The 2026 Alternative Oscars, a.k.a. the 6th Annual Big Picks! Plus: The Craziest Awards Season in Years.

>> I'm Sean Fennissie. >> I'm Amanda Davin.

“>> And this is the big picture a conversation show about the sixth annual alternative”

Oscars aka the big picks.

That means Wesley Morris is here in the flesh hello. >> Hi, thank you for being well. >> Well, all the way from you are all the way in the flesh. >> It's true. >> We missed you last year.

We need you on this episode. Thank God you're here. There's so much to talk about on this episode. It's not just going to be the alternative Oscars. It's going to be.

>> I mean, there's just so much to talk about. >> We've got the awards race. We have the most significant merger and recent Hollywood history. We have a lot of conversation about how people's faces look on television.

There's so much coming up here. >> Yes, it is important. >> And also our own faces we're not really thinking about my face. >> Just keep going. >> The sag awards happen over the weekend aka the actor awards.

>> The producers guild award. >> I just almost went like this. The what? >> Yes, and we have our own hardware to do it as well. >> We're going to do so.

>> It just sounds right. Does it? >> It does not. >> Okay.

“>> We were talking about it right after this.”

>> It sounds better than sag. >> This episode of the Big Picture is presented by State Farm, sure, being an expert and movie trivia is impressive. You know, it's even more impressive, being smart about saving money. And a great way to do that is by saving when you choose to bundle home

and auto with the State Farm Personal Price Plan. Bundling, just another way to save with the personal price plan. Prices are based on rating plans that vary by state. Coverage options are selected by the customer. Availability, amount of discounts and savings,

and eligibility vary by state. >> Okay, before we start, we have a programming note. >> Yes. >> We are entering the realm of live programming on the Big Picture. We will be doing live episodes of this show on Netflix.

>> We have done them before, but not on Netflix. >> Not on Netflix as a kickoff. Next week, we are doing a live mail bag. It will air live on Netflix. >> April.

>> April. >> April bag is a good way to do it. >> Yes, noon Pacific, 3 PM Eastern. >> Why did you say April? It's March 8th.

>> March 8th. >> This is a very specific mail bag. It is an anything but Oscars mail bag. No Oscar talk. We have been doing a lot of Oscar talk.

The season has been too long. It's actually gotten very interesting recently. I'm happy about that. But no Oscars on this episode. >> Awesome.

>> Please do. If you would like to submit a question to reach us, you can email us at [email protected]. What does that email mean? >> BigPickMailBag.

>> Yes. >> We also will be in 1947. This new device call television has been invented. We have our pitchwoman for ivory detergent. >> This is ivory not Ebony detergent.

>> Ebony detergent is a whole other thing. We're also going to be going live after the Academy Awards. Many people who listen to this show or watch this show have been asking us to do this for years.

And we are finally going to do it.

I think really for the first time in BigPickMailBag. >> We were live for parasite when your voice cracked. >> We were live on your show when you're listening to it. >> I promise you that we were. >> I don't remember that.

>> That sounds right. >> It was exciting.

“>> That's why we had to move the voice cracked.”

>> We were talking recently about our various apex mountains on this podcast. That was yours. >> I remember one of my voice feelings. >> Remember parasite winning? >> God, that was so fun.

>> You know what I think about all the time. >> That is great. >> But I think about Kota winning all the time. >> Yeah. >> I mean, it was a zoom.

>> I mean, but think about it. Is this the right order? Did it go green book? Parasite? >> No mad land.

>> No mad land. >> No mad land. >> No mad land. >> No mad land. >> That was the flash city back then.

>> Wow. >> Every year was a rejection of the previous year. >> I mean, but also both no mad land and Kota were overshadowed.

No mad land was the second to last award given out that night.

And the last award was the presumptive best Oscar for Chadwick Boseman. That instead went to the end of the day. >> Oh, yeah. >> That was the end of the day. >> So the very last thing you saw was Anthony Hopkins is zoom acceptance.

And then Kota was the slap. >> Wow. >> We're going to talk a lot more about previous iterations of the Oscars. And what impact they are going to have with this race. >> Yeah.

>> Before we do that. We have to talk about Paramount of Warner Bros. Because that news broke late Thursday afternoon. I'll set the scene for you. Sitting at my daughter's music class 330 in the afternoon.

Jack texts me the news.

Do you want to address this?

I don't know. Oh, my little cold open. Sitting in the waiting room of the music class. Race back to the office. Look down the barrel of that camera.

Shared some immediate thoughts. And then over the weekend. You know, it does seem like the industry is kind of on fire. You guys were at my place last night, but we watched the actor awards. And invariably, it led to a discussion about Paramount.

And Warner Bros. And the acquisition of the company. Amanda? >> Yeah. >> Okay.

>> No, no, no. >> That was a little ivory detergent. >> Yeah. >> This is a little ivory detergent. >> No, once again, we live in hell.

It's horrible.

“And I think the fact that everyone who knows, quote-unquote,”

has been protecting this since the beginning. >> Really? >> It's the beginning of what the-- >> Since the original lunch list. >> Once the offer was out there.

>> Once it was announced, there were going to be sold. >> Yes. >> And even when Netflix announced, oh, we've agreed to a deal for Warner Bros. Everyone was saying, I don't know.

It's not going to go through. And it will be Paramount. That was the talk around town. That was what people who understand Hollywood, business, and angry rich people.

>> Right. >> I remember vividly we were at a holiday party like a day after was announced and all the people who were there who were plugged in were telling us. >> And I think even before that, when the Warner's discovery merger happened,

it was like this is a built-to-sell situation. >> Yeah. >> That built-to-sell. >> Yes. >> And that, listen, I have no business degree.

You know, I'm self-taught. But-- >> Wait, wait.

“>> But I'm going to absorb a woman in STEM.”

>> But the common wisdom, or the industry people were saying that, I mean, this has just been a series of like merger labels that people have been building and put together for a long period of time.

So, you know, was it foretold in a-- like spreadsheet sense? Sure, maybe, but it feels terrible all the same. >> Yeah, mostly feels awful. >> It feels awful.

>> There was some reporting about it this weekend, or I guess this morning actually, which relates to the impact it'll have on the things that we cover and care about in general,

$6 billion in budget cuts expected,

which is going to mean the loss of a lot of jobs. And there's a redund-- It's like so-called redundant. >> Just marketing business affairs all these spaces where they're going to have a lot of overlap,

but also an intention to make 15 movies at Paramount and 15 movies at Warner Brothers and have those two groups operating still with some continuity, a little unclear how that's actually going to shake out. And then in addition to that,

the proper merging of Paramount plus and HBO, that those two streaming services will come together.

“I think there's a lot more that's going to come here.”

>> Hopefully, hopefully they're not coming together. >> I don't know how-- >> We actually were talking about this last night. >> We've got the last night here, and you can come over here. There's no coming together.

>> Well, we would all love to come together, normally speaking, but I think-- >> I just-- >> The 30 movies thing is hard to believe. >> That's going to be hard.

>> It's all hard to believe. This is all the talk that happens while you're waiting for approval, and you're trying to get everyone to sign on the dotted line. And you're trying to get like Casey Bois to not jump ship, which-- and his whole team,

I don't want to just put the entire team at HBO. And it's just like Ted Serendos was on the town last week saying, "The business will remain largely unchanged." That was his lie. Largely is doing a lot of work.

This is our plan. >> My work is in a lot of work. >> Those genes were working. >> Yeah. >> Man war was he also in a double breast did?

>> He was in a double breast in Texas. >> He was in a double breast in Texas. >> He was in a double breast in Texas. >> Yeah. >> What makes you think he's not velvet?

>> Sorry. It could be the-- excuse me. I will-- I retract--

>> He just got to point a billion dollars for free.

>> I know. >> I will take-- >> And I love that you just put it right in this pot. It just goes right in this pot. >> Well, that is one of--

>> Which makes the genes even more deplorable to be-- >> This isn't his up top part. >> I mean, listen, he got all-- >> He's not in a bidding more anymore. And so he's wearing jeans.

>> He's relaxed. >> Yeah. >> I just sort of want to remove the people from this for a second. >> Yeah, so you shouldn't because one thing about this is it's $2.8 billion dollars is not going in his pocket,

but the way that this deal is enriching a few numbers. So number of executives who were put in place to execute this legal plan is enriching. Continue. >> I think the reason--

I just sort of want to think about what all of the bad news. The people losing jobs. >> Yeah. >> The delusions were being asked to accept about the reality,

on the other side of the signing of this deal.

“The approval of it, which is almost certain to happen now,”

because, sure, Larry Ellison, the party in with the magas-- >> Yeah. >> The California State Attorney General has said that they will fight this, that there is an attempt to-- I don't know about fight it, but they will evaluate it aggressively.

I don't know if they have enough strength to block it. There's also, I guess, fewer questions about international approval than there would have been with Netflix. It would have been harder to go through because Europe might have just said no. >> Sure.

>> You see, this is a monopoly based on our standards. Less true for Paramount and Warner Brothers. >> I think it's just such a-- I mean, I don't-- this is like the ultimate signifier. I've got many other like little things that have sort of signified

that this could happen, but now that this is happening, there are so many other things to go.

Well, first of all, I would love to hear you guys talk to me.

About why this even needs to happen. >> It doesn't. >> It doesn't. Other than the-- it only needs to happen in the business, spreadsheet, shareholders, leveraging.

Like in this building block of nonsense, it has nothing to do with art or movies or TV or anything or jobs, but just the structures that were put together, financially, 10, 15, whenever 20 years ago, according to the business people.

But it doesn't. >> It's just like an outcome of conglomeration that once a studio becomes something that is only a piece of a larger puzzle and that synergies within larger conglomers are more valuable

“than you need to basically plug into something that has more than”

just the one output of a movie studio. You need to have a streamer. You need to be related to California. >> But the quality had all these things. >> But they didn't have a larger tech apparatus.

That is the case the David Ellison is making. >> What is the Pokemon that you really needed to complete your set? >> I'm not justifying the acquisition because I've said the same thing that Amanda just said this didn't have to happen. It's happening because of greed.

But if you believe David Ellison, if you accept him at his word, he's going to say, "We're going to change the way the Hollywood operates by using technology, which is at our fingertips

because my father is the head of one of the most powerful

technology companies in the world and one of the richest more importantly." >> Anytime you were talking about a business transaction that's saying in the words, "My father." >> It's really not, it's not good. >> Hang up the phone, hang up.

>> Yeah. >> David's as loved and not hang up. He accepted. >> This is where we're at. >> This is where we're at.

>> This is where we're at. >> This is where we're at. >> This is where we're at. >> This is where we're at. >> This is where we're at.

>> This is where we're at. >> This is where we're at. >> This is where we're at. >> This is where we're at. >> This is where we're at.

“>> It feels like we will look at January 2027 maybe for when this would be approved,”

which would be while the Trump administration is still in office. The midterms will have happened by then, which will be an interesting turn of events, and the event that it is not approved by November, in the event that there is a big blue wave.

Maybe Congress makes more noise around this than they normally would. That's yet to be seen. >> But does Congress have anything to do? >> I mean, I mean, it's the DOJ. >> I don't know.

>> I do not see the FCC or, you know, to quote a different show that talks about this stuff all the time. Pamela Joe Bondi. Choosing to do anything other than stamp yes, because there might be a Cedarna yacht.

>> Yeah. >> We're working at that level. >> I mean, I just think it's that simple. I don't know that Congress, I mean, of course, traditionally Congress has a role to play.

I don't know if they'll be allowed to play their role.

>> Or if the role they play will matter ultimately.

>> Rubin Gallegos, the senator, he over the weekend said basically like, sure, keep merging and building up these mega companies, because as soon as we're back in power, we're going to start breaking them up.

He was very vociferous about that. He's one of the very few democratic politicians who is as good for him. Good for him. Good for him. Good for him. It's full-throwed it about that kind of thing. But I like with all these things that have happened in the last 14 months. I wonder how much of what has transpired can be detranspire. Right? How much can be reversed? They've got to really get broken up. I just don't see this happening in the way that I mean, it's a great thing to promise to try to do. I just don't know how doable it will ultimately be.

But again, now I'm sort of coming back to what this is going to look like for my Friday night. Yeah. Do you want to mean either at home or at the movies? What am I doing on Sundays? I mean Sunday for millions of us. It's like a speautime. It's a speautime.

Yes, the number one movie at the box office this weekend.

Their second biggest movie is the 7th mission impossible. Is it 7th one, the eighth one? Yeah. Yeah. I mean in the final reckoning.

It's clear they needed something to happen. But I'm like, can y'all study the legacy of Sherry Lansing? I mean, there's a whole history here. I mean, again, I'm probably down here when really we need to stay up here because they don't. They don't even. I am talking about this like it's if they're experiencing a creative crisis when the reality is what I'm just what is one person's jewel is another person's excrement and, you know, they can find a way to turn this shit into money, whether whether it's an actual gem or it stays shit or not.

I think Amanda's Lego metaphor is apt. I think that this was like an acquisition of a lot of individualized pieces of Legos and one of them is a big Batman Lego and one of them is a Harry Potter Lego and one of them is a Game of Thrones Lego and they're going to like stack them and try to build a beautiful tower of content and try to synergize them across technology and make a lot of money. Okay, but all right. So is it going to work? I don't know. Maybe we just watched the former sag awards or last night.

“This is the thing I think about all the time. Like I'm a big fan of like where is where is this person right now? Where is X? Like what happens to X?”

Uh, I can name 15 actors. Like this is like a real actor crisis, right? Whether you're at the bottom of that ladder or at the tip of the top.

This is like, this is less for everybody. Less work, probably money, or work and money. Those are the two most important things.

Um, I don't know. I just don't know. I just, this feels apocalyptic in ways that, I mean, I'm sure the people who are, it's experiencing this on the receiving end understand what a cataclysm this is. I don't know as the public ever really protested no one they won't hear one of these situations because I feel like if you lay it out. I mean, in a way, in a much more articulate way than I could like what really is about to happen.

“What is three years from now if this goes through, what does it look like? Does it feel like what things felt like during the pandemic or the street?”

I mean, maybe a little bit more because this is actually a really interesting topic. I was just talking to Amanda right before sort of recording about how neon is effectively changing ownership right now that a new new investor is coming in to do 30 West is moving out this company department. Coming in, my, my guess is that it's to supercharge neon to make them a bigger studio. And so there isn't about to be a moment because we're taking a legacy studio off the board. We took Fox off the board seven years ago, MGM and Amazon merged.

So there's like a bit of a vacuum here to your point about jobs and opportunities. So neon and a 24 or trying to backfill movies trying to be a 24 now there's something, there's like a shift it and then behind them is like black bears in row k is in all these smaller in these are in.

And there's an attempt to kind of like rebuild a couple of bigger studios and then backfill the in these behind them.

Whether or not that can happen, it's harder now than it used to be. Yeah, but there's two giant pack people out there pack people just like pack pack entities that like the minute neon builds itself into something, you know, gobble a ball, somebody will gobble it. Yeah, saying that about a 24 for years, then that may happen. You know, but Apple didn't buy and has not bought a 24. I still find it really interesting. I mean, but that's a company with integrity as far as I mean at least business integrity right like all these companies are built to sell.

“I think it's just also that they haven't had as much as it's not with.”

Yeah, why would Apple? Yeah, why would Apple? Oh, you meant a 24 24 24. No, of course a 24. I love you. Sure. Don't know me. Don't browse. Don't email me. But no, Apple, Apple buying it doesn't seem to make any sense just because like what Apple's forays into. I think if they just really want to be in an more aggressive horse race around building a content library, that's something that that's really the only case where. This is like not our area of expertise. I just think it's really interesting that if you by taking that huge player off the board, you're going to have fewer jobs, fewer opportunities, fewer films, fewer television shows and all likelihood.

But I like being stupid about it because my lack of education, not what about how business deals work.

It's just like these people are fucking with our dreams here.

“No, I mean, they are they are fucking with how we develop as a culture, how we come to understand ourselves as the people.”

What what this country ought to or should look like 40 years from now. You know, I'm in the middle of y'all have heard me talk about this for 11 years, but like I'm I'm almost finishing. You know, like I've been using this this opportunity to to work on this book to understand that the history of our country pretty much the entire history of our country can be told. Through American movies, between like 1915 and like formerly today. Yeah.

And yeah, in in all kinds of ways, like the farm crisis of the 1980s has been documented in Hollywood movies. Like, it's still happening. Yeah. It is in one battle after another. Like it may not be exactly how you want to told. But show it in for sure. And both are Warner Brothers movies. Right.

“But let's just really dial that back a little bit, right?”

