, ESTONIA.
802
00:53:45,345 --> 00:53:45,645
[ LAUGHTER ]
803
00:53:45,645 --> 00:53:48,615
MAKES NO SENSE.
DON'T THINK ABOUT IT.
804
00:53:48,615 --> 00:53:51,785
I LOVE OSCAR HISTORY.
HERE IS OSCAR HISTORY.
805
00:53:51,785 --> 00:53:57,691
IN 1929, THE FIRST OSCAR WAS GIV
806
00:53:57,691 --> 00:54:02,295
GIVEN.
807
00:54:02,295 --> 00:54:12,005
HE WON AGAIN FOR "ALL FLESH II,
808
00:54:12,005 --> 00:54:14,641
ELECTRIC FLESHALOO."
LET'S GET DOWN TO BUSINESS.
809
00:54:14,641 --> 00:54:20,814
IT'S A CULTURE THAT'S ALL ABOUT
CHANGE, IT'S INSPIRING --
810
00:54:20,814 --> 00:54:23,950
>> THIS IS CONAN O'BRIEN'S FIRST
TIME HOSTING THE OSCARS.
811
00:54:23,950 --> 00:54:26,420
>> THAT IS TRUE.
812
00:54:26,420 --> 00:54:30,390
>> IN A CULTURE, IT'S ALL --
813
00:54:30,390 --> 00:54:31,024
>> A LOT OF PRESSURE.
814
00:54:31,024 --> 00:54:35,729
>> NOT REALLY.
I'VE HOSTED A LOT OF SHOWS, EMMY
815
00:54:35,729 --> 00:54:36,229
AWARDS, MUSIC AWARDS.
816
00:54:36,229 --> 00:54:38,565
>> NOTHING THIS BIG.
817
00:54:38,565 --> 00:54:41,635
>> NICK, DO ME A FAVOR, PLEASE
STOP INTERRUPTING.
818
00:54:41,635 --> 00:54:42,636
>> OKAY, GUY, JUST TRYING TO
HELP.
819
00:54:42,636 --> 00:54:46,373
>> FINE.
THE MOVIES WE HONOR TONIGHT
820
00:54:46,373 --> 00:54:46,740
EXPLORE --
821
00:54:46,740 --> 00:54:50,043
>> A CHALLENGE THIS BIG COMING
SO LATE IN ONE'S CAREER MUST
822
00:54:50,043 --> 00:54:53,146
WEIGH ON A MAN'S SOUL.
823
00:54:53,146 --> 00:54:57,150
>> THAT'S ENOUGH.
JUST READ THE SCRIPT I GAVE YOU.
824
00:54:57,150 --> 00:55:01,488
>> HE IS ONE OF THE GREAT
COMEDIANS OF OUR TIME, CONAN
825
00:55:01,488 --> 00:55:01,721
O'BRIEN.
826
00:55:01,721 --> 00:55:07,627
>> PERFECT. THANK YOU.
827
00:55:07,627 --> 00:55:13,133
OUR OSCAR ANNOUNCER, NICK
OFFERMAN. THANK YOU, NICK.
828
00:55:13,133 --> 00:55:19,673
SHE PLAYS JOY IN "INSIDE OUT 2."
SHE'S HERE ON BEHALF OF JOY'S
829
00:55:19,673 --> 00:55:21,641
OPPOSITE, SCREENWRITING.
830
00:55:21,641 --> 00:55:32,486
PLEASE WELCOME, AMY POEHLER.
831
00:55:32,486 --> 00:55:38,225
[ APPLAUSE ]
832
00:55:38,225 --> 00:55:40,293
>> GOOD EVENING, I AM HONORED TO
BE HERE TO PRESENT THE TWO MOST
833
00:55:40,293 --> 00:55:43,930
IMPORTANT AWARDS OF THE NIGHT.
834
00:55:43,930 --> 00:55:50,904
"MOST ATHLETIC" AND "BEST HAIR."
BUT BEFORE THAT, LET'S
835
00:55:50,904 --> 00:55:52,906
ACKNOWLEDGE THE FINE WRITERS
NOMINATED THIS YEAR FOR BEST
836
00:55:52,906 --> 00:55:56,910
ORIGINAL SCREENPLAY.
I BELIEVE IT WAS
837
00:55:56,910 --> 00:55:58,612
WILLIAM SHAKESPEARE WHO SAID,
838
00:55:58,612 --> 00:56:06,553
"WRITING IS A BITCH."
HUZZAH TO THIS GROUP OF ARTISTS
839
00:56:06,553 --> 00:56:14,394
FOR THEIR WORK.
HERE ARE THE NOMINEES. "ANORA."
840
00:56:14,394 --> 00:56:16,796
WRITTEN BY SEAN BAKER.
841
00:56:16,796 --> 00:56:17,597
>> HE IS A LITTLE BIT TIRED.
842
00:56:17,597 --> 00:56:17,864
>> I SEE.
843
00:56:17,864 --> 00:56:20,433
>> TIRED?
844
00:56:20,433 --> 00:56:23,003
>> THIS IS THE --
845
00:56:23,003 --> 00:56:26,640
>> THE LUCKY LADY.
846
00:56:26,640 --> 00:56:28,241
>> "THE BRUTALIST."
WRITTEN BY BRADY CORBET AND
847
00:56:28,241 --> 00:56:32,345
MONA FASTVOLD.
848
00:56:32,345 --> 00:56:37,017
>> MYSELF AND MY COLLEAGUE FOR
849
00:56:37,017 --> 00:56:42,022
OUR -- IT WAS NOT GERMANIC IN
850
00:56:42,022 --> 00:56:45,292
CHARACTER.
851
00:56:45,292 --> 00:56:48,628
>> "A REAL PAIN."
WRITTEN BY JESSE EISENBERG.
852
00:56:48,628 --> 00:56:49,696
>> THIS IS RIDICULOUS.
853
00:56:49,696 --> 00:56:51,731
>> IT WAS OUR COUNTRY.
THEY KICKED US OUT BECAUSE THEY
854
00:56:51,731 --> 00:56:55,035
THOUGHT WE WERE CHEAP.
855
00:56:55,035 --> 00:56:56,102
>> "SEPTEMBER 5."
WRITTEN BY MORITZ BINDER,
856
00:56:56,102 --> 00:57:00,674
TIM FEHLBAUM, CO-WRITTEN BY
ALEX DAVID.
857
00:57:00,674 --> 00:57:06,846
>> IF THEY SHOOT SOMEONE ON LIVE
TELEVISION, WHOSE STORY IS THAT?
858
00:57:06,846 --> 00:57:10,116
>> "THE SUBSTANCE."
WRITTEN BY CORALIE FARGEAT.
859
00:57:10,116 --> 00:57:11,651
>> OBVIOUSLY, SHE WAS DRUNK.
860
00:57:11,651 --> 00:57:15,889
>> REMEMBER, THERE'S NO SHE AND
YOU. YOU ARE ONE.
861
00:57:15,889 --> 00:57:17,424
RESPECT THE BALANCE AND YOU
WON'T HAVE ANY MORE
862
00:57:17,424 --> 00:57:29,169
INCONVENIENCES.
863
00:57:29,169 --> 00:57:29,469
[ APPLAUSE ]
864
00:57:29,469 --> 00:57:41,314
>> AND THE OSCAR GOES TO --
865
00:57:41,314 --> 00:57:47,220
"ANORA," SEAN BAKER.
866
00:57:47,220 --> 00:57:51,558
>> SEAN BAKER HAS FOUR
NOMINATIONS FOR "ANORA,"
867
00:57:51,558 --> 00:57:56,896
INCLUDING ORIGINAL SCREENPLAY,
FILM EDITING AND DIRECTING AND
868
00:57:56,896 --> 00:58:01,268
BEST PICTURE.
THIS IS HIS FIRST OSCAR WIN.
869
00:58:01,268 --> 00:58:07,107
>> HI, EVERYBODY.
THIS IS CRAZY. THANK YOU.
870
00:58:07,107 --> 00:58:10,210
TO THE ACADEMY, THANK YOU SO
MUCH FOR THIS HONOR.
871
00:58:10,210 --> 00:58:16,449
I ALSO -- I WANT TO THANK NEON
AND YOUR INCREDIBLE TEAM, FILM
872
00:58:16,449 --> 00:58:22,055
NATION AND FOCUS UNIVERSAL,
LAPATT AND MY MANAGER, ADAM
873
00:58:22,055 --> 00:58:27,827
KIRSCH AND OF COURSE, MY
INCREDIBLE, INCREDIBLE CAST.
874
00:58:27,827 --> 00:58:31,831
MIKEY, VACHE, YOU ELEVATED
EVERYTHING I WROTE AND MADE ME
875
00:58:31,831 --> 00:58:36,136
LOOK VERY GOOD. THANK YOU.
OF COURSE, MY WONDERFUL
876
00:58:36,136 --> 00:58:36,403
PRODUCERS.
877
00:58:36,403 --> 00:58:47,614
MY FELLOW PRODUCERS, SAMANTHA.
878
00:58:47,614 --> 00:58:50,316
I WANT TO THANK THE SEX WORKER
COMMUNITY.
879
00:58:50,316 --> 00:58:52,852
THEY HAVE SHARED THEIR STORY,
THEIR LIFE EXPERIENCE WITH ME
880
00:58:52,852 --> 00:58:56,589
OVER THE YEARS.
MY DEEPEST RESPECT. THANK YOU.
881
00:58:56,589 --> 00:58:57,057
I SHARE THIS WITH YOU.
882
00:58:57,057 --> 00:59:04,264
[ APPLAUSE ]
883
00:59:12,138 --> 00:59:14,441
>> THE NEXT AWARD IS FOR BEST
ADAPTED SCREENPLAY INCLUDE
884
00:59:14,441 --> 00:59:17,277
STORIES THAT GO ON JOURNEYS ALL
AROUND THE WORLD.
885
00:59:17,277 --> 00:59:20,513
AMAZING IF YOU THINK ABOUT IT,
BECAUSE WE ALL KNOW HOW HARD IT
886
00:59:20,513 --> 00:59:29,656
IS TO FIND THE RIGHT ADAPTER.
887
00:59:29,656 --> 00:59:32,726
THANK YOU.
888
00:59:32,726 --> 00:59:38,431
HERE ARE THE NOMINEES.
"A COMPLETE UNKNOWN."
889
00:59:38,431 --> 00:59:43,370
SCREENPLAY BY JAMES MANGOLD AND
JAY COCKS.
890
00:59:43,370 --> 00:59:46,406
>> HOLD YOUR ATTENTION ON THE
STAGE. YOU HAVE TO BE A FREAK.
891
00:59:46,406 --> 00:59:52,212
>> NOT EVERYONE.
892
00:59:52,212 --> 00:59:55,081
>> "CONCLAVE."
SCREENPLAY BY PETER STRAUGHAN.
893
00:59:55,081 --> 00:59:57,150
>> IF YOU WANT TO DEFEAT --
894
00:59:57,150 --> 00:59:59,719
>> THIS IS A CONCLAVE.
IT'S NOT A WAR.
895
00:59:59,719 --> 01:00:02,622
>> IT IS A WAR.
896
01:00:02,622 --> 01:00:04,257
>> "EMILIA PEREZ."
SCREENPLAY BY JACQUES AUDIARD IN
897
01:00:04,257 --> 01:00:06,392
COLLABORATION WITH
THOMAS BIDEGAIN, LEA MYSIUS AND
898
01:00:06,392 --> 01:00:10,296
NICOLAS LIVECCHI.
899
01:00:10,296 --> 01:00:14,901
>> CHANGING SOCIETY CHANGES THE
SOUL. CHANGING THE SOUL CHANGES
900
01:00:14,901 --> 01:00:18,338
SOCIETY.
CHANGING SOCIETY CHANGES IT ALL.
901
01:00:18,338 --> 01:00:19,973
>> "NICKEL BOYS."
SCREENPLAY BY RAMELL ROSS AND
902
01:00:19,973 --> 01:00:24,344
JOSLYN BARNES.
903
01:00:24,344 --> 01:00:28,248
>> I KNOW THE GOOD OLD BOY IS
DOING THE RIGHT THING.
904
01:00:28,248 --> 01:00:31,184
THINGS IS CHANGING.
905
01:00:31,184 --> 01:00:32,318
>> "SING SING."
SCREENPLAY BY CLINT BENTLEY,
906
01:00:32,318 --> 01:00:35,355
GREG KWEDAR.
STORY BY CLINT BENTLEY,
907
01:00:35,355 --> 01:00:41,961
GREG KWEDAR, CLARENCE MACLIN,
AND JOHN "DIVINE G" WHITFIELD.
908
01:00:41,961 --> 01:00:48,001
>> BROTHER, WE ARE HERE TO
BECOME HUMAN AGAIN, TO PUT ON
909
01:00:48,001 --> 01:00:51,671
NICE CLOTHES AND DANCE AROUND
AND ENJOY THE THINGS THAT IS NOT
910
01:00:51,671 --> 01:00:54,407
IN OUR REALITY.
911
01:00:54,407 --> 01:01:01,815
[ APPLAUSE ]
912
01:01:01,815 --> 01:01:11,491
>> AND THE OSCAR GOES TO --
913
01:01:11,491 --> 01:01:19,466
"CONCLAVE," PETER STRAUGHAN.
THIS IS THE SECOND NOMINATION
914
01:01:19,466 --> 01:01:26,940
FOR PETER.
HE WAS NOMINATED FOR "TINKER
915
01:01:26,940 --> 01:01:29,209
TAYLOR SOLDIER SPY."
916
01:01:29,209 --> 01:01:38,117
[ APPLAUSE ]
917
01:01:38,117 --> 01:01:42,822
>> THANK YOU SO MUCH.
JUST A HUGE THANK YOU TO
918
01:01:42,822 --> 01:01:45,925
EVERYONE INVOLVED IN MAKING
"CONCLAVE."
919
01:01:45,925 --> 01:01:50,230
THE CREW, AMAZING CAST,
PRODUCERS, MIKE AND ALICE AND
920
01:01:50,230 --> 01:01:53,132
ROBIN.
HOUSE PRODUCTIONS, FILM NATION,
921
01:01:53,132 --> 01:01:56,603
INDIAN PAINTBRUSH, FOCUS
FEATURES.
922
01:01:56,603 --> 01:02:00,874
SAM, ALL YOU GUYS THAT LOOKED
AFTER US. THANK YOU SO MUCH.
923
01:02:00,874 --> 01:02:03,643
I WILL THANK MY TEAM.
I WILL CALL THEM MY TEAM FROM
924
01:02:03,643 --> 01:02:09,415
NOW ON.
BRIAN AND JODY, SIMON, SASHA.
925
01:02:09,415 --> 01:02:12,352
THANK YOU.
ROBERT HARRIS FOR YOUR BEAUTIFUL
926
01:02:12,352 --> 01:02:14,187
BOOK. WE'RE STANDING ON YOUR
SHOULDERS.
927
01:02:14,187 --> 01:02:16,756
OUR WONDERFUL PRODUCER AND OUR
928
01:02:16,756 --> 01:02:24,664
GREAT, GREAT DIRECTOR.
929
01:02:24,664 --> 01:02:26,099
THANK YOU. ONE LAST THING.
I'M HERE WITH MY DAUGHTER.
930
01:02:26,099 --> 01:02:31,938
THIS IS FOR YOU. I LOVE YOU.
931
01:02:31,938 --> 01:02:39,512
THIS IS MINE. THANK YOU SO MUCH.
932
01:02:50,523 --> 01:02:51,724
>> I'M JANET YANG, PRESIDENT OF
THE ACADEMY OF MOTION PICTURE
933
01:02:51,724 --> 01:02:57,997
ARTS AND SCIENCES.
IN ADDITION TO THE OSCARS, THE
934
01:02:57,997 --> 01:03:00,366
ACADEMY CELEBRATES AND HONORS
MOVIE ARTISTS YEAR-ROUND THROUGH
935
01:03:00,366 --> 01:03:04,537
OUR GOVERNORS AWARDS, SCI-TECH
AWARDS, STUDENT ACADEMY AWARDS,
936
01:03:04,537 --> 01:03:08,174
AND OUR ACADEMY MUSEUM GALA.
FOR MORE INFORMATION ON THESE
937
01:03:08,174 --> 01:03:13,613
AND ALL OF OUR ACADEMY PROGRAMS,
PLEASE VISIT OSCARS.ORG.
938
01:03:16,704 --> 01:03:18,038
[ CHEERS AND APPLAUSE ]
939
01:03:57,058 --> 01:04:02,364
>>> NOW WE'RE TALKING.
YEAH. CHECK THIS OUT.
940
01:04:02,364 --> 01:04:10,205
CHECK THIS OUT. I'VE GONE BLUE.
YEAH. I DON'T WANT TO BRAG, BUT I
941
01:04:10,205 --> 01:04:15,744
STILL FIT INTO MY TEXT.
I WANT TO TELL YOU WHERE WE ARE.
942
01:04:15,744 --> 01:04:20,348
WE ARE AT THE DOLBY THEATER ON
THE HOLLYWOOD WALK OF FAME.
943
01:04:20,348 --> 01:04:25,787
YES.
IF YOU HAVE NEVER BEEN TO THE
944
01:04:25,787 --> 01:04:29,057
HOLLYWOOD WALK OF FAME, IMAGINE
A HALL OF FAME SO PRESTIGIOUS
945
01:04:29,057 --> 01:04:35,397
IT'S ALSO A SIDEWALK.
PLEASE WELCOME MY TWO HALL
946
01:04:35,397 --> 01:04:39,534
PASSES, TWO-TIME OSCAR
NOMINEE, SCARLETT JOHANSSON AND
947
01:04:39,534 --> 01:04:45,140
OSCAR NOMINEE, JUNE SQUIBB.
948
01:04:45,140 --> 01:04:59,254
♪
949
01:04:59,254 --> 01:05:02,390
>> JUNE AND I ARE HERE TO
ANNOUNCE THE NOMINEES FOR BEST
950
01:05:02,390 --> 01:05:04,960
MAKE-UP AND HAIRSTYLING.
WHAT A HARD-WORKING BUNCH.
951
01:05:04,960 --> 01:05:06,594
I GOT UP AT 6:00 A.M. JUST SO
THEY COULD DO MY MAKE-UP IN A
952
01:05:06,594 --> 01:05:10,165
WAY THAT LOOKS LIKE I DIDN'T
ACTUALLY DO MY MAKE-UP.
953
01:05:10,165 --> 01:05:14,869
>> I GOT A LITTLE MAKE-UP DONE,
TOO. I'M ACTUALLY BEING PLAYED BY
954
01:05:14,869 --> 01:05:19,574
BILL SKARSGARD RIGHT NOW.
955
01:05:19,574 --> 01:05:20,575
>> I'M SORRY, WHAT?
956
01:05:20,575 --> 01:05:26,881
>> OH YEAH.
HALF THE TIME YOU SEE ME IN
957
01:05:26,881 --> 01:05:28,950
PUBLIC, IT'S BILL SKARSGARD IN
MAKE-UP.
958
01:05:28,950 --> 01:05:32,087
THE REAL JUNE SQUIBB IS AT HOME
WITH A BOOK RIGHT NOW.
959
01:05:32,087 --> 01:05:35,757
>> BILL SKARSGARD.
THE GUY WHO PLAYED COUNT ORLOK
960
01:05:35,757 --> 01:05:36,791
IN "NOSFERATU" AND PENNYWISE THE
CLOWN IN "IT" --
961
01:05:36,791 --> 01:05:43,531
>> AND JUNE SQUIBB AT THE
OSCARS. THE BIG THREE.
962
01:05:43,531 --> 01:05:47,702
>> THIS IS SUCH A RELIEF.
I'M ACTUALLY BEING PLAYED BY
963
01:05:47,702 --> 01:05:49,270
ANDY SERKIS.
I HAVE A QUESTION I WANT TO ASK
964
01:05:49,270 --> 01:05:52,941
YOU ABOUT EYEBROW GLUE, BUT MUCH
MORE IMPORTANT, HERE ARE THE
965
01:05:52,941 --> 01:05:56,611
INCREDIBLE TALENTED NOMINEES FOR
MAKEUP AND HAIRSTYLING.
966
01:05:56,611 --> 01:05:59,314
"A DIFFERENT MAN."
MIKE MARINO, DAVID PRESTO, AND
967
01:05:59,314 --> 01:06:05,487
CRYSTAL JURADO. "EMILIA PEREZ."
JULIA FLOCH CARBONEL,
968
01:06:05,487 --> 01:06:10,692
EMMANUEL JANVIER, AND
JEAN-CHRISTOPHE SPADACCINI.
969
01:06:10,692 --> 01:06:13,795
"NOSFERATU."
DAVID WHITE, TRACI LOADER, AND
970
01:06:13,795 --> 01:06:18,466
SUZANNE STOKES-MUNTON.
"THE SUBSTANCE."
971
01:06:18,466 --> 01:06:21,102
PIERRE-OLIVIER PERSIN,
STEPHANIE GUILLON, AND
972
01:06:21,102 --> 01:06:26,908
MARILYNE SCARSELLI. "WICKED."
FRANCES HANNON, LAURA BLOUNT,
973
01:06:26,908 --> 01:06:36,251
AND SARAH NUTH.
974
01:06:36,251 --> 01:06:44,592
>> AND THE OSCAR GOES TO --
975
01:06:44,592 --> 01:06:45,593
"THE SUBSTANCE."
PIERRE-OLIVIER PERSIN,
976
01:06:45,593 --> 01:06:49,264
STEPHANIE GUILLON, AND
MARILYNE SCARSELLI.
977
01:06:49,264 --> 01:06:55,203
>> THIS IS THE FIRST OSCAR AND
NOMINATION FOR
978
01:06:55,203 --> 01:06:56,237
PIERRE-OLIVIER PERSIN,
STEPHANIE GUILLON, AND
979
01:06:56,237 --> 01:07:03,978
MARILYNE SCARSELLI.
980
01:07:17,592 --> 01:07:21,563
>> THANK YOU SO MUCH TO THE
ACADEMY.
981
01:07:21,563 --> 01:07:27,602
THANK YOU TO OUR DIRECTOR AND
FOR THE LOVE OF MAKEUP AND
982
01:07:27,602 --> 01:07:33,775
PRACTICAL AFFECTS, THANK YOU TO
DEMI MOORE FOR YOUR PATIENCE IN
983
01:07:33,775 --> 01:07:38,046
THE MAKEUP CHAIR.
THANK YOU SO MUCH.
984
01:07:38,046 --> 01:07:40,448
LAST BUT NOT LEAST, THANK YOU TO
MY WHOLE CREW.
985
01:07:40,448 --> 01:07:42,150
IT TAKES A VILLAGE.
THANK YOU SO MUCH.
986
01:07:42,150 --> 01:07:45,787
>> THANK YOU.
THANK YOU SO MUCH.
987
01:07:45,787 --> 01:07:51,025
[ APPLAUSE ]
988
01:07:53,361 --> 01:07:58,266
♪
989
01:07:58,266 --> 01:07:59,267
>> Announcer: PLEASE WELCOME
990
01:07:59,267 --> 01:08:09,410
OSCAR WINNER, HALLE BERRY.
991
01:08:09,410 --> 01:08:13,481
♪
992
01:08:13,481 --> 01:08:13,748
[ APPLAUSE ]
993
01:08:15,583 --> 01:08:16,718
>> EVERY YEAR, THE ACADEMY'S
BOARD OF GOVERNORS HONORS
994
01:08:16,718 --> 01:08:18,253
EXTRAORDINARY CONTRIBUTIONS TO
CINEMA WITH THE GOVERNORS'
995
01:08:18,253 --> 01:08:23,925
AWARDS.
LAST FALL, THESE AWARDS WERE
996
01:08:23,925 --> 01:08:31,199
PRESENTED TO CASTING DIRECTOR
JULIET TAYLOR, LEGENDARY
997
01:08:31,199 --> 01:08:34,836
COMPOSER QUINCY JONES,
998
01:08:34,836 --> 01:08:42,810
WRITER-DIRECTOR RICHARD CURTIS,
AND PRODUCERS MICHAEL G. WILSON
999
01:08:42,810 --> 01:08:45,680
AND BARBARA BROCCOLI.
1000
01:08:45,680 --> 01:08:49,851
[ APPLAUSE ]
1001
01:08:49,851 --> 01:08:53,388
I HAD THE GREAT PLEASURE OF
WORKING WITH BARBARA AND MICHAEL
1002
01:08:53,388 --> 01:08:57,692
ON "DIE ANOTHER DAY."
AND LET ME TELL YOU, THEY DIDN'T
1003
01:08:57,692 --> 01:09:01,930
JUST PRODUCE "BOND" MOVIES, THEY
WERE THE HEART AND SOUL OF THIS
1004
01:09:01,930 --> 01:09:09,137
FRANCHISE FOR DECADES.
EVERY GENERATION HAS THEIR BOND.
1005
01:09:09,137 --> 01:09:14,842
THE WORLD EVOLVES, AND SO DOES
HE. BUT THAT SIGNATURE MIX OF
1006
01:09:14,842 --> 01:09:21,516
DANGER, STYLE, AND INTRIGUE?
THAT'S TIMELESS.
1007
01:09:21,516 --> 01:09:25,420
TONIGHT, WE PAY TRIBUTE TO
BARBARA AND MICHAEL, AND TO OUR
1008
01:09:25,420 --> 01:09:33,094
FAVORITE SPY.
1009
01:09:33,094 --> 01:09:33,361
♪
1010
01:09:33,361 --> 01:09:37,966
♪
1011
01:09:37,966 --> 01:09:39,100
>> CAN I HELP YOU?
1012
01:09:39,100 --> 01:09:41,336
>> MY NAME IS BOND.
1013
01:09:41,336 --> 01:09:42,804
>> BOND.
1014
01:09:42,804 --> 01:09:43,137
>> BOND.
1015
01:09:43,137 --> 01:09:45,773
>> THE NAME IS BOND, JAMES BOND.
1016
01:09:45,773 --> 01:09:48,042
>> DO YOU EXPECT ME TO TALK?
1017
01:09:48,042 --> 01:09:53,915
>> NO, MR. BOND, I EXPECT YOU TO
DIE.
1018
01:09:53,915 --> 01:09:57,385
♪
1019
01:09:57,385 --> 01:10:01,089
♪
1020
01:10:01,089 --> 01:10:08,363
>> WAS IT SOMETHING I SAID?
1021
01:10:08,363 --> 01:10:11,566
♪
1022
01:10:11,566 --> 01:10:14,702
♪
1023
01:10:14,702 --> 01:10:18,506
>> I'M SORRY.
1024
01:10:18,506 --> 01:10:27,515
THAT LAST HAND NEARLY KILLED ME.
1025
01:10:27,515 --> 01:10:28,416
>> I NEED YOU BACK.
1026
01:10:28,416 --> 01:10:30,918
>> I NEVER LEFT.
1027
01:10:30,918 --> 01:10:32,987
♪
1028
01:10:32,987 --> 01:10:35,089
♪
1029
01:10:35,089 --> 01:10:40,762
♪
1030
01:10:40,762 --> 01:10:49,370
♪
1031
01:10:49,370 --> 01:10:50,705
♪
1032
01:10:50,705 --> 01:10:57,412
♪
1033
01:10:57,412 --> 01:11:05,386
♪
1034
01:11:05,386 --> 01:11:09,991
♪
1035
01:11:09,991 --> 01:11:17,365
♪
1036
01:11:17,365 --> 01:11:18,333
♪
1037
01:11:18,333 --> 01:11:24,572
♪
1038
01:11:24,572 --> 01:11:33,381
♪
1039
01:11:33,381 --> 01:11:39,220
♪
1040
01:11:39,220 --> 01:11:40,254
♪ WHEN YOU WERE YOUNG AND
1041
01:11:40,254 --> 01:11:44,959
YOUR HEART WAS AN OPEN BOOK ♪
1042
01:11:44,959 --> 01:11:49,097
♪ YOU USED TO SAY
1043
01:11:49,097 --> 01:11:49,530
LIVE AND LET LIVE ♪
1044
01:11:49,530 --> 01:11:50,131
♪ YOU KNOW YOU DID
1045
01:11:50,131 --> 01:11:57,372
YOU KNOW YOU DID
YOU KNOW YOU DID ♪
1046
01:11:57,372 --> 01:11:58,506
♪ BUT IF THIS EVER-CHANGING
1047
01:11:58,506 --> 01:11:59,540
WORLD IN WHICH WE LIVIN' ♪
1048
01:11:59,540 --> 01:12:04,245
♪ MAKES YOU GIVE IN AND CRY
1049
01:12:04,245 --> 01:12:13,154
SAY LIVE AND LET DIE ♪
1050
01:12:13,154 --> 01:12:13,588
♪ LIVE AND LET DIE
1051
01:12:13,588 --> 01:12:17,392
LIVE AND LET DIE
1052
01:12:17,392 --> 01:12:23,064
LIVE AND LET DIE ♪
1053
01:12:23,064 --> 01:12:24,632
♪
1054
01:12:24,632 --> 01:12:31,406
♪
1055
01:12:31,406 --> 01:12:41,416
♪
1056
01:12:41,416 --> 01:12:43,918
♪
1057
01:12:43,918 --> 01:12:48,656
♪
1058
01:12:48,656 --> 01:12:57,365
♪
1059
01:12:57,365 --> 01:13:00,068
♪
1060
01:13:00,068 --> 01:13:03,738
♪ DIAMONDS ARE FOREVER
1061
01:13:03,738 --> 01:13:08,976
THEY ARE ALL I NEED
TO PLEASE ME ♪
1062
01:13:08,976 --> 01:13:09,444
♪ THEY CAN STIMULATE
1063
01:13:09,444 --> 01:13:12,080
AND TEASE ME ♪
1064
01:13:12,080 --> 01:13:13,648
♪ THEY WON'T LEAVE
1065
01:13:13,648 --> 01:13:17,318
IN THE NIGHT ♪
1066
01:13:17,318 --> 01:13:18,352
♪ I'VE NO FEAR THAT
1067
01:13:18,352 --> 01:13:27,195
THEY MIGHT DESERT ME ♪
1068
01:13:27,195 --> 01:13:28,229
♪ DIAMONDS ARE FOREVER
1069
01:13:28,229 --> 01:13:32,400
HOLD ONE UP AND THEN CARESS IT ♪
1070
01:13:32,400 --> 01:13:33,367
♪ TOUCH IT
1071
01:13:33,367 --> 01:13:38,139
STROKE IT AND UNDRESS IT ♪
1072
01:13:38,139 --> 01:13:41,809
♪ I CAN SEE EVERY PART
1073
01:13:41,809 --> 01:13:47,048
NOTHING HIDES IN THE HEART
TO HURT ME ♪
1074
01:13:47,048 --> 01:13:51,219
♪ I DON'T NEED LOVE
1075
01:13:51,219 --> 01:13:57,492
FOR WHAT GOOD WILL LOVE DO ME ♪
1076
01:13:57,492 --> 01:13:59,026
♪ DIAMONDS NEVER
1077
01:13:59,026 --> 01:14:04,765
LIE TO ME ♪
1078
01:14:04,765 --> 01:14:08,936
♪ FOR WHEN LOVE'S GONE
1079
01:14:08,936 --> 01:14:18,279
THEY'LL LUSTER ON ♪
1080
01:14:18,279 --> 01:14:21,949
♪ DIAMONDS ARE FOREVER, FOREVER,
1081
01:14:21,949 --> 01:14:22,450
FOREVER ♪
1082
01:14:22,450 --> 01:14:25,553
♪ DIAMONDS ARE FOREVER,
1083
01:14:25,553 --> 01:14:34,028
FOREVER ♪
1084
01:14:34,028 --> 01:14:41,969
♪ FOREVER AND EVER
1085
01:14:41,969 --> 01:14:42,270
[ APPLAUSE ]
1086
01:14:42,270 --> 01:14:45,106
♪
1087
01:14:45,106 --> 01:14:45,273
♪
1088
01:14:45,273 --> 01:14:48,276
♪ THIS IS THE END
1089
01:14:48,276 --> 01:14:51,412
HOLD YOUR BREATH
1090
01:14:51,412 --> 01:14:56,617
AND COUNT TO TEN ♪
1091
01:14:56,617 --> 01:15:04,458
♪ FEEL THE EARTH MOVE
1092
01:15:04,458 --> 01:15:11,699
AND THEN HEAR MY HEART
BURST AGAIN ♪
1093
01:15:11,699 --> 01:15:13,801
♪ LET THE SKYFALL
1094
01:15:13,801 --> 01:15:19,006
WHEN IT CRUMBLES
AND WE STAND TALL ♪
1095
01:15:19,006 --> 01:15:21,375
♪ FACE IT ALL TOGETHER
1096
01:15:21,375 --> 01:15:28,950
AT SKYFALL ♪
1097
01:15:28,950 --> 01:15:34,155
♪ FOR THIS IS THE END
1098
01:15:34,155 --> 01:15:41,395
I'VE DROWNED AND DREAMT
THIS MOMENT ♪
1099
01:15:41,395 --> 01:15:43,531
♪ SO OVERDUE
1100
01:15:43,531 --> 01:15:47,702
I OWE THEM SWEPT AWAY ♪
1101
01:15:47,702 --> 01:15:52,373
♪ I'M STOLEN
1102
01:15:52,373 --> 01:15:58,679
LET THE SKYFALL LET THE SKYFALL ♪
1103
01:15:58,679 --> 01:16:02,850
♪ WHEN IT CRUMBLES
1104
01:16:02,850 --> 01:16:20,534
WHEN IT CRUMBLES ♪
1105
01:16:20,534 --> 01:16:22,603
♪ AND WE'LL STAND TALL
1106
01:16:22,603 --> 01:16:29,443
AND FACE IT ALL
1107
01:16:29,443 --> 01:16:36,684
TOGETHER AT SKYFALL ♪
1108
01:16:36,684 --> 01:16:52,300
[ CHEERS AND APPLAUSE ]
1109
01:16:52,300 --> 01:16:55,970
>> Announcer: COMING UP NEXT,
DA'VINE JOY RANDOLPH PRESENTS
1110
01:16:55,970 --> 01:17:00,141
BEST SUPPORTING ACTRESS.
HERE ON THE OSCARS FROM THE
1111
01:17:00,141 --> 01:17:04,312
DOLBY THEATER AT OVATION
HOLLYWOOD.
1112
01:17:12,019 --> 01:17:15,656
>>> ARE YOU TIRED OF STREAMING
MOVIES FROM YOUR COUCH, FROM
1113
01:17:15,656 --> 01:17:22,530
YOUR KITCHEN AND FROM YOUR HAND?
WHAT IF I TOLD YOU THERE'S
1114
01:17:22,530 --> 01:17:26,300
ANOTHER WAY TO STREAM MOVIES, IN
A BUILDING THAT'S DEDICATED TO
1115
01:17:26,300 --> 01:17:32,973
STREAMING MOVIES?
WELCOME TO CINEMASTREAMS.
1116
01:17:32,973 --> 01:17:39,013
WE TOOK 800 SMARTPHONES, GLUED
THEM TOGETHER AND MADE ONE GIANT
1117
01:17:39,013 --> 01:17:39,613
SMARTPHONE.
1118
01:17:39,613 --> 01:17:40,815
>> HOW DO YOU HOLD IT?
1119
01:17:40,815 --> 01:17:44,251
>> YOU DON'T.
THE BUILDING HOLDS IT.
1120
01:17:44,251 --> 01:17:47,221
>> WAIT.
HOW DO YOU START IT?
1121
01:17:47,221 --> 01:17:50,124
>> WE START THE MOVIE FOR YOU.
1122
01:17:50,124 --> 01:17:50,825
>> OH.
1123
01:17:50,825 --> 01:17:57,164
>> YOU JUST SIT BACK, RELAX AND
ENJOY A TUB OF UNREGULATED
1124
01:17:57,164 --> 01:17:57,565
SUBSTANCES.
1125
01:17:57,565 --> 01:17:59,800
>> THEY GOT ROPES OUT THERE.
1126
01:17:59,800 --> 01:18:03,170
>> YOU ARE GOING TO HAVE TO PUT
THAT BACK.
1127
01:18:03,170 --> 01:18:05,506
>> ISN'T THIS JUST A MOVIE
THEATER.
1128
01:18:05,506 --> 01:18:12,380
>> CINEMASTREAMS IS A TRADEMARK
OF CONAN O'BRIEN IN PARTNERSHIP
1129
01:18:12,380 --> 01:18:13,214
WITH SAUDI ARABIA.
1130
01:18:13,214 --> 01:18:15,549
>> TELL THEM MARTY SENT YOU.
1131
01:18:15,549 --> 01:18:20,888
[ APPLAUSE ]
1132
01:18:20,888 --> 01:18:25,693
>> THAT IDEA IS GOING TO BLOW
THANKS TO MARTIN SCORSESE.
1133
01:18:25,693 --> 01:18:30,798
HIS CUT OF THAT COMMERCIAL WAS
SIX HOURS LONG. VERY VIOLENT.
1134
01:18:30,798 --> 01:18:37,872
THIS YEAR MARKS THE 20th
ANNIVERSARY OF "KILL BILL VOLUME
1135
01:18:37,872 --> 01:18:44,011
2."
WELCOME A STAR OF BOTH KILL BILL
1136
01:18:44,011 --> 01:18:48,382
MOVIES AND THE REASON I BOUGHT
MY WIFE AN EYE PATCH, THE
1137
01:18:48,382 --> 01:18:52,386
WORLD'S SEXIEST DARYL, DARYL
1138
01:18:52,386 --> 01:18:59,360
HANNAH.
1139
01:18:59,360 --> 01:19:06,534
♪
1140
01:19:12,807 --> 01:19:19,747
THE WORLD -- EDITORS OF
1141
01:19:19,747 --> 01:19:27,021
LING, IT
VERY HEARTBEAT PLACED IN THEIR
1142
01:19:27,021 --> 01:19:27,855
HANDS.
THEY HAVE TO RECOGNIZE THE MAGIC
1143
01:19:27,855 --> 01:19:29,657
IN THE MOMENTS CAPTURED ON FILM.
IMMERSE THEMSELVES IN THE
1144
01:19:29,657 --> 01:19:33,894
FOOTAGE.
BE A SCULPTOR CHIPPING AWAY TO
1145
01:19:33,894 --> 01:19:37,965
FIND FORM.
AN ARCHITECT TO HELP ILLUMINATE
1146
01:19:37,965 --> 01:19:38,899
THE VISION.
AND A PUZZLE MASTER TO PUT THE
1147
01:19:38,899 --> 01:19:43,704
PIECES INTO PLACE.
TONIGHT, WE CELEBRATE THE ONES
1148
01:19:43,704 --> 01:19:47,875
WHO SHAPE THE STORIES WE TELL.
HERE ARE THE NOMINEES FOR
1149
01:19:47,875 --> 01:19:51,045
ACHIEVEMENT IN FILM EDITING.
1150
01:19:51,045 --> 01:19:56,851
"ANORA," SEAN BAKER.
1151
01:19:56,851 --> 01:20:02,690
>> STOP
PLEASE STOP SCREAMING!
1152
01:20:02,690 --> 01:20:03,123
>> "THE BRUTALIST,"
1153
01:20:03,123 --> 01:20:12,566
DAVID JANCSO.
1154
01:20:12,566 --> 01:20:21,942
CONCLAVE, NICK EMERSON.
1155
01:20:21,942 --> 01:20:25,946
>> WE. WANT
1156
01:20:25,946 --> 01:20:42,363
JULIETTE WELFLING. THE.
1157
01:20:47,268 --> 01:20:53,040
AND THE OSCAR GOES TO -- HONORA
1158
01:20:53,040 --> 01:21:01,548
"ANORA," SEAN BAKER.
1159
01:21:01,548 --> 01:21:07,454
>> THIS IS THE SECOND OSCAR WIN
FOR SEAN BAKER WHO HAS FOUR
1160
01:21:07,454 --> 01:21:11,825
NOMINATIONS THIS YEAR FOR
"ANORA."
1161
01:21:15,796 --> 01:21:21,735
>> HEY. HEY, EVERYBODY.
THANK YOU TO THE ACADEMY AND
1162
01:21:21,735 --> 01:21:27,007
EVERYBODY I MENTIONED EARLIER.
I TRULY APPRECIATE THE
1163
01:21:27,007 --> 01:21:32,146
RECOGNITION FOR THIS, BECAUSE IF
YOU SAW THAT FOOTAGE, I SAVED
1164
01:21:32,146 --> 01:21:35,716
THIS FILM IN THE EDIT. TRUST ME.
THAT DIRECTOR SHOULD NEVER WORK
1165
01:21:35,716 --> 01:21:42,056
AGAIN.
TRULY, I CONSIDER EDITING TO BE
1166
01:21:42,056 --> 01:21:45,025
HALF OF MY DIRECTING AND A THIRD
OF MY SCREENWRITING.
1167
01:21:45,025 --> 01:21:48,529
THIS MEANS EVERYTHING.
IT'S A REAL VALIDATION FOR ME.
1168
01:21:48,529 --> 01:21:51,865
I ALSO WANT TO, OF COURSE, THANK
MY CAST AND CREW.
1169
01:21:51,865 --> 01:21:56,370
THERE ARE THREE INDIVIDUALS WHO
I ALLOW IN THE EDITING ROOM.
1170
01:21:56,370 --> 01:22:00,941
NOBODY ELSE, JUST THESE THREE.
I WANT TO THANK YOU GUYS FOR
1171
01:22:00,941 --> 01:22:08,315
YOUR EMOTIONAL SUPPORT, YOUR
CREATIVE SUPPORT, AND THOSE
1172
01:22:08,315 --> 01:22:12,086
THREE PEOPLE ARE SAMANTHA, MY
1173
01:22:12,086 --> 01:22:18,492
WIFE AND PRODUCER, ALEX, MY
CO-PRODUCER AND MY DOG.
1174
01:22:18,492 --> 01:22:25,466
THANK YOU. THANK YOU.
1175
01:22:25,466 --> 01:22:30,170
♪
1176
01:22:30,170 --> 01:22:31,805
>> Announcer: PLEASE WELCOME
LAST YEAR'S OSCAR WINNER FOR
1177
01:22:31,805 --> 01:22:33,841
SUPPORTING ACTRESS,
1178
01:22:33,841 --> 01:22:40,080
DA'VINE JOY RANDOLPH.
1179
01:22:40,080 --> 01:22:45,152
[ APPLAUSE ]
1180
01:22:45,152 --> 01:22:51,125
EVENING.EVENING.
1181
01:22:51,125 --> 01:22:57,231
IT IS A PRIVILEGE TO BE
INCREDIBLE WOMEN TONIGHT.
1182
01:22:57,231 --> 01:23:02,436
MONICA, THE WAY YOU BROUGHT
JOAN BAEZ TO LIFE? WHEW.
1183
01:23:02,436 --> 01:23:07,674
YOU DIDN'T JUST PLAY HER, YOU
BECAME HER.
1184
01:23:07,674 --> 01:23:10,444
YOU CAPTURED THE HEARTBEAT OF A
CHANGING WORLD, AND WE ALL FELT
1185
01:23:10,444 --> 01:23:13,547
IT.
1186
01:23:13,547 --> 01:23:22,322
[ APPLAUSE ]
1187
01:23:22,322 --> 01:23:28,629
>> YOURIS INFECTIOUS.
IT'S IN YOUR VOICE, YOUR
1188
01:23:28,629 --> 01:23:34,368
MOVEMENT, YOUR PRESENCE.
YOU LIGHT UP THE SCREEN THE SAME
1189
01:23:34,368 --> 01:23:42,242
WAY YOU LIGHT UP A STAGE.
PURE MAGIC.
1190
01:23:42,242 --> 01:23:52,019
[ APPLAUSE ]TY, YOU ARE GRACE.
1191
01:23:52,019 --> 01:23:54,088
YOU HOLD STRENGTH AND
VULNERABILITY IN PERFECT
1192
01:23:54,088 --> 01:23:57,758
BALANCE, AND THAT IS NO SMALL
FEAT.
1193
01:23:57,758 --> 01:24:03,197
EVERY MOMENT WITH YOU ON SCREEN
IS A MASTER CLASS.
1194
01:24:03,197 --> 01:24:10,237
[ APPLAUSE ]
1195
01:24:10,237 --> 01:24:13,173
ISABELLA, WATCHING YOU WORK IS A
REMINDER OF THE POWER OF PAYING
1196
01:24:13,173 --> 01:24:18,011
ATTENTION.
OF SAVORING EVERY MOMENT, EVERY
1197
01:24:18,011 --> 01:24:21,615
LINE, EVERY BREATH.
AND YOU DO IT WITH SUCH EASE,
1198
01:24:21,615 --> 01:24:23,550
YOU WERE BORN TO DO THIS.
1199
01:24:23,550 --> 01:24:33,127
[ APPLAUSE ]
1200
01:24:33,127 --> 01:24:40,701
ZOE, MY DEAR. YOU TOOK US ON A
1201
01:24:40,701 --> 01:24:44,905
JOURNEY. ONE THAT MADE US
JOURNEY, ONE THAT MADE US
1202
01:24:44,905 --> 01:24:46,974
QUESTION THE LIMITS WE PUT ON
OURSELVES, AND THEN SHOWED US
1203
01:24:46,974 --> 01:24:51,245
HOW TO BREAK THEM.
YOU ARE FEARLESS, AND IT'S
1204
01:24:51,245 --> 01:24:55,649
INSPIRING TO WATCH.
1205
01:24:55,649 --> 01:25:00,387
[ APPLAUSE ]
1206
01:25:00,387 --> 01:25:05,192
FIVE BREATHTAKING PERFORMANCES,
FIVE BRILLIANT WOMEN, EACH ONE
1207
01:25:05,192 --> 01:25:12,866
OF YOU SO DESERVING.
1208
01:25:12,866 --> 01:25:20,307
AND THE OSCAR GOES TO -- ZOE
1209
01:25:20,307 --> 01:25:25,012
SALDANA.
1210
01:25:25,012 --> 01:25:26,947
>> THIS IS THE FIRST OSCAR WIN
1211
01:25:26,947 --> 01:25:41,295
AND NOMINATION FOR ZOE SALDANA.
1212
01:25:41,295 --> 01:25:47,668
>> MOMMY.
1213
01:25:47,668 --> 01:26:05,619
HEROISM AND.