Because I'm not talking about movies that even go to the Oscars. Right. Right. I'm talking about movies that just got made and nobody went to see them, but they're still with us or like they were kind of hits, but you know, the Academy didn't want to do it. Yeah. I'm talking about an entire ecosystem that existed purely for the sake of art itself.

And rolling the dice on the possibility that if we put Jessica Lang in a movie about her not see father. And she discovers that he's a Nazi, and then she defends him in the courtroom crowd. This is a music box that very good movie from 1989. Yeah. Somebody might want to go.

I mean, you will restore. Oh, man. You will restore. It's a good movie. It's a comic office. Costa Gaurus.

Yeah. Ding, ding, ding, ding. So I'm just saying, like, there's like a whole, there's a whole kind of star we don't get.

There is a whole like mode of acting that never gets developed.

I think you're right. I'm just, I'm just thinking about this from the standpoint of history. And we're already in the cataclysm. We've been in it for 15 almost 20 years now, where the priorities have just completely shifted. And what it's going to look like to know what this country was like just by going to the movies is going to be harder to discern.

It's just not reflecting reality, and not that the movies were reflective of the actual reality. But every prong of every crisis can be found in a national crisis. Like local crisis can be found, you know, up to like, I would say like maybe the early 2000s in our movies. And I would include the, you know, the 2000s themselves as being still interested in what it is like to live in this country at that moment in real time. We talked about this through 25 or 25 and our top three were movies where we were sort of like past present future where we talked about.

There will be blood 25th hour and the social network as this kind of trilogy of movies that we're reflecting on where we came from, where we are, where we're going. And I think movies will still do that. They can still do that. They're still going to be a lot of, you know, universal, we were saying last night is like kind of, maybe he's looking their chops a little bit. I just think we agree that Donna Langley is the single, not the single most interesting because everybody's, everybody on the board is interesting.

But I feel like any time I talk to somebody about like what it's like to be out here and like how things are like like studio people. There is a kind of like. And I just feel like I don't know what their, I don't know what, why don't know how this looks to that company.

“I think it's probably very scary to have to compete if you're universal, which is also, you know, broadband cable company to have to compete with a paramount mega lift plus Netflix plus Amazon and Apple's unyielding financial power.”

However, they've done a really smart thing in the last 10 years by basically resentering to being like we're a filmmaker studio.

Right. We're the home of Jordan Peel and Christopher Nolan and Steven Spielberg and we sign up a plus talent.

And we do okay. Yeah. You do really okay. Yeah.

“So in that respect, I think it's okay for the broader like what does peat, what does this mean for peacock?”

I mean peacock was not in a good place before.

I can't imagine there is a better place now. Yeah, I don't, I don't know. I just feel like this is really, really, really, really, really bad. And I would love somebody to say, Wesley. No one has said that.

No, nobody has said that. No, nobody has said that. No, nobody has said that. I mean, the other thing we've talked about on this show that echoes what you're saying is just as movie people and as movie people who came of age when movies were still like the dominant American art form. And in art form that wasn't created here, but certainly as you said it, like the roots in how and what the US, the America is and how it's been expressed and.

Sold to the world. Are here and it just the movies are no longer the center of culture and they are no longer the way that we. The way that they're not what people look to any more. Yeah, and this feels like well, but this feels like I just a confirmation like another like a really big chip off the mountain just of. What we had as a movie going culture.

Keeps going and even the fact that the. The details of these studios are sort of like a footnote. What's going to happen to Warner Brothers and what will happen to Paramount and how they will make like in the way that we're talking. No, they're less important than what is going to happen to Batman exactly. That's actually how this is being consumed is that it's just kind of oh and you know what we're at.

Well, there's like thought about the legacy of Warner Brothers going into this acquisition. It's about the legacy of what Warner Brothers has.

“I think, I mean, I think that's what's most valuable to David Ellison who's and and also to Netflix.”

One of it for that reason to kind of optimize every the access to those words. What about the.

The danger sleeves on to first.

I mean, if you yeah, we can build that. You want to expand that universe. That's a Warner Brothers for all right. Cool intentions five could be good. Or eight.

I don't know how many. I'm going to pivot us to awards season because we could talk about Paramount for. Months and months and we probably what if there is somebody out there who's got some good news with respect to all of this. I would love to lead that here from that person. We're not going to know honestly what it really means for twenty four months.

Because it's going to take a year to clear and then another year to green light a bunch of new movies that will be like, Oh, this is what Paramount Warner Brothers is. Well, that's a long time from before we move on. I just, I guess I read all the movies still won't be out. It'll still all happen so far.

- That's so crazy.

- Is it what they're doing one a year?

- No, no, one a week or one a week or one a week or one a week. - We're just hanging on. - Yeah, those will be our final episodes of this show. That's when Amanda and I, we moved to Hawaii after that. We're done.

But those episodes will be 24 hours long. Each one, we've been preparing our whole lives. - Razer. I've got a lot of feelings about, I mean like knowing how you feel of, I mean, you know what I mean?

- Yes, yeah. - It's a religion. - I've got a lot of questions. - We didn't even talk about her in Dickinson last night, but that's a whole other way. - Was he there?

- No, which is why, which is why he didn't come up in the list of, you know? - Men that Amanda wants to fuck. - Yes. - Exactly.

It's quite like that. - Because I mean, I have an appreciation more. - I'm like immune, I'm like, I guess we differ in every way except for your husband.

“- I know, that's why it's a lovely place where we need it.”

- Yeah, I just like, none of your men are my men. - Yeah, it's last night, I spent a lot of time defending Jacob Lorde to you. - Not defending. - I understand it, it's just nothing happens.

Wait, but seriously, you guys talk to filmmakers, I don't talk to filmmakers, yes, you do. I mean, I don't, I really don't. I don't, I've not talked to a real, I mean, the limb atoms, I don't talk to the people you talk to.

That's what I would say. - I think they're scared. - They're scared, yeah. - It's hard to get stuff made, it's harder than ever to get stuff made.

And it's harder to get stuff made with big conglomerates. And when you go into those situations with fewer options, it's harder to make more money. It's harder to get something off the ground. I think it's interesting to look at what,

like James Mangold is somebody I think a lot about in this configuration, right? Like really like older craftsmen who has a ton of respect who has been the Academy Award nominated. And he's like, I really want to make a Star Wars movie.

And he's gonna make a thriller with Timothy Schallemay,

And there's a certain class of person

who's already like crossed the threshold of being able to work. But they know that to keep working at scale and to get their smaller movies made, they really do got a participate in the big old franchise game and Paramount's gonna opt the anti on that stuff too.

So that'll be interesting. No, younger filmmakers, it's fucking hard, man. - Well, this was, you know, my little purity test that I used to maintain are like, not against the filmmakers,

but against the industry insisting that, like, you know, the trade Edward Schulter's of the world, can't go into the tractor beam because look at what they have to offer the world. - Yeah.

- Like, or, you know, they can go to TV. - I mean, and I think a lot of-- - Egr's-- - I mean, there's so many-- - I mean, there's so many--

- It's already contracting, and we'll contract. - It is. - I think Egr's is a really good case for the future might be okay.

“I think he is using IP, but he's using it very thoughtfully.”

- He's doing smart things with it. I just worry, I mean, I remember thinking,

like, like, Chloe Zhao, the first thing she does

after she wins her academy award for best director, isn't it, make the Marvel? - Yeah, it is. - Alternals, yeah. - Alternals, sorry.

(laughs) - I just was like, well, this is, well, here we have it. But I think I have to stop with that, because it's not fair to the environment for these people. I'm not letting the industry off the hook,

but people have to eat. - She did the same thing-- - People have-- - People have-- - People have--

- She did the same thing, things they wanna say. - Yeah. - And I can't, it's not a, it's really none of my business, what the artist choose to do. I would just say that if, given, given the option

of doing 10 more no mad lands and 10 more hamnets, if you're, if you're Chloe Zhao, I don't, I can't think for her, but I don't know if, I mean, having seen what seen the eternals and having seen the other movies,

and I'm convinced that one thing is a better use of her than the other thing. I don't know, I don't, like, she feel free to disagree, but I do think that having these, these artists make these choices

and have the choice be a question of, like, well, it's like, either I'm working or I'm not working, and at what point do my principles? 'Cause also, the bigger these companies get, the more politics becomes an issue.

- Right? - This is, that's a lot of rabbit hole, yeah. - Yeah. - And you're, then, making the whole other,

“that's what I'm talking about, about, what is the character”

of their films, what, what, what is the messaging for lack of a better term, what are the, - Who gets to work? - Who gets to work? - Yes, automatically, who gets to work. - What is it, look, right, can you make your film?

- Right, can you make the movie? I mean, you know, he's fine at universal, if, but like, let's just say, there's a long, there's a long, there's a long, there's a long term impact. - Guess what, guess what the pipeline's gonna look like

for non, straight, white, men, to make anything. We're gonna find out, if there's somebody in the company who's just like, "No, die, die, die." You know, I don't know what that looks like. - I think, I do think, I mean, I do know what it looks like,

and it's grim. I do think historically in this business, money wins, there does have to, they do have to lift the gates sometimes, but they're not gonna not hire somebody if they think they can make them money

while being controlled by them. So, that will be a component of this decision making. - Oh, no, man, like, can you be a five star general, is that an option? - I just think a lot about Lloyd Austin getting fired.

(laughing) The minute they came back into office,

Lloyd Austin was one of the first Negroes to lose his job.

And this is a highly decorated person who was running the department of defense,

“or not even the people who had joined chiefs, I think.”

And just see up, we don't need you. This is like, I'm just, also, we don't need you because once you made a video where you were just like, "Yeah, it is hard to be a Negro in the American military." And I have a lot of historical,

I bring a lot of history with me to this job, and I'm watching what's happening in the street right now and it's making me sad. That was enough. You know, I just feel like,

yeah, I know we're gonna start talking about awards. I just feel like it's interesting to have one battle after another and sinners be at the top of that conversation. And the lesson, and be one of those movies.

What are the lessons that are gonna be learned? I think a lot of people are seeing this news and even this award season as like a kind of a Viking funeral that this is like a send-off of an era. I don't know if that's gonna turn out to be the case.

You know, the Odyssey is gonna kick ass, like it's not like movies are going away forever.

short term respect, but yeah, but for 10 people, what does newness look like?

“Also, yeah, it's Christopher Nolan doing the oldest story”

ever told? Yeah, that's moving. I mean, it's story by Christopher Nolan and Homer. 'Cause I didn't say that. Is that the credit?

And the IMDB credit page was that for a while. Yeah, I don't mean, which is let's act in our respect. I didn't, I just don't understand the rules I don't know when they're saying it. But yeah.

Okay, there were a number of precursor awards shows over the weekend.

The first was the Ace Eddie Awards.

That's the editing group. They gave best edited feature film. Drama to sinners and best edited feature film. Comedy to one battle after another. Much like the golden globes that tells us nothing.

Also, they're breaking it down like that too. I don't understand what, I mean, I guess there are different editing rhythms to those different genres that of course worth noting, but I find splitting up best film awards to be very strange.

The producer's skill, the awards of which I am a member and voted, transpired on Saturday. And one battle after another,

“won the Darrell Fzenek Award for Outstanding”

Producer of theatrical motion pictures. So, just to give you guys some context, one battle after another has now won the Critics Choice Award, the Golden Globe from Isgler Comedy, the Baffeta for Best Film.

It won an Ace Award, it won the DGA for Paul Thomas Anderson, it won the Producer's Guild Award,

and it's probably gonna win the WGA Award

for Adapted Screenplay. That is the strongest best film package in the history of the Academy Awards. Really? And yet, and yet.

And yet, we will get to. Centers has not won a single major best picture precursor. No Critics groups, no CCA, no Globes, no Baffeta, no PGA, just cinematic and box office achievement at the Golden Globes, however, here is one historical data point.

It has one SEGA ensemble, which you will get to momentarily. It has one an Ace Award, and it is also almost certainly gonna win the WGA Award for original screenplay. And no movie who's ahead those three awards

has ever lost Best Picture. (laughs) Oh my God. So we have. It's too undefeated who trains on a track.

Yeah. We can talk about what we think is gonna happen there. It's very strange for movie. It would be the biggest upset in Oscar's history, if sinners wins, spotlight one, the spirits,

and the LA Film Critics Circle, National Society Film Critics, Moonlight won the Globes and all four major critics awards, Paracite won the Palm Door, and major critics groups. Talk to me about Coda.

Talk to me about Coda. What would a one, something that's on dance? It won. (laughs) It's sad.

Like a mini. Yeah, and Tracot Sir won as well. Tracot. It's Coda, what's Coda win? Let's take a quick look.

I'm just saying, like Coda is my favorite best picture win story of all time. Yes, and Coda was a late surger. I'm more sure. Well, we know what happened.

I mean, we've, we've, we've discussed this before. I love this. I love that it happened because it's such a, this is what y'all all get. Now, I like Coda.

Coda won the spirit awards. Hmm. I don't know, sorry, it did not. That was for Coda Sir. I don't think it even won that.

It won. This is a really good question. Oh, Coda won PGA. Who did it? Um, because because you know what happened.

When Coda won PGA, that's when everybody was like, "Oh, actually it's Coda, it's definitely not power." But I, but I've, I told the story to live and talk to you at this before, like, I feel maybe I've talked to Bill about it. Like, I just remember, maybe I just texted somebody

after this happened. But like, you know, I watched it at home, like everybody. Yes. And the, like, the minute they get to the audition for Berkeley, I mean, I'm, when she sings both sides now, I'm crying.

Yeah. I was not crying. It's incredible. I'm crying. And I said, this isn't fair.

This isn't fair because if, if this is happening to me in my living room, it's happening to everybody else in their living room. And it is, I watched it during open the while the, while the ballots were still open and I'm like, there's no way.

I'm not in, you know, I don't vote for anything. But like, there's no way if I'm in a academy voter that my ballot is sitting here on, on, on, on set. Mm-hmm. And I'm not like, thing.

Well, so, I think that's very, put it first.

“I think that's very notable and resonant in this particular race”

because the conversations that we were having were like, the power of the dog is a very well made film by a hugely admired filmmaker who had not won in that category before. Or nobody, I knew, liked one second of watch.

And Koda is from, I'm like, we never heard of it.

There was an Apple movie that premiered at Sundance, but I

Yep. And sometimes a movie that makes people feel good, just wins. And this, and it was a time that we wanted to feel, this, centers is the movie that people are like, this movie makes me feel good.

Now, that doesn't mean it's going to win.

Those movies don't always win.

Mm-hmm.

“I, I do think I, I think centers does make people feel good.”

Or at least excited. And we've seen that at every single awards show that we've watched or attended. Like, there's a coogler hive. I'm a proud member, you know, I had to get involved with that.

And what does meet? What do you mean get involved with that? That's a quote from when he was on Amy Polar and talking about discovering the soda fountain, the soda machines at the-- You could make the flavors.

You could make the flavors. He was like, I was not really-- I didn't use to be a soda guy. And then I thought you could mix the flavors and I had to get involved with that.

All I want is Ryan Google or starring in Kirby or Curse more of the jazzes. Exactly. So there's, there's like a huge, huge, huge amount of enthusiasm for that movie.

But I don't think that one battle has the same problems that power of the dark. It does not. And in fact, there is-- At the end of the film, it's called

"The Power of the Nap." No, there's, there is like an equally passionate group of people who love not just PTA, but this film. And we're like really energized by it. You've seen it.

How many times now? Seven. Yes. Seven times on the big screen. I know, four was a lot.

Right. So I think it's-- you're right that there is some emotional pull to sinners.

“And I think that that really could push a lot of voters this way.”

But it's not like replacing a lack of enthusiasm on the other side, the way that code was. Can I present something here-- it's Sunday on the West Coast at 9 o'clock PM, on the 15. And sinners is just one best picture.

What is-- how do I put this? What does it look like for one battle after another to have lost the best picture Oscar? Like for whom?

Because-- Like is it a culture war? Is that what you're asking? No. God, oh my God.

And even consider that. Oh, yeah. But ugly takes me. Yeah, yeah. And either direction.

But in either direction. There are people, people got to stop. Wait, is this a thing? These movies are being pitted against each other. Well, they're just doing the two leading contenders.

So I think they're both beloved. However, they both have strong detractors. Yeah. Like any favorite. I am--

I'm going to talk to one of my favorite people who is a vociferous detractor for one battle after another.

“But I think that the wonderful thing about these two movies”

being at the top of the pile is they are speaking to each other. Like, these movies are one of the great, best-picture double features ever. Totally great.

We've been saying for months. And they don't, I mean, one can definitely exist about the other. But the fact that they both exist together to make-- It makes me feel like we're in the '70s, where you'd be like, gosh, I don't even know what to pick.

I don't know the fun time. I mean, I think part of what I'm wondering here is-- I know there's a world where it's like, sinners loses. And it's like, sinners had a great-- it was, sinners did, though, it had the great-ish run.

Everybody loved it. It had the most nominations. And I don't know. But I feel like I've won battle after another-- it's just going to be another one of these, well,

gosh, Paul Thomas Anderson just couldn't get it over the line. But then he-- I think if that happens, then he goes-- because this is his best chance, right?

This is he'll never have a better chance than this.

This is the biggest movie he's ever made. It is the most success. The run of precursors is crazy town. I mean, it's been dominant. You've been saying it every--

way before the Academy Award nominations, you were like, this gets decided very early. A movie usually goes on a crazy run. This movie has done that as strong-- pretty much as strongly as Oppenheimer.

If he doesn't win, he immediately goes into-- That one's better than Oppenheimer. I agree. OK. Like, I agree too, but that's fine.

Not even close. I think he immediately becomes-- It's like Kubrick Hitchcock. I'm sorry. There's that short list of film master filmmakers,

geniuses of their era, who don't win. And he goes into that capital.

No, but here's the thing.

And then maybe he wins for some other movie he makes when he's 76. Well, I don't-- No, here's the thing. I do think that Paul Thomas Anderson

has a lot for director. Yes. So that is interesting.

there was a split.

Jane Campion did when director.

I don't like this either, though. And you don't like the split? No, I mean, I don't like the history of the split. OK. Because now, we're at a point of elite Hollywood politics.

Although, we can talk about what Hollywood politics even means with this Academy now. But we're at a point where the politics of this show in this award, where-- We don't have a black director who's won this prize yet.

You know? And I don't like the idea of best picture being a consolation prize. Because-- Is it a consolation prize?

I feel like director is a consolation prize. I feel like it's just happened Steve McQueen. Sure. Very Jenkins. Yeah.

I don't enjoy this, right? Where I just let a brother win best director. I'm sorry. I don't know. You know what's funny. I'm saying this in his completely untethered to an argument about the directing of both these movies.

“I think every time I watch sinners, I'm just like--”

[LAUGHTER] Yeah. I know we talked about this last time. I mean, Paul Thomas Anderson, it's like-- it's very, very hard because somebody's got to not win.

And however, this is unusual. And I want to talk about the actor awards because they're related to this. But you know, in all likelihood, they could both get to.

They could both-- Oh, this is going to be great. They're both going to get screenplay and PTA is almost certainly going to win director. He won at DGA's.

And then if picture goes to sinners, then Ryan gets one, two, and then it's two to two. And then that would be the most harmonious balance that I think that the Academy could land. These guys have punched it out so many.

These guys don't think one battle is going to win. This is hard. It's hard to notice this bumping for six months now. It's like-- Oh, yeah. And they're buddies.

I mean, I don't even like the idea of-- again, I don't believe these two movies are in opposition to each other in any other way. They're not, but this forces-- I mean, this experience forces it.

So the thing that happened-- let's talk about the actors in full. sinners did win ensemble, which was predicted. And I think follows-- frankly, the actor awards, the sag ensemble award,

is a much more generous award to black films than black actors than the Academy awards are. Recent winners include Black Panther, Ryan Kubler's film, Hidden Figures. It also does not--

I forgot Hidden Figures. It does not really correlate, typically, with best picture last year, you may recall Conclay, if one best ensemble, not a Nora, despite a Nora having a dominant Oscar night.

“Yeah, but I think those people are voting for the right reasons.”

Like, I feel like that ensemble-- in most cases, I understand these are people who-- I mean, you guys told me who all is in sag after a last night. Yes, it is actors. But it is also radio and television broadcasters

and weathermen and influencers. But to be clear, not the three people sitting at this table-- That's true, not me that not at the same time. However, I will say, I think less than 5% of the membership of sag votes for the Academy Awards.

Right. Like, it's a small number of people. So be careful in terms of trying to-- Right, I have no correlation to make. I just want to say they understand what an ensemble is.

Jim, they really do understand what an even in the nominating what it turns out to be. I think one battle after another is the best casting directed movie of the year of last year. But obviously, sinners, just for miles,

Kate and a low, isn't achievement. Yeah. You know, Secret Agent wasn't part of the situation at the sag award. None of the international--

But also, like, just one of the great-- great cast movies of-- Great cast movies of 2020. It's a funky award.

I always point to 2020 as this award being--

maybe not as relevant.

“Do you remember which movie won in 2020 for best ensemble?”

For the films of 2020? Yes. So not because Paracite won in-- Yes. --the films of 2020.

That'd be great. OK. So-- Wasn't anyone-- This is a great book note.

Wasn't-- Uh, what recently? What recently? What recently? It's not no madland.

Not no madland. Obviously, an outlier year for the Academy Awards given the number of releases. But they're hard-- Hillbilly, out the G. No.

The answer is the trial of the Chicago set.

Oh, sure. And no-- another Netflix movie. But no madland, not even nominated in the category.

No madland? Yeah.

“Similar, actually, to one battle after another,”

with a lot of non-professional actors.

I mean, I don't love that movie. But casting wise, I'm not arguing with it. Anyway, but I get the-- I mean, listen, listen. "Trial of the Chicago 7."

Your favorite film of that year? That's a movie that happened. And the "Stounding Achievement," so we will forever remember. Are they sure they weren't--

I mean, I'm sure most of the people thought they'd picked up their Emmy ballot. Yeah. Big-time HBO Reginald movie vibes with that one. So sinners wins ensemble.

And the reason that I got-- I'll excited to talk to you about this-- is that the biggest surprise of the night-- and the best moment of the night of my painting-- Yeah.

was Michael B. Jordan winning Best Actor for sinners,

which I would never in a million years of predicted.

Some people have predicted it. I got to give it up to Clayton Davis from variety. He has been holding the line on this, and he hard predicted this last night. He must have blown out of his house.

And he has been holding on sinners when he best picture. He had ensemble. He has been saying, this is going to happen. Now, we've been talking to Timothy Shalameh in this race from many, many months.

He showed weakness at Bafto and Robert Armstrong. We don't want to be showy, showy. We've been to New York to the film I swear. And now I feel like his odds are going to plummet, obviously. Yeah.

He won sag last year, and no one has ever won sag two years in a row. That has also been noted. Really? Really? So maybe they were just trying to pivot.

They said, we gave it to him last year, who knows?

“Could Michael B. Jordan win Best Actor at the Academy Awards?”

You actually write before the award was announced. You turned to us, and you were like, I feel like people are not saying, he's really fucking good in this movie. I had to say it to myself.

I had to remember myself. I'm writing something about how easy it has been to sleep on him. Well, he made it easy. He has made it easy. But I think that there is something about the,

like he's talked about Ryan Kugler in his speech last night in a way that was so not wear homies in front. It was, oh my god, I might start crying. It's like, you see something in me. Thank you for seeing like what my talent can do.

Like, that's not a like, yo man. I've been telling you for years, we got this on luck. You and I, we keep doing it together. I'm picking up this penisless trophy. But Amy Madagato.

We got to her. It doesn't have a dick. She is like, that is like real statue criticism 101. Who most statues have dicks. That's the problem.

Statue. That's most statues do. Yeah, he does. He does. Yeah.

But the Oscar doesn't know. That at is doing a lot of work. Yeah. Don't. Whatever.

Don't even get me started about a mathulating statues. But what he, the way he talked about Kugler was so, like, genuine. It was almost as though like Scorsese had given him the part or, you know, yeah, Spike Lee giving him the job. I've had him on his shoulder and at a pivotal stage of his career with fruit bell, where

he was like coming out of the wire and Friday night lights and he cast him in his debut feature. And now they work together in on every movie, right. And they are, they are Scorsese and De Niro. I mean, that is what they're doing.

And they do also, I mean, he is right. No respect to Michael B. Jordan for understanding that like Kugler, like understand and helps him do something. He's writing with NBA in mind.

He does not, that that NBA doesn't always find in his other part says in his other

films. But if you watch, I mean, if you, I don't know, I now have recently watched it, watching only what he's doing. And I guess it's easy to miss for a number of reasons. And I don't know if this, I mean, we can talk about this.

But like not the greatest line reader, not the most emotionally variant, he's a, he does him job leading man. He doesn't have whatever range is, that's not his thing. But Kugler understands that there's this inner fire in this man. And I don't know how he directs actors or Michael B. Jordan for that matter.

But there's something about this gauge that he has, that he only in his movies.

“Does that temperature fluctuate in a way that transmits emotion to an artist?”

I always, I always think of it the way that watch a movie, watch a Tarantino movie with Samuel Jackson or Kristoff Waltz. Tarantino knows how to write for those actors better than anyone.

Why is this annoying? Yeah. And you watch him in one of the Tarantino movies and you're like, why is this the best actor on earth? Yep.

And same for Sam Jackson. Sam Jackson reading Tarantino lines. And I feel that Kugler really, really knows how to write for NBA. And that is why he is literally his top five performances are just in Kugler movies. And that's great.

And they should be rewarded for that. I mean, you could say the same for De Niro that he is frequently doing his best work when he's working with the person who understands him the best as an actor.

“I just was very moved by the by how moved and touched he was and to remember that like,”

there's a world where I am all I'm doing is selling Alexa in a bathtub and having that

be the most important work I've ever done because listen, that was important work.

Do you think you can win? I really have no idea. I really. You've said Wagner Morrow. I could win.

It certainly, I think you are interpretation that like Timmy's kind of out is. And I think that was really confirmed it back to us because, well, what does that, well, talk to me about that. What is what are we really saying when we say it? He's lost the momentum and voting is open right now and there has always been a pretty

loud resistance to it, not for me to to him, he hasn't given a speech in weeks. To him and to that's just the best way to put it. And the end, the reason that I had written Wagner Morrow, which like, I think like January eight after the Golden Globes, I was like, it's Wagner Morrow, it is like this is happening. Never underestimate Brazil, I was like, no.

But you are like, yeah, I'm like, he speaks Spanish, I don't, I've never, I've never, right? No, yeah. Wagner Morrow also is just not given a speech since the Golden Globes, you know? And that's, but he gave a speech, he got to give it.

He did.

But I think it's just, at this point, it is a little bit whose in front of people's eyes

right now.

“It's just very confusing because Wagner Morrow to me would be a very representative”

new academy. Yes. Right. It's a movie that made it into best picture. It's a tremendous amount of admiration, it's a can film, he won best act or can, he won

the Golden Globes. But then he didn't even make the short list for BAFTA and he didn't get nominated. Really? They released a short list? They do.

Yeah. Dude. Don't know what I was going on for there. I'm sorry. Yeah.

Did y'all see what happened during the broadcast? We did. Did we need to know that happened? Wasn't it? Do you know what we're delaying?

And we still found out. And they added another thing. And I mean, I mean, I can, I can. Very strange award show.

“They're not really, honestly, we've always had a little bit of a critical distance from”

on this show. They've been criticized for not engaging with it and there's a reason why we don't love engaging with it.

I've always made some BAFTA-LIGN choices.

I just don't understand. I don't know. I, the, the, the air mile wind though in that category, I think is really what throws this into a sense of disrepair. Like I, I don't, and you know what? Honestly, fucking, I, this is, it makes it, it makes it fun.

For no matter how big it will work to be, and like the coin is in the air until March 15th is so fun. Yeah. Yeah. She in the room was electric. Yeah.

I mean, first of all, the Vile Davis was presenting and she couldn't, I mean, she was great. It was wonderful. She, like, she had her moment and some great memes of her acting. Yeah. She asked me what she's up to and it's like Delta and now memes.

But, and, and everyone was so excited. I think a little bit of it was the excitement of surprise. Yeah. And then, and if you watch the reactions, which I have many times, Jesse Plebins immediately very excited, Ethan Hawke immediately, very excited to me putting on his vest, I'm happy

for him's face, Leo, not there. Not there. He's making a movie. He's with his mom's birthday. This is really fascinating.

Like, I, great speech by the way. Yeah. Great speech. Amazing. Also taking his mom for, like, driving him through the audience.

Yeah. It was so lovely. Very good. Really, really, really, like, rare, like a ward's moment. A lot of racial memories.

Like, this is what this is. Yeah. This can be good. And also, after much debate over the course of the night, we decided it was a good suit.

We liked the suit. Tom Ford. No, I didn't change my mind about it. No, you said good suit. I, but the pants were perfect.

Yeah, listen. There, there is a problem with men's tailoring. There was, there was, there were some, there were some, there were some, there were some, there were some, there were some camera issues. The whole show is a little complicated.

Yeah. I mean, yeah. Can we just, like, yeah. Boys and girls. No one can see this.

Can we see this? Can we see this? Like, I will tear my shoes off because I'm going to be looking. Like, you can't, nobody wants to see this.

Nobody wants to see this.

If, I mean, you got to just take it in a little bit more. So nobody can see your inner, say, I agree with you. Yes. Like, you got to just cinch it. Yes.

Also, two breaks. You don't need two breaks. You don't need two breaks. You don't need two. Especially if you've got a wide, wide leg.

No. Then, what are we doing, people? The breaks were such a problem across the board that I did every man came out and I didn't think some of it had to do it. It's so all of the feature films, the ensembles were presented by, you know, a group of

cast members. And it just a very strange below the stage upwards angle, which helps, no one. Like, why, why are we doing this? I can't tell if that really is the issue here. But it did accentuate the breaks, like the, the breaks were sorted or we're greenlanded

if you will. Oh, they do that. They do that. But this now means that these stylists have a new job. They do.

Well, they've never been able to get men's tailor.

Hey, Jacob, stand on this box. Yeah. And I'm going to, I'm going to get down all the way down here with my camera. And I'm going to see, like, is this button rushing up on your, on your, on your, on your double, breast to jacket?

I don't know. It's an amazing physical performance for you today. So far. I just don't, I don't know. It just really don't really lingo knows how to wear a tuxedo and knows what notes to

offer. I don't know who dressed. But he was also just wearing a much more classical tuxedo. Oh, but one dollar. One dollar.

He has taller. He has taller. That's a factor, too. He was the tallest guy. Jacob.

He was like nine feet tall.

“Well, I think, Jacob, a lority might honestly be too tall, you know?”

He's like beyond sample size on the other way, but now for me, but in terms of, in terms

of the listen, men are finally learning what it is to, to get dressed and the sample sizes

are made for one exact body type that is like basically yours, which is really annoying. And it's definitely not. If you're not sample size, they, they don't know. It takes a lot of effort. We were talking less that I can usually pull off off the rack and in a way that is very satisfying

for me. And we hate to watch this morning from the real real, because you've changed your plans for Oscar night. Oh, yeah. Well, we'll see.

No guarantee that I'll be able to do that in time. No spoilers for our, our outfits for an Oscar night. I cannot wait. Thank you. Okay.

I was already going to watch, but you're still a bit ticket. Quickly precursors for Best Actor, Wagnermore Globe, Schaleme Globe, Timothy Schaleme Critics Choice, Robert Armyo Baffdom, Michael B. Jordan sag, just simply put your prediction for the winner of Best Actor at the Oscars. I'm in and I will hold our cell next week when we predict.

Oh my god Michael B. Jordan, it's going to win an Oscar. Oh, that's so nice. That's great. I, I really think that could happen. And that is just crazy.

Michael B. Jordan's going to win an Oscar. He would be, he would be literally my fifth pick three months ago. I mean, he's in fifth place. I'm voting. I don't know if I'm, I mean, although, you know, I've spent this time with this performance

now and I'm just like, yeah, but listen, come on, stop, stop, stop, stop, stop, stop, stop, stop. No, but this, I mean, listen, I am saying that there's a world in which he's win, in which he would win.

“And I am going to burst into tears because also young black men, right?”

I mean, just like, there's a lot of history that comes into these things at some point. And you just really, my, my historyometer starts going a little bit nuts. And I'm thinking like, how old was Forest Whitaker when he won? And how old was Jamie Fox when he won? How old was when Denzel?

I mean, Denzel is around the same hands. Denzel is the rear. He got one very early. Oh, I'm sorry. I was thinking about Malcolm X.

Yeah. I'm not going for, for actor, for best actor, for best actor, for best actor, just those two guys. Yeah. And Pardier, Sydney Pardier would have been 35.

They're all of like 35. I mean, Jordan is what 35. Yeah. Jamie Fox, Forest Whitaker, Sydney Pardier, I think Forest Whitaker was older. I think he was in his like mid 40s when he won for last game of Scotland.