1214
01:26:05,619 --> 01:26:10,157
POWERFUL WOMEN. MY FELLOW
NOMINEES. THE LOVE AND COMMUNITY
1215
01:26:10,157 --> 01:26:15,262
THAT YOU HAVE OFFERED ME IS A
TRUE GIFT, AND I WILL PAY IT
1216
01:26:15,262 --> 01:26:19,833
FORWARD. THANK YOU SO MUCH. JACK
DILLARD, YOU ARE FOREVER A
1217
01:26:19,833 --> 01:26:23,237
BELOVED CHARACTER IN MY LIFE.
THANK YOU FOR TAKING THE
1218
01:26:23,237 --> 01:26:27,174
INTEREST. THANK YOU FOR BEING SO
CURIOUS ABOUT THESE WOMEN TO
1219
01:26:27,174 --> 01:26:32,846
TELL THIS STORY. TO MY CAST AND
MY CREW OF EMILIA PEREZ. I'M
1220
01:26:32,846 --> 01:26:37,718
SHARING THIS AWARD WITH YOU.
NETFLIX. TED. LISA. BELLA, WHY
1221
01:26:37,718 --> 01:26:42,890
NOT PRODUCTIONS YSL. THANK YOU
FOR YOUR SUPPORT TO MY KICK TEAM
1222
01:26:42,890 --> 01:26:47,728
AT CAA. MY AMAZING MANAGERS AND
LAWYERS AND THE POWERFUL LADIES
1223
01:26:47,728 --> 01:26:50,697
OF THE LEAD COMPANY. YOUR
GUIDANCE AND THANK YOU FOR
1224
01:26:50,697 --> 01:26:53,567
ALWAYS, ALWAYS ANSWERING MY
EMAILS LATE AT NIGHT. TO MY MOM,
1225
01:26:53,567 --> 01:27:00,173
MY DAD AND MY SISTERS, MARIANNE
AND CICELY. EVERYTHING BRAVE,
1226
01:27:00,173 --> 01:27:03,577
OUTRAGEOUS AND GOOD THAT I'VE
EVER DONE IN MY LIFE IS BECAUSE
1227
01:27:03,577 --> 01:27:08,015
OF YOU. THANK YOU SO MUCH. AND
TO MY HUSBAND, WITH THAT
1228
01:27:08,015 --> 01:27:14,588
BEAUTIFUL HAIR, YOU'RE JUST. THE
1229
01:27:14,588 --> 01:27:17,791
BIGGEST HONOR IN MY LIFE IS
BEING YOUR PARTNER. YOU HUNG THE
1230
01:27:17,791 --> 01:27:22,062
MOON IN OUR BEAUTIFUL, PERFECT
SUNS. CY, BOWIE AND ZEN. THEY
1231
01:27:22,062 --> 01:27:27,034
FILL OUR SKIES EVERY NIGHT WITH
STARS. MY GRANDMOTHER CAME TO
1232
01:27:27,034 --> 01:27:33,440
THIS COUNTRY IN 1961. I AM A
PROUD CHILD OF IMMIGRANT
1233
01:27:33,440 --> 01:27:40,847
PARENTS. WITH DREAMS AND DIGNITY
AND HARD WORKING
1234
01:27:40,847 --> 01:27:45,686
AND HARD WORKING HANDS. AND I AM
THE FIRST AMERICAN OF DOMINICAN
1235
01:27:45,686 --> 01:27:49,690
ORIGIN TO ACCEPT AN ACADEMY
AWARD, AND I KNOW I WILL NOT BE
1236
01:27:49,690 --> 01:27:54,728
THE LAST. I HOPE THE FACT THAT I
1237
01:27:54,728 --> 01:28:00,233
AM GETTING AN AWARD FOR A ROLE
WHERE I GOT TO SING AND SPEAK IN
1238
01:28:00,233 --> 01:28:03,403
SPANISH, MY GRANDMOTHER, IF SHE
WERE HERE, SHE WOULD BE SO
1239
01:28:03,403 --> 01:28:06,740
DELIGHTED. THIS IS FOR MY
GRANDMOTHER, ARGENTINA. THANK
1240
01:28:06,740 --> 01:28:12,779
YOU SO MUCH. MUCHAS GRACIAS.
THANK YOU.
1241
01:28:12,779 --> 01:28:19,353
>> I'M GOING TO START OFF.
1242
01:28:19,353 --> 01:28:24,558
SAYING NO, STOP THIS NOW.
1243
01:28:24,558 --> 01:28:29,029
>> COMING UP NEXT, BEN STILLER
AND BEST SONG PRESENTED BY A
1244
01:28:29,029 --> 01:28:32,633
ROCK AND ROLL LEGEND. TO HEAR
ALL OF THIS YEAR'S NOMINATED
1245
01:28:32,633 --> 01:28:33,893
SONGS, GO TO OSCAR.COM. THE
1246
01:28:36,866 --> 01:28:39,692
[ APPLAUSE ]
1247
01:28:39,692 --> 01:28:43,869
>>> HAVE YOU EVER DREAMT OF A
BETTER VERSION OF YOURSELF?
1248
01:28:43,869 --> 01:28:46,671
>> THERE ARE NO REPRESENTATIONS
OF WOMEN OVER 50.
1249
01:28:46,671 --> 01:28:52,110
IT'S LIKE AFTER THAT LIMIT, YOU
DON'T EXIST ANYMORE.
1250
01:28:52,110 --> 01:28:56,081
THE MOVIE IS ABOUT FLESH AND
BONE AND WOMEN'S BODIES.
1251
01:28:56,081 --> 01:29:00,352
I NEEDED TO HAVE EVERYTHING BE
PRACTICAL AND MADE FOR REAL.
1252
01:29:00,352 --> 01:29:01,753
NOT HAVING ANY BOUNDARIES.
1253
01:29:01,753 --> 01:29:08,994
TO ME, THAT'S CINEMA.
1254
01:29:08,994 --> 01:29:11,630
[ APPLAUSE ]
1255
01:29:21,072 --> 01:29:22,140
>> Announcer: PLEASE WELCOME
BEN STILLER.
1256
01:29:22,140 --> 01:29:37,188
PLEASE WELCOME BEN STILLER.
1257
01:29:37,188 --> 01:29:39,791
>> PRODUCTION DESIGN.
PRODUCTION DESIGNERS BRING THE
1258
01:29:39,791 --> 01:29:43,962
VISUAL WORLD OF A SCREENPLAY TO
LIFE. IT IS A FIELD WHERE THE
1259
01:29:43,962 --> 01:29:46,564
SLIGHTEST MISCALCULATION COULD
LOSE THE TRUST OF THE AUDIENCE
1260
01:29:46,564 --> 01:29:53,371
AND HUMILIATE THE PERFORMERS ON
SCREEN. PRODUCTION DESIGNERS PLAN
1261
01:29:53,371 --> 01:30:00,245
METICULOUSLY, CREATING SKETCHES
THAT ILLUSTRATE A FILM'S MOOD
1262
01:30:00,245 --> 01:30:02,347
AND ATMOSPHERE.
WITH THEIR KNOWLEDGE OF COLOR
1263
01:30:02,347 --> 01:30:03,348
THEORY, LIGHTING, AND
COMPOSITION, THEY HANDLE
1264
01:30:03,348 --> 01:30:07,452
EVERYTHING FROM MINOR VISUAL
DETAILS TO MASSIVE TECHNICAL
1265
01:30:07,452 --> 01:30:09,020
CHALLENGES, COLLABORATING WITH
THE DIRECTOR TO SIGNIFICANTLY
1266
01:30:09,020 --> 01:30:11,723
IMPACT THE FINAL IMAGE ON
SCREEN, MAKING SURE WHAT YOU ARE
1267
01:30:11,723 --> 01:30:12,657
SEEING IS EXACTLY WHAT THE
1268
01:30:12,657 --> 01:30:23,568
ARTISTS INTENDED.
1269
01:30:23,568 --> 01:30:28,840
[ APPLAUSE ]
1270
01:30:28,840 --> 01:30:34,045
HERE ARE THE NOMINEES FOR
PRODUCTION DESIGN.
1271
01:30:34,045 --> 01:30:35,613
"THE BRUTALIST."
PRODUCTION DESIGN BY
1272
01:30:35,613 --> 01:30:40,785
JUDY BECKER, SET DECORATION BY
PATRICIA CUCCIA. "CONCLAVE."
1273
01:30:40,785 --> 01:30:44,522
PRODUCTION DESIGN BY
SUZIE DAVIES, SET DECORATION BY
1274
01:30:44,522 --> 01:30:49,661
CYNTHIA SLEITER.
"DUNE: PART TWO."
1275
01:30:49,661 --> 01:30:50,762
PRODUCTION DESIGN BY
PATRICE VERMETTE, SET DECORATION
1276
01:30:50,762 --> 01:30:55,934
BY SHANE VIEAU. "NOSFERATU."
PRODUCTION DESIGN BY
1277
01:30:55,934 --> 01:31:01,172
CRAIG LATHROP, SET DECORATION BY
BEATRICE BRENTNEROVA. "WICKED."
1278
01:31:01,172 --> 01:31:03,241
PRODUCTION DESIGN BY
NATHAN CROWLEY, SET DECORATION
1279
01:31:03,241 --> 01:31:20,225
BY LEE SANDALES.
1280
01:31:20,225 --> 01:31:23,461
[ CHEERS AND APPLAUSE ]
1281
01:31:23,461 --> 01:31:27,632
AND THE OSCAR GOES TO --
1282
01:31:27,632 --> 01:31:34,639
"WICKED."
1283
01:31:34,639 --> 01:31:37,041
>> THIS IS THE FIRST OSCAR WIN
1284
01:31:37,041 --> 01:31:46,284
FOR SEVEN-TIME NOMINEE NATHAN
1285
01:31:46,284 --> 01:31:51,389
CROWLEY.
1286
01:31:51,389 --> 01:31:54,426
SANDALES EARNED HIS FIRST
1287
01:31:54,426 --> 01:32:01,199
NOMINATION FOR "WAR HORSE."
1288
01:32:01,199 --> 01:32:08,506
>> THIS IS AMAZING.
THANKS TO THE ACADEMY.
1289
01:32:08,506 --> 01:32:13,011
I NEED TO SHARE THIS WITH MY
WIFE, PHYLLIS, MY CO-DESIGNER
1290
01:32:13,011 --> 01:32:21,820
AND OUR KIDS.
1291
01:32:21,820 --> 01:32:26,591
SOPHIE, FRANCHESCA, GRACE AND
GEORGE.
1292
01:32:26,591 --> 01:32:32,497
IT WAS THE GREATEST EXPERIENCE
OF ALL TIME TO MAKE.
1293
01:32:32,497 --> 01:32:42,474
WE OWE THAT TO JOHN CHU.
1294
01:32:42,474 --> 01:32:45,210
>> YOU TOOK US OVER THE RAINBOW.
1295
01:32:45,210 --> 01:32:50,648
>> MARK PLATT, COME ON.
OUR CAST. PHENOMENAL.
1296
01:32:50,648 --> 01:32:54,319
UNIVERSAL PICTURES FOR ALL THE
SUPPORT.
1297
01:32:54,319 --> 01:32:57,422
AND OUR ART DEPARTMENT, OUR
CONSTRUCTION DEPARTMENT.
1298
01:32:57,422 --> 01:33:02,127
>> MY WHOLE TEAM, KATE, JAY, MY
FAMILY AND FRIENDS AT HOME.
1299
01:33:02,127 --> 01:33:03,795
MY HUSBAND MARK.
1300
01:33:03,795 --> 01:33:04,095
[ APPLAUSE ]
1301
01:33:04,095 --> 01:33:05,964
>> THANK YOU VERY MUCH.
1302
01:33:05,964 --> 01:33:09,167
[ CHEERS AND APPLAUSE ]
1303
01:33:12,270 --> 01:33:22,080
♪
1304
01:33:22,080 --> 01:33:30,622
>> PLEASE WELCOME MICK JAGGER.
1305
01:33:31,723 --> 01:33:34,726
[ APPLAUSE ]
1306
01:33:34,726 --> 01:33:42,967
>> HI, EVERYBODY.
1307
01:33:42,967 --> 01:33:44,536
YOU ARE SO KIND.
THANK YOU SO MUCH.
1308
01:33:44,536 --> 01:33:51,976
THANK YOU SO MUCH, EVERYONE.
MY GOODNESS.
1309
01:33:51,976 --> 01:33:56,981
I'M GREATLY HONORED TO BE
INVITED TO GIVE THIS AWARD FOR
1310
01:33:56,981 --> 01:34:03,621
THE BEST ORIGINAL SONG TONIGHT.
MUCH AS I LOVE DOING IT, I
1311
01:34:03,621 --> 01:34:09,193
WASN'T THE FIRST CHOICE.
TO GIVE THIS AWARD OUT.
1312
01:34:09,193 --> 01:34:15,266
THE PRODUCERS WANTED BOB DYLAN
TO DO THIS.
1313
01:34:15,266 --> 01:34:18,770
BOB, BOB DIDN'T WANT TO DO IT
BECAUSE HE SAID THE BEST SONGS
1314
01:34:18,770 --> 01:34:24,275
THIS YEAR WERE OBVIOUSLY IN THE
1315
01:34:24,275 --> 01:34:29,414
MOVIE "A COMPLETE UNKNOWN."
BOB SAID, YOU SHOULD FIND
1316
01:34:29,414 --> 01:34:35,320
SOMEBODY YOUNGER.
I SAID, OKAY, I'M YOUNGER.
1317
01:34:35,320 --> 01:34:40,992
I'M YOUNGER. I WILL DO IT.
SO HERE I AM.
1318
01:34:40,992 --> 01:34:47,932
[ CHEERS AND APPLAUSE ]
1319
01:34:47,932 --> 01:34:51,302
HERE ARE THE NOMINEES FOR THE
BEST ORIGINAL SONG IN THEIR OWN
1320
01:34:51,302 --> 01:34:55,173
WORDS.
1321
01:34:55,173 --> 01:35:00,511
>> I KNEW THIS WAS SOMETHING
SPECIAL.
1322
01:35:00,511 --> 01:35:01,012
>> VERY INTENSE.
1323
01:35:01,012 --> 01:35:04,482
>> FIERCE AND BOLD.
1324
01:35:04,482 --> 01:35:08,953
>> IT'S UNBELIEVABLE.
1325
01:35:08,953 --> 01:35:15,793
>> ONE OF THE BEST SONGS I EVER
WROTE. IT'S POWERFUL.
1326
01:35:23,067 --> 01:35:25,136
>> THE CHARACTER IS ABLE TO HE
1327
01:35:25,136 --> 01:35:31,576
IS PRESS EVERYTHTO EXPRESS EVER
1328
01:35:31,576 --> 01:35:39,050
BEEN FEELING.
1329
01:35:39,050 --> 01:35:43,788
>> I LIKE THE KEYBOARD THAT MAKE
THE SONG FEEL LIKE A CABARET IN
1330
01:35:43,788 --> 01:35:53,398
HELL.
1331
01:35:53,398 --> 01:35:56,200
>> AS I WAS WRITING, I THOUGHT,
THIS GOES BEYOND THE MOVIE.
1332
01:35:56,200 --> 01:36:00,271
THIS IS ABOUT LIFE AND ALL OUR
1333
01:36:00,271 --> 01:36:07,245
JOURNEYS.
GABBY, WHO GOES BY THE NAME HER,
1334
01:36:07,245 --> 01:36:10,214
I CAN'T THINK OF ANYBODY THAT
COULD HAVE DONE THE SONG LIKE
1335
01:36:10,214 --> 01:36:10,381
HER.
1336
01:36:10,381 --> 01:36:21,426
IT WAS SO MEANT TO BE.
1337
01:36:21,426 --> 01:36:23,361
YOU CAN GO THROUGH HELL BUT
1338
01:36:23,361 --> 01:36:29,734
YOU'RE GOING TO MAKE IT THROUGH.
1339
01:36:29,734 --> 01:36:35,640
>> IT'S A SONG ABOUT LONGING TO
ASCEND, BUT THERE'S DOUBT THERE.
1340
01:36:35,640 --> 01:36:39,043
♪ I GIVE YOU MY WORD
1341
01:36:39,043 --> 01:36:44,048
>> THE DIRECTOR WAS REALLY INTO
SUPPORTING WHATEVER OUR VISION
1342
01:36:44,048 --> 01:36:46,117
WAS.
HE LET US PAINT ON THIS CANVAS
1343
01:36:46,117 --> 01:36:51,689
AND DO WHATEVER.
HE HAD SOME AMAZING IDEAS.
1344
01:36:51,689 --> 01:36:54,258
FLOORED BY THE SUPPORT AND
RESPONSE TO IT.
1345
01:36:54,258 --> 01:36:56,994
>> IT'S AN HONOR.
THANK YOU FOR THE FREEDOM TO
1346
01:36:56,994 --> 01:37:07,872
CREATE WHOLEHEARTEDLY.
1347
01:37:07,872 --> 01:37:14,112
>> IT'S A SONG OF EMANCIPATION.
1348
01:37:14,112 --> 01:37:15,179
>> SPANISH IS A GREAT LANGUAGE
1349
01:37:15,179 --> 01:37:24,222
FOR POP MUSIC.
1350
01:37:24,222 --> 01:37:27,325
HE MAKES IT HAPPEN.
1351
01:37:27,325 --> 01:37:31,796
>> WE NEED TO BELIEVE SHE'S
SINGING ON TOP OF THE SONG
1352
01:37:31,796 --> 01:37:34,165
EVERYBODY KNOWS.
IT HAD TO FEEL FAMILIAR AND AT
1353
01:37:34,165 --> 01:37:34,799
THE SAME TIME SOMETHING YOU CAN
1354
01:37:34,799 --> 01:37:42,306
DANCE TO.
1355
01:37:42,306 --> 01:37:45,710
>> WRITING DOWN THE LYRICS,
KNOWING I WAS ABOUT TO SET THEM
1356
01:37:45,710 --> 01:37:49,680
IN FRONT OF ELTON JOHN WAS
SURREAL.
1357
01:37:49,680 --> 01:37:54,619
♪ NEVER TOO LATE FOR A WIDE OPEN
1358
01:37:54,619 --> 01:37:55,019
SLATE ♪
1359
01:37:55,019 --> 01:38:01,092
>> IT CAME TOGETHER BRILLIANTLY.
IT WAS GOING TO BE CALLED
1360
01:38:01,092 --> 01:38:04,962
"GOOD-BYE YELLOW BRICK ROAD."
WE CHANGED IT TO "NEVER TOO
1361
01:38:04,962 --> 01:38:05,163
LATE."
1362
01:38:05,163 --> 01:38:08,566
>> THIS IS EVERYTHING THIS FILM
IS.
1363
01:38:08,566 --> 01:38:14,172
>> BRINGING IN BRANDY BROUGHT A
NEW DIMENSION TO US AS A
1364
01:38:14,172 --> 01:38:15,072
SONGWRITING TEAM.
1365
01:38:15,072 --> 01:38:22,780
>> IT'S SOMETHING THAT I WILL
TAKE WITH ME FOREVER.
1366
01:38:22,780 --> 01:38:25,850
[ APPLAUSE ]
1367
01:38:25,850 --> 01:38:29,453
>> AND THE OSCAR GOES TO -- "EL
1368
01:38:29,453 --> 01:38:36,227
MAL."
1369
01:38:36,227 --> 01:38:43,367
"EMILIA PEREZ."
1370
01:38:43,367 --> 01:38:48,039
>> HAD IS THE FIRST OSCAR WIN
1371
01:38:48,039 --> 01:38:54,378
FOR CLEMENT DUCOL AND CAMILLE.
1372
01:38:54,378 --> 01:39:05,323
FIRST FOR JACQUES AUDIARD.
1373
01:39:05,323 --> 01:39:12,129
>> WOO WOO.
WE ARE SO GRATEFUL.
1374
01:39:12,129 --> 01:39:15,499
THANK YOU TO ALL THE ACADEMY
MEMBERS.
1375
01:39:15,499 --> 01:39:20,271
CONGRATS TO OUR BEAUTIFUL FELLOW
NOMINEES.
1376
01:39:20,271 --> 01:39:24,509
WE WROTE "EL MAL" TO DENOUNCE
CORRUPTION.
1377
01:39:24,509 --> 01:39:28,779
WE HOPE IT SPEAKS TO THE ROLE
1378
01:39:28,779 --> 01:39:34,252
MUSIC AND ART CAN PLAY AND
1379
01:39:34,252 --> 01:39:40,625
CONTINUE TO PLAY AS A FORCE OF
THE GOOD AND PROGRESS IN THE
1380
01:39:40,625 --> 01:39:41,058
WORLD.
1381
01:39:41,058 --> 01:39:47,365
[ APPLAUSE ]
1382
01:39:47,365 --> 01:39:51,802
>> THANK YOU TO JACQUES AND THE
AMAZING CAST.
1383
01:39:51,802 --> 01:39:57,041
THANK YOU TO OUR INTERPRETERS
FOR BRINGING THIS SONG TO LIFE.
1384
01:39:57,041 --> 01:40:00,645
THANK YOU TO EVERYONE INVOLVED
IN PRODUCING THE MUSIC.
1385
01:40:00,645 --> 01:40:07,852
THANK YOU TO NETFLIX, TO OUR
AGENTS.
1386
01:40:07,852 --> 01:40:13,557
TO OUR PUBLICIST FOR YOUR
PASSION AND SUPPORT.
1387
01:40:13,557 --> 01:40:20,231
THANK YOU TO OUR FAMILY, FRIENDS
AND TO OUR CHILDREN, MAURICE AND
1388
01:40:20,231 --> 01:40:25,303
LILA, WE LOVE YOU.
THANK YOU TO --
1389
01:40:25,303 --> 01:40:28,172
♪ EMILIA
1390
01:40:28,172 --> 01:40:36,280
♪ EMILIA
1391
01:40:36,280 --> 01:40:40,251
♪ EMILIA
1392
01:40:40,251 --> 01:40:42,320
[ APPLAUSE ]
1393
01:40:44,088 --> 01:40:49,794
♪
1394
01:40:49,794 --> 01:40:53,264
>> Announcer: COMING UP NEXT,
SELENA GOMEZ TEAMS UP WITH
1395
01:40:53,264 --> 01:40:56,901
SAMUEL L. JACKSON.
ONLY AT THE OSCARS.
1396
01:40:56,901 --> 01:40:58,710
WE'LL BE BACK LIVE FROM THE
1397
01:41:04,829 --> 01:41:12,938
♪
1398
01:41:12,938 --> 01:41:15,640
>>> WE ARE HALFWAY THROUGH THE
SHOW.
1399
01:41:15,640 --> 01:41:18,743
IT'S TIME FOR KENDRICK LAMAR TO
COME OUT AND CALL DRAKE A
1400
01:41:18,743 --> 01:41:25,517
PEDOPHILE.
1401
01:41:25,517 --> 01:41:31,890
DON'T WORRY, I'M LAWYERED UP.
ANYWAY, BEFORE WE GO ANY
1402
01:41:31,890 --> 01:41:36,361
FURTHER, HOW ABOUT A HAND FOR
OUR BRILLIANT CONDUCTOR, MICHAEL
1403
01:41:36,361 --> 01:41:42,667
BEARDEN AND THE INCREDIBLE
ACADEMY ORCHESTRA AND CONCERT
1404
01:41:42,667 --> 01:41:49,107
MASTER CHARLIE BISHERATT?