Okay. We can look that up. That's probably true. Yeah. And Mahershler for supporting.

He was in his 40s. Yeah. That's anybody can win. Yeah. But it's more like best actor because what, I mean, if Michael B. Jordan wins, what

“are we at four or black actors or black men who won best actor?”

Yeah. So that's, it could happen. It could not happen. It's five. I'll tell you one for four winners.

Right. I'm also not writing off Timothy Schelme. No. But can you talk to me about the resistance, is there resistance to this movie? I don't think, well, you know, one, the movie.

Not in this scene. We both love the movie. You like the movie. Yeah. Yeah.

I really love it.

There was a dramatic story written about the safeties that I think is definitely influenced the campaign somewhat. I think also more specific. Like in this case. Oh, yeah.

Yeah.

“But more specifically, I think it's the whiplash of the Timothy Schelmey campaigning for”

the movie's box office success and the swaggery style that he was bringing to that campaign to the pivot to, I am awards campaigning. And now you can say Sean, I was black over here. And I'm white over here. And I apologize everybody.

But now, if I were him, I would not have done anything different. He made that movie a massive success. We were talking about it last night.

No, I mean, this was the final step in him elevating himself over basically all of his

peers as the and the lone movie star of his generation. And it worked for the movie, he may be paying the price for it. Like him. There is also just a little bit of the, I don't like this character. I don't endorse this.

Which is very strong. Like very strong. And how those things overlap. And then how someone walks out of a story and what their review is. And I think, you know, we three, well, I want to speak for you.

I don't endorse many of this person's actions. But I'm also taken in by him. You know, like to introduce him. Yeah, well, no, Marty, the character. Oh, no, he's an asshole.

What do we do? There's no. There's no.

That's, I mean, I don't know.

It also, I'm breathing air. Yeah. Like, I feel like there are many people who walked out of that movie. And I found younger viewers were like, yeah, no, like, I don't want to spend time with this person. I don't like him.

Yeah.

“And so I think that sometimes when people are voting the same way they vote for”

Koda because like that made me feel something, maybe this, I don't know. I can't really deal with it. But isn't this. Is it this? I can deal with it.

That's the aspect of the difference between the academy in like 1994 and the academy now, which is like in 1994, Timothy Schallemay might not even got nominated because the performance was so difficult. And or the character is so difficult, the performance is great.

Versus now where you've got, you know, in 94, the academy would have been much more like

American born versus now we're like, you know, what did you say at 60 40? Uh, not American American. Oh, in the academy. Yeah, it's in that range. Yeah.

I just feel like other people's cinemas have a much higher tolerance for the, for the, for the, for the Marty. Yeah. For the Marty now, I love this shit. Yeah.

So I don't know. I just feel like everybody else, it's not as it's like for us.

“I think that's what I was going to say is the same case.”

That you can make for Wagner more as the case gives you for Schallemay, which is like, this is a movie that the international voters are not going to be like, oh, this isn't for me. You know, it's not. That being said, it is a very American story.

You know, a Nora one last year. I don't know. I feel like, I feel like he's still likely to win, but there's something about, there was something about, I know that you're also, it's important to remember what you've already said, which is it like, what is it, you said, 1% over lap five?

No. I don't know what the total number is, but I think it's less than 5% of sag is a Academy voting member. But I do, for whatever, to the extent that like whoever was aware of what happened last night and got to watch it and hear what happened in the room, wouldn't you love, wouldn't

you love a little bit of that. I think that was a big moment for the race and voting is open until Friday. Yeah, it just felt like, I mean, again, every time I don't know what is going on with me, like, I'll be true, no, but like, just like, he's making me cry, like, I just feel like, and sometimes you know the other thing about him as an actor is, he's so

recessive, right? There are, there are so many movies you watch him in and you're like, come on, buddy. Well, yeah. And it to me, as a star, as a star, he does remind me a little bit of Leo in so far as he's like, kind of out of the limelight doesn't really do a lot, doesn't give a ton

of interviews, kind of just like sticks to his projects and does his thing. He's not like a massive celebrity in the same way that somebody like Xiaomi right now feels like a force of nature, culturally. Right. There is a distinction there.

And I wonder if maybe there's something considered like more honorable about that for NBA. I also think like, I think one thing that might be working against him here is he is still power for pound, a bigger star than Timothy Shalvin, you're going to mean like, when he's kind of sort of more bigger movies, yes, right.

And some of those movies he went to because it's close to the game movies kind of level playing field there. I'm not, I, I retract that statement, but I mean, he is at least in arguably a movie

Totally.

“And the thing about the thing that was so exciting about sinners was, you know, I mean,”

when, when van and Bill and I talked about that show on the rewatchables, the question, the who won the movie question, like hands down who won the movie was Ryan Cook. Yeah. The reason I went back to the performance was I wanted to know what I had missed. I do this, the acting thing I do every year.

I like find a bunch of things I like about performances. I didn't, I didn't include him. And I just was like, I, I'm very curious to see what is when he once he got nominated, I was like, okay, I really, I just want to see what I'm not because the academy was right, but just because I was so happy for him.

And well, there's something off the bat, which is that he's playing twins. And so that is he's giving to performances. But there's the exit, the twins are, as it turns out, not as mutually discernible as maybe a different actor would have made them. I agree, but I do think he is putting a character in both of those men that you can tell.

Well, what I was about to say is they are, they're different. They are different, but it is so subtle, but it is so satisfying to leave that movie and be able to tell smoke from stack because Michael B. Jordan figured out what the difference was between these two guys.

“I agree, and I think a win like this kind of like pulls out that conversation.”

It lets you say like, okay, what is good about this performance and then actually talk about it in a nuts and bolts way that I think is interesting. And we'll see what happens if you're going with NBJ, male actor in a supporting role. Sean Penn won again. He did not show up again.

We heard it this come from, it's Los Angeles, I've been telling you. I've been telling you. Yeah. I mean, I have all the things you, where are your, I mean, look, this is a great performance. But let's just talk about that.

I'm like, I don't know, it just, I've been, I agree with you. Of these five guys. So you're least favorite, it's sad, I'm sitting here being like, actually, you know what? But, I mean, I'd say it was Benicio, Jacobo Lourdy, Miles Caden, and Delroy Lindo, were the other nominees.

Sean Penn won a BAFTA, who's like, oh my goodness, and now this feels like confirmation that he's going to win. However, Stein's scar is Garbage, Stein's scar is Garbage, there's no way he's losing this Oscar.

I do think that Sean Penn is basically trying to throw it.

He already has two, he is not going to any event that he doesn't have to. He did not give a speech last night, he did not give a speech at BAFTA. Was he there last time? Not there. He was at the Golden Globe.

He was the only winner who did not give a speech. He was the Golden Globe's video, didn't win, and this has been a weird race too. Scar's guard won the Globe and the LA Film Critic Circle, it lured you on the CCA's, but he's the one New York Film Critic Circle, Delroy Lindo hasn't won anything, but he did give the last speech of the night last night for best time.

I was just about to say, yeah, and he's nominated, and he's the kind of person who wins surprise Academy Awards. Well, can I tell you my crazy, yeah, I'm going to have it. I'm going to have it. I'm going to have it.

Sorry. Lean in. I usually have an Oscar dream. Oh, okay. Like a dream the night before or one that you hold onto from.

Like a couple of nights before the Oscars, I have a dream, they never come true.

I had a dream that Sean Penn was going to get nominated for something that he didn't get nominated for. This is like a weird, it was like, I'm not rooting for Sean Penners, this was a dream. Oh, Carlito's way, this is like when I was a kid, I had a Carlito's way dream and it didn't happen.

“I think there's a world, because you, I mean, it's his worth remembering that sinners”

has, is it how many, 14, 16, 16 nominations? I just think there's a world like there's a world where how wins many of them. I think we're going to know, probably pretty early in the night, if there's a weird sinners wins nine Academy Awards thing happening, because one of me, Masako could win. Yep, yep.

And that could still happen. And if Delroy Lindo wins, then I'm going to be like, this is this is happening. Yeah. That will show an incredible sign of saying, I don't think that's going to happen. I don't.

I don't think. This guy's guard is stronger in this race, significantly, personally, being prepared for the possibility that everything just gets thrown out the window. Yeah. And this movie is really funny that he just didn't go, presumably just because he was like,

I don't want to. Yeah.

Also, he never won sag before, which is interesting.

He's a two-time Academy Award winner who never won a sag prize. Let's talk about female actor and a supporting role, Amy Madigan won.

And if Michael B. Jordan had not won, she easily would have given the best speech of the

night. It was an incredibly charming. It was a wonderful speech. She ran up to the stage doing the 11 kids arms. Yes.

Which is amazing. She was the really good mark to find the statue at and the way that it's anatomy. And it's a relationship to Ken, when she was playing with her Barbies as a kid. She's just bringing a lot of like Chicago gal born in the 20th century, you know, like really talks a lot about her union and what sag means to her and her being a union person.

And she's a, she's very similar to Delroy Lindo, you know, just like in the former New Hollywood. Interround for a long time. And it's never won any. Yes.

And everybody likes her. And everything, she's good at what she does. And she's been given a very showy part and a villain and villains win a lot in supporting categories. And she's a really great villain.

That's a very memorable character. I just, you know, part of me is just Mad, that Austin Abrams will get to be completely

open overshadowed by how good she is in this movie.

I will be the star of Zach Riker's next movie, the Resident Evil movie, Austin Abrams. Oh, really? Yeah. Okay. Um, anyway, I, I, I'm happy for her.

“I think this race is still a crap shoot.”

I do. I think she's too. And I think she's too American. I don't think the international voters care about field of dreams. Well, you know, here's a, I really don't.

I, like, that's because when you see her, don't you see her giving the speech or the PTA meeting? I still do. Oh, that's the funny thing that you think about. You know, I've been, like, keeping true.

- Oh, here's a great little-- - What is it about catcher in the rye? What is it? - What is the book that she's talking about? That's being banned.

- I think it's catcher in the rye.

- Um, that was for the taste.

- I know. (laughs) - I'm keeping track of people who slide in movies. Movie slide. - What do you mean by that?

- Like, there's a line out where she comes out of that, that hearing and filled the dreams are that, you know, that, that, that, that, that, I don't even know what's happening there. - It's like a, but I have a very clear memory of her,

“like blasting out of that door and sliding across the hallway.”

I'm like, Amy Madigan, I am proud to say you've made the sliding emotion pictures list. So anybody who's got some, like, all the obvious people have been accounted for, but just if you've got some, like, solid door slatters, let me know.

- That's a good one. Interesting data point. If Amy Madigan wins, she would become the ninth person to win best supporting actresses or films, soul nomination. Can you think of anyone?

Amanda's looking at the list. Can you think of anyone for whom that applies? This goes back to 1941. Nine times this has happened. - Maris Irvino?

- No. - Was he now in a for screenplay? - I think screenplay was nominated. - Yes. - For my behalf.

- This is for the winner, right? - For the winner. - Oh, man, I love this question. - She's a great game, so I can, I, I, this is my calling. - You got to stop putting it in the dark.

- I'm sorry. - So that I can play a lot. - I know, hold on. - I gave you the trial as Chicago 71. That was, that was a good trivia.

- Yes. - You're gonna get 10 seconds here. - No, no, no, no, no, no, no. - Wrong too. - There's one very, very famous one in the last 30 years.

“- Wait, did you just, he said Marisa Tomé, didn't he?”

- No, he didn't. - Oh, he didn't, oh, sorry. - What did you say? - That's a great one. - I don't even know what I said, but it was wrong.

- I'll send Marisa, Marisa, Marisa, Vena, okay. - A different Italian, I'm gonna give you this one. - Marisa, Marisa, tell me he's great. Okay, give me a year. I'll give you a reason, one, 2008.

This one's funny. - Same filmmaker as my de-aferdiety. - Can help you cruise? - Right, yeah. - Okay, I'll take you Christina Barcelona.

- Okay. - In order in history, Mariaster 141 for the great lie, Claire Trevor 1 for Key Largo in 1948, that's the only nomination that Key Largo got. - That was my thought, too.

- That was how heavy the hitters were. - Margot, brother, for one for the VIPs in '63, a Burton and Taylor joint, Goldie-Hon, one for cactus flour, Jean-Sax's adaptation of Neil Simon's cactus flour,

Linda Hunt, one of the year of living danger. - Wait, that was the only nomination for the money 'cause I thought about her, okay. - I did not know that. - That's a good one.

- Maristome, okay, and Angelina Jolie for Girl Interrupted, and then Penalty Cruise of course in 2008. So anyway, this doesn't happen that often. It's extremely unusual, but it does have some precedent if she does win.

Wouldn't you missaku? Still feel like that's in play. Also in Gibb's not are Lilias and your girl Rachel Kempe, aka al-Fanning, we're not nominated at tag. So they are also in the mix here, this is a,

and Tiana Taylor was the privative favorite for a couple of months. - Yeah. - Wait, I'm sorry, full the phone. We just wasted all this time doing this speculating.

We've not just said Tiana Taylor's probably gonna win. I don't know. She lost bathtub, and she lost this, right?

They don't know what the--

“- They don't know how to use more international.”

- Aye. - Look, energy is energy. You know, these, these bathtub voters, they think it, they, they left the racism in the show. They had a chance to take it out.

- Yeah. - Like, Tiana, I think Tiana's. Who do you think? Well, you know what, don't, don't fully open it. - I don't have to decide yet.

I have 10 days. - I feel like nine days. - I feel like Tiana Taylor's gonna win. - And I mean, if she loses to Amy Madigan, I'll be very fine with that.

- Okay, the last award that was not shown on the teleguess for some God forsaken. Reason was a stunt ensemble in a motion picture, which went to the mission impossible, the final reckoning.

- A good win. - This stunt work in that movie is amazing. - Whether or not who are the other nominees. - I don't remember. (laughs)

Before we move on from the actor awards, I wanted to talk about Harrison Ford. - Oh, yeah. - Because Harrison Ford won the Lifetime Achievement Award last night.

Harrison Ford, a man who is extremely important to the three of us and American movies. - Yes. - And movies. - And America to Wesley's point about

what shapes America and how we see ourselves. - I mean, think of this man, have a career. The same career that gives him a lifetime achievement award? - And you know.

- No. - He does not. - I don't know. I think of him in a similar way

“to the way that I think of Michael B. Jordan,”

and that he is. - Yeah, that's fair.

- He was always a very smart manager

of the kinds of parties that he took. - And where is the much better analogy for Michael B. Jordan? - They're very similar to me. - Yes.

- Harrison Ford has limited attention for it. He's a very star. He's a very good actor. And in the right hand, he's got a great line reader,

but with a right director, he can get Mike Nichols understood. Like Nichols was his coogler to me. - Wow, that's an interesting thing. I mean, you could make the case

that George Lucas really understood Harrison for better than anybody and put him in a position to succeed more than anybody. But although it was his best performances, I just said I just saw the last trilogy

of Star Wars movies with my daughter over the weekend. And the performances he's giving in the Force Awakens and in the God for Sake in the Rise of Skywalker are beautiful. And it's like an actor who's really figured out

his instrument, that's a word

that you hear all the time from actors.

And he really has figured something out. Last night, I had tears in my eyes watching him give a speech. We, you and I, the three of us are like mattering through the whole show.

- Get to chatting. - We're pausing all the time.

“- It took four hours to get through the whole show.”

When Harrison Ford took the stage after Woody Harrelson introduced him, I was just locked in by his gravitas. I, what did you shout? - Shout to Woody Harrelson's.

I don't know what that was. It's wedding toast of an introduction. - Yes. - So they were paired in a way you had the silliness. And then Harrison Ford surprisingly emotional.

- Yes, he was in tears. - And talking not just about his career but also like what acting can mean to the world. And he talked about like it didn't happen for me right away.

And they, I've appreciated the support of everyone in this room. It was really, very lovely. A couple great jokes including the kicker, which was, this is encouraging.

(laughing) - He also said he was the halfway point of his career. - Yeah, I, you know. So it's still like a self-aware in that kind of, and gruff somehow, like in a traditional Harrison Ford

way while still being like way more sincere than I associate with his work generally. - Yeah, no, I was lucky. - And you know the funny thing about it he's got one of those, you know,

there's a kind of picture, I mean, even with the pitch clock now. There's a kind of picture who's still kind of like, - Yeah. - Yeah.

- The Steve Traxle. - That I did it. - Yeah, that I did it on his own page. - Did I get it? - Did I get a desk?

- It felt like sitting with your grandfathers telling a long story. - Right. - But in a nice way, I loved that. - I love the silence, Lena.

There's, you know, there's these pauses where he's just kind of like, that was a good Harrison Ford. - It comes a thought. - That's how he is as an actor.