1405
01:41:49,107 --> 01:41:50,942
THERE'S NO INSTRUMENT HE CANNOT
PLAY.
1406
01:41:50,942 --> 01:41:56,481
HERE HE IS AGAIN ALL THE WAY
FROM THE JUILLIARD SCHOOL OF
1407
01:41:56,481 --> 01:42:02,754
MUSIC, THE SAND WORM FROM "DUNE."
1408
01:42:02,754 --> 01:42:06,591
♪
1409
01:42:06,591 --> 01:42:10,562
LET ME EXPLAIN SHOW BUSINESS.
WHEN YOU SPEND THAT MUCH ON A
1410
01:42:10,562 --> 01:42:14,966
BIT, YOU GOTTA DO IT TWICE.
1411
01:42:14,966 --> 01:42:15,266
[ LAUGHTER ]
1412
01:42:15,266 --> 01:42:17,969
LADIES AND GENTLEMEN, THEY ARE
SUCH GOOD FRIENDS THAT SOMETIMES
1413
01:42:17,969 --> 01:42:20,238
THEY TRADE MIDDLE INITIALS JUST
FOR FUN.
1414
01:42:20,238 --> 01:42:25,210
WELCOME OSCAR WINNER SAMUEL L.
1415
01:42:25,210 --> 01:42:32,717
JACKSON AND SELENA L. GOMEZ!
1416
01:42:38,123 --> 01:42:38,423
[ APPLAUSE ]
1417
01:42:38,423 --> 01:42:40,191
>> WE'RE HERE TO PRESENT BOTH
DOCUMENTARY CATEGORIES.
1418
01:42:40,191 --> 01:42:42,293
I LOVE DOCUMENTARIES BECAUSE
THEY ARE POWERFUL.
1419
01:42:42,293 --> 01:42:44,462
THEY OPEN OUR EYES, EXPAND OUR
MINDS, AND TELL STORIES THAT
1420
01:42:44,462 --> 01:42:46,798
NEED TO BE TOLD.
1421
01:42:46,798 --> 01:42:48,566
>> AND I LOVE DOCUMENTARIES
BECAUSE THEY'RE THE BEST
1422
01:42:48,566 --> 01:42:52,237
SHORTCUT TO BEING THE SMARTEST
PERSON IN THE ROOM.
1423
01:42:52,237 --> 01:42:57,008
THEY DO ALL THE RESEARCH, THEY
CREATE POWERFUL STORIES, AND I
1424
01:42:57,008 --> 01:42:59,010
GET TO IMPRESS EVERYBODY AT
DINNER PARTIES.
1425
01:42:59,010 --> 01:43:02,647
>> EXACTLY, IT'S LIKE BEING THE
PERSON IN THE GROUP PROJECT WHO
1426
01:43:02,647 --> 01:43:06,284
DIDN'T DO ANY OF THE WORK BUT
STILL GETS THE "A."
1427
01:43:06,284 --> 01:43:07,085
>> WERE YOU AN "A" STUDENT,
SELENA?
1428
01:43:07,085 --> 01:43:11,022
>> NO.
THAT'S WHY WE'RE BOTH HERE.
1429
01:43:11,022 --> 01:43:18,830
HERE ARE THE NOMINEES FOR BEST
DOCUMENTARY SHORT FILM.
1430
01:43:18,830 --> 01:43:21,466
>> "DEATH BY NUMBERS."
KIM A. SNYDER AND
1431
01:43:21,466 --> 01:43:23,568
JANIQUE L. ROBILLARD.
"I AM READY, WARDEN."
1432
01:43:23,568 --> 01:43:28,706
SMRITI MUNDHRA AND MAYA GNYP.
"INCIDENT."
1433
01:43:28,706 --> 01:43:34,979
BILL MORRISON AND JAMIE KALVEN.
"INSTRUMENTS OF A BEATING HEART."
1434
01:43:34,979 --> 01:43:40,218
EMA RYAN YAMAZAKI AND ERIC NYARI.
"THE ONLY GIRL IN THE
1435
01:43:40,218 --> 01:43:41,252
ORCHESTRA." MOLLY O'BRIEN AND
1436
01:43:41,252 --> 01:43:48,626
LISA REMINGTON.
1437
01:43:48,626 --> 01:43:54,332
>> AND THE OSCAR GOES TO --
"THE ONLY GIRL IN THE ORCHESTRA."
1438
01:43:54,332 --> 01:43:55,366
MOLLY O'BRIEN AND
1439
01:43:55,366 --> 01:44:04,876
LISA REMINGTON.
1440
01:44:04,876 --> 01:44:11,316
>> THIS IS THE FIRST OSCAR WIN
AND NOMINATION FOR MOLLY O'BRIEN
1441
01:44:11,316 --> 01:44:18,790
AND LISA REMINGTON.
1442
01:44:18,790 --> 01:44:28,366
[ APPLAUSE ]
1443
01:44:28,366 --> 01:44:31,936
>> WOW.
THANK YOU TO THE ACADEMY.
1444
01:44:31,936 --> 01:44:37,742
IT IS SUCH AN HONOR TO BE HERE.
AS THE STAR OF "THE ONLY GIRL IN
1445
01:44:37,742 --> 01:44:42,180
THE ORCHESTRA" LIKES TO SAY,
MUSIC HELPS US ORGANIZE OUR
1446
01:44:42,180 --> 01:44:44,115
EMOTIONS.
AND THERE ARE A LOT OF EMOTIONS
1447
01:44:44,115 --> 01:44:49,754
THAT NEED ORGANIZING THESE DAYS.
FILM DOES THE SAME THING.
1448
01:44:49,754 --> 01:44:52,357
ART MAKES ORDER AND GIVES
MEANING OUT OF THE CHAOS WE ARE
1449
01:44:52,357 --> 01:44:59,764
LIVING THROUGH.
I WOULD LIKE TO THANK THE
1450
01:44:59,764 --> 01:45:04,903
SECULAR SOCIETY.
I WOULD LIKE TO THANK NETFLIX,
1451
01:45:04,903 --> 01:45:09,340
ADAM, CHLOE, LISA TAVAK AND TO
1452
01:45:09,340 --> 01:45:15,113
THE CELLOIST, MR. L MORRIS.
THANK YOU FOR GIVING THIS FILM
1453
01:45:15,113 --> 01:45:18,616
ITS LIFT.
I'M HONORED AND PRIVILEGED TO BE
1454
01:45:18,616 --> 01:45:21,286
IN THE ROOM WITH ALL THESE
PEOPLE WHO UNDERSTAND THAT ART
1455
01:45:21,286 --> 01:45:25,223
IS GIVING MEANING TO THE CHAOS
WE ARE LIVING THROUGH RIGHT NOW.
1456
01:45:25,223 --> 01:45:30,795
MOST IMPORTANTLY, I WOULD LIKE
TO THANK MY FAMILY, JOHN, SADI,
1457
01:45:30,795 --> 01:45:34,499
BAYA, BENSON AS WELL AS ANY
AUNT, MY INSPIRATION AND YOURS,
1458
01:45:34,499 --> 01:45:34,699
TOO.
1459
01:45:34,699 --> 01:45:37,302
>> OUR FEMALE TEAM, ALL FEMALE
TEAM WHO IS HERE.
1460
01:45:37,302 --> 01:45:42,740
THANK YOU SO MUCH.
1461
01:45:42,740 --> 01:45:48,913
[ APPLAUSE ]
1462
01:45:51,616 --> 01:45:54,786
>> AND NOW, HERE ARE THE
NOMINEES FOR BEST DOCUMENTARY
1463
01:45:54,786 --> 01:45:58,389
FEATURE FILM.
1464
01:45:58,389 --> 01:46:02,794
>> "BLACK BOX DIARIES."
SHIORI ITO, ERIC NYARI AND
1465
01:46:02,794 --> 01:46:07,432
HANNA AQVILIN.
1466
01:46:07,432 --> 01:46:13,071
>> IT HAS BEEN SIX MONTHS SINCE
I BECAME THIS GIRL WHO WAS RAPED.
1467
01:46:13,071 --> 01:46:14,105
>> "NO OTHER LAND."
BASEL ADRA, RACHEL SZOR,
1468
01:46:14,105 --> 01:46:20,878
HAMDAN BALLAL AND YUVAL ABRAHAM.
1469
01:46:20,878 --> 01:46:23,381
"PORCELAIN WAR."
BRENDAN BELLOMO, SLAVA LEONTYEV,
1470
01:46:23,381 --> 01:46:29,654
ANIELA SIDORSKA AND
PAULA DUPRE' PESMEN.
1471
01:46:35,493 --> 01:46:37,595
>> "SOUNDTRACK TO A COUP
D'ETAT."
1472
01:46:37,595 --> 01:46:42,267
JOHAN GRIMONPREZ, DAAN MILIUS
AND REMI GRELLETY.
1473
01:46:42,267 --> 01:46:46,504
>> WELL, YOU HAVE TO ASSASSINATE
1474
01:46:46,504 --> 01:46:50,675
LA BOMBIBIA.
1475
01:46:50,675 --> 01:46:53,912
>> "SUGARCANE."
JULIAN BRAVE NOISECAT,
1476
01:46:53,912 --> 01:46:54,545
EMILY KASSIE, AND KELLEN QUINN.
1477
01:46:54,545 --> 01:46:56,314
>> DID THEY THINK WE WOULD BE
STUPID AND NOBODY WOULD FIND OUT
1478
01:46:56,314 --> 01:46:59,350
THESE THINGS?
1479
01:46:59,350 --> 01:47:13,998
>> AND THE OSCAR GOES TO --
1480
01:47:13,998 --> 01:47:14,365
"NO OTHER LAND."
1481
01:47:14,365 --> 01:47:18,236
>> THIS IS THE FIRST NOMINATION
AND WIN FOR
1482
01:47:18,236 --> 01:47:18,803
BASEL ADRA, RACHEL SZOR,
1483
01:47:18,803 --> 01:47:27,578
HAMDAN BALLAL AND YUVAL ABRAHAM.
1484
01:47:28,846 --> 01:47:40,391
[ APPLAUSE ]
1485
01:47:40,391 --> 01:47:43,294
>> THANK YOU TO THE ACADEMY FOR
THE AWARD.
1486
01:47:43,294 --> 01:47:46,464
IT'S A BIG HONOR FOR THE FOUR OF
US AND EVERYBODY WHO SUPPORTED
1487
01:47:46,464 --> 01:47:51,602
US FOR THIS DOCUMENTARY.
ABOUT TWO MONTHS AGO, I BECAME A
1488
01:47:51,602 --> 01:47:52,804
FATHER.
I HOPE TO MY DAUGHTER THAT SHE
1489
01:47:52,804 --> 01:47:58,076
WILL NOT HAVE TO LIVE THE SAME
LIFE I AM LIVING NOW ALWAYS
1490
01:47:58,076 --> 01:48:02,213
FEARING --
1491
01:48:02,213 --> 01:48:02,513
[ APPLAUSE ]
1492
01:48:02,513 --> 01:48:07,018
ALWAYS FEARING VIOLENCE, HOME
DEMOLITION AND DISPLACEMENT THAT
1493
01:48:07,018 --> 01:48:14,726
MY COMMUNITY MUST SUFFER IS
LIVING AND FACING EVERY DAY.
1494
01:48:14,726 --> 01:48:19,297
"NO OTHER LAND" REFLECT THE
HARSH REALITY THAT WE HAVE BEEN
1495
01:48:19,297 --> 01:48:26,904
ENDURING FOR DECADES AND STILL
PERSIST AS WE CALL ON TO TAKE
1496
01:48:26,904 --> 01:48:30,975
ACTION TO STOP INJUSTICE AND
ETHNIC CLEANSING OF PALESTINIAN
1497
01:48:30,975 --> 01:48:31,476
PEOPLE.
1498
01:48:31,476 --> 01:48:37,215
[ CHEERS AND APPLAUSE ]
1499
01:48:37,215 --> 01:48:41,419
>> WE MADE THIS FILM,
PALESTINIANS AND ISRAELIS,
1500
01:48:41,419 --> 01:48:45,089
BECAUSE TOGETHER OUR VOICES ARE
STRONGER.
1501
01:48:45,089 --> 01:48:45,590
[ CHEERS AND APPLAUSE ]
1502
01:48:45,590 --> 01:48:53,431
WE SEE EACH OTHER.
THE DESTRUCTION OF GAZA AND ITS
1503
01:48:53,431 --> 01:48:58,469
PEOPLE MUST END.
THE HOSTAGES WHICH MUST BE FREED.
1504
01:48:58,469 --> 01:49:02,673
WHEN I LOOK AT BASIL, I SEE MY
BROTHER.
1505
01:49:02,673 --> 01:49:07,578
WE LIVE IN A REGIME WHERE I AM
FREE UNDER CIVILIAN LAW AND HE
1506
01:49:07,578 --> 01:49:13,518
IS UNDER MILITARY LAWS THAT HE
CANNOT CONTROL.
1507
01:49:13,518 --> 01:49:15,620
THERE'S A DIFFERENT PANTH,
POLITICAL SOLUTION.
1508
01:49:15,620 --> 01:49:18,189
WITH NATIONAL RIGHTS FOR BOTH OF
OUR PEOPLE.
1509
01:49:18,189 --> 01:49:22,326
I HAVE TO SAY AS I'M HERE, THE
FOREIGN POLICY IN THIS COUNTRY
1510
01:49:22,326 --> 01:49:25,496
IS HELPING TO BLOCK THIS PATH.
1511
01:49:25,496 --> 01:49:30,701
[ APPLAUSE ]
1512
01:49:30,701 --> 01:49:36,107
YOU KNOW, WHY?
CAN'T YOU SEE WE ARE INTERTWINED?
1513
01:49:36,107 --> 01:49:41,479
MY PEOPLE CAN BE TRULY SAFE IF
BASIL'S PEOPLE ARE TRULY FREE
1514
01:49:41,479 --> 01:49:45,249
AND SAFE. THERE IS ANOTHER WAY.
1515
01:49:45,249 --> 01:49:45,550
[ APPLAUSE ]
1516
01:49:45,550 --> 01:49:48,986
IT'S NOT TOO LATE FOR LIFE, FOR
THE LIVING. THERE'S NO OTHER WAY.
1517
01:49:48,986 --> 01:49:52,090
THANK YOU.
1518
01:49:52,090 --> 01:50:01,065
[ CHEERS AND APPLAUSE ]
1519
01:50:04,902 --> 01:50:05,670
♪
1520
01:50:05,670 --> 01:50:09,540
>> I'M BILL KRAMER, CEO OF THE
ACADEMY OF MOTION PICTURE ARTS
1521
01:50:09,540 --> 01:50:12,410
AND SCIENCES.
WE HOPE YOU'LL JOIN THE ACADEMY
1522
01:50:12,410 --> 01:50:16,080
IN SUPPORTING RELIEF EFFORTS FOR
THOSE IMPACTED BY THE LOS
1523
01:50:16,080 --> 01:50:17,615
ANGELES-AREA FIRES, BOTH IN OUR
INDUSTRY AND THE BROADER
1524
01:50:17,615 --> 01:50:23,354
COMMUNITY.
FOR MORE INFORMATION ON WAYS TO
1525
01:50:23,354 --> 01:50:24,522
HELP, PLEASE SCAN THIS QR CODE.
TOGETHER, WE CAN MAKE A
1526
01:50:24,522 --> 01:50:26,457
DIFFERENCE.
1527
01:50:36,591 --> 01:50:40,126
>>> I WAS FRIENDS WITH HIS
FAMILY WHEN I WAS 13 YEARS OLD.
1528
01:50:40,126 --> 01:50:43,696
I REMEMBER THE VITALITY OF THAT
HOUSE.
1529
01:50:43,696 --> 01:50:47,967
FOR ALL OF US, IT WAS NOT ABOUT
JUST REENACTING CHARACTERS.
1530
01:50:47,967 --> 01:50:54,941
IT REALLY WAS ABOUT ALLOWING
LIFE TO SURFACE.
1531
01:50:54,941 --> 01:50:57,677
THE STORIES THAT YOU CANNOT
FORGET.
1532
01:50:57,677 --> 01:51:03,783
THESE ARE THE ONES YOU SHOULD
TELL.
1533
01:51:10,623 --> 01:51:11,124
[ CHEERS AND APPLAUSE ]
1534
01:51:11,124 --> 01:51:13,860
>> PLEASE WELCOME MEMBERS OF THE
FIRE SERVICE WHO BRAVELY
1535
01:51:13,860 --> 01:51:16,396
RESPONDED TO AND BATTLED THE
1536
01:51:16,396 --> 01:51:26,272
PALISADES AND EATON WILDFIRES!
1537
01:51:26,272 --> 01:51:39,752
[ CHEERS AND APPLAUSE ]
1538
01:51:39,752 --> 01:51:45,091
YES!
1539
01:51:45,091 --> 01:52:01,307
[ CHEERS AND APPLAUSE ]
1540
01:52:03,109 --> 01:52:13,553
[ CHEERS AND APPLAUSE ]
1541
01:52:13,553 --> 01:52:15,922
LADIES AND GENTLEMEN -- BY THE
WAY I DON'T KNOW WHY I DID THIS.
1542
01:52:15,922 --> 01:52:22,228
I NODDED AND WENT THANK YOU LIKE
I WAS -- I APOLOGIZE.
1543
01:52:22,228 --> 01:52:25,598
THAT HAD -- ON BEHALF OF
EVERYONE IN GREATER LOS ANGELES,
1544
01:52:25,598 --> 01:52:30,303
THANK YOU FOR ALL THAT YOU DO.
I KNOW YOU ARE GOING TO FIND
1545
01:52:30,303 --> 01:52:33,940
THIS HARD TO BELIEVE.
BUT THERE ARE SOME JOKES EVEN
1546
01:52:33,940 --> 01:52:38,478
I'M NOT BRAVE ENOUGH TO TELL.
ON BEHALF OF MYSELF, WOULD YOU
1547
01:52:38,478 --> 01:52:41,614
PLEASE READ WHAT'S IN THE
PROMPTER?
1548
01:52:41,614 --> 01:52:43,783
REMEMBER, EVERYONE IN THIS
AUDIENCE HAS TO LAUGH.
1549
01:52:43,783 --> 01:52:51,257
THESE ARE HEROES! YES!
TAKE IT AWAY!
1550
01:52:51,257 --> 01:52:55,161
LAFD CAPTAIN ERIC SCOTT.
1551
01:52:55,161 --> 01:52:59,265
>> OUR HEARTS GO OUT TO ALL OF
THOSE WHO HAVE LOST THEIR HOMES.
1552
01:52:59,265 --> 01:53:01,067
I'M TALKING ABOUT THE PRODUCERS
1553
01:53:01,067 --> 01:53:10,243
OF "JOKER 2."
1554
01:53:10,243 --> 01:53:10,576
[ LAUGHTER ]
1555
01:53:10,576 --> 01:53:18,051
>> DAMN, BEST DELIVERY OF THE
NIGHT. NEXT UP, LOS ANGELES FIRE
1556
01:53:18,051 --> 01:53:28,962
DEPARTMENT PILOT JONAH PILOT. TW
1557
01:53:28,962 --> 01:53:30,897
TO SING.
IT WAS SO GOOD, HE ALMOST LOST
1558
01:53:30,897 --> 01:53:33,433
THE PART.
1559
01:53:33,433 --> 01:53:40,873
>> FINALLY, PASADENA FIRE
1560
01:53:40,873 --> 01:53:43,042
DEPARTMENT CAPTAIN, JODY SLINGER.
1561
01:53:43,042 --> 01:53:46,946
>> USUALLY WHEN CONAN CALLS, HE
IS STUCK IN A TREE.
1562
01:53:46,946 --> 01:53:49,549
>> OKAY.
IT'S HAPPENED TWICE.
1563
01:53:49,549 --> 01:53:54,220
THANK YOU TO OUR GREATER LOS
ANGELES FIREFIGHTERS. THANK YOU.
1564
01:53:54,220 --> 01:54:03,062
[ CHEERS AND APPLAUSE ]
1565
01:54:03,062 --> 01:54:06,065
WOW.
1566
01:54:06,065 --> 01:54:13,172
IN EUROPE, THEY ARE KNOWN AS
1567
01:54:13,172 --> 01:54:19,078
KILOMETERS AND KILOMETRY.
WELCOME MILES TELLER AND MILEY
1568
01:54:19,078 --> 01:54:23,149
CYRUS.
1569
01:54:23,149 --> 01:54:26,786
♪
1570
01:54:26,786 --> 01:54:30,957
>> SOUND HELPS US EXPERIENCE A
FILM AT OUR CORE.
1571
01:54:30,957 --> 01:54:32,625
IT SHAPES HOW WE THINK, HOW WE
FEEL, AND HOW DEEPLY WE CONNECT
1572
01:54:32,625 --> 01:54:35,094
TO A STORY.
1573
01:54:35,094 --> 01:54:38,231
>> I GOT TO EXPERIENCE THAT
FIRSTHAND WORKING ON "WHIPLASH"
1574
01:54:38,231 --> 01:54:39,899
AND "TOP GUN: MAVERICK," TWO
MOVIES THAT TOOK HOME THIS VERY
1575
01:54:39,899 --> 01:54:41,868
AWARD.
1576
01:54:41,868 --> 01:54:44,504
>> OH MY GOD, THOSE MOVIES
SOUNDED AMAZING.
1577
01:54:44,504 --> 01:54:49,709
JUST A TESTAMENT TO THE WORK
DONE BY THE MIXERS, ENGINEERS,
1578
01:54:49,709 --> 01:54:54,680
DESIGNERS, EDITORS, I COULD GO
ON AND ON.
1579
01:54:54,680 --> 01:54:57,784
>> YOU NAILED IT.
IT'S A PERFECT DISTRICT.
1580
01:54:57,784 --> 01:55:00,887
>> SOUND IS WHAT I DO, MILES.
1581
01:55:00,887 --> 01:55:01,854
>> I LOVE YOUR SOUND.
YOU ARE SOUND.
1582
01:55:01,854 --> 01:55:06,359
>> THANK YOU.
THESE ARE THE NOMINEES --
1583
01:55:06,359 --> 01:55:07,894
"A COMPLETE UNKNOWN."
TOD A. MAITLAND,
1584
01:55:07,894 --> 01:55:14,267
DONALD SYLVESTER, TED CAPLAN,
PAUL MASSEY, AND DAVID GIAMMARCO.
1585
01:55:14,267 --> 01:55:17,737
♪ I GOT A HEAD FULL OF IDEAS
1586
01:55:17,737 --> 01:55:21,441
♪ THEY'RE DRIVING ME INSANE
1587
01:55:21,441 --> 01:55:22,542
>> "DUNE: PART TWO."
GARETH JOHN, RICHARD KING,
1588
01:55:22,542 --> 01:55:30,349
RON BARTLETT, AND DOUG HEMPHILL.
"EMILIA PÉREZ." ERWAN KERZANET,
1589
01:55:30,349 --> 01:55:33,486
AYMERIC DEVOLDERE,
MAXENCE DUSSERE, CYRIL HOLTZ,
1590
01:55:33,486 --> 01:55:40,593
AND NIELS BARLETTA. "WICKED."
1591
01:55:40,593 --> 01:55:42,762
SIMON HAYES, NANCY NUGENT TITLE,
JACK DOLMAN, ANDY NELSON, AND
1592
01:55:42,762 --> 01:55:52,605
JOHN MARQUIS.
1593
01:55:52,605 --> 01:55:53,673
"THE WILD ROBOT."
RANDY THOM, BRIAN CHUMNEY,
1594
01:55:53,673 --> 01:55:54,173
GARY A. RIZZO, AND
1595
01:55:54,173 --> 01:56:06,219
LEFF LEFFERTS.
1596
01:56:06,219 --> 01:56:12,458
>> AND THE OSCAR GOES TO --
1597
01:56:12,458 --> 01:56:13,459
>> "DUNE: PART TWO."
GARETH JOHN, RICHARD KING,
1598
01:56:13,459 --> 01:56:18,965
RON BARTLETT, AND DOUG HEMPHILL.
1599
01:56:18,965 --> 01:56:25,738
>> THIS IS THE FIRST OSCAR WIN
AND NOMINATION FOR GARETH JOHN
1600
01:56:25,738 --> 01:56:30,343
AND FIFTH NOMINATION AND NINTH
NOMINATION FOR KING, SECOND WIN
1601
01:56:30,343 --> 01:56:35,248
AND FOURTH NOMINATION FOR RON
1602
01:56:35,248 --> 01:56:43,156
BARTLETT AND THIRD WIN AND 11th
NOMINATION FOR DOUG HEMPHILL.
1603
01:56:47,860 --> 01:56:48,161
[ APPLAUSE ]
1604
01:56:48,161 --> 01:56:50,863
>> WOW.
THANK YOU SO MUCH TO THE ACADEMY.
1605
01:56:50,863 --> 01:56:55,601
THANKS TO MY AMAZING TEAM HERE
AND IN NEW ZEALAND.
1606
01:56:55,601 --> 01:57:02,141
THANKS TO EVERYBODY AT LEGENDARY
AND WARNER BROTHERS.
1607
01:57:02,141 --> 01:57:05,478
OUR FELLOW COLLEAGUE DOUG
HEMPHILL WHO COULDN'T MAKE IT.
1608
01:57:05,478 --> 01:57:11,717
JOE WALKER. STH
THANK YOU, THANK YOU, THANK YOU.
1609
01:57:11,717 --> 01:57:15,254
>> THANKS, MOM AND DAD.
I KNOW YOU ARE WATCHING.
1610
01:57:15,254 --> 01:57:20,393
THIS GOES OUT TO OUR WIVES.
WE LOVE YOU.
1611
01:57:20,393 --> 01:57:23,296
DOUG HEMPHILL, WHO COULDN'T BE
HERE TONIGHT.
1612
01:57:23,296 --> 01:57:28,768
IF YOU COULD ALL PLEASE TOGETHER
JOIN ME IN A BIG ROUND OF
1613
01:57:28,768 --> 01:57:32,271
APPLAUSE FOR THE BEST DIRECTOR
YOU COULD WORK FOR.
1614
01:57:32,271 --> 01:57:38,311
[ CHEERS AND APPLAUSE ]
1615
01:57:43,916 --> 01:57:58,664
♪
1616
01:57:58,664 --> 01:57:59,699
>> Announcer: PLEASE WELCOME
1617
01:57:59,699 --> 01:58:07,206
RACHEL ZEGLER AND GAL GADOT.
1618
01:58:15,081 --> 01:58:16,249
>> VISUAL EFFECTS PUSH THE
BOUNDARIES OF WHAT WE SEE ON
1619
01:58:16,249 --> 01:58:17,183
SCREEN.
1620
01:58:17,183 --> 01:58:20,853
>> THEIR WORK MAKES THE
IMPOSSIBLE SEEM POSSIBLE.
1621
01:58:20,853 --> 01:58:25,024
>> WITH BREATHTAKING AMBITION,
THEY CREATE MAGIC THAT WRAPS ITS
1622
01:58:25,024 --> 01:58:29,161
ARMS AROUND OUR WILDEST
IMAGINATIONS.
1623
01:58:29,161 --> 01:58:34,867
>> HERE ARE THE NOMINEES FOR
BEST VISUAL EFFECTS.
1624
01:58:34,867 --> 01:58:38,604
"ALIEN: ROMULUS." ERIC BARBA,
NELSON SEPULVEDA-FAUSER,
1625
01:58:38,604 --> 01:58:43,809
DANIEL MACARIN, AND SHANE MAHAN.
"BETTER MAN."
1626
01:58:43,809 --> 01:58:48,514
LUKE MILLAR, DAVID CLAYTON,
KEITH HERFT, AND PETER STUBBS.
1627
01:58:48,514 --> 01:58:53,219
"DUNE: PART TWO."
PAUL LAMBERT, STEPHEN JAMES,
1628
01:58:53,219 --> 01:58:56,422
RHYS SALCOMBE, AND GERD NEFZER.
"KINGDOM OF THE PLANET OF THE
1629
01:58:56,422 --> 01:59:03,062
APES." ERIK WINQUIST,
STEPHEN UNTERFRANZ, PAUL STORY,
1630
01:59:03,062 --> 01:59:09,368
AND RODNEY BURKE. "WICKED."
PABLO HELMAN, JONATHAN FAWKNER,
1631
01:59:09,368 --> 01:59:17,176
DAVID SHIRK, AND PAUL CORBOULD.
1632
01:59:17,176 --> 01:59:25,051
>> AND THE OSCAR GOES TO --
"DUNE: PART TWO."
1633
01:59:25,051 --> 01:59:32,958
PAUL LAMBERT, STEPHEN JAMES,
RHYS SALCOMBE, AND GERD NEFZER.
1634
01:59:32,958 --> 01:59:38,397
>> THIS IS THE FIRST OSCAR WIN
1635
01:59:38,397 --> 01:59:41,100
FOR FIRST-TIME NOMINEES STEVEN
1636
01:59:41,100 --> 01:59:50,876
JAMES AND RHYS SALCOME.
1637
01:59:50,876 --> 01:59:55,681
THE FOURTH WIN AND FOURTH
NOMINATION FOR PAUL LAMBERT AND
1638
01:59:55,681 --> 01:59:59,719
THE THIRD WIN AND NOMINATION FOR
GERD NEFZER.
1639
02:00:07,093 --> 02:00:07,360
[ APPLAUSE ]
1640
02:00:07,360 --> 02:00:10,663
>> THANK YOU ONCE AGAIN TO THE
ACADEMY.
1641
02:00:10,663 --> 02:00:18,270
THANKS TO BRYCE PARKER, JASON
GARBER.
1642
02:00:18,270 --> 02:00:22,875
AMAZING CREW. PROD PRODUCTION.
WARNER BROTHERS. RODEO TERRITORY.
1643
02:00:22,875 --> 02:00:28,814
THE INCREDIBLE MPC.
ALL, OUR VISIONARY DIRECTOR.
1644
02:00:28,814 --> 02:00:35,488
TO MY WONDERFUL WIFE AND MY TWO
BOYS, AUSTIN AND JACKSON, WHO
1645
02:00:35,488 --> 02:00:37,757
ARE UP IN THE ROOF, THANK YOU.
1646
02:00:37,757 --> 02:00:40,893
>> THANK YOU TO EVERYONE.
THIS IS DEDICATED TO LINDA.
1647
02:00:40,893 --> 02:00:48,467
THANK YOU.
1648
02:00:48,467 --> 02:00:52,738
>> THANK YOU.
BIG THANK YOU TO MY WIFE AND MY
1649
02:00:52,738 --> 02:00:57,042
FAMILY.
MY DAUGHTER, MY SON, MY MOTHER,
1650
02:00:57,042 --> 02:01:00,679
MY FATHER WHO BROUGHT ME INTO
THE BUSINESS 30 ODD YEARS AGO.
1651
02:01:00,679 --> 02:01:04,817
WHAT A GREAT EVENING.
1652
02:01:04,817 --> 02:01:05,084
[ APPLAUSE ]
1653
02:01:11,624 --> 02:01:19,064
>> Announcer: STILL TO COME, A
TRIBUTE TO QUINCY JONES.
1654
02:01:19,064 --> 02:01:22,501
THEN LATER, A LEGENDARY MOVIE
DUO REUNITE ON THE OSCAR STAGE.
1655
02:01:29,652 --> 02:01:31,554
[ APPLAUSE ]
1656
02:01:31,554 --> 02:01:35,526
>>> YOU WANT TO GET MARRIED TO
ME? YOU WANT ME TO BE YOUR LITTLE
1657
02:01:35,526 --> 02:01:40,665
WI WIVY?
1658
02:01:40,665 --> 02:01:45,804
>> WE WANTED TO SHOW EVERYBODY
IS DEALING WITH THEIR OWN
1659
02:01:45,804 --> 02:01:46,071
PROBLEMS.
1660
02:01:46,071 --> 02:01:52,077
>> BE A MAN AND TALK TO ME.
1661
02:01:52,077 --> 02:01:58,984
>> I WANTED TO KEEP THINGS
OPEN-ENDED.
1662
02:01:58,984 --> 02:02:06,358
♪ STAY CLOSE TO ME
1663
02:02:06,358 --> 02:02:11,529
>> Announcer: PLEASE WELCOME
OSCAR NOMINEES, ANA DE ARMAS AND
1664
02:02:11,529 --> 02:02:17,802
STERLING K. BROWN.
1665
02:02:17,802 --> 02:02:19,838
>> LIVE ACTION SHORTS HAVE
BECOME
1666
02:02:19,838 --> 02:02:22,974
A PLAYGROUND OF EXPERIMENTATION,
WITH DIRECTORS TESTING CREATIVE
1667
02:02:22,974 --> 02:02:28,213
STORYTELLING TECHNIQUES TO REACH
NEW AUDIENCES.
1668
02:02:28,213 --> 02:02:31,316
>> THESE FILMS DIVE HEAD-FIRST
INTO LIFE CHANGING DECISIONS,
1669
02:02:31,316 --> 02:02:32,450
DEATH DEFYING HEROISM, AND
FUNDAMENTAL QUESTIONS ABOUT
1670
02:02:32,450 --> 02:02:33,918
HUMANITY.
1671
02:02:33,918 --> 02:02:39,691
>> HERE ARE THE NOMINEES FOR
LIVE ACTION SHORT. "A LIEN."
1672
02:02:39,691 --> 02:02:45,430
SAM CUTLER-KREUTZ AND
DAVID CUTLER-KREUTZ. "ANUJA."
1673
02:02:45,430 --> 02:02:49,467
ADAM J. GRAVES AND
SUCHITRA MATTAI.
1674
02:02:49,467 --> 02:02:53,738
"I'M NOT A ROBOT."
VICTORIA WARMERDAM AND TRENT.
1675
02:02:53,738 --> 02:02:58,410
"THE LAST RANGER."
CINDY LEE AND DARWIN SHAW.
1676
02:02:58,410 --> 02:03:01,579
"THE MAN WHO COULD NOT REMAIN
SILENT." NEBOJSA SLIJEPCEVIC AND
1677
02:03:01,579 --> 02:03:05,750
DANIJEL PEK.
1678
02:03:05,750 --> 02:03:10,455
>> AND THE OSCAR GOES TO --
1679
02:03:10,455 --> 02:03:17,162
"I'M NOT A ROBOT."
1680
02:03:19,964 --> 02:03:26,071
>> THIS IS THE FIRST OSCAR WIN
AND NOMINATION FOR VICTORIA
1681
02:03:26,071 --> 02:03:30,475
WARMERDAM AND TRENT.
1682
02:03:38,216 --> 02:03:44,756
>> OKAY. 45 SECONDS.
A HUGE THANK YOU TO THE ACADEMY.
1683
02:03:44,756 --> 02:03:49,694
THIS IS SUCH AN HONOR.
A HUGE THANK YOU TO OUR
1684
02:03:49,694 --> 02:03:55,400
INCREDIBLE LEADS.
YOU WERE OUT OF THIS WORLD.
1685
02:03:55,400 --> 02:03:59,003
TO THE CAST AND CREW, YOUR HEART
AND SOUL IS IN EVERY FRAME.
1686
02:03:59,003 --> 02:04:01,439
THIS IS ALSO YOURS.
1687
02:04:01,439 --> 02:04:07,812
TO OUR AMAZING PUBLICIST, THE
1688
02:04:07,812 --> 02:04:15,420
ART TEAM, MY MANAGERS, "THE NEW
1689
02:04:15,420 --> 02:04:20,225
YORKER," LEGENDS, EVERYONE WHO
SUPPORTED US, YOU KNOW WHO YOU
1690
02:04:20,225 --> 02:04:25,130
ARE.
TO MY PRODUCER AND PARTNER IN
1691
02:04:25,130 --> 02:04:26,397
LIFE, TRENT.
I'M NOT HAVING YOUR BABIES
1692
02:04:26,397 --> 02:04:32,270
BECAUSE OF THE STATUE.
BUT I REMEMBER ON SET WE WERE
1693
02:04:32,270 --> 02:04:36,508
SHOOTING AND I WAS WALKING
BACKWARDS, EYES ON THE MONITOR.
1694
02:04:36,508 --> 02:04:40,178
I FELT YOUR HAND BECAUSE THAT'S
YOU. YOU ALWAYS HAVE MY BACK.
1695
02:04:40,178 --> 02:04:43,081
WE LEVEL-HEADED DUTCH PEOPLE, WE
DON'T SAY THIS OFTEN, BUT I LOVE
1696
02:04:43,081 --> 02:04:47,919
YOU. THANK YOU SO MUCH.
1697
02:04:53,358 --> 02:04:56,961
♪
1698
02:04:56,961 --> 02:05:03,835
>> Announcer: PLEASE WELCOME
OSCAR WINNER, MORGAN FREEMAN.
1699
02:05:09,774 --> 02:05:17,448
[ APPLAUSE ]
1700
02:05:17,448 --> 02:05:20,051
>> THIS WEEK OUR COMMUNITY LOST
A GIANT, AND I LOST A DEAR
1701
02:05:20,051 --> 02:05:23,855
FRIEND, GENE HACKMAN.
1702
02:05:23,855 --> 02:05:31,696
[ APPLAUSE ]
1703
02:05:31,696 --> 02:05:36,935
I HAD THE PLEASURE OF WORKING
ALONGSIDE GENE ON TWO FILMS,
1704
02:05:36,935 --> 02:05:41,639
"UNFORGIVEN" AND "UNDER
SUSPICION."
1705
02:05:41,639 --> 02:05:45,810
AND LIKE EVERYONE WHO EVER
SHARED A SCENE WITH HIM, I
1706
02:05:45,810 --> 02:05:51,516
LEARNED HE WAS A GENEROUS
PERFORMER, A MAN WHOSE GIFTS
1707
02:05:51,516 --> 02:05:56,788
ELEVATED EVERYONE'S WORK.
1708
02:05:56,788 --> 02:06:01,092
HE RECEIVED TWO OSCARS BUT MORE
IMPORTANTLY, HE WON THE HEARTS
1709
02:06:01,092 --> 02:06:07,732
OF FILM LOVERS ALL OVER THE
WORLD.
1710
02:06:07,732 --> 02:06:10,869
GENE ALWAYS SAID, "I DON'T THINK
ABOUT LEGACY.
1711
02:06:10,869 --> 02:06:14,572
I JUST HOPE PEOPLE REMEMBER ME
AS SOMEONE WHO TRIED TO DO GOOD
1712
02:06:14,572 --> 02:06:21,246
WORK."
I THINK I SPEAK FOR US ALL WHEN
1713
02:06:21,246 --> 02:06:25,416
I SAY, GENE, YOU WILL BE
1714
02:06:25,416 --> 02:06:30,154
REMEMBERED FOR THAT, AND SO MUCH
MORE.
1715
02:06:30,154 --> 02:06:33,625
REST IN PEACE, OLD FRIEND.
1716
02:06:33,625 --> 02:06:38,830
[ APPLAUSE ]
1717
02:06:40,965 --> 02:06:47,639
♪
1718
02:06:47,639 --> 02:06:54,579
>> THAT'S LIFE, ISN'T IT?
GETTING PAST THE UNEXPECTED.
1719
02:06:54,579 --> 02:07:00,518
>> LOVE IS A STRENGTH.
IT'S CONTINUOUS. IT DOESN'T STOP.
1720
02:07:00,518 --> 02:07:02,620
>> LITTLE THINGS THAT WE DON'T
1721
02:07:02,620 --> 02:07:09,794
NOTICE UNTIL THEY'RE GONE.
1722
02:07:13,831 --> 02:07:22,273
♪
1723
02:07:22,273 --> 02:07:32,750
♪
1724
02:07:32,750 --> 02:07:33,951
>> PLAY IS AGAIN, JUST LIKE YOU
1725
02:07:33,951 --> 02:07:41,225
DONE BEFORE, REAL SWEET.
1726
02:07:45,830 --> 02:07:51,169
♪
1727
02:07:51,169 --> 02:07:55,807
♪
1728
02:07:55,807 --> 02:08:05,750
♪
1729
02:08:05,750 --> 02:08:13,825
♪
1730
02:08:13,825 --> 02:08:17,261
♪
1731
02:08:17,261 --> 02:08:21,065
>> I NEVER ALLOW PERSONAL
DESPAIR TO INTERFERE WITH MY
1732
02:08:21,065 --> 02:08:28,873
PROFESSIONAL COMMITMENTS.
I AM A PROFESSIONAL ACTRESS.
1733
02:08:32,076 --> 02:08:37,782
♪
1734
02:08:37,782 --> 02:08:45,123
♪
1735
02:08:45,123 --> 02:08:50,862
♪
1736
02:08:50,862 --> 02:09:00,838
♪
1737
02:09:00,838 --> 02:09:04,876
>> EVERY NOW AND AGAIN, FOR NO
REASON OTHER THAN SHE'S SO HAPPY
1738
02:09:04,876 --> 02:09:11,382
WITH HERSELF, SHE SIGHS.
1739
02:09:11,382 --> 02:09:14,318
>> DO YOU LOVE ME?
1740
02:09:14,318 --> 02:09:19,991
DO YOU REALLY LOVE ME?
1741
02:09:25,830 --> 02:09:30,001
♪
1742
02:09:30,001 --> 02:09:37,809
♪
1743
02:09:37,809 --> 02:09:43,081
♪
1744
02:09:43,081 --> 02:09:47,485
>> EVERY TIME I SAY UNDERSTAND,
I WANT THE WHOLE GROUP TO SAY,
1745
02:09:47,485 --> 02:09:48,319
YES, SIR. UNDERSTAND?
1746
02:09:48,319 --> 02:09:48,653
>> YES, SIR.
1747
02:09:48,653 --> 02:09:48,986
>> UNDERSTAND?
1748
02:09:48,986 --> 02:09:55,660
>> YES, SIR.
1749
02:09:55,660 --> 02:10:05,536
♪
1750
02:10:05,536 --> 02:10:14,378
♪
1751
02:10:14,378 --> 02:10:18,416
♪
1752
02:10:18,416 --> 02:10:20,284
>> I WAS WORRIED ABOUT TODAY
BECAUSE OF THE DREAM I TOLD YOU
1753
02:10:20,284 --> 02:10:29,560
ABOUT.
1754
02:10:29,560 --> 02:10:35,500
>> THIS FIELD, THIS GAME, IS A
PART OF OUR PAST.
1755
02:10:35,500 --> 02:10:41,139
IT REMINDS US ALL THAT ONCE WAS
GOOD.
1756
02:10:41,139 --> 02:10:48,346
>> IF WE MEET AGAIN, WELL THEN,
WE'LL SMILE.
1757
02:10:48,346 --> 02:10:56,320
AND IF NOT, THEN THIS PARTING
WAS WELL MADE.
1758
02:10:56,320 --> 02:11:01,893
[ APPLAUSE ]
1759
02:11:12,334 --> 02:11:13,535
♪
1760
02:11:13,535 --> 02:11:17,973
>>> WHEN I THINK ABOUT IT, IT'S
SPECIAL BECAUSE IT SPEAKS TO THE
1761
02:11:17,973 --> 02:11:19,675
JOURNEY OF THE IMMIGRANT
EXPERIENCE.
1762
02:11:19,675 --> 02:11:24,546
>> SO MUCH OF THE MOVIE IS ABOUT
POSSESSING THAT WHICH CANNOT BE
1763
02:11:24,546 --> 02:11:26,282
POSSESSED.
TRYING TO POSSESS AN ARTIST.
1764
02:11:26,282 --> 02:11:29,852
BY COLLECTING NOT JUST HIS WORK,
BUT COLLECTING HIM.
1765
02:11:29,852 --> 02:11:34,923
>> IT'S REALLY THE STORY OF HOW
THE FABRIC OF AMERICA HAS BEEN
1766
02:11:34,923 --> 02:11:42,131
BUILT.
1767
02:11:42,131 --> 02:11:42,631
[ CHEERS AND APPLAUSE ]
1768
02:11:42,631 --> 02:11:44,733
>> Announcer: TO PRESENT THE
OSCAR FOR CINEMATOGRAPHY, PLEASE
1769
02:11:44,733 --> 02:11:49,405
WELCOME JOE ALWYN,
ALBA ROHRWACHER, ZOE SALDANA,
1770
02:11:49,405 --> 02:11:54,643
DAVE BAUTISTA, AND WILLEM DAFOE.
1771
02:12:02,885 --> 02:12:06,188
>> WE'RE HONORED TO PRESENT THE
AWARD FOR CINEMATOGRAPHY.
1772
02:12:06,188 --> 02:12:09,324
USING ONE MEDIUM TO COMMUNICATE
BRILLIANCE IS A CHALLENGE.
1773
02:12:09,324 --> 02:12:14,596
UNLESS YOUR CINEMATOGRAPHER IS
LOL CRAWLEY.
1774
02:12:14,596 --> 02:12:20,336
[ APPLAUSE ]
1775
02:12:20,336 --> 02:12:22,938
LOL, YOUR WORK ON "THE
BRUTALIST" WAS ONE OF A KIND.
1776
02:12:22,938 --> 02:12:26,108
IN MANY WAYS, IT'S A FILM FROM
THE PAST, BUT IT ALSO FEELS
1777
02:12:26,108 --> 02:12:28,677
REFRESHINGLY RELEVANT, THANKS TO
YOUR ABILITY TO BREATHE LIFE
1778
02:12:28,677 --> 02:12:31,313
INTO THESE IMAGES, MAKING THEM
AS RAW AND STRIKING AS THE
1779
02:12:31,313 --> 02:12:36,518
ARCHITECTURE ITSELF.
LOL, CONGRATULATIONS.
1780
02:12:36,518 --> 02:12:39,922
[ APPLAUSE ]
1781
02:12:46,729 --> 02:12:48,364
>> CAPTURING THE PUBLIC AND
PRIVATE LIFE OF AN ICON IS NO
1782
02:12:48,364 --> 02:12:53,502
EASY TASK, ESPECIALLY WHEN IT IS
MARIA CALLAS, THE LEGENDARY
1783
02:12:53,502 --> 02:13:03,345
SOPRANO WHO REDEFINED OPERA.
1784
02:13:03,345 --> 02:13:07,549
BUT THE GREAT ED LACHMAN MADE IT
FEEL LIKE WE HAD A FRONT ROW
1785
02:13:07,549 --> 02:13:13,822
SEAT TO THE OPERA OF HER LIFE.
ED, YOU ILLUMINATE THE MANY
1786
02:13:13,822 --> 02:13:16,992
PERSONAS OF MARIA THROUGH A
MASTERFUL MIX OF CINEMATIC
1787
02:13:16,992 --> 02:13:25,801
TECHNIQUES.