- Yeah. - You know, he really is, he's not a fast-paced dialogue machine. He's somebody who cuts out, who leaves his silences.

- But this is the thing about him in the Star Wars movies, which is the opposite. - It is. - Right, like he understands it, he's also in a Howard Hawks movie.

- Yeah. - Right. - That's true. - And the thing that's exciting about the transition, I would love to see if anybody wanted

to make a movie anymore about things like this. Like give Michael B. Jordan, one of those Rada Tat-Tat scripts. And see if he could do it. - Well, he's making the Thomas Crown Affair right now,

which that's not Rada Tat-Tat, that's like unbuttoned, another book. - It could be. - It could be. - But I enjoy that style of film.

- Who's the lady in that movie, by the way? - It was going to be Taylor Russell.

- And now is it, Adriara, huh?

- And Adriara, Adriara Hona, is the lady. - Who's that? - Very... - You need to get involved with that.

(laughing) - No, she didn't know who she is. - Oh, her. - She's a hitman, yeah. - All right, I can see that.

- I can see that. - She has a lot of strong qualities. - She does. - She does. - I can definitely, I buy that.

- I buy that. - Okay. - Yeah, Harrison Ford, do we don't get to have her forward under this? - And he doesn't have an Oscar.

- Yes, one Oscar nomination for witness and that's it. And what the fuck? Like, well, I mean, okay, stop. - To what? - What, what, what is missing from this?

'Cause this is the thing about him and this is the thing about him and Michael Bjorie. - Mm-hmm. - There's only one other Harrison Ford performance I can think of that probably should have been omitted

and I'm surprised that it wasn't. - Which is. - 'Cause it was low hanging fruit.

“It was the, it was that, it was that mosquito coast?”

- No, but that's one that should have been omitted 'cause it's very different for him, very different energy. - Yeah, but it was too different. - That is the more fast talking part.

- I'm not saying about the line readings in mosquito coast. - Too fast. - I like that. - I think that's true to that character. That movie tells us a lot about where we are.

- That was a hard year for a person like that to get in to the line. - It was, okay, so my case for this is for a mosquito coast? - No, no. - It is very simple that there was an opportunity

to give him this win for Star Wars, the Force Awakens. - This is what I'm saying. - This was the, this was the only other performance I can think of. - Excuse me, excuse me.

They nominated every single actress in working girl. They can't find one supporting actor for your boy. - That's fair. That's also fair. - There was no, I thought there was some category confused

about whether where he went. - This, this, this to me doesn't totally make sense and maybe it's 'cause he doesn't want to campaign or whatever, but Stallone was nominated for Creed that year and it's the same performance.

- I know. It's better. - It's better. - It's, that is the thing. - It's better.

- Of course, it's better. Mark Ryanlands went on to win for Bridge of Spies, so it's moot. But if Harrison Ford was there and we looked at it and we were like Harrison Ford is 74 years old. Are we really not gonna give him an Academy Award

before he dies and now he's gonna get some honorary award and it's gonna be like whatever it is in the next five years. - It's like that. - But it doesn't count. And you can, I think you can go through the lesson.

I think working girl is a good case, you know. Working girl, it's just tricky. He falls between the cracks of the two categories, I think. If it were, if it were 2026 and Blade Runner came out, he would have been nominated for a record.

That's things are different now where things like that. - I can see that. - I can see that. - I can see that. - And the future of,

- Yeah, the future of the future of the future of the future. - Yeah, yeah, that's crazy. - That's crazy. - That's crazy. - But like Tommy Jones, no, no, no, no, no, no.

- No, no, no, no, no, no, no, no, no, no, no, no, no. - 1993.

“- Remember, like who all, Daniel DeLouis, Anthony Hopkins?”

- I think this is a good poll. I mean, you keep going. - This is like all five. - Well, 93. - Daniel DeLouis, Anthony Hopkins.

- Very famous one here, the first of the time.

- Tom Hanks. - Tom Hanks, we're Philadelphia. - That's Schindler's lesson. - Yes, Lee and Eason. - Lee and Eason.

- And, oh, L, L, it begins with an L. - Yeah. - This is a good nomination, I think. - Maybe three. - Lawrence Fishburn, let's love this one.

- Lawrence, I'm gonna do it, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes. - Obviously Tom Hanks wins. So yeah, he didn't do it. - I mean, that, I kind of get that. - It's a tough battle.

- I kind of get that. - So really tough battle. - I understand. - You know what I would take out, I'd like to. - Almost certainly sick.

- Daniel DeLouis. - Yeah. - In the name of the father, I like it. - This is my freshman myself, my friend Charlie used to say, "The name of the father!" (laughs)

- Okay, shout out to Harrison Ford, you're the best.

“Well, let's say quick break, and then we're gonna do”

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The alternative Oscars, this is the sixth time that we've done this. You were not here last year. - Hi. - And that was just a painful. - I was here. - You were, thank you.

Thank you for listening. The rules very quickly. They're not very many rules for this award show. - Although you did get new when I just something I hadn't considered before when I put some stuff in.

- Okay, so, but you should say this 'cause I think it's worth saying. - No Oscar nominees are represented here. So if an actor or a writer or a director has been nominated for an Academy Award,

they cannot be represented here, you're out.

As per, I guess, the critics choice awards, I don't know, just makes it easier to say more names and celebrate more stuff. These are eight categories that we believe the Academy Award should add.

And then some of your classical categories that we will talk through, we used to do nine. And one of those was best casting. And the Academy Award's added best casting. And I'm so, thank you very much Academy Awards.

We also have best done in this award show,

“and in next two years, I think, two years.”

The Academy will also add that. You do have a nomination for a new addition to our awards slate. So we'll talk about that and we get there. A little surprise, a little Amanda surprise.

How are you guys feeling, you feel ready for this? I feel great. Yeah, I feel great. One thing that we talked about last week is, I try to not have too many Oscar-represented films

throughout this list. Now in some cases, it's hard because you feel like something got really snubbed. I usually try to use this as a rectifier. But that's probably the wrong way to be thinking.

No, I think a good balance between these movies

never had a chance at an Oscar.

And these movies were close, but they didn't quite make it. And so we're going to try to find a blend between the two.

“Did you enjoy this exercise this year, both of you guys?”

Well, things are definitely changing. And you can see it just in terms of once I got into the document. I was like, I don't have, I very little to add that isn't like fun or surprising. I got a couple in there, but very little,

because you guys covered it very well. But also just the diminishment of the pool, right? It's clearly, it's not quite everybody who should have been nominated, it was nominated for an Academy Award. But it's not so far away from that the way it once,

if we did this, you know what a great exercise would have been. Or like, can be done in the future. Let's just pretend it's like 1998. And then we play this game. What do you get with these guys?

Now, what we've said here's what we think should have been nominated.

No, just like, let's just, let's just, what's not, what has not been nominated. And what, how would these categories fill out? And what would be in them? It felt like there was just a lot more worthy to do that.

You would need to double it to feel good about yourself. Like, what are we even doing here? But this is like, I don't know. I don't think anything has been left out. If we did, unless it was absolutely loathed by, do you attribute that

“to the fact that the Oscars are getting closer to our taste?”

Or just that they're less good things? That's a great question. I think it's the Polish, the, we're talking about a quantity problem. There's less. There also, I think that, you know, I have deduced,

and I don't know, we've never talked about this.

And I've never heard you guys, I've never caught you guys saying this or thinking it through. You might also accept it as almost axiomatic at this point, but can is the most important film festival in the world right now. It is.

And so the alignment of that festival and the people who tend to, well, everybody goes, and in terms of like, where that, where can is, a lot of that energy has sort of been drawn into the academy, right? So it isn't, it is the sort of the parameters

of taste have changed for the voting body, or it's like it's expression of its taste has changed. But I also think that if we're talking about great movies, and I think now more than ever with the change in the Academy membership,

like, great movie making is maybe the most important, like it's much more important. I think I agree with you, I think that used to be. I think because the Hollywood slates have been hollowed out in terms of the kind of movies we have started to find.

And there's a sort of argument that you can make to the contrary. But we talked about this when Best Picture was announced, that it's a nice little popry of all the relevant premier places, right? You had like, you had Bagoña and Frankenstein and Venice.

You had F1 and 1 Battle and Centers, nowhere. You had sentimental value in the secret agent at Can. You had train dreams at Sundance. You had Marty Supreme at the New York Film Festival, like, and you had had to tell you right.

So you had this like, international film festivals, American film festivals, blockbusters, awards movies

So there's still, this just feels like a very robust

“and coherent award slate to me this year.”

And obviously these two movies have emerged as behemoths. But it didn't make this exercise for me a little more challenging. In the past, I have found it to be much easier, even during COVID, to be like, nobody was ever thinking

about this movie for the Oscars. I think it's great. Yeah. Yeah. You know, my top five for the year is like,

a lot of Oscar movies. It's great. So that is a whole disorienting when you're kind of like your taste is for years and years and years and years.

Has been not opposed to the academy because the thing that you that I love that I have loved my whole life about the Academy Awards is it's just another taste zone

that speaks to and appeals to me.

But now that I could make a 10 best list and, you know, six of those movies go wind up as best picture nominees, it's really telling me that I have not changed this voting body is true. I wonder where are they just that we're old?

“This is like a, like, a man and I are on an elder”

millennial journey together as we go into the middle of our life where we, getting older, we are establishmentarian now. Like, we're like one battle should win. And it's like, so you're rooting for the leading contender

from a major studio feel, it's like weird. That's not, that's not your change. That's an industrial concern and the, like, the, how do I put it? But how would that be different from like,

shinlers list being the favorite in 1983? I mean, listen. With all due respect to our Lord and Savior's team is filled with it. It is 1993.

- Sturacic park? (laughs) - Yes. - Yes. So interestingly, Amanda, this is, this is an intro,

but think about the dichotomy that we're about to talk about. - Right. - Like, this man made, I mean, had, I mean, maybe the greatest year any director is any American director has ever had in 1993, but if I'm making my list, those five best picture nominees,

maybe one of them is on my 10 best list. - You know, I don't even have time for it. You know what I mean? Like, I do think that I, it's just different now. There's no world in which I'm not putting one battle after another

or sinners or sentimental value or Marty Supreme. - I'm with you. - Or Secret Agent. - Yeah. - Do you know what I mean?

- Six of my top seven favorite movies of the year are nominated for Best Picture of the Five Weeks. - It's just not, it, it just means that they're the, like, no, five of my top seven. - A few, I'm not that much of an interview.

- Yeah. (laughing) I just think that the, that the pull is changed, the studios are much more interested in having just one thing to take to the Academy Awards as opposed to figuring out which of our little girls is gonna go to the prom, right?

“I mean, I think that that's what happened to weapons in a week.”

- Yeah, that was it. - Great. - Three years? - Three years. What's up, Jim Hobart, I know you're watching.

- Wow, that's huge. - Jim Hobart is really watching. - Yeah, he was like my best friend, we're still a test. - Yeah. - And so he took me when I was, yeah, a sophomore.

- Put that James, a little bit, I think they made him at your wedding. - Yeah, it's a, yeah. Isn't that nice? - Hi, Jim.

- Yeah, that's nice. - I, I just don't, I think that things are different. And I'll have to really think about how to articulate what I feel is a real difference, but I definitely think you saw it last year,

where every single one of those movies would have been a different kind of movie,

including a Nora, which would never have gotten anywhere near

the best picture Oscar, but would have been like in a five picture year, the fifth movie. - Right. - And we did talk about that a lot, Lesha, we were like, this is Bananas town, that this is what the Academy Awards is now.

I like a Nora lot, but I'm like, since one is this, the best picture is awesome. - That would have been, like, let's just sort of setting aside how anybody actually feels about these movies. That would have been the critics favorite movie.

- Absolutely. - And it would have gotten no best picture of Lesha. - And everybody would have been like, see the Academy sucks because all the time, Baker God, even the best original tweet play nominee, right?

- Even if, whenning the palm and then, and being like accepted and killed and then, and people would be like this, and all the movies, good luck, big in France. - I mean, David Cronin, like,

there's a number of directors who really missed their chance with this like, like, construction? - They built up kind of cinephilia over years that is leading us to this. - They've helped, right?

- Oh, that's interesting. - David Croninburg Croninburg Croninburg Croninburg. - Yeah, I mean, Sean Baker could for sure, for people like that who are like, I'm cutting edge and I'm putting things

that make you uncomfortable in front of you, but I also find containers to make it

One battle in sinners are the same thing, you know? - I mean, it's sex in sinners. - Yeah.

“- I mean, your fascistic violence in one battle, you know?”

Like, and sex, and sex, those are those things are all. - Anyway, let's get into the category, sorry. So we all chipped in on each category.

The first category that we always talk about

is best first feature. - I strongly feel this should be at the Academy Awards. Strangely, yes. This to me could do so much more work than what the shorts do. I know that there are a lot of the fenders of the shorts.

- I'm not here to get those emails. I don't have strong enough feelings to not it. - We've never cared about the shorts. - It should be a separate program. And I think first feature is a better way

to bring in what the shorts are trying to do. - And less easier to buy. I mean, the shorts are just like, I don't know, did you find a fancy rich person or Netflix to program your short?

It's silly. - I understand that. I have no argument against it and it's very sound. - Or to New Yorker, what the hell? - But once again, what it guys?

- Come on and ask her. - You won, but enough. - Okay. - Wait, what? - Wow.

- That is really just every year. - I just have to put our journalistic institutions. You know, Wesley works at the New York Times. - I am a subscriber to both. - I'm also playing an nominee of the Academy Awards.

- Paying subscriber, that's true. You guys do it. But it's like, it is a little bit of a joke now. I vlog on and they're like three New Yorker shorts nominated. - But I mean, every year.

- Wow, about this. - I mean, I'm not, I'm really truly neutral here. But like, what about the idea to your point about having this, you guys kind of just like seduced me into thinking

about like a best-first film.

- Yeah. - Is this, by the way, are people talking about doing this? Is this on the table? - No, but I'm gonna keep standing in my feet just like I did for the casting.

- Did you do this? - Okay, yeah. - I think that there is a place you now know you can go if you're a New Yorker subscriber to see short filmmaking somewhat reliably.

And I think that that is-- - I'm not a civil value in this. - I'm not a poet, I'm not, I will say, the fact that these nominees are now available to watch on the New Yorker.

- Huge. - The fact that there are some shorts that are not available in any way, I mean, you can go to the movie theater. - This is an issue. - We have the internet.

- This is a good one. - The thing is available. - This is a commercial show. They know this package them, you know, for years, I was really able to show it to you.

- Yeah, you can go to the theater. - I can't make topics on every city, it's a tricky thing. I'm not trying to denigrate shorts. I just think that this is a better representation of emerging filmmakers in the marketplace

because they've made a feat. - I like this. Also thinking about the number of people who could have an Academy Award right now. - It would change, so I mean--

- And that's one of the reasons why I think maybe they won't do it is because maybe Chris Nolan wins from a memento, so he don't feel strongly that he needs to win for blah, blah, blah. So anyway, let's just do this category.

- Here's an obvious. - That presupposes. And at some point, we should do like a post-mortem on the Oscar Snub, so we would keep one for following. - Following, not memento, thank you, you're like following a suit.

- And how you and Katie Rich, especially like feel that people can only have one Oscar. - No. - What?

“- That's what they were doing a lot of Oscar Snub.”

- No, that's not what I said. - What we were saying in those exercises that we were doing. - Which we were doing that clip taking off was the least surprising thing of all time.

When I say the thing, it never reached me.

- No, well, you can look at it afterwards. But the thing is is that the academy frequently. - It's on Instagram. - There's a rare class of people that get more than one. And a lot of times when someone gets one, they're like,

"You're good, you got one." Now sometimes you get a Denzel or John Ford, and they're like, "Meryl Streep, John, John, Sean Pen. We've got to keep giving you these things 'cause you are in the elite class.

But it's very rare." And so you use that as a way to say like, "Okay, if we could just get Pacino his Oscar in the '70s, we don't have to pretend like he's doing his best work in the '90s 'cause he's not.

But in the '70s, he was the greatest actor on earth. - And it also hurts him in this phase of his career too, because-- - Yes, yeah. - A second one would have been better for the Irishman. - Yeah, that would have been for a set of a woman.

- A hundred percent. - Anyway. - I believe that. - I believe that. - But I mean, let him have as many Oscar.

- I agree.

“- That's what I grew with that, took it.”