1788
02:13:25,801 --> 02:13:27,035
IN DOING SO, YOU ENSURE THAT HER
VOICE IS HEARD AND HER LEGACY
1789
02:13:27,035 --> 02:13:30,439
WILL NEVER BE FORGOTTEN.
1790
02:13:30,439 --> 02:13:34,209
[ APPLAUSE ]
1791
02:13:38,881 --> 02:13:44,987
>> PAUL, I CANNOT IMAGINE
"EMILIA PEREZ" WITHOUT YOU.
1792
02:13:44,987 --> 02:13:46,155
YOU FOUND A WAY TO SEAMLESSLY
SWITCH BETWEEN THE STORY'S
1793
02:13:46,155 --> 02:13:48,624
GROUNDED REALITY AND OPERATIC
FANTASY.
1794
02:13:48,624 --> 02:13:54,363
YOU CREATED A UNIFYING VISION
FOR BOTH THE QUIETER MOMENTS AND
1795
02:13:54,363 --> 02:13:57,499
LARGER-THAN-LIFE SET PIECE.
YOU NAVIGATED THE DIFFERENT
1796
02:13:57,499 --> 02:14:01,136
TONAL SHIFTS AND INTRICATELY
CHOREOGRAPHED SEQUENCES, I
1797
02:14:01,136 --> 02:14:06,909
ESPECIALLY ADMIRED YOUR
PRECISION AND
1798
02:14:06,909 --> 02:14:07,976
ATTENTION TO DETAIL.
IT MADE ALL OF US FEEL SECURE,
1799
02:14:07,976 --> 02:14:14,082
KNOWING WE WERE IN THE HANDS OF
AN INCREDIBLY GIFTED ARTIST.
1800
02:14:14,082 --> 02:14:16,685
[ APPLAUSE ]
1801
02:14:20,856 --> 02:14:26,929
>> GREIG, YOU WON AN OSCAR FOR
1802
02:14:26,929 --> 02:14:30,165
"DUNE," BUT IF THE STORY
WAS GOING TO EVOLVE IN "PART 2,"
1803
02:14:30,165 --> 02:14:31,099
THE VISUALS WOULD ALSO HAVE TO
EVOLVE.
1804
02:14:31,099 --> 02:14:32,734
YOU STEPPED UP TO THE CHALLENGE,
USING YOUR KNOWLEDGEABLE AND
1805
02:14:32,734 --> 02:14:35,237
SOPHISTICATED EYE TO EXPLORE NEW
TECHNIQUES, AND PERHAPS EVEN
1806
02:14:35,237 --> 02:14:37,840
MORE IMPRESSIVE, FIGURING OUT
HOW THE HELL TO FILM SOMEONE
1807
02:14:37,840 --> 02:14:41,577
RIDING A SANDWORM.
I'M JUST IN AWE OF EVERYTHING
1808
02:14:41,577 --> 02:14:44,713
YOU DO.
1809
02:14:44,713 --> 02:14:49,151
[ APPLAUSE ]
1810
02:14:55,490 --> 02:14:57,092
>> JARIN, YOU SHOT "NOSFERATU"
LIKE A ROMANCE, CAPTURING SUCH
1811
02:14:57,092 --> 02:15:00,762
ROMANTIC IMAGES AS THE NAKED,
ROTTING CORPSE OF AN ANCIENT
1812
02:15:00,762 --> 02:15:04,933
VAMPIRE AND A BLOODY SATANIC
RITUAL.
1813
02:15:04,933 --> 02:15:09,571
YOU FOUND BEAUTY IN THE DARKNESS
AND CREATIVE WAYS TO REVEAL THE
1814
02:15:09,571 --> 02:15:13,208
DEPTHS OF THE SHADOWS WHILE
PAYING HOMAGE TO ONE OF CINEMA'S
1815
02:15:13,208 --> 02:15:18,413
MASTERPIECES YET ENVISIONING
SOMETHING COMPLETELY NEW.
1816
02:15:18,413 --> 02:15:25,754
[ APPLAUSE ]
1817
02:15:25,754 --> 02:15:41,503
>> AND THE OSCAR GOES TO --
1818
02:15:41,503 --> 02:15:46,542
"THE BRUTALIST," THIS IS FIRST
1819
02:15:46,542 --> 02:15:55,584
NOMINATION AND WIN FOR LOL
1820
02:15:55,584 --> 02:16:07,930
CRAWLEY.
1821
02:16:10,933 --> 02:16:22,377
[ APPLAUSE ]
1822
02:16:32,521 --> 02:16:39,027
>> GOODNESS, MY TIME STARTED
ALREADY. NO GLASSES.
1823
02:16:39,027 --> 02:16:43,031
PLEASE LET ME GET THROUGH THIS.
I TIMED IT. GIVE ME A MOMENT.
1824
02:16:43,031 --> 02:16:50,439
THANK YOU TO THE ACADEMY, VOTERS
FOR THE INCREDIBLE HONOR, FELLOW
1825
02:16:50,439 --> 02:16:53,709
ARTISTS.
TO MY BEAUTIFUL WIFE, HER
1826
02:16:53,709 --> 02:16:57,045
PARENTS, JOE AND NANCY.
TO MY PARENTS, PETER AND ELAINE,
1827
02:16:57,045 --> 02:17:02,818
MY SISTERS AND TO OUR DAUGHTER,
MY FRIENDS BACK IN WALES.
1828
02:17:02,818 --> 02:17:08,090
THANK YOU TO BRADY FOR TRUSTING
ME, ALLOWING ME TO GO CLOSE TO
1829
02:17:08,090 --> 02:17:11,093
THE EDGE AND OFFER YOUR HAND IF
YOU FELL IN.
1830
02:17:11,093 --> 02:17:14,830
THANK YOU FOR RECOGNIZING THE
RICHEST DIAMONDS ARE THE HARDEST
1831
02:17:14,830 --> 02:17:18,000
TO MINE AND FOR STANDING BY ME
IF I FAIL TO SUCCEED.
1832
02:17:18,000 --> 02:17:22,504
THANK YOU TO CAST.
THANK YOU TO ADRIAN, EVERYBODY,
1833
02:17:22,504 --> 02:17:25,707
THANK YOU.
ANYONE I HAVE FORGOTTEN, I
1834
02:17:25,707 --> 02:17:26,475
APOLOGIZE.
YOU ARE ALL IN MY HEART.
1835
02:17:26,475 --> 02:17:32,080
THANK YOU.
1836
02:17:32,080 --> 02:17:36,218
♪
1837
02:17:36,218 --> 02:17:38,920
>> Announcer: PLEASE WELCOME
1838
02:17:38,920 --> 02:17:45,360
OSCAR WINNER, PENELOPE CRUZ.
1839
02:17:52,734 --> 02:17:58,940
>> BUENAS NOCHES!
IT'S AN HONOR TO BE HERE TO
1840
02:17:58,940 --> 02:18:01,009
PRESENT THE INTERNATIONAL
FEATURE FILM.
1841
02:18:01,009 --> 02:18:07,382
HERE ARE THE NOMINEES.
FROM BRAZIL, "I'M STILL HERE,"
1842
02:18:07,382 --> 02:18:12,521
DIRECTED BY WALTER SALLES.
FROM DENMARK, "THE GIRL WITH THE
1843
02:18:12,521 --> 02:18:17,759
NEEDLE," DIRECTED BY
MAGNUS VON HORN.
1844
02:18:17,759 --> 02:18:24,533
FROM FRANCE, "EMILIA PEREZ,"
DIRECTED BY JACQUES AUDIARD.
1845
02:18:24,533 --> 02:18:25,700
FROM GERMANY, "THE SEED OF THE
SACRED FIG," DIRECTED BY
1846
02:18:25,700 --> 02:18:30,238
MOHAMMAD RASOULOF.
FROM LATVIA, "FLOW," DIRECTED BY
1847
02:18:30,238 --> 02:18:38,046
GINTS ZILBALODIS.
1848
02:18:38,046 --> 02:18:50,926
AND THE OSCAR GOES TO --
1849
02:18:50,926 --> 02:18:52,327
"I'M STILL HERE," BRAZIL.
1850
02:18:52,327 --> 02:18:55,497
>> THIS IS THE FIFTH NOMINATION
1851
02:18:55,497 --> 02:19:05,907
AND FIRST OSCAR WIN FOR BRAZIL.
1852
02:19:10,912 --> 02:19:27,796
[ APPLAUSE ]
1853
02:19:27,796 --> 02:19:31,500
>> THANK YOU, FIRST IN THE NAME
OF BRAZILIAN CINEMA.
1854
02:19:31,500 --> 02:19:38,907
I'M HONORED TO RECEIVE THIS IN
SUCH AN EXTRAORDINARY GROUP OF
1855
02:19:38,907 --> 02:19:44,880
FILMMAKERS.
THIS GOES TO A WOMAN WHO AFTER A
1856
02:19:44,880 --> 02:19:49,751
LOSS SUFFERED DURING AN
AUTHORITARIAN REGIME DECIDED NOT
1857
02:19:49,751 --> 02:19:51,219
TO BEND AND TO RESIST.
1858
02:19:51,219 --> 02:19:58,927
SO THIS GOES TO HER.
1859
02:19:58,927 --> 02:20:01,196
[ CHEERS AND APPLAUSE ]
1860
02:20:01,196 --> 02:20:03,632
IT GOES TO THE TWO EXTRAORDINARY
1861
02:20:03,632 --> 02:20:15,310
WOMEN WHO GAVE LIFE TO HER.
1862
02:20:15,310 --> 02:20:18,847
TOM BERNARD, MICHAEL, YOU ARE
THE ABSOLUTE BEST.
1863
02:20:18,847 --> 02:20:23,919
THANK YOU SO MUCH.
IT'S AN EXTRAORDINARY,
1864
02:20:23,919 --> 02:20:25,420
EXTRAORDINARY FEAT.
THANK YOU SO MUCH.
1865
02:20:25,420 --> 02:20:29,457
[ CHEERS AND APPLAUSE ]
1866
02:20:39,901 --> 02:20:44,573
>> Announcer: COMING UP NEXT,
MARK HAMILL, THEN LATER,
1867
02:20:44,573 --> 02:20:52,347
WHOOPI GOLDBERG AND
OPRAH WINFREY WITH A SPECIAL
1868
02:20:52,347 --> 02:20:53,448
TRIBUTE TO QUINCY JONES.
THE ACADEMY MUSEUM OF MOTION
1869
02:20:53,448 --> 02:20:58,653
PICTURES, THE WORLD'S LARGEST
MUSEUM DEDICATED TO MOVIEMAKING,
1870
02:20:58,653 --> 02:21:01,790
IS THRILLED TO ANNOUNCE "JAWS:
THE EXHIBITION," OPENING
1871
02:21:01,790 --> 02:21:06,494
SEPTEMBER 14th, CELEBRATING THE
FILM'S 50th ANNIVERSARY.
1872
02:21:06,494 --> 02:21:10,131
STEP INTO THE WORLD OF THIS
OSCAR-WINNING CLASSIC FROM
1873
02:21:10,131 --> 02:21:13,768
DIRECTOR STEVEN SPIELBERG,
FEATURING OVER 200 ORIGINAL
1874
02:21:13,768 --> 02:21:15,937
PRODUCTION OBJECTS,
BEHIND-THE-SCENES STORIES, AND
1875
02:21:15,937 --> 02:21:18,106
INTERACTIVE MOMENTS.
1876
02:21:21,843 --> 02:21:24,446
[ APPLAUSE ]
1877
02:21:29,783 --> 02:21:32,459
>>> THERE'S SOMETHING SO
POWERFUL ABOUT THE INTENT OF THE
1878
02:21:32,459 --> 02:21:35,863
FILM AND THE INTENT OF BRINGING
THE CAMERAS INTO THEIR BODIES SO
1879
02:21:35,863 --> 02:21:40,701
THAT WE COULD SEE THE WORLD
THROUGH THEIR EYES.
1880
02:21:40,701 --> 02:21:44,204
TO SHOOT FROM NOT TOWARDS.
YOU ARE BRIDGING ANOTHER GAP
1881
02:21:44,204 --> 02:21:46,774
BETWEEN AUDIENCE AND CHARACTER.
1882
02:21:46,774 --> 02:21:48,142
>> HOW WOULD YOU DO IT?
1883
02:21:48,142 --> 02:21:53,947
>> THE TRICK IS NOT DOING WHAT
THEY KNOW YOU ARE GOING TO DO.
1884
02:21:53,947 --> 02:21:56,950
[ APPLAUSE ]
1885
02:22:01,055 --> 02:22:07,127
>> WELCOME BACK TO THE 97th LONG
FORM CONTENT AWARDS.
1886
02:22:07,127 --> 02:22:13,967
"ANORA" IS HAVING A GOOD NIGHT.
YEAH. THAT'S GREAT NEWS.
1887
02:22:13,967 --> 02:22:18,105
TWO WINS ALREADY.
I GUESS AMERICANS ARE EXCITED TO
1888
02:22:18,105 --> 02:22:24,178
SEE SOMEONE STAND UP TO A
POWERFUL RUSSIAN.
1889
02:22:24,178 --> 02:22:31,051
[ CHEERS AND APPLAUSE ]
1890
02:22:31,051 --> 02:22:34,755
OUR NEXT PRESENTER'S ACTION
FIGURE SELLS FOR THOUSANDS OF
1891
02:22:34,755 --> 02:22:37,357
DOLLARS. WE HAVE THE ORIGINAL.
1892
02:22:37,357 --> 02:22:45,399
PLEASE WELCOME MARK HAMILL!
1893
02:22:45,399 --> 02:22:49,603
[ "STAR WARS" THEME PLAYING ]
1894
02:22:49,603 --> 02:22:58,512
♪
1895
02:22:58,512 --> 02:23:00,948
>> I SUTHS SUGGESTED THEY PLAY
THE THEME FROM "JAWS."
1896
02:23:00,948 --> 02:23:06,987
WHAT DO I KNOW?
A GREAT FILM SCORE IS TIMELESS,
1897
02:23:06,987 --> 02:23:08,255
IT CAN IMMEDIATELY HELP DEFINE
THE CHARACTERS AND THEIR MOODS,
1898
02:23:08,255 --> 02:23:10,557
DEEPEN THE EMOTIONS OF THE FILM
AND STAY WITH US LONG AFTER WE
1899
02:23:10,557 --> 02:23:12,259
LEAVE THE THEATER.
HERE ARE THE NOMINEES FOR
1900
02:23:12,259 --> 02:23:21,635
ORIGINAL SCORE.
1901
02:23:21,635 --> 02:23:28,876
"THE BRUTALIST," BY
DANIEL BLUMBERG.
1902
02:23:28,876 --> 02:23:29,910
"CONCLAVE," BY
1903
02:23:29,910 --> 02:23:38,819
VOLKER BERTELMANN.
1904
02:23:38,819 --> 02:23:46,660
"EMILIA PEREZ," BY CLEMENT DUCOL
AND CAMILLE.
1905
02:23:46,660 --> 02:23:53,967
"WICKED," BY JOHN POWELL AND
STEPHEN SCHWARTZ.
1906
02:23:53,967 --> 02:23:54,501
"THE WILD ROBOT," BY
1907
02:23:54,501 --> 02:24:04,878
KRIS BOWERS.
1908
02:24:04,878 --> 02:24:11,652
AND THE OSCAR GOES TO --
"THE BRUTALIST," BY
1909
02:24:11,652 --> 02:24:17,224
DANIEL BLUMBERG.
1910
02:24:17,224 --> 02:24:27,634
[ APPLAUSE ]
1911
02:24:27,634 --> 02:24:33,173
>> THIS IS THE FIRST OSCAR WIN
AND NOMINATION FOR DANIEL
1912
02:24:33,173 --> 02:24:38,178
BLUMBERG.
1913
02:24:43,150 --> 02:24:59,233
[ APPLAUSE ]
1914
02:24:59,233 --> 02:25:03,237
>> THANK YOU TO THE ACADEMY AND
EVERYONE WHO WATCHED THE FILM
1915
02:25:03,237 --> 02:25:07,574
AND HONORED THE WORK.
IT MEANS A LOT TO BE
1916
02:25:07,574 --> 02:25:10,577
ACKNOWLEDGED LIKE THIS.
I'VE BEEN AN ARTIST FOR 20 YEARS
1917
02:25:10,577 --> 02:25:16,149
NOW, SINCE I WAS A TEENAGER.
WHEN HE MET BRADY, I FOUND MY
1918
02:25:16,149 --> 02:25:18,518
ARTISTIC SOUL MATE.
FOR HIM TO TRUST ME IN THIS WORK
1919
02:25:18,518 --> 02:25:22,422
AND TO GROW ALONGSIDE HIM HAS
BEEN SO SPECIAL.
1920
02:25:22,422 --> 02:25:25,959
THANK YOU, BRADY. I LOVE YOU.
1921
02:25:25,959 --> 02:25:28,996
[ CHEERS AND APPLAUSE ]
1922
02:25:28,996 --> 02:25:33,267
I WANT TO THANK MY
COLLABORATORS, MY CO-PRODUCER
1923
02:25:33,267 --> 02:25:37,371
PETER WALSH AND THE ARTISTS WHO
PLAYED ON THE SCORE.
1924
02:25:37,371 --> 02:25:43,377
THE SOUNDS YOU HEAR ARE MADE BY
A GROUP OF HARD WORKI ING RADIC
1925
02:25:43,377 --> 02:25:51,051
MUSICIANS WHO HAVE BEEN MAKING UN
UNCOMPROMISING MUSIC FOR YEARS.
1926
02:25:51,051 --> 02:25:53,553
I'M ACCEPTING THIS AWARD ON
BEHALF OF THEM.
1927
02:25:53,553 --> 02:25:57,691
THANKS TO MY FAMILY AND STACY
AND MY MANAGER, MARK, KEITH,
1928
02:25:57,691 --> 02:26:04,464
MONA AND MY FRIENDS AT CAFE --
1929
02:26:04,464 --> 02:26:09,136
♪ ALTER
1930
02:26:19,079 --> 02:26:21,949
>> Announcer: PLEASE WELCOME
TWO-TIME OSCAR NOMINEE,
1931
02:26:21,949 --> 02:26:27,521
OPRAH WINFREY AND OSCAR WINNER,
WHOOPI GOLDBERG.
1932
02:26:27,521 --> 02:26:32,893
[ APPLAUSE ]
1933
02:26:41,969 --> 02:26:48,041
>> WHEN ONE HEARS THE NAME
QUINCY JONES, ONE'S FIRST
1934
02:26:48,041 --> 02:26:55,315
THOUGHT IS "MUSICAL GENIUS."
AND FOR GOOD REASON.
1935
02:26:55,315 --> 02:27:00,053
28 GRAMMY AWARDS, ARRANGER AND
CONDUCTOR FOR LEGENDS LIKE
1936
02:27:00,053 --> 02:27:05,258
FRANK SINATRA, ELLA FITZGERALD
AND RAY CHARLES AND THE DRIVING
1937
02:27:05,258 --> 02:27:10,464
FORCE BEHIND "WE ARE THE WORLD."
1938
02:27:10,464 --> 02:27:16,236
BUT THE MAN, OUR BELOVED Q, HAD
AN EQUALLY POWERFUL IMPACT ON
1939
02:27:16,236 --> 02:27:18,872
THE WORLD OF FILM AS A COMPOSER
AND PRODUCER.
1940
02:27:18,872 --> 02:27:26,580
>> TALK ABOUT BLACK EXCELLENCE.
YEAH.
1941
02:27:26,580 --> 02:27:28,815
YOU CAN GIVE IT UP.
1942
02:27:28,815 --> 02:27:36,690
[ APPLAUSE ]
1943
02:27:36,690 --> 02:27:39,359
IN 1967, QUINCY JONES WAS THE
FIRST BLACK COMPOSER NOMINATED
1944
02:27:39,359 --> 02:27:43,096
IN THE ORIGINAL SONG CATEGORY
FOR "THE EYES OF LOVE" IN THE
1945
02:27:43,096 --> 02:27:50,871
FILM "BANNING."
1967 WAS THE FIRST TIME.
1946
02:27:50,871 --> 02:27:53,974
KEEP THAT IN MIND.
AND QUINCY WAS ALSO NOMINATED
1947
02:27:53,974 --> 02:27:58,111
THAT YEAR FOR ORIGINAL MUSIC
SCORE FOR "IN COLD BLOOD."
1948
02:27:58,111 --> 02:28:01,815
HE RECEIVED SEVEN OSCAR
NOMINATIONS FOR "THE WIZ," "IN
1949
02:28:01,815 --> 02:28:05,919
COLD BLOOD," "FOR LOVE OF IVY,"
1950
02:28:05,919 --> 02:28:13,093
AND "THE COLOR PURPLE," WHICH
1951
02:28:13,093 --> 02:28:23,203
OPWN OPERA -- OPRAL WERE PART O.
1952
02:28:23,203 --> 02:28:24,371
>> PAYING TRIBUTE TO HIM FOR ALL
HE HAS MEANT TO OUR MOVIE
1953
02:28:24,371 --> 02:28:26,306
COMMUNITY IS WHY WE ALL HONOR
HIS MEMORY TONIGHT.
1954
02:28:26,306 --> 02:28:29,409
QUINCY WAS LOVE LIVED OUT LOUD
IN HUMAN FORM, AND HE POURED
1955
02:28:29,409 --> 02:28:32,546
THAT LOVE INTO OTHERS AND INTO
HIS WORK.
1956
02:28:32,546 --> 02:28:37,751
MY LIFE CHANGED FOREVER AND FOR
THE BETTER AFTER MEETING HIM.
1957
02:28:37,751 --> 02:28:46,593
HE DISCOVERED ME FOR "THE COLOR
1958
02:28:46,593 --> 02:28:48,128
PURPLE," WHICH WAS MY FIRST FILM.
1959
02:28:48,128 --> 02:28:55,268
>> ME, TOO.
TONIGHT, WE HONOR A TRUE
1960
02:28:55,268 --> 02:28:59,539
AMERICAN LEGEND, WHOSE MUSIC AND
MOVIES CONTINUE TO INSPIRE US
1961
02:28:59,539 --> 02:29:01,007
ALL.
1962
02:29:01,007 --> 02:29:06,179
>> AND NOW, WITH A SONG HE WROTE
FOR "THE WIZ," ONE THAT CARRIES
1963
02:29:06,179 --> 02:29:09,316
THE SAME JOY HE BROUGHT TO THE
WORLD EVERY DAY, PLEASE WELCOME
1964
02:29:09,316 --> 02:29:15,889
TO THE STAGE OSCAR NOMINEE,
QUEEN LATIFAH.