(laughing) - There's a lot of sound guys out there are like, "I'm coming for Sean." - Yeah, not like Dennis Mirri, the visual effects of what I'm doing, artists

who has eight Academy Awards, like some people win a lot, and some people don't. Best for a feature, Ava Victor for Sorry Baby, Carson Lund for EFIS, Harry Lighten for Pillian, Lawrence Lomont for one of them days,

Alex Russell for Lurker, and I can owe the Davies Jr. for my father's shadow. - God, God reaction. Who deserves this prize? - One of them days, I love that movie so much.

- Did you have this?

- Did you have this? - Yes, yes, yes. - What an achievement. - I go. - No, I was just saying,

there are, one of them days will be getting another award,

or I will walk out of this room. So, in the next category, I'm gonna keep you waiting here. - Okay, thank you. Yeah, in the next category.

- Well, then if you think that's the case, now I don't wanna give it to Lawrence Lund. - Yeah, so that's like, again, once again, our bias over here, just one Oscar. - I'm trying to say the love.

- I agree. - It's sort of the exercise of the Alternative Oscars. - That's right. - Okay, that big fix. - Well, let's talk about pilion then.

- I would like to talk about pilion. - That is where I lean as well.

“- I don't, can I say something really controversial?”

- Yeah, I don't like it. - Another award and save your situation here. I don't like sorry Julia Roberts. Sorry, baby. - Really?

- It's just not.

- What is it that doesn't, it's okay.

Anytime that, what is it? Actress named Naomi Oki? - Yes. - When she's not there. - Naomi Oki.

- Naomi Oki. Like, when she's gone, I don't nothing about this interests me. - Interesting. - Lucas Hedges. - When he's like, I just did not like that character

as written, directed, or acted. - It's been interesting because I had Ava on the show. - I just didn't feel-- - Ava around a lot in the award season. And they're different from that character.

Obviously that character is very personal. - David Victor and they've talked about that, but if Victor's very fun and very funny. - Yeah. - And the movie is very intense and very internal.

- Yeah. - And we talked about the, the jury, and I was gonna say the jury scene is very emotional, but it is, it is funny too in a, in a similar way. - It is.

- And that to me is the I agree that, Naomi Oki character, and that, that friendship is a very beautiful thing that I have, like, I love the friendship. - I love the friendship.

- I love the friendship. - And when Lucas Hedges shows up, he was like, "Oh, Lucas Hedges, it's really nice to see you." - This is five years since we're doing it. - Yeah.

- It's wonderful. - It's so, it has a lot of delights, and I think about that, the jury scene. Both, both the questionnaire that, (laughing)

feeling out, which is really funny, and like, but, you know, funny and observant, and then, and then the, like, you know, that I can't really insert this question or blah, blah, blah, or, you know, that whole speech is amazing.

“- It's very well performed, but I think it's really,”

really well written. To me, this is like a feat of the screenplay, ultimately. So that, and I think that's why, if it's just getting a lot of screenplay. - But let's talk about Philan.

- Okay.

I think this is a movie that should never have worked.

And it is just a marvelous contraption. I just, I loved falling in love with this movie, 'cause I was really resistant to it. But, just, I mean, just, it was one of those movies the minute it ended, because it's got a nice sandwich structure.

- Yeah. - And the minute it ended, I instantly understood why everything that happened in the first five, it's rare to feel this. It's like when you read a book in the first book,

you either loved or like wanted to understand how it was built. You get to the last page, and I, a lot of the times, I'll go immediately back to the beginning and read the first 50 pages.

- Yeah, great. - Like that. This was one of those movies where like, if I could have the time to go back and just watch it over again from the beginning,

I would have, but I remember the first 10 minutes so clearly

“and I understand that that's his family now, right?”

And there's a clear dynamic going on here in the Glee Club Barbershop Portet, really. Anyway, this is such a well-written, well-directed, well-acted, truly emotionally surprising movie. And none of it's version, yeah.

- This would be my pair. - Mine as well. Even the, the choreography of their bodies in those, like, sex scenes. - Yes.

- Are just, how did they do that? How did they do it? - Magical. - It's just so, it's so, so good. Harry Melling, I just, I don't know, I don't know, this guy,

I mean, I know his face from the movies, obviously, from Harry Potter movies, but like, what a, what a brave, tender, fully understood thing to do, like, he understands what he's doing. I mean, sort of scars guard, but also the mother in this,

I don't know, just every single thing about this movie, the way the father operates, it when they're driving around at the end, and that's, at the scene, the day off, the full day off, and the acting and the day off,

and the scars guard just turning into a switch,

his performance at the end of the movie is. - The women sitting on the bench, you know, like everyone, it's so great, it's so good. - You have seen Pileen, go see Pileen. - It's terrific, we've got it.

- What a surprise. - Okay, Pileen wins. - Was that a Sundance movie? - It was, can't. - Okay.

- Okay, breakthrough performance.

This would be a little harder to add to the Academy Awards because what, who can breakthrough and how? - You know, we have best new artists. - Oh wait, so this is a joke of a category.

- Oh, sure. - Yes, but yes. Okay, the nominees for breakthrough performance are, says that one of them days, Gio Marbec, Newville Vogue, Jack Quaid and Sophie Thatcher for Companion,

Frank Delane for Urchin. Mariam Offshari from, it was just an accident, an Erin Kellyman for Eleanor the Great.

“Am I the only person who has seen Eleanor the Great?”

- No, I saw it. - I didn't circle back to that one. - I didn't love it, but that's a good choice. - That's a good choice. - She is the woman in the bone temple, Amanda.

- Oh, she's great. She's really, really, I really have my eye on her. I think she's a really, really gifted, and I think Eleanor the Great is like real bagging kind of a mess, but I know that's inspired.

That's okay, so you showed your hand on who you want to wear. Is there anything you want to say about any of these days? - To me, Jack Quaid is not a breakthrough, but I like them together. - I put it together because this is our awards show,

and we can nominate two people at once, or we can nominate one person for two performances. We are in charge. - That's Triss is our day. - Yes.

- That's your got a lot of money on that. You need that to work. She's gonna be in her private hell, need that to work. - There's something about New York, New York.

- Oh, he's back. - He's back, I can't, I can't. - There's back. There's something about Newville Vogue, like cleaning up at the Caesars, their French Oscars.

- So funny. - That makes me feel better about the Oscars, the America, like every thing.

“- I think like, well, it goes both ways.”

- No, that's so smart, because we, we're lucky that the airport is simplified, like idealized version. - And later was the first non French person to win best director at the Caesars.

- That's the car, whatever guys.

- You'll know that I could never act it, but it's possible.

- This is what Shaug get for the artist. How about that? - This is what Shaug get. - Yeah, we return the favor. - The artist from the... - Yeah.

- This is a great category that I would love to see. Someone figure out how to do well. Cisza, I agree. Now Cisza, a little bit of cheating, 'cause she got 10 years to figure out how to be,

like, a famous, interesting person on camera. - I mean, I don't know. - I don't know. - That's the same version more. - She's so good.

- So much better. She didn't even need to be this good. - Yeah. - She didn't need to be this good. - It's incredible.

- I mean, one of the only successful original movies that came out in 2025. - I mean, it's kind of shocking. You mean, financially successful. - I was successful here.

- I love this movie so much. - It's great. - And my person attires remembering how much I laughed at it. It is the funniest movie. It is also one of the great,

I mean, just instantly one of the great friendship movies. - Yeah. - One of the great friendship movies. I mean, these two people, Tiki Palmer plays the other friend.

They,

you just believe that they've never not known each other.

- Yes. - Even if they just met the day before filming started, these two characters have been friends, because these, you believe these people have been friends for as long as the movie says they've been friends,

because these two actors are selling the friendship.

“- It says it is so funny playing a character, right?”

- Yeah. - She's not playing Sizzah. - She's a goofball in the movie. - She's just playing a ding-bat who sometimes her clock is right.

- Yep. - You know, I don't know. I love that. - Really, really. - So this is why this, this is why we're showing Sizzah.

- Exactly. - So it gives Sizzah a price. - I mean, to get in the sneakers off the, off the old Tristan pull. (laughing)

Be it stuck with that hair like that. - Which is like the, the visits of the loomservice of Sizzah. - Oh, recently the loomservice of Sizzah. - That's so funny. - That's accurate for cameo.

- That actor is so... - And also cat when he's outside telling them not to go in, that movie is really funny. - It's like, I forgot it, I can't believe. - It's really weird 'cause I'm like,

this movie was a hit and yet not enough people have seen it. I think it's on Netflix right now actually. - Yeah. - It's really good. - Okay, okay.

For a best camo, I think this would be a fun award actually 'cause there is an arc to this. - Yeah. - It's showing up in a movie for five minutes or less and doing a good job.

The nominees that we have here are bad bunny for Happy Gilmore, too. (laughing) Conor O'Malley for Friendship. Sarah Michelle Geller for I know what you did last summer.

Bradley Cooper for Superman, Tony Todd for Final Destination Bloodlines, and Tramel Tillman for Mission Impossible, the Final Reckoning. - Oh.

- I mean, this is... - I'm not an idiot. - Sorry, yeah. - Bradley Cooper plays Colelle. - Joel.

- Joel, sorry, Joel. - Sorry. - I kind of loved that.

- I laughed really hard. - I really made me funny because I think he also knows that he's the one major actor that we've got who has not been entirely sucked in. - Well, I have a rocket raccoon.

He did it in the smartest way. - I know this is what I'm saying. Like nobody thinks of him as a being. - He got to enjoy all the fruit of that, but didn't have to be in the tractor beam.

I don't know, he's just so shrewd about what he chooses to do and I feel like. - He's very funny when it comes to cameos. He's on a bunch of these up there. - He's like, he's, you're judging him at Damon, right?

Where he's like, sure, part of the joke is Bradley Cooper's. - Yeah, but he doesn't have the baggage that Matt Damon gets to unpack every time he makes a cameo, right?

- So it's just a different thing. - But it puts him in the lineage of Brando in a very funny way. - Right, right, right, right, right. - It was good enough for friends, I can do this.

- Right, exactly, exactly exactly. - That's what made me laugh. - Yeah, it sucks. - It's clever, I like it.

“The only thing I liked about that movie pretty much”

was that cameo. - Interesting. - I didn't dislike, I didn't hate the movie, I just didn't, whatever, whatever buoyancy I wanted to do experience when I left the theater, I didn't.

- It won't come up again here in the office or church. - But I think it's, I don't know, I'm gonna go with Tony Todd. - Well, he passed away and so that would be an honorable thing to do.

He was the glue of the final destination franchise. I might want to spread some love for final destination bloodlines elsewhere in this category, or in another category. Do you want to make a case where Tremel told him?

- I know, you don't like it, come on.

- He, they basically shoplifted his severance performance

and you don't watch them. - Well, that's right, yeah, I don't know what it is. - So, that guy, in a mission impossible. - We'll give him a little bit more like stank on it, though. - Yeah, it's all fair, but still, it's the same thing.

- I will say it, just being on a plane. - I like Tremel, tell him in my way, he shows up on someone else's screen in this movie. - And I'm just like, oh, my partner. - He is, he is magnetizing, I have seen people,

I've seen him on people's airplanes screen by self. And I'm like, yeah, exactly, like there is. - Out of your mind, that's just a great line and you're very memorable. Nobody made me laugh harder than Conor Malian,

friendship, where he was like,

“I think we should go back to Afghanistan.”

- I honestly, that's good stuff. - That's good stuff. So, it's tough on, also, I got to be honest, SMG, I really liked seeing her in the absolutely dreadful, I know what you did last summer.

- I didn't see it. - Yeah, I didn't see it. - Sarah Pigeon is now, Carolyn Bissett Kennedy. Sarah Pigeon plays an important role in what you did last summer. - Just so you know, that's who that is.

- Yeah, I texted you this, I got it. - You know, I got to watch the love story. - Kai, I was telling you, she loved you. - Everybody watching loves you, yeah. - Yeah, I'm not up to that.

- I think I believe you and I need a show, so I'll do a little bit of a show. Just something to watch together at this juncture in time and we're good luck. - All right, I'm gonna start watching it, you've...

- Okay. - Is Julia watching it? - No, but I'm telling her about it and maybe she'll catch up if we ask her. - So you guys are talking about it.

- Yeah, I'm doing my report. She does graze anatomy reports and I do. - So we're three in? - We might be five 'cause they released the first three of watches.

- But it's the only one that's doing Jackie Kennedy. This is why you watch it. - Yeah. - Okay, who's winning? You want Tony Todd, who do you want?

- I'm actually, I'm on the... - Well, you haven't even talked about bad bunny, who really did the funniest part of the show. - He stole that movie. - The whole movie, it's his.

- Yeah. - I would be fine for that. - I'm not a bad bunny. - I'm not a bad bunny. - Bad bunnies the winner.

What a year for bad bunnies, 26, absolutely amazing.

Best kid performance, 17 years and under. Now, I think it's been acclaimed Jacobi Duke in half a year, is that if this actually was at the Academy Awards, he would win in a walk. He's not represented in our awards today.

I think maybe just 'cause Hamden is dominating. - Yes. - Yes. - Here are the nominees. Ever at Blunk for the plague.

Carrie Christopher for weapons. Jonah Ren Phillips for bringing her back. He was the little demon boy. - Oh. - Alphi Williams for 28 years later.

Lexi Venter for Don't Let's Go to the Dogs tonight. I just saw this movie yesterday, really good performance. - Let's see it. - And Nina Yay for Left-handed Girl. - There's a front runner in this category.

- Is Alphi Williams? - No, I think it's Carrie and Christopher. - Oh, Carrie Christopher, that's... - Yeah. - He's the little boy in weapons.

- Okay. - I love him. - Yeah. - He's a good job. It's very haily Joel Osmett without the training.

So there's kind of like an immediacy. - Yes.

“- That's what an unexpected performance.”

And also, there's something about kids who have to perform fear.

And I'm always wonder about the place they go to

to find being scared.

Is it easy? And I really, really... - And do they understand... - And what are they and what are they all?

“But I think the thing that I love about this performance though”

is that for the actor giving it, it's complete. Because, you know, it's all in the script, right? I've been being bullied for years by these kids. And now all of a sudden, they're gone. Like did I do something, did something happen?

He's got to be mad at the Julia Garner character. Like there's just so many opportunities for... - I am having to work with Madigan, I think is really also, you know, a lot of those table sequences are tricky 'cause she's going very big and very scary.

- Yeah, yeah. - I like it a lot. I mean, I think that this is a really good slate. And this category right this year,

it's not always as robust as it is.

I do think Alfie Williams is terrific in 28 years later. - He's kind of... - He's kind of... - You don't like him. - He's fine.

I just didn't like him, movie. - Okay. - I just did a lot. - Did you see the plague? - And I get it.

- I need to have you've seen the plague. Can you roll with carry Christopher? - You want to make another case? - Yeah, that's good. - Best performance by an animal.

There's only one nominee this year. Sorry, baby, he's going to get that victory. - Oh! - Oh! - Okay, okay, okay.

- 'Cause we've not nominated the dog from Superman. I say no. - Astro. - The CGI dog. - Yeah, no CGI dogs are eligible.

Yeah, I create some idea. - Although I did, he was my second favorite part of the movie after, after, probably Cooper's showing up for 10 seconds. I will say like I did like the spirit of that movie in a lot of ways.

It just didn't do anything remotely as interesting as it thought it was doing, just by being in a good mood. - I, it's a very conclusive Wesley as him.

“I think what corn sweat and bras and hat is good”

and I want to see more of it. I think their chemistry is really good. - Then give me a whole movie of that. - I agree. - 'Cause he has that movie and then it's a movie.

- And then he goes on that scene where they're having that ethics conversation in his living room or whoever's living room is. Like I wanted three more scenes of that. - It's very, it's very sorkingly.

- And a polish on the writing, right? Because it, you just needed to keep. - I think they're gonna do more of it. - I think, and I think Holt is good too. I don't know, I like, I like Superman.

I really like to, when it came out. It's kind of faded a little bit and I guess Supergirls come in at like three months, which is crazy. - All right, all right.

- Okay, next category, best stunts action sequence. The nominees are the, the biplane finale of mission and positive fight on reckoning. - All the kids running around the weapons. - Oh, actually, the raid in warfare.

I don't know if you've seen weapons in warfare? - No, I didn't see war.

- Okay, that's fucking amazing.

The cause way chase in 28 years later. - Which we know, let's listen to that voting course. - The whole lot of love, NASCAR race at the opening of F1 and very inspired choice. Thank you so much.

- Thank you so much. - Yeah. - The how it's done intro and cape up, even hunters. (laughing) - They're fighting on the plane

and then they get to the concert. - Oh, that's good. - Good one, that's randomly in the car the other day. Zack was like, you know, it's really good is this scene that we were listening to it.