1965
02:29:15,889 --> 02:29:19,059
[ APPLAUSE ]
1966
02:29:21,962 --> 02:29:23,797
♪
1967
02:29:23,797 --> 02:29:27,968
♪ COME ON AND EASE ON DOWN
1968
02:29:27,968 --> 02:29:29,035
EASE ON DOWN THE ROAD
COME ON, EASE ON DOWN
1969
02:29:29,035 --> 02:29:32,139
EASE ON DOWN THE ROAD ♪
1970
02:29:32,139 --> 02:29:33,707
♪ DON'T YOU CARRY NOTHING
1971
02:29:33,707 --> 02:29:36,309
THAT MIGHT BE A LOAD
COME ON, EASE ON DOWN
1972
02:29:36,309 --> 02:29:39,446
EASE ON DOWN DOWN THE ROAD ♪
1973
02:29:39,446 --> 02:29:41,014
♪ PICK YOUR LEFT FOOT UP
1974
02:29:41,014 --> 02:29:43,617
WHEN YOUR RIGHT FOOT'S DOWN ♪
1975
02:29:43,617 --> 02:29:45,185
♪ COME ON LEGS KEEP MOVIN'
1976
02:29:45,185 --> 02:29:47,787
DON'T YOU LOSE NO GROUND ♪
1977
02:29:47,787 --> 02:29:49,356
♪ YOU JUST KEEP ON KEEPIN'
1978
02:29:49,356 --> 02:29:51,958
ON THE ROAD THAT YOU CHOOSE ♪
1979
02:29:51,958 --> 02:29:53,560
♪ DON'T YOU GIVE UP WALKIN'
1980
02:29:53,560 --> 02:29:54,594
'CAUSE YOU GAVE UP SHOES ♪
1981
02:29:54,594 --> 02:29:55,629
♪ EASE ON DOWN
1982
02:29:55,629 --> 02:29:59,799
EASE ON DOWN THE ROAD
COME ON, EASE ON DOWN
1983
02:29:59,799 --> 02:30:02,936
EASE ON DOWN THE ROAD ♪
1984
02:30:02,936 --> 02:30:04,004
♪ DON'T YOU CARRY NOTHING
1985
02:30:04,004 --> 02:30:07,641
THAT MIGHT BE A LOAD
COME ON, EASE ON DOWN
1986
02:30:07,641 --> 02:30:11,278
EASE ON DOWN THE ROAD ♪
1987
02:30:11,278 --> 02:30:11,845
♪ 'CAUSE THERE MAY BE TIMES
1988
02:30:11,845 --> 02:30:15,448
WHEN YOU THINK
YOU LOST YOUR MIND ♪
1989
02:30:15,448 --> 02:30:15,815
♪ AND THE STEPS
1990
02:30:15,815 --> 02:30:18,051
YOU'RE TAKIN' LEAVE YOU THREE
FOUR STEPS BEHIND ♪
1991
02:30:18,051 --> 02:30:18,552
♪ BUT THE ROAD
1992
02:30:18,552 --> 02:30:22,722
YOU'RE WALKING
MIGHT BE LONG SOMETIMES ♪
1993
02:30:22,722 --> 02:30:24,824
♪ YOU JUST KEEP ON STEPPIN'
1994
02:30:24,824 --> 02:30:25,358
AND YOU'LL JUST BE FINE ♪
1995
02:30:25,358 --> 02:30:25,892
♪ EASE ON DOWN
1996
02:30:25,892 --> 02:30:30,597
EASE ON DOWN THE ROAD
COME ON, EASE ON DOWN
1997
02:30:30,597 --> 02:30:33,733
EASE ON DOWN THE ROAD ♪
1998
02:30:33,733 --> 02:30:36,836
♪ DON'T YOU CARRY NOTHING
1999
02:30:36,836 --> 02:30:37,737
THAT MIGHT BE A LOAD
COME ON, EASE ON DOWN
2000
02:30:37,737 --> 02:30:39,973
EASE ON DOWN THE ROAD ♪
2001
02:30:39,973 --> 02:30:47,747
♪
2002
02:30:47,747 --> 02:30:49,316
♪
2003
02:30:49,316 --> 02:30:50,383
♪ WELL THERE MAYBE TIMES
2004
02:30:50,383 --> 02:30:51,952
WHEN YOU WISH YOU WASN'T BORN ♪
2005
02:30:51,952 --> 02:30:52,986
♪ AND YOU WAKE ONE MORNING
2006
02:30:52,986 --> 02:30:55,989
JUST TO FIND YOUR
COURAGE'S GONE ♪
2007
02:30:55,989 --> 02:30:57,157
♪ BUT JUST KNOW THAT FEELING
2008
02:30:57,157 --> 02:30:59,793
ONLY LASTS A LITTLE WHILE ♪
2009
02:30:59,793 --> 02:31:00,827
♪ YOU STICK WITH US
2010
02:31:00,827 --> 02:31:03,964
AND WE'LL SHOW YOU
HOW TO SMILE, YEAH ♪
2011
02:31:03,964 --> 02:31:05,031
♪ GET 'EM UP, GOIN' DOWN
2012
02:31:05,031 --> 02:31:09,970
EASE ON DOWN
GET 'EM UP, GOIN' DOWN
2013
02:31:09,970 --> 02:31:10,337
EASE ON DOWN ♪
2014
02:31:10,337 --> 02:31:13,340
♪ GET 'EM UP, GOIN' DOWN
2015
02:31:13,340 --> 02:31:16,977
EASE ON DOWN
GET 'EM UP, GET 'EM UP
2016
02:31:16,977 --> 02:31:19,579
EASE ON DOWN THE ROAD ♪
2017
02:31:19,579 --> 02:31:21,147
♪ GET 'EM UP, GOIN' DOWN
2018
02:31:21,147 --> 02:31:24,284
EASE ON DOWN
GET 'EM UP, GOIN' DOWN
2019
02:31:24,284 --> 02:31:27,921
EASE ON DOWN ♪
2020
02:31:27,921 --> 02:31:28,455
♪ GET 'EM UP, GOIN' DOWN
2021
02:31:28,455 --> 02:31:32,626
EASE ON DOWN
GET 'EM UP, GET 'EM UP
2022
02:31:32,626 --> 02:31:36,296
EASE ON DOWN THE ROAD ♪
2023
02:31:36,296 --> 02:31:45,972
♪
2024
02:31:45,972 --> 02:31:48,241
[ CHEERS AND APPLAUSE ]
2025
02:31:57,017 --> 02:32:01,221
>> Announcer: STILL TO COME, THE
AWARDS FOR BEST DIRECTOR AND
2026
02:32:01,221 --> 02:32:05,091
BEST ACTOR.
ONLY AT THE OSCARS, HERE ON ABC.
2027
02:32:17,971 --> 02:32:18,571
♪
2028
02:32:18,571 --> 02:32:24,411
>>> EACH CHARACTER, THEY'RE ALL
HUMAN. I WANTED TO WATCH THESE
2029
02:32:24,411 --> 02:32:27,881
CHARACTERS AND UNDERSTAND ALL
THEIR THOUGHTS, BEHIND THE EYES,
2030
02:32:27,881 --> 02:32:32,619
EXPRESS IT SILENTLY, PORTRAY AN
INNER TURMOIL.
2031
02:32:32,619 --> 02:32:37,724
DOUBT CAN BE HINDERING.
DOUBT IS PROBLEMATIC.
2032
02:32:37,724 --> 02:32:40,760
IT CAN BE AN INCREDIBLE SOURCE
FOR STRENGTH.
2033
02:32:40,760 --> 02:32:44,664
>> IF THERE WAS ONLY CERTAINTY,
THERE WOULD BE NO MYSTERY.
2034
02:32:44,664 --> 02:32:48,335
AND THEREFORE, NO NEED FOR FAITH.
2035
02:32:48,335 --> 02:32:51,237
[ APPLAUSE ]
2036
02:32:53,506 --> 02:32:58,478
>> ALL RIGHT.
IF YOU ARE STILL ENJOYING THE
2037
02:32:58,478 --> 02:33:04,818
SHOW, YOU HAVE SOMETHING CALLED
STOCKHOLM SYNDROME.
2038
02:33:04,818 --> 02:33:06,953
[ LAUGHTER ]
2039
02:33:06,953 --> 02:33:13,126
HE HAS MY EXACT SAME GENETIC
MAKEUP, YET SOMEHOW HE TURNED
2040
02:33:13,126 --> 02:33:19,899
OUT HANDSOME.
PLEASE WELCOME OSCAR WINNER,
2041
02:33:19,899 --> 02:33:25,805
CILLIAN MURPHY.
2042
02:33:25,805 --> 02:33:30,443
♪
2043
02:33:30,443 --> 02:33:32,679
>> PREPARING FOR A LEADING ROLE
INVOLVES BECOMING A DETECTIVE OF
2044
02:33:32,679 --> 02:33:38,318
SORTS. YOU GATHER AS MANY CLUES,
DETAILS AND NUGGETS AS YOU
2045
02:33:38,318 --> 02:33:41,387
POSSIBLY CAN ABOUT YOUR
CHARACTER.
2046
02:33:41,387 --> 02:33:45,058
THEN YOU USE AS LITTLE OR AS
MUCH AS NECESSARY.
2047
02:33:45,058 --> 02:33:47,193
ALONG THE WAY, THERE ARE SO MANY
DIFFICULT AND INSTINCTUAL
2048
02:33:47,193 --> 02:33:50,830
CHOICES ABOUT WHAT TO KEEP AND
WHAT TO DISCARD.
2049
02:33:50,830 --> 02:33:51,998
AND THAT'S JUST ONE TINY PART OF
WHAT IT TAKES TO BRING A
2050
02:33:51,998 --> 02:33:56,569
CHARACTER TO LIFE.
AND I THINK I SPEAK FOR ALL OF
2051
02:33:56,569 --> 02:33:59,139
US WHO MARVELED AT THE
PERFORMANCES OF THESE FIVE
2052
02:33:59,139 --> 02:34:01,341
NOMINEES FOR BEST ACTOR, AT
EVERY TURN THEY MADE THE RIGHT
2053
02:34:01,341 --> 02:34:07,881
CHOICE.
2054
02:34:07,881 --> 02:34:12,786
ADRIEN BRODY, "THE BRUTALIST."
2055
02:34:12,786 --> 02:34:15,655
>> DOES NOT WANT US HERE.
2056
02:34:15,655 --> 02:34:21,995
HE DOES NOT WANT US HERE!
2057
02:34:21,995 --> 02:34:25,632
WE ARE NOTHING.
2058
02:34:25,632 --> 02:34:30,570
>> TIMOTHEE CHALAMET, "A
COMPLETE UNKNOWN."
2059
02:34:30,570 --> 02:34:34,307
>> IT'S REQUIRED.
IT'S ONLY 12 WEEKS.
2060
02:34:34,307 --> 02:34:37,977
>> GOD MADE THE WORLD IN SIX
DAYS. 12 WEEKS IS A LOT LONGER.
2061
02:34:37,977 --> 02:34:41,748
WHAT AM I SUPPOSED TO DO WITH
THE EXTRA 65 DAYS.
2062
02:34:41,748 --> 02:34:42,816
>> ARE YOU GOD?
2063
02:34:42,816 --> 02:34:48,054
>> HOW MANY TIMES DO I HAVE TO
SAY THIS? YES.
2064
02:34:48,054 --> 02:34:52,459
>> COLMAN DOMINGO, "SING SING."
2065
02:34:52,459 --> 02:35:06,773
>> JUST WAITING.
2066
02:35:06,773 --> 02:35:12,078
I'M AFRAID TO SEE YOU, MOM.
I'M AFRAID TO SEE YOU.
2067
02:35:12,078 --> 02:35:15,882
>> RALPH FIENNES, "CONCLAVE."
2068
02:35:15,882 --> 02:35:18,685
>> WHAT HAS HE OFFERED YOU,
SECRETARY OF STATE?
2069
02:35:18,685 --> 02:35:25,158
FIVE TIMES I CAST MY VOTE FOR
YOU, ALDO. BUT I WAS WRONG.
2070
02:35:25,158 --> 02:35:29,195
YOU LACK THE COURAGE REQUIRED TO
BE POPE.
2071
02:35:29,195 --> 02:35:33,166
>> SEBASTIAN STAN, "THE
APPRENTICE."
2072
02:35:33,166 --> 02:35:36,569
>> MY THREE RULES OF WINNING.
RULE ONE, THE WORLD IS A MESS.
2073
02:35:36,569 --> 02:35:39,772
THE WORLD IS A MESS, TONY.
YOU HAVE TO FIGHT BACK.
2074
02:35:39,772 --> 02:35:43,743
YOU HAVE TO HAVE A TOUGH SKIN.
ATTACK, ATTACK, ATTACK.
2075
02:35:43,743 --> 02:35:47,881
IF SOMEBODY COMES AFTER YOU WITH
A KNIFE, YOU SHOOT THEM BACK
2076
02:35:47,881 --> 02:35:55,054
WITH A BAZOOKA.
2077
02:35:55,054 --> 02:36:03,229
>> AND THE OSCAR GOES TO --
2078
02:36:03,229 --> 02:36:06,165
ADRIEN BRODY.
2079
02:36:06,165 --> 02:36:11,237
>> THIS IS THE SECOND OSCAR WIN
AND SECOND NOMINATION FOR ADRIE
2080
02:36:11,237 --> 02:36:13,973
FL BRODY.
HE TOOK HOME HIS FIRST OSCAR IN
2081
02:36:13,973 --> 02:36:15,909
THIS CATEGORY FOR HIS ROLE IN
2082
02:36:15,909 --> 02:36:27,854
"THE PIANIST."
2083
02:36:27,854 --> 02:36:28,955
[ APPLAUSE ]
2084
02:36:56,416 --> 02:37:00,620
>> THEY'RE ALREADY COUNTING ME
DOWN. OKAY. THANK YOU, GOD.
2085
02:37:00,620 --> 02:37:06,359
THANK YOU FOR THIS BLESSED LIFE.
2086
02:37:06,359 --> 02:37:13,700
IF I MAY JUST HUMBLY BEGIN BY
GIVING THANKS FOR THE TREMENDOUS
2087
02:37:13,700 --> 02:37:17,503
OUTPOURING OF LOVE THAT I FELT
FROM THIS WORLD AND EVERY
2088
02:37:17,503 --> 02:37:24,844
INDIVIDUAL THAT HAS TREATED ME
WITH RESPECT AND APPRECIATION.
2089
02:37:24,844 --> 02:37:32,085
I FEEL SO FORTUNATE.
2090
02:37:32,085 --> 02:37:36,155
YOU KNOW, ACTING IS A VERY
FRAGILE PROFESSION.
2091
02:37:36,155 --> 02:37:41,227
IT LOOKS VERY GLAMOROUS.
AND IN CERTAIN MOMENTS, IT IS.
2092
02:37:41,227 --> 02:37:44,931
BUT THE ONE THING THAT I HAVE
GAINED HAVING THE PRIVILEGE TO
2093
02:37:44,931 --> 02:37:49,869
COME BACK HERE IS TO HAVE SOME
PERSPECTIVE.
2094
02:37:49,869 --> 02:37:56,009
NO MATTER WHERE YOU ARE IN YOUR
CAREER, NO MATTER WHAT YOU HAVE
2095
02:37:56,009 --> 02:38:01,748
ACCOMPLISHED, IT CAN ALL GO AWAY.
AND I THINK WHAT MAKES THIS
2096
02:38:01,748 --> 02:38:07,320
NIGHT MOST SPECIAL IS THE
AWARENESS OF THAT AND THE
2097
02:38:07,320 --> 02:38:09,288
GRATITUDE THAT I HAVE TO STILL
2098
02:38:09,288 --> 02:38:16,596
DO THE WORK THAT I LOVE.
2099
02:38:16,596 --> 02:38:22,001
WINNING AN AWARD LIKE THIS, IT
2100
02:38:22,001 --> 02:38:28,775
SIGNIFIES A DESTINATION AND IT'S
SOMETHING MY CHARACTER
2101
02:38:28,775 --> 02:38:35,715
REFERENCES IN THE FILM.
BUT TO ME IT ALSO -- BEYOND THE
2102
02:38:35,715 --> 02:38:40,787
PINNACLE OF A CAREER, IT IS A
2103
02:38:40,787 --> 02:38:48,761
CHANCE TO BEGIN AGAIN.
THE OPPORTUNITY TO HOPEFULLY BE
2104
02:38:48,761 --> 02:38:51,631
FORTUNATE ENOUGH FOR THE NEXT 20
YEARS OF MY LIFE, THAT I CAN
2105
02:38:51,631 --> 02:38:55,902
PROVE THAT I AM WORTHY OF SUCH
MEANINGFUL AND IMPORTANT AND
2106
02:38:55,902 --> 02:39:03,576
RELEVANT ROLES.
I SHARE THIS WITH MY FELL OW
2107
02:39:03,576 --> 02:39:05,778
NOMINEES WHO ARE JUST WONDERFUL
2108
02:39:05,778 --> 02:39:11,851
HUMAN BEINGS WHO EXUDE GRACE AND
2109
02:39:11,851 --> 02:39:16,155
GOODNESS AND BRILLIANCE WITH
THEIR WORK.
2110
02:39:16,155 --> 02:39:17,623
THERE ARE SO MANY PEOPLE TO
THANK.
2111
02:39:17,623 --> 02:39:21,727
I WILL TRY AND BE AS BRIEF AS
POSSIBLE.
2112
02:39:21,727 --> 02:39:27,667
I THANK, OF COURSE, MY TEAM,
ANDREW SOLIS AND MY MANY FRIENDS
2113
02:39:27,667 --> 02:39:32,171
AT CAA AND LINDSEY GALLEN AND
2114
02:39:32,171 --> 02:39:37,477
HEATHER AND 824 AND FOCUS AND
2115
02:39:37,477 --> 02:39:45,384
UNIVERSAL FOR BELIEVING IN US.
AND BRADY AND MONA, FOR WHAT YOU
2116
02:39:45,384 --> 02:39:50,189
HAVE DONE FOR INDEPENDENT FILM
AND FOR YOUR BEAUTIFUL SPIRIT
2117
02:39:50,189 --> 02:39:54,327
AND FOR GIVING ME SPACE TO EXIST
IN THIS TRIUMPH OF A WORK.
2118
02:39:54,327 --> 02:40:01,701
MY FELLOW CAST, GUY AND
FELICITY, YOU ARE JUST BRILLIANT
2119
02:40:01,701 --> 02:40:06,172
AND LOVELY.
I SHARE THIS WITH YOU.
2120
02:40:06,172 --> 02:40:10,777
I SHARE THIS WITH MY AMAZING
2121
02:40:10,777 --> 02:40:16,115
PARTNER, GEORGINA WHO HAS
REINVIGORATED MY SENSE OF VALUE
2122
02:40:16,115 --> 02:40:21,521
AND MY VALUES AND OUR BEAUTIFUL
CHILDREN, DASH AND INDIA.
2123
02:40:21,521 --> 02:40:24,557
I KNOW IT'S BEEN A ROLLER
COASTER.
2124
02:40:24,557 --> 02:40:30,463
THANK YOU FOR ACCEPTING ME INTO
YOUR LIFE.
2125
02:40:30,463 --> 02:40:38,037
POPS, HE IS COMING HOME A WINNER.
WHO ELSE?
2126
02:40:38,037 --> 02:40:45,645
AND JUDY BECKER, THE REAL ONE
2127
02:40:45,645 --> 02:40:48,581
WHO DESERVES TO BE UP HERE AS
WELL. I'M WRAPPING UP.
2128
02:40:48,581 --> 02:40:51,217
PLEASE, PLEASE, I'M WRAPPING UP.
I WILL WRAP UP.
2129
02:40:51,217 --> 02:40:52,785
PLEASE TURN THE MUSIC OFF.
I HAVE DONE THIS BEFORE.
2130
02:40:52,785 --> 02:40:55,788
THANK YOU.
2131
02:40:55,788 --> 02:40:56,088
[ LAUGHTER ]
2132
02:40:56,088 --> 02:40:58,090
IT'S NOT MY FIRST RODEO.
I WILL BE BRIEF.
2133
02:40:58,090 --> 02:41:05,831
I PROMISE.
2134
02:41:05,831 --> 02:41:12,872
I'M ODDLY -- I HAVE TO THANK MY
MOM AND DAD WHO ARE HERE AS WELL.
2135
02:41:12,872 --> 02:41:13,239
[ APPLAUSE ]
2136
02:41:13,239 --> 02:41:20,446
THEY HAVE GIVEN ME -- THEY HAVE
CREATED A STRONG FOUNDATION OF
2137
02:41:20,446 --> 02:41:26,052
RESPECT AND OF KINDNESS AND A
WONDERFUL SPIRIT.
2138
02:41:26,052 --> 02:41:28,120
THEY HAVE GIVEN ME -- THEY HAVE
GIVEN ME THE STRENGTH TO PURSUE
2139
02:41:28,120 --> 02:41:33,726
THIS DREAM.
2140
02:41:33,726 --> 02:41:39,899
I'M HERE ONCE AGAIN TO REPRESENT
2141
02:41:39,899 --> 02:41:47,873
THE LINGERING TRAUMAS AND THE
REPERCUSSIONS OF WAR AND
2142
02:41:47,873 --> 02:41:51,611
SYSTEMATIC OPPRESSION AND OF
2143
02:41:51,611 --> 02:41:58,918
ANTI-SEMITISM AND RACISM AND I
BELIEVE THAT -- I PRAY FOR A
2144
02:41:58,918 --> 02:42:02,688
HEALTHIER AND HAPPIER AND MORE
INCLUSIVE WORLD.
2145
02:42:02,688 --> 02:42:07,093
I BELIEVE IF THE PAST CAN TEACH
US ANYTHING, IT'S A REMINDER TO
2146
02:42:07,093 --> 02:42:08,861
NOT LET HATE GO UNCHECKED.
2147
02:42:08,861 --> 02:42:19,538
[ APPLAUSE ]
2148
02:42:19,538 --> 02:42:25,144
I WILL GET OUT OF HERE.
I LOVE YOU. I APPRECIATE YOU ALL.
2149
02:42:25,144 --> 02:42:26,679
LET'S FIGHT FOR WHAT'S RIGHT.
KEEP SMILING, KEEP LOVING ONE
2150
02:42:26,679 --> 02:42:31,851
ANOTHER. LET'S REBUILD TOGETHER.
THANK YOU.
2151
02:42:31,851 --> 02:42:38,658
[ APPLAUSE ]
2152
02:42:49,835 --> 02:42:52,805
>> I DON'T HAVE A JOKE HERE,
BECAUSE THIS IS ONE OF MY
2153
02:42:52,805 --> 02:43:00,579
FAVORITE FILMMAKERS OF ALL TIME.
2154
02:43:00,579 --> 02:43:05,851
PLEASE WELCOME TWO-TIME OSCAR
WINNER, QUENTIN TARANTINO.
2155
02:43:05,851 --> 02:43:10,723
♪
2156
02:43:10,723 --> 02:43:17,263
>> HELLO, EVERYBODY.
GREAT DIRECTORS DON'T JUST
2157
02:43:17,263 --> 02:43:22,001
CALL THE SHOTS, THEY MAKE THEM
COUNT. THESE FIVE FILMMAKERS KNOW
2158
02:43:22,001 --> 02:43:25,071
EXACTLY WHAT THEY WANT, HOW TO
GET IT, AND WHO TO BRING ALONG
2159
02:43:25,071 --> 02:43:29,408
FOR THE RIDE.
LET'S TAKE A LOOK AT THIS YEAR'S
2160
02:43:29,408 --> 02:43:35,848
NOMINEES.
2161
02:43:35,848 --> 02:43:41,220
SEAN BAKER, "ANORA."
BRADY CORBET, "THE BRUTALIST."
2162
02:43:41,220 --> 02:43:44,890
JAMES MANGOLD, "A COMPLETE
UNKNOWN."