He was like this scene and cape up, even hunters. It's just like a stone cold opener to movie that sets the scene. - I think we are, I mean, I at least missed a great piece of writing about cape up,

even hunters as just as a movie. I came to it really, really late 'cause I kind of misunderstood what was happening. But I was like, I'm a weekly chart watcher and I'm like golden has been number one for like,

oh, it's from that movie. So I watched it. I just couldn't believe how much fun it was. It's just so fun. Anyway, the biplane, this is what do we do it?

- Yeah, I mean, it is the biplane. - It's the biplane. - It was a good one. - It's not even, it's the biplane. - That movie is a mess, but that sequence

is among the best things I have ever seen. - I just can't even believe it. - A thousand percent. - They went for it. - Nobody died, and Esai Morales versus Tom Cruise

is a matchup I never thought, that is like,

that is like the 34th ranked player versus number one. - Yes. - But he's doing great bond villain. He's a great, he's a great, he's a great entertainer. I wish they had more to do.

- Yeah, I would figure that character out. - Yeah, I wish, I weren't involved, but that's just-- - I know they were like con the motivation for that character too.

- I thought the, like, A is gonna take over the world. The plot of the last two movies? - Oh, yeah, so it was really stupid.

“- Yeah, yeah, I didn't, that's how I'd find.”

I give you, well, no. But the first, the first half, you know, the first movie in this, in this, in this duplex, every single thing in it to me is five stuff. - See, I love to not break this movie.

- The first half of the last one or parts of it. - The whole movie of the, - How do we talk about all the one in Rome, Chase? - Yeah, yes. - Yes, yes, yes.

- The Rome set piece, a plus. - The train bid at the end. - That's right, that's right. - Rebecca Ferguson, dying in Venice, I visit that bridge.

- It's hard for me to talk about this

“'cause the last one broke my heart so deep.”

- Yeah, I know. - But anyway, the, the by-plane sequence, there's no way to go. - But that's where he's very good. The A, and it is still silly, but that's, that's all.

- No, I mean, Eastomerall is first Tom Cruise in the air.

Just, come on, what are we doing? - Okay, next category. - Yes, best ending. - Addington. Final destination, bloodlines.

I wanted to show a little love to it ends, which was the film that you could rent on the Letterbox video story. Alexander Olom's debut. Bagoña, Marty Supreme.

- Ooh, interesting. - It wrecked a couple. - Which one? - Which one? - The, the one that we saw on this.

- The, the, the, the, the, the, the bass a net. - Yeah. - Okay, let's keep going. - And all the other babies' minds. - What's next?

- And Hammond, it with nine question marks after it. - Oh, pool. - You put that in?

- Well, here's the thing, I have not,

I have not been supportive. - 'Cause if you put an end in there, I would throw the secret agents ending in there too. I mean, sure. - Sure, yeah, put it in. - But a little torn on this, because these are very

off-scorey moves. - Yeah, yeah. - Okay, the one after it. - No, no, I think I'm interested that are all like, I'll pretty audacious, I would say.

- Can you talk to me? And I'm just gonna sit back about the Marty's of pre-mending. - It's one of the real things that I've ever seen. - I've just honestly,

it's really emotional. - Back to one with my experience as a new father, one to one. - I mean, it doesn't, for me at all, because an interesting thing, listening to Sean, talk about like all the girl dad movies, this year,

'cause it's been a lot of dads and a lot of moms who were talking about this last night.

“And you said something and one episode I'll never forget,”

which was just like, this is what happens. You just like get handed a baby out of nowhere, which is not what happened to me at all. - Right, yes, I'm not the only experience in the same way. - Yeah, but there is something

about the end of the Marty's Supreme for really for me as him winning the fake match. And the reaction on Xiaomi's face where I like started crying the first time. And then it's everything else that happens

in the scene beside him. It's the music cue, it's the way it's the same. - And the very final scene? - Yes, and the very final scene. He's at the hospital, he's his baby.

And the tears per fierce hits. And you know, the first line where I know the first line that's coming, it's the sound, every other baby in that nursery is wailing throughout that entire scene. And the nurse is just there being like,

whatever, this is which I thought was so funny and well observed and also telling about what's coming.

That baby, incredible baby acting,

we should have given the award to the baby. 'Cause that baby gives the Marty character like, what is wrong with you face? - Yes, that is. - So relatable to me and my experience

at early first moment fatherhood, where the baby's just like, fuck man, this is not comfortable. I just got out here, it's cold to shit. I need somebody to clean me off.

I need to be fed immediately. Like, it wasn't like the heavens opened in a light shone down.

“And everything was going to be perfect from now on.”

But it was very clearly Marty realizing in 30 seconds that what's passed is prologue. And that every going forward is completely different. And this three hour mania that we experienced is insignificant relative to what has happened

in this exact moment. I thought like a great act of movie storytelling. I absolutely did. - And I felt the same thing, even if I wasn't like, yeah, this is exactly,

I felt like we have the emotion and just kind of, to me he grows up. Like that's what it is. To me like that is a coming of age movie and that's a person who's just like,

and like well now I've grown up and like whether I chose to and whether he will actually meet the moment, no idea, probably not based on what we know. But it's like, here you are.

Like, you know, this is your life. - This is okay. - You teed us up for something that's very prepared to say. - I don't even, let's keep going. - Okay.

- I'm gonna absorb that. - Who should win this? Who should win this? - The reason I wanted to hold off on Tony Todd is because the funniest thing ever

is final destination in bloodlines ending with the logs, in the train track, explosion and all the characters dying, which is just like enormously satisfying. Like a great call back to the best moment

in the history of the franchise, everyone dying at the end, which is how all these movies should work. To me when we talk about like, all it ain't like it used to be,

or we're talking about like Oscar movies, it's also this. Also just like funny, mean spirited. Just starting with the trailer, I'm like, okay, I'm watching this trailer

- Yes. - Yes. - With like the glass and the ice. - I'm not, I'm not, I'm not. - To the extent that I'm nostalgic for that,

it definitely tapped something for me. And I'm like, these movies stress me all the way out, but I missed that stress. And I would like to experience it a little bit again.

- So once you get like, I'm, I'm, I'm definitely, - And that's fine, that's, that's good. - I do think that the adding to an ending

is extremely powerful as well.

- That's about it every single time. - The image of the main data center. - Yeah. - The very fat last shot of the movie. I mean, I think also the final one.

- Oh, yeah, you know, is you? - You have an adding in problem. - We know this about you, yeah. Or maybe it's already.

- It didn't problem. - Yeah. - Well, it is interesting that like the traction for or against it, I guess, I mean, I don't know.

- It's going to weigh for it in the last three months because of what the world looks like right now. - There's a lot of like, actually this movie. - We miss something. - We miss something.

- Oh, it was just like. - Oh, you mean. - This is gonna be as right. - Okay. - Wait, we were too soft and are enthusiasm for it.

“Or, I think, I think the early chatter on it was too soon.”

And then the late chatter on it was not soon enough. So he falls through a crack that Paul Thomas Anderson can't understand. - Oh, one movie was like the most depressing, nihilistic ending imaginable

and one bad officer and other of like, "Hey, my daughter's gonna go out and take care of the world." - You know, like, two to prevent or keep the cycle. And yeah, um, okay, I think that like, if we're sticking to the five things that are six things

that we have to work with, even, I mean, having listened to the case you just made

for Marty Supreme, which I'd never really

heard expressed in such a spiritual and personal way. - Yeah. - Many people are saying, "I'm gonna be a spiritual." - But going is the only winner here. - I mean, I absolutely, I like the code that.

- But going is the only winner. Like if you, even if you, also, even if you hate this movie and you aren't sure, because I don't know, this is an interesting thing to talk about. Like, I didn't think she was the alien.

- Yeah, I went back and forth the whole time, which was, I just didn't think she would, I just didn't believe it. And part of me feels like a dummy now because it's, I'm a stone.

She wasn't gonna take this part if she couldn't be the alien. - Good point. - I don't just feel like it's a really good way for me. - But the movie is so good at knowing that knowing that you think she is

or you're going back and forth, that is really playing with you and like, get to you. It got me too. I didn't think she was, even when she went into the closet. I was like, "What's going on, Amanda?

Amanda, I still." - Even then I was like, "No man, he's just crazy." And she's just like, she's just playing along. - No. - And then that scene, they're just up there,

being aliens together, it is the funny, I mean, my, I was bored for a lot of the movie. But I mean, but bored in awe of her, right? Like, 'cause I mean, she really is. - She's gonna go right now.

- It is, it is, I mean, I mean, I guess I've all, we've all, I mean, you watch easy and you know. - Yeah. - The Emma Stone, you knew she was gonna be something and the movie's changed

and she still got to be some version of it anyway. She is from the standpoint of everything that matters

“to a great screen actor, the best actor, I think we have.”

- Yes. - Right now. - Then on this corner for me, totally agree with you. - I just, I really like the material that she picks. I do think she needs a yoga's break.

- She needs a break. - She needs a break. - 'Cause now, because I think a lot of what has brought me to this feeling is this collaboration. - And, but I mean, can I just say,

could we be asking, could we be asking, would we be asking Michael B to stop working with Couglar? - No, but I think that's because we know the Couglar is,

B, MBJ is always at his best with Couglar

and Emma Stone can be at her best with other people and we want to see that. - Right, I do, but I also want to know if he can bring some of the Couglar with him if he did another just mercy, right?

- We'll see, we'll find out. - No more liars. - That's fair. - Oh, no, no, no, no, no, no, no, no, no. You know what, not even, and this is an important note.

- No, lawyer, daughter, not.

“- This is an important note for Thomas Cronefair, as a student.”

- Well, he's a famous, he's a, no briefcaseist. He can be a lawyer, it's the briefcase. And there was just, he's gone up the stairs in just mercy

- Guys, we gotta keep moving. - That's all it is.

“- Okay, that's all it is. - This is an important show”

we gotta keep it on time. - I feel, like,

I've never felt closer to the people who manage ABC,

'cause they do right now. - So I'll give it to Bagonia, I don't give it. - Okay, cool. - Bagonia wasn't the only press that was on his way today. I mean, why don't you please read the next prize.

- So I've added a new category called the most fun had by an actor, this year. - My nominees are Javier Bardem, F1, Rosman Pike. Now you see me now, you don't, are you on what's happening in that movie, she is playing a South African diamond princess

with the full accent. - Sorry, that's the happen at the movie last year. - Yeah, fuck. - Oh, Robert Pattinson, Mickey 17. - Oh, okay. - And, and then you could also

put Traumeltelman in this category. - To me, it's Rosman Pike in a walk. - Yeah. - I'm gonna watch this tomorrow. - Yeah, it's, it's an incredible play in movie. - Pretty much stakes, but honestly,

she's really having a blast. - Okay. - All right, that's good. - I didn't know she could be so camp. - Yeah. - I mean, she kind of had that in solper, right?

- She did. - The movie, she did. - She did. - She did. - She did. - She did. - She did. - That's why I'd like to go there. - Yeah, that's like the best part of that movie to me.

And she's really funny.

- Yeah. - And you would never get that much watching.

- She's very involved in this. - She's very involved in this. - I would watch an AbFab with a parody movie with the two of them doing them. - This is a great category. - One should read the next category.

“- Okay. - That's what I'm important to you.”

- And it's, so this is, this is something, the glad and close memorial, it's time Oscar. Which, you know, we give to someone who's been trying so hard and just can't get there and let's put everyone out of their misery. I have suggested that we give this award to Noel Bobcac.

- Oh, I would like him to really win Oscar. - I would like to win a real one, but I don't know what are we doing. - But we listen. Oh, we, although, all right, the blank, okay, okay, okay. - The blank close, I feel like we can't do this to Glenn,

but it's just named after her. So it's like whatever happens after that is what happens. - I mean, what went on here? - I don't know, because I am thinking about it. - So, I mean, he's made some embarrassing movies.

Like, I think that white noise, - I'm not meant to fend her. - I like that. - I'm a huge defender of Noah's. I think he's, I have everything.

- There are some, I like a lot more than others. There are some movies that I'm not crazy about. - I'm like, he's incredibly important to me. Like, I am a disciple, and I did not understand what was going on.

And I like, she was more down on it than I was. - I went to Venice to be there for the premiere. Like, I was in the room. There was a rate, I was almost stuck on that island, because I love, no bum back.

“- I think what's hard for me about Jay Kelly is,”

it's such an exposure of the underlying values or something. I feel like this is a man who is really going out of his way to be a real cinematic weirdo. And the idea that the person who made,

oh my god, I'm never gonna remember what that movie is called.

What's the, what's the one where Greta Gerwig goes to the, to the, to our sister or cousin or nieces? - Nonsense America, oh, Mr. Mr. Gerwig. - When they get to the house of Mr. America, it is such a, such a boonwellian train.

- The Connecticut house, yeah, yeah. - I think about the nerve of that sequence, of that passage of that movie all the time. It doesn't work, but there's a real attempt to like, not play by anybody's rules.

- I love that movie. - And this to me is such a betrayal, or of those values, or it is, the true or success, or it was, or it is the truth, right?

- I think it is. - I think it's also, there is a whimsy and like a, - In this, in Jay Kelly that I don't recognize, he co-wrote it with Emily Mortimer.

- Like I understand, I have no idea that you will. - If you swapped out George Clooney for Tom Hanks, who'd have worked? - I, I don't. - I mean, they'd still have to say the same words.

- Yeah. - And be on that same train, and have that same dialogue with the daughter. - It is definitely a Clooney problem. - But, and I know why they,

- I know why he wanted him. - I know why he was a bitch. - I still feel so similar in this movie, and I love Sandler as well, and I'm happy to see him, but like, what is going on with you?

- Do you like Sandler in this movie?

but I'm just, and I'm not even his fault. Like, what is that character? - No, we're not letting him out the phone. - I know what it is.

- That first scene on the set.

That scene, the opening sequence. - Gonna get one more that one. - I just hate it. I just hate listening to like, Hollywood people, like writing about,

Hollywood people pretending to have like, deep or emotional or spiritual phone calls while at work. It just, it's me show man. - But all the stuff would Billy Crudup. It's just, every single, the daughter's sequence is,

I was so mad at this movie for so long, and it was waiting for something to redeem it. - Oh, I'm completely mystified by it. I've spent months and months trying to understand it. - I've spent years in my acting joint, I've spent years in my acting joint.

- It's like one of my favorite filmmakers in Italy, like, I don't know what my problem is, and I had some problems. - I don't have a problem. - I know, but do you think if you give him this prize now,

we'll discuss about it. - Can we go back to Greenberg? - Yes. - I mean, you know my God, I would give anything for Greenberg, a movie that I didn't even love,

but I love it in retrospect.

- Greenberg too, colon, I love LA. That's what it's gonna be like. - Gonna think about it right there. - It's gonna be like Arthur too on the rocks. - Just seeing when they're driving,

the Greta Greta character to get the abortion,

“and she's like, can we go to In and Out afterwards?”

- Oh, yeah. - It's your day. I think about it. (laughing) - Every day.

- Yeah. - I mean, she's also bad in this movie. - Like Greta? - Well, oh, why? - I do that, where I just,

I think that I think he was going for a tone that he just did not quite have a answer. - Yeah, I just did. - But it was like a little bit more of like, I mean, a silly Italian, you know, romp.

- But keep frequently misfires tone. I mean, while we were young, like, I don't, I don't, I don't. - I don't have that rock, so. - That's fine.

- Okay, we have to keep running. - We have to keep running. - What's next? - We're going on the real world. - Congratulations, no, I'm not back.

You're welcome. - Oh my God. - Best screenplay. The nominees are Mary Bronstein for if I had like said, kick you, Michael Angelo, Covino and Kyle Morvin

for Splitzville. Clayberman does a folio for the secret agent. Zach Cragger for weapons, Ava Victor for sorry, baby, and Ari Aster for heading to. - You're doing your sorry, it's like Canadian.

- Can you, sorry, baby? - Yeah, sorry, sorry. - I mean, I, I, I'm just, sorry. - It just, sorry. - Sorry, sorry.

- I don't know whether it's like the Matt Johnson. - Sorry. - Like, you're about to the band that showed the blue effect. - I think that's the Canadian. - I've been trying to say sorry,

but it just does, as an American, you just don't want to be, let them have it. - Yeah.

“- Which prize is Clayberman does a folio gonna win?”

(laughing) 'Cause he's gonna win one of these. - Yeah. - And he wasn't nominated for any of these. - I feel like,

what are the, what are the, it's, it's... - He's screenplayed weapons. - I think weapons, I'm gonna say weapons. - If, if we can give, if we can give our, - I think it's weird that this is not nominated

in a row. - I do too. How do you explain that? - I don't know, I really thought it was gonna happen. - It's such a slam dunk. - I know.

- For an original screenplay. - I'm gonna, I predicted it to be in best picture and my thinking was it's gonna get screenplay, supporting actress and picture. And that's like a, that's a good package for your like

sixth-cent style, like original thrill of the Oscar sometimes likes. And it just didn't get there. - And also my friend Nick Koolish, real to me, is also kind of personal too.

You can feel that. You can feel that. But I didn't know about the sort of undergirding - Right, his friend who passed the game. - Yeah, I didn't know about anything.

- And there's all kinds of stuff about addiction and recovery that's in the movie. I, I think it's a really good stuff. - I love this script. - It's like, I would happily give it to him.

- What do you want to make a case for anything?

“- Um, I think this is the only place Mary Bronstein”

is nominated. I didn't put her in director. - But I mean, I think it's a better directed movie. - I agree with that. - I just scripted as good, but I think it's like,

I feel this is a real feat of directing. - I didn't know, and there are a few directorial choices

that are amazing, but I don't know.

We, you, the whole thing is a directorial, - In the work, I don't like this bit with the seal. - Well, you know, they do like that. - But just, but just the way the rose burn and the daughter are handled visually.

- It's transcendent. - It's very interesting. - Very interesting, yeah. - Just so imagine. - And it really pays off. I don't know that I mean, you very kindly last night asked me,

like, how was it being a mom, you know, or something? - It was like that. - It was really, it was a mom in the face of the, the part that is reflecting on her, right?

- And, and if I had, like, as I'd kick you is definitely about how it is really shitty to be a mom, like that is sort of the, the system, but that's not what the thing is. - It's not like, it's not like-

- It's about like, it's about how hard the world makes it to be a parent. - And, and I have been certain circumstances too. - And I have thought about so many specific scenes,

whether it's the parking attendant or like the support group or, you know, the, the wine being shut off at 2 AM.

- I'll never get the image of her just shoving the cheese

from the internet from the first scene. - Right. - Which is the most like, I know that, I know that moment. - Right, and like, and every interaction with the, the doctor in, like, in the hallways, like, all of it is so,

was all of it observed, but there's something also

“written about the character that I think is so,”

I have to say. - And revelatory, like, amazing. - It's incredible. - The best plot twist in any movie, oh, that's not true. There's been a few good plot twists.

But like, this is definitely a top three plot twists. Finding out what her job is. - Mm-hmm. - Like, finding out what her job is than the way we find out is one of the funniest,

most shocking things I think have ever seen that also reveals a character at the same time. - Yes. - Fantastic.

- So I think it's a Mary Bronsby.

- Mary Bronsby. - I don't even know. - I think exactly. - Yeah, exactly. - Yeah, exactly.

I wanted to make the case. - Again, because the thing about that reveal, and if I, if I, if I, legs, I get you is, it's just how, it's just the POV of the movie. It's just you are completely inside our narcissism

and stress that, of course, she knows a thing that she forgot to tell us because she already knows it about herself. - So when we find out, you're just like, the whole time, you've had this job.

It's like, okay, anyway, sorry. - Okay, Zach Craigger is our winner. - Okay. - Best supporting actor. The nominees are Tom Burke for Black Bag.

Tim Key for the Ballet of Wallace Island. - Excellent. - You could have, Adam Sandler for Jay Kelly. I will not be moved off of that corner. Dylan O'Brien for Anniversary

and I will speak with you guys about Anniversary, Austin Abrams for Weapons and William H. Macy for Train Dreams. - Ooh. - Now, Dylan O'Brien, you could say,

also for Twinless. - Potentially. - I don't know. - We are doing that. - We are doing that.

- So I'll add Anniversary and Twinless. Now Anniversary, you haven't seen her, right? - No. - Okay, you haven't seen it. - I haven't seen it.

- Drainage film. Possibly the most arranged film of the year. I really like what he is doing in the movie and it is a very slow evolution towards something that is evil.

“I think about a very successful college professor”

sort of public intellectual type played by Diane Lane and her family coming together, I think for a large anniversary part. - Are we to Diane Lane movie last year? - The cast of this movie is Diane Lane, Kyle Chandler,

Zoe Deutsch, Phoebe Dinerver, Dylan O'Brien, and Darrell McCormick and McKenna Grace. And it's about the country slowly descending into fascism, through the prism of a family that is at the center of this descent.

- The movie is like so interesting on paper. - Who did it? - It's screenplayed by someone named Lori Rosanne Gambino and the director is Yon Komasa. - Okay.

- The execution is like kind of a train rack and at times laughable. The performance is though are pretty good and Dylan O'Brien plays kind of what is happening to young men in America.

And I don't mean that in like the Joker sense. I mean that in like the Ben Shapiro sense and it's, he's very good. Now, I'm not sure I'm from recommending this movie and I think I feel very similar when you read me,

you kind of want it. - It would be like a really great podcast episode but not a good movie, which is an extreme of culture. - Right, but one we find ourselves in more and more. We do indeed, I just wanted to explain that

because I couldn't get him out of my head when I was thinking about this category. - Okay. - Where do you guys lean here? - Awesome, Abrams.

- I know you're gonna say that. - I mean, you just gave weapons a lot of-- - That's okay. - But he, like it's hard to watch that movie and not, I mean, I just remember watching it being like

whoever this guy is 'cause you also, the thing that I love about this movie and the way it's structured is you don't know who's important, right? - So there's this guy running around the periphery

of this movie and then all of a sudden, he's got his tunnel reaches the light of his own section. - Yes. - You know?

- And I'm like, oh wow, first of all, we get a break.

In second of all, we get to spend time with this performance. Like it's so dialed into the thing that it is, which is like-- - It's so funny. - He's like the sixth consecutive euphoria cast member

who's gonna be on movie star? - Oh, interesting. - Like he was the ninth lead on euphoria. (laughing) And now he's gonna lead the resident evil movie.

- Yeah.

“- And he was just wolf's, he was the best thing”

and wolf's. - Oh yeah, yeah, yeah, yeah, that's true.

- He's a very good actor, I don't know.

Well, I mean, I'm open to like have it, not be awesome, here rooms. - I put William H. Macy, I'm here just because it's William H. Macy, he's so wonderful, yeah. - He's so great, and I also,

I feel like I've seen every iteration of William H. - This is a great point. - This is a great point.

“- And I was like, why have I never seen this before?”

- This is a really seven minutes, so beautiful. - Yeah. - This is his makeup Oscar for not winning for Fargo. - Okay, there you go. - I mean, also, whatever, we can talk about this.

Are we gonna, is, is old Joel out there somewhere? - He's not nominated for Best Actor. - Okay, well maybe now is the time that just be like train dreams, y'all. The acting and train dreams, it's like,

- It's really good. - Joel, Edgerton, what do we, I mean,

you and I, like, I never got it with him.

- I know, I never got it with him. - I mean, even, for the same joke, I'm usually real black-lipped about it. - That's true, that's true. - She's great, it was a real union for us

in terms of people that we didn't get getting them. - Yeah, I mean, Joel Edgerton, I just, I, it's weird to fall in love with an actor you've been watching for 15 years. - You do like him though, but you'd like him in the past.

- I like him, but I feel like there's usually somebody who's more interesting or yes, too much. - I really like him in Underground Railroad because that part is impossible. - Yeah.

- And he manages to do really surprising and absorbing things with it. And I feel like I understand this sort of abstract figure in a way that he makes, he makes that character concrete. But this is just like a completely perfect use of Joel Edgerton.

- I agree with that. I think he's very good at, he's a listener. He picks very good material and he's not worried about dominating anything.

But I always find him to be a little bit of a blank sheet of paper.

And this was the rare case. And partially it's just 'cause like Dennis Johnson just wrote his life and imbued him with something that maybe he doesn't always have to me as an actor.

“- I think that also his best mode might be tenderness, right?”

- Yeah, he's like not in loving though, you know. - Yeah, but that movie is bad. - I agree. - Like it doesn't know what to do with him. And this movie seems built around him, right?

Like that's an issue movie that has Joel Edgerton on the side of it. This, this to me doesn't work if he doesn't work. I don't think. And he really works in it.

- Well, Macy's getting hardware and he's not. - Well, well, it makes Macy. - Great, we've got five more categories. Best supporting actress. The nominees are Jodie Comer for 28 years later.

Luna Chaplin for Avatar Fire and Ash, Vicky Crapes her father mother sister brother Nina Haust for Heta. I'm taking out Pamela Anderson, no shots of Pamela. - Oh, my Pamela. - Tanya Maria for the secret agent.

Kirsten Dunns for Roof Mode. - Oh, yes. - And Regina Hall for one battle after another. - It's hard for me to not pick Kiki. My, you know, my number one.

“- You don't remember like my right or right.”

- I didn't love Roof Mode. - She is also, she's a very, very elevated girlfriend but she is playing the girlfriend. I want more of her for Kirsten Dunns. - I think this part is great though.

The movie does not work and it's kind of a, it's almost a crime that movie thinks it's gonna get away with what it's trying to get away with. - But just like the Roof Men. - Well, exact, but this is the problem.

They're completely aligned. - Yeah, right. - You said the same thing. - Yeah, I don't agree, but you know, that's great. - I think she is so good in this movie.

- She's good in everything. - I know, but this is like a particularly smart use of a person who you would think would be too good for a part like this. But the understanding of her very transparency as an actor

and her ability to play both acquiescence and skepticism, simultaneously with that face, right? That face that looks like it's been around the world. And every scene with every actor she's with, it's kind of a different kind of awareness

with the church people, it's one thing, with chanting, tatim, it's another. With the daughter, it's something else. With them all together, it's a different thing. Her and Dinklage who plays her boss

at the Big Box store where she works is a different energy. She's like kind, but with holding sweet, but if you cross her, she will put a knife in your chest. Like, I don't know, I just, I can't believe, talk about a movie that had one great supporting

performance in it that didn't get any nominations that should have gotten one for this. - All right, well then, fine. - Wow. - It's the time of Maria.

- It's time of Maria, listen. - Time of Maria. - I give a similar speech, time of Maria. - Time of Maria from the secret agent. We will talk about the secret agent in depth on Friday

on the show. I mean, nobody fucking saw the Jim Jarmish movie. We would Vicky Crabs' phenomenal in the Jim Jarmish movie.

I'm sorry. I, I, I should break down and see it. - Right. - Nina Haas for her, I don't know. - She was great.

- She was good. - I mean, I, I, I felt like, - I want to, I'm like, oh, she's really going for this. - Yeah, it's big. - Like, all the tea, well, it's funny

because it's such a busty part.

“And I'm like, well, what is the bustiness about here?”

And this is like, to me, all that chestiness is like full emotional exposure. And just like the amount of crying is sort of proportional to the amount of bust.

It just, also, she's never acted like that

in anything. - No, I've never seen her. - I've never seen her. - I've never seen her, yeah. - I've never seen her, give her performance like that.

- Oh, she's usually much more strange. - Yeah, I just, I loved it. Like the damn, the damn burst. - Yeah. - Oh boy, it's a tough one.

- This is loaded category. - I would still make a note for a ring. I'm going to chaplain for Avatar. - Yeah. - All right, that's a novice.

- That's an interesting end. - Yeah, I like hips going on there. - A lot of hips. - Wait, is she, she's the, like the, the bad lady? - Mm-hmm.

- Okay, that, she's, she's, she's good, that's good. - Yeah. - That's good, that's good. - A lot of good choices that she makes.

- I mean, Tanya Maria is really nice.

“- This, this should be, this is the real”

supporting actress category right here. - I'm sorry, I'll do respect. - We picked a good one. - This, this is, this is the, this is the, - Okay, Tanya Maria is going to win.

- Great. - Tanya. - Tanya! - Best actor. - Mm-hmm.

- Benicio Del Toro for the Phoenician scheme. Lee Bionhun for no other choice. Joshua Conner for Wakeup Deadman and the mastermind. And the mastermind. - It's one to Ben Wishaw for Peter Hoosier's day.

- Mm-hmm. - Harry Melling for Pillian and Jesse Plyman's for Bagonia. - This is, go on. - Uh, I would love to hear you guys talk about Joshua Conner, but only in one movie

and that's, uh, the Kelly Wright heart. - The mastermind. - And it's my favorite of his performances. - Yeah, I would agree with that. I still not enough there for me,

but the character is really good. And you know, well, we'll talk about the movie itself later if we want. - But the scintillating and diamond of all men from Kelly Wright. (laughing)

- Yeah, no, I mean, I think, but I think the character is stronger than the performance in a way. - Um, what are my Harry Melling? - Mm-hmm.

- What's my other option? - Lemons, Ben Wishaw. - Oh, Ben, listen, what a hard job. That movie, what is he just speaking a transcript on a sofa and on a roof?

- Yep. - It's, I like that movie. - I love, I love that movie. It's short and sweet. She's also really good to be back home

that she decides to do the accent. I, I don't know, I just love the quiet, intellectual subtlety of this film. - It's the assumption that you would understand what they're talking about,

which is a really good choice. - Like we're launching you into New York. - The New York art world in the '80s, I'm there.

But he's just such a, I've never seen him like this before,

like not neurotic. - Yeah, I was gonna say he's more like confident, like raising almost, yeah. - Yes, this is a version of him that I really like. - And, I mean, I'm a fan.

He's Paddington, he's cute. - Wait, he's saddington. - He's a voice of Paddington. - He's awesome. - Paddington is, it's wonderful.

(laughing) Yeah, have you not seen this? - I've seen them. (laughing) - I didn't know that, which doesn't that make it better?

(laughing) Who's winning this category? (laughing) - Okay, well, yeah. I guess, you learned something new every day.

- Yeah, well, I listed it in the show. - Okay, so you're out on your ad on Joshua Connor. - I'm not, oh, I just feel like-- - Is that where your heart was leaning? - Well, no, he just, he brought it up,

and he's like, oh, I wanna hear you talk. - Wait, how are we not talking about Lee Bionhun? - Yeah. - Like, what do we do in? - He would be my pick.

- Yeah, so come on, this guy leaves it all out there and possible performance.

“You should hate him, but you kind of can't,”

because it's like, what would you do? - Yes, right. - Like, well, I probably wouldn't create a fake paper company to then get job applications from all my enemies and kill them.

That isn't something that I personally would do. - Oh, he's so, like, it's funny and stressed. - That's the thing. - It's funny and it's dramatic performance that is very funny.

- Slapstick, a lot of perspective stuff that is great. I'm only Bionhun. - I don't know how to make a weird outside chance to get in here and... - What does that mean?

- What does that mean? - The Academy just is not interested in this film or in Park Tanwalk. Don't really know. - Not can though.

- He'll get his, he'll get his chance. - He's the president of, at the Cannes Film Festival, this year of the jury. Oh, this year?

- Oh, Park Tanwalk, that's a long enough. - Yeah. - I'm surprised that hasn't happened before.

- He's never been on the jury.

“- No, I think old boys of her movie had there.”

I think he's had five movies there. - Yeah, I'm surprised he's never been on the jury at all. - Okay, best actress, Julia Roberts for after the hunt. I had to sigh for the housemate and the testament of Anne Lee.

Susan Shardy for on becoming a guinea fowl, Jennifer Lawrence for Dima Love, Kathleen Shalfont for familiar touch. And I put on a daarmus for Eden. - Okay, let's talk about Julia.

I put it on, just to talk to you about it. I mean, I think she's good in this... - She's in this absolute mystery of a film. Very good in a movie that has no idea why it exists. - Why doesn't it exist?

- I totally agree. - Can you explain the last scene after the hunt to us? Like, what is your interpretation of her in the hospital bed? - Oh, no, no, no, no.

- Yeah, the reunion scene.

- In my old Indian jammy.

- Is that your spot? - That was my spot. - Wow. - I mean, is this pretty good, too? - I'm surprised they didn't change it

into something else, too. - It's just what it is. - It's weird because did you see the VFX?

“- The real set in New Haven, Connecticut at Yale University?”

- Did you see that they, the way that they rebuilt the campus with VFX? - I read a very good piece of art criticism by a guy named, I think Chris Hawthorne, Christopher Hawthorne.

- Oh, yeah, sure. - Long time architecture great, damn. - He wrote about this movie. He wrote about the Woody Allen opening credits. - Right, the real flex type.

- And really find the way the movie recreates Yale. - Somewhere else. - Interesting that they didn't know that. - I didn't know that they used the restaurant. - Right.

- It's been noted that the restaurant is like, that's a real place. - It's a real place. - Anyway, I don't, well