2163
02:43:44,890 --> 02:43:49,595
JACQUES AUDIARD, "EMILIA PEREZ."
CORALIE FARGEAT, "THE
2164
02:43:49,595 --> 02:43:56,902
SUBSTANCE."
2165
02:43:56,902 --> 02:44:06,245
AND THE OSCAR GOES TO --
2166
02:44:06,245 --> 02:44:12,184
SEAN BAKER, "ANORA."
2167
02:44:12,184 --> 02:44:12,485
[ APPLAUSE ]
2168
02:44:12,485 --> 02:44:15,554
>> THIS IS THE THIRD OSCAR WIN
2169
02:44:15,554 --> 02:44:20,626
FOR SEAN BAKER.
2170
02:44:20,626 --> 02:44:25,498
[ APPLAUSE ]
2171
02:44:33,072 --> 02:44:39,879
>> WOW. OKAY.
QUENTIN, IF YOU DIDN'T CAST
2172
02:44:39,879 --> 02:44:43,649
MIKEY MADISON, THERE WOULD BE NO
"ANORA."
2173
02:44:43,649 --> 02:44:46,819
THANK YOU SO MUCH AND FOR ALL
YOUR INCREDIBLE WORK.
2174
02:44:46,819 --> 02:44:50,489
I WILL TAKE THIS TIME TO READ
SOMETHING I'M PASSIONATE ABOUT.
2175
02:44:50,489 --> 02:44:54,193
FIRST OFF, THANK YOU TO THE
ACADEMY. THIS MEANS SO MUCH.
2176
02:44:54,193 --> 02:44:59,899
THANK YOU TO MY FELLOW NOMINEES.
IT'S AN HONOR TO BE IN THIS
2177
02:44:59,899 --> 02:45:01,233
CATEGORY WITH YOU.
I WILL PUT THIS DOWN.
2178
02:45:01,233 --> 02:45:03,402
WE'RE ALL HERE TONIGHT AND
WATCHING THIS BROADCAST BECAUSE
2179
02:45:03,402 --> 02:45:06,505
WE LOVE MOVIES.
WHERE DID WE FALL IN LOVE WITH
2180
02:45:06,505 --> 02:45:08,207
THE MOVIES? AT THE THEATER.
2181
02:45:08,207 --> 02:45:10,709
[ CHEERS AND APPLAUSE ]
2182
02:45:10,709 --> 02:45:16,248
WATCHING A FILM IN A THEATER
WITH AN AUDIENCE IS AN
2183
02:45:16,248 --> 02:45:18,818
EXPERIENCE.
WE CAN LAUGH TOGETHER, CRY
2184
02:45:18,818 --> 02:45:21,654
TOGETHER, SIT IN SILENCE
TOGETHER AND IN A TIME IN WHICH
2185
02:45:21,654 --> 02:45:25,091
THE WORLD CAN FEEL VERY DIVIDED,
THIS IS MORE IMPORTANT THAN
2186
02:45:25,091 --> 02:45:28,594
EVER, IT'S A COMMUNAL EXPERIENCE
YOU DON'T GET AT HOME.
2187
02:45:28,594 --> 02:45:31,831
RIGHT NOW, THE THEATER GOING
EXPERIENCE IS UNDER THREAT.
2188
02:45:31,831 --> 02:45:34,900
MOVIE THEATERS, ESPECIALLY
INDEPENDENTLY OWNED THEATERS,
2189
02:45:34,900 --> 02:45:37,770
ARE STRUGGLING.
IT'S UP TO US TO SUPPORT THEM.
2190
02:45:37,770 --> 02:45:42,274
DURING THE PANDEMIC, WE LOST
NEARLY 1,000 SCREENS IN THE U.S.
2191
02:45:42,274 --> 02:45:44,677
WE CONTINUE TO LOSE THEM
REGULARLY.
2192
02:45:44,677 --> 02:45:48,481
IF WE DON'T REVERSE THIS TREND,
WE WILL LOSE A VITAL PART OF OUR
2193
02:45:48,481 --> 02:45:53,152
CULTURE. THIS IS MY BATTLE CRY.
FILMMAKERS, MAKE FILMS FOR THE
2194
02:45:53,152 --> 02:45:54,620
BIG SCREEN. I KNOW I WILL.
2195
02:45:54,620 --> 02:45:59,892
[ APPLAUSE ]
2196
02:45:59,892 --> 02:46:03,195
DISTRIBUTORS, PLEASE FOCUS FIRST
AND FOREMOST ON THE THEATRICAL
2197
02:46:03,195 --> 02:46:06,365
RELEASES OF YOUR FILMS.
NEON DID THAT FOR ME.
2198
02:46:06,365 --> 02:46:09,768
I THANK YOU FROM THE BOTTOM OF
MY HEART.
2199
02:46:09,768 --> 02:46:13,272
PARENTS, INTRODUCE YOUR CHILDREN
TO FEATURE FILMS IN MOVIE
2200
02:46:13,272 --> 02:46:16,108
THEATERS.
YOU WILL BE MOLDING THE NEXT
2201
02:46:16,108 --> 02:46:18,544
GENERATION OF MOVIE LOVERS AND
FILMMAKERS.
2202
02:46:18,544 --> 02:46:20,813
WHEN WE CAN, WATCH MOVIES IN THE
THEATER.
2203
02:46:20,813 --> 02:46:24,149
KEEP THE GREAT TRADITION OF THE
MOVIE GOING EXPERIENCE ALIVE AND
2204
02:46:24,149 --> 02:46:28,120
WELL. ONE LAST THING, MY MOTHER
INTRODUCED ME TO CINEMA AT 5
2205
02:46:28,120 --> 02:46:31,657
YEARS OLD.
TODAY IS ALSO HER BIRTHDAY.
2206
02:46:31,657 --> 02:46:35,528
HAPPY BIRTHDAY, MOM. I LOVE YOU.
THANK YOU FOR EVERYTHING.
2207
02:46:35,528 --> 02:46:37,229
THIS IS FOR YOU.
2208
02:46:37,229 --> 02:46:42,268
[ CHEERS AND APPLAUSE ]
2209
02:46:46,739 --> 02:46:49,408
♪
2210
02:46:49,408 --> 02:46:53,712
>>> COMING UP, OSCARS FOR BEST
ACTRESS AND BEST PICTURE HERE ON
2211
02:46:53,712 --> 02:46:55,581
ABC.
2212
02:47:05,958 --> 02:47:07,026
[ APPLAUSE ]
2213
02:47:07,026 --> 02:47:10,563
>>> PLEASE WELCOME TWO LF TIME
2214
02:47:10,563 --> 02:47:15,768
OSCAR WINNER, EMMA STONE.
2215
02:47:15,768 --> 02:47:18,103
[ APPLAUSE ]
2216
02:47:24,410 --> 02:47:27,513
>> THESE FIVE WOMEN DAZZLED US
WITH THEIR BRILLIANCE, GUTTED US
2217
02:47:27,513 --> 02:47:28,747
WITH THEIR VULNERABILITY, AND
HELD US UTTERLY CAPTIVE FROM THE
2218
02:47:28,747 --> 02:47:33,786
FIRST FRAME TO THE LAST.
THIS IS THE POWER OF THEIR WORK,
2219
02:47:33,786 --> 02:47:36,889
THE KIND THAT LINGERS, HAUNTS,
HEALS, AND REMINDS US WHY GREAT
2220
02:47:36,889 --> 02:47:40,559
PERFORMANCES AREN'T JUST SEEN
BUT FELT.
2221
02:47:40,559 --> 02:47:45,297
HERE ARE THE NOMINEES FOR
ACTRESS IN A LEADING ROLE.
2222
02:47:45,297 --> 02:47:51,036
CYNTHIA ERIVO, "WICKED."
2223
02:47:51,036 --> 02:47:54,006
>> CAST A SPELL. READ IT.
2224
02:47:54,006 --> 02:48:00,746
>> DON'T.
2225
02:48:00,746 --> 02:48:04,450
>> YOU CAN'T, CAN YOU?
2226
02:48:04,450 --> 02:48:08,420
>> KARLA SOFIA GASCON,
"EMILIA PEREZ."
2227
02:48:18,964 --> 02:48:19,498
>> MIKEY MADISON, "ANORA."
2228
02:48:19,498 --> 02:48:21,667
>> JEALOUSY IS A DISEASE.
REMEMBER THAT.
2229
02:48:21,667 --> 02:48:26,639
I'M GOING TO GO CHILL.
NO BIG DEAL.
2230
02:48:26,639 --> 02:48:29,341
>> DEMI MOORE, "THE SUBSTANCE."
2231
02:48:29,341 --> 02:48:32,645
>> SAY IT.
TELL THEM WHO YOUR LITTLE BEAUTY
2232
02:48:32,645 --> 02:48:35,014
SECRET IS.
WHY DON'T YOU JUST SHOW THEM
2233
02:48:35,014 --> 02:48:36,015
RIGHT HERE.
HERE IS YOUR LITTLE BEAUTY
2234
02:48:36,015 --> 02:48:39,118
SECRET.
2235
02:48:39,118 --> 02:48:41,854
>> FERNANDA TORRES, "I'M STILL
HERE."
2236
02:48:56,568 --> 02:49:01,540
>> AND THE OSCAR GOES TO --
2237
02:49:01,540 --> 02:49:10,749
MIKEY MADISON.
2238
02:49:10,749 --> 02:49:15,087
>> THIS IS THE FIRST OSCAR WIN
2239
02:49:15,087 --> 02:49:22,227
AND NOMINATION FOR MIKEY MADISON.
2240
02:49:22,227 --> 02:49:26,532
[ APPLAUSE ]
2241
02:49:46,752 --> 02:49:51,523
[ APPLAUSE ]
2242
02:49:51,523 --> 02:49:57,229
>> WOW.
THIS IS VERY SURREAL. FORGIVE ME.
2243
02:49:57,229 --> 02:50:00,132
I'M NERVOUS.
I'M GOING TO READ OFF OF A PAPER.
2244
02:50:00,132 --> 02:50:06,305
THANK YOU SO MUCH TO THE ACADEMY.
I GREW UP IN LOS ANGELES, BUT
2245
02:50:06,305 --> 02:50:09,375
HOLLYWOOD ALWAYS FELT SO FAR
AWAY FOR ME.
2246
02:50:09,375 --> 02:50:15,180
TO BE HERE STANDING IN THIS ROOM
TODAY IS REALLY INCREDIBLE.
2247
02:50:15,180 --> 02:50:22,287
THANK YOU NEON, FILM NATION,
2248
02:50:22,287 --> 02:50:27,126
UNIVERSAL, MY MOM AND DAD A MY
LITTLE SISTER AND MY TWIN
2249
02:50:27,126 --> 02:50:29,328
BROTHER.
THANK YOU FOR BEING MY BEST
2250
02:50:29,328 --> 02:50:31,196
FRIEND.
NOT THAT YOU HAVE A CHOICE.
2251
02:50:31,196 --> 02:50:37,603
THANK YOU SEAN BAKER, ALEX COCO,
2252
02:50:37,603 --> 02:50:42,708
MARK, THANK YOU ANN WOODWARD,
2253
02:50:42,708 --> 02:50:50,182
RACHEL, NIC RICH, DAN, THANK YO
BR BRIGHTON BEACH FOR LENDING US
2254
02:50:50,182 --> 02:50:54,253
YOUR BEAUTIFUL BACKDROP AND
INCREDIBLE COMMUNITY.
2255
02:50:54,253 --> 02:51:00,325
THANK YOU TO KENDY SCHNEIDER,
OUR INCREDIBLE CONSULTANTS.
2256
02:51:00,325 --> 02:51:08,000
I WANT TO AGAIN RECOGNIZE AND
HONOR THE SEX WORKER COMMUNITY.
2257
02:51:08,000 --> 02:51:11,403
I WILL CONTINUE TO SUPPORT AND
BE AN ALLY.
2258
02:51:11,403 --> 02:51:14,506
ALL OF THE INCREDIBLE PEOPLE,
THE WOMEN THAT I HAVE HAD THE
2259
02:51:14,506 --> 02:51:17,743
PRIVILEGE OF MEETING FROM THAT
COMMUNITY HAS BEEN ONE OF THE
2260
02:51:17,743 --> 02:51:22,714
HIGHLIGHTS OF THIS INCREDIBLE --
OF THIS ENTIRE INCREDIBLE
2261
02:51:22,714 --> 02:51:25,117
EXPERIENCE.
I ALSO JUST WANT TO RECOGNIZE
2262
02:51:25,117 --> 02:51:29,254
THE THOUGHTFUL, INTELLIGENT,
BEAUTIFUL, BREATHTAKING WORK OF
2263
02:51:29,254 --> 02:51:32,224
MY FELLOW NOMINEES.
I'M HONORED TO BE RECOGNIZED
2264
02:51:32,224 --> 02:51:36,061
ALONGSIDE ALL OF YOU.
THIS IS A DREAM COME TRUE.
2265
02:51:36,061 --> 02:51:39,364
I'M PROBABLY GOING TO WAKE UP
TOMORROW.
2266
02:51:39,364 --> 02:51:43,235
THANK YOU SO MUCH, SEAN.
I ADORE YOU.
2267
02:51:43,235 --> 02:51:44,469
THIS IS ALL BECAUSE OF YOU.
THANK YOU.
2268
02:51:44,469 --> 02:51:53,212
[ APPLAUSE ]
2269
02:51:59,618 --> 02:52:04,489
♪
2270
02:52:04,489 --> 02:52:07,993
>> TO PRESENT TONIGHT'S FINAL
AWARD, IT'S WHEN HARRY REUNITED
2271
02:52:07,993 --> 02:52:12,965
WITH SALLY.
PLEASE WELCOME MEG RYAN AND THE
2272
02:52:12,965 --> 02:52:19,805
BEST OSCAR HOST EVER, BILLY
CRYSTAL.
2273
02:52:19,805 --> 02:52:32,651
[ APPLAUSE ]
2274
02:52:35,621 --> 02:52:35,954
>> THANK YOU.
2275
02:52:35,954 --> 02:52:38,724
>> THANK YOU.
2276
02:52:38,724 --> 02:52:43,428
>> WE'RE HERE TO PRESENT THE
AWARD FOR BEST PICTURE.
2277
02:52:43,428 --> 02:52:47,199
>> IT'S GREAT TO BE BACK BECAUSE
YOU KNOW I USED TO WORK HERE.
2278
02:52:47,199 --> 02:52:49,968
>> YOU DID?
WHEN WAS THE FIRST TIME?
2279
02:52:49,968 --> 02:52:52,070
>> NINE TUXEDOS AGO.
2280
02:52:52,070 --> 02:52:59,545
ACTUALLY, IT WAS 35 YEARS AGO
THIS MONTH.
2281
02:52:59,545 --> 02:53:04,049
I KNOW.
IT'S WEIRD BECAUSE ON MY IMDB
2282
02:53:04,049 --> 02:53:04,650
PAGE, I'M 47.
2283
02:53:04,650 --> 02:53:08,253
>> THAT'S A LOT OF NUMBERS.
LET'S CUT TO THE CHASE.
2284
02:53:08,253 --> 02:53:09,421
>> YOU'RE RIGHT.
BECAUSE WHEN YOU HAVE THE CHANCE
2285
02:53:09,421 --> 02:53:11,490
TO BE AN OSCAR WINNER FOR THE
REST OF YOUR LIFE, YOU WANT THE
2286
02:53:11,490 --> 02:53:12,090
REST OF YOUR LIFE TO START AS
2287
02:53:12,090 --> 02:53:20,799
SOON AS POSSIBLE.
2288
02:53:20,799 --> 02:53:27,806
>> HERE ARE THE TEN NOMINEES FOR
BEST PICTURE. "ANORA."
2289
02:53:27,806 --> 02:53:35,347
ALEX COCO, SAMANTHA QUAN, AND
SEAN BAKER.
2290
02:53:35,347 --> 02:53:36,949
"THE BRUTALIST."
NICK GORDON, BRIAN YOUNG,
2291
02:53:36,949 --> 02:53:44,222
ANDREW MORRISON, D.J. GUGENHEIM,
AND BRADY CORBET.
2292
02:53:44,222 --> 02:53:49,494
"A COMPLETE UNKNOWN."
FRED BERGER, JAMES MANGOLD, AND
2293
02:53:49,494 --> 02:53:54,599
ALEX HEINEMAN. "CONCLAVE."
TESSA ROSS, JULIETTE HOWELL, AND
2294
02:53:54,599 --> 02:53:56,702
MICHAEL A. JACKMAN.
"DUNE: PART TWO."
2295
02:53:56,702 --> 02:54:02,941
MARY PARENT, CALE BOYTER,
TANYA LAPOINTE, AND
2296
02:54:02,941 --> 02:54:09,715
DENIS VILLENEUVE. "EMILIA PEREZ."
PASCAL CAUCHETEUX, AND
2297
02:54:09,715 --> 02:54:11,283
JACQUES AUDIARD.
"I'M STILL HERE."
2298
02:54:11,283 --> 02:54:19,091
MARIA CARLOTA BRUNO AND
RODRIGO TEIXEIRA. "NICKEL BOYS."
2299
02:54:19,091 --> 02:54:26,098
DEDE GARDNER, JEREMY KLEINER,
AND JOSLYN BARNES.
2300
02:54:26,098 --> 02:54:31,303
"THE SUBSTANCE."
CORALIE FARGEAT, AND TIM BEVAN
2301
02:54:31,303 --> 02:54:35,641
AND ERIC FELLNER. "WICKED."
2302
02:54:35,641 --> 02:54:39,711
MARC PLATT.
2303
02:54:39,711 --> 02:54:47,119
>> AND THE OSCAR GOES TO --
ARE THEY PLAYING US OFF?
2304
02:54:47,119 --> 02:54:50,522
>> NO. MAYBE.
2305
02:54:50,522 --> 02:54:56,795
"ANORA."
2306
02:54:56,795 --> 02:54:57,295
[ CHEERS AND APPLAUSE ]
2307
02:54:57,295 --> 02:55:03,669
>> NOMINATED FOR SIX ACADEMY
AWARDS, "ANORA" HAS WON FIVE
2308
02:55:03,669 --> 02:55:08,840
OSCARS TONIGHT FOR ORIGINAL
SCREENPLAY, FILM EDITING,
2309
02:55:08,840 --> 02:55:14,846
DIRECTING, ACTRESS IN A LEADING
ROLE AND BEST PICTURE.
2310
02:55:14,846 --> 02:55:23,321
[ APPLAUSE ]
2311
02:55:27,626 --> 02:55:31,296
>> WOW. OKAY.
THANK YOU GUYS SO MUCH.
2312
02:55:31,296 --> 02:55:35,667
THANK YOU TO THE ACADEMY.
WE MADE THIS MOVIE FOR $6
2313
02:55:35,667 --> 02:55:37,869
MILLION.
SHOOTING ON LOCATION IN NEW YORK
2314
02:55:37,869 --> 02:55:40,338
CITY WITH 40 CREW MEMBERS.
THEY ARE ALL BACK IN NEW YORK.
2315
02:55:40,338 --> 02:55:44,776
THIS IS FOR YOU GUYS.
THANK YOU SO MUCH.
2316
02:55:44,776 --> 02:55:48,280
YOU TRY TO MAKE INDEPENDENT
FILMS, PLEASE KEEP DOING IT.
2317
02:55:48,280 --> 02:55:52,517
WE NEED MORE. THIS IS PROOF.
I WANT TO THANK TOM QUINN AND
2318
02:55:52,517 --> 02:55:56,555
NEON.
I WANT TO THANK GLEN BASER AND
2319
02:55:56,555 --> 02:55:58,890
FILM NATION.
MY PARENTS WHO ARE HERE TONIGHT
2320
02:55:58,890 --> 02:56:02,561
AND MY SISTERS.
THEY HAVE SUPPORTED ME THIS
2321
02:56:02,561 --> 02:56:03,862
WHOLE WAY.
ESPECIALLY MY WIFE WHO WORKED ON
2322
02:56:03,862 --> 02:56:06,698
THE FILM.
SHE DIDN'T WANT TO GET UP HERE.
2323
02:56:06,698 --> 02:56:09,167
SHE KNOWS THAT I WOULD NOT BE
HERE WITHOUT HER.
2324
02:56:09,167 --> 02:56:12,471
WE WELCOME THE CHILD, A SON IN
OCTOBER.
2325
02:56:12,471 --> 02:56:17,776
THE SAME WEEK THAT WE RELEASED
"ANORA." THIS IS FOR YOU.
2326
02:56:17,776 --> 02:56:20,645
>> I DON'T KNOW HOW THIS CAN BE
REAL LIFE.
2327
02:56:20,645 --> 02:56:25,183
THIS IS REALLY AN INCREDIBLE,
IMPOSSIBLE JOURNEY FOR THE PAST
2328
02:56:25,183 --> 02:56:28,920
TEN MONTHS.
HONESTLY, I WOULD LIKE TO THANK
2329
02:56:28,920 --> 02:56:33,592
MY MOM AND MY DAD AND MY SISTER.
TO OUR SMALL BUT MIGHTY CREW AND
2330
02:56:33,592 --> 02:56:37,629
OUR TALENTED CAST LED BY MIKEY
MADISON.
2331
02:56:37,629 --> 02:56:40,765
WE MADE THIS WITH VERY LITTLE
MONEY. BUT ALL OF OUR HEARTS.
2332
02:56:40,765 --> 02:56:43,902
TO THE DREAMERS AND YOUNG
FILMMAKERS OUT THERE, TELL THE
2333
02:56:43,902 --> 02:56:47,539
STORIES YOU WANT TO TELL.
TELL THE STORIES THAT MOVE YOU.
2334
02:56:47,539 --> 02:56:48,673
I PROMISE YOU, YOU WILL NEVER
REGRET IT.
2335
02:56:48,673 --> 02:56:51,810
[ APPLAUSE ]
2336
02:56:51,810 --> 02:56:56,014
>> ONE LAST THING.
I WANT TO THANK THE ACADEMY FOR
2337
02:56:56,014 --> 02:56:58,783
RECOGNIZING A TRULY INDEPENDENT
FILM.
2338
02:56:58,783 --> 02:57:04,422
IT WAS MADE ON THE BLOOD, SWEAT
AND TEARS OF INCREDIBLE INDY
2339
02:57:04,422 --> 02:57:06,725
LONG LIVE INDEPENDENT FILM.
2340
02:57:16,501 --> 02:57:16,801
[ APPLAUSE ]
2341
02:57:16,801 --> 02:57:21,106
>> CONGRATULATIONS EVERYONE!
I HAD A BLAST! GOOD NIGHT!
2342
02:57:21,106 --> 02:57:24,876
TAKE IT EASY!
2343
02:57:24,876 --> 02:57:26,077
>> Announcer: THE ACADEMY IS
THRILLED TO ACKNOWLEDGE DELTA
2344
02:57:26,077 --> 02:57:27,312
AIR LINES, CELEBRATING 100 YEARS
OF FLIGHT, FOR PROVIDING AIR
2345
02:57:27,312 --> 02:57:28,413
TRANSPORTATION FOR SOME OF THIS
EVENING'S PRESENTERS,
2346
02:57:28,413 --> 02:57:36,388
PERFORMERS, AND NOMINEES.
LED AND PROJECTION PROVIDED IN
2347
02:57:36,388 --> 02:57:38,990
PART BY SENOVVA.
181377
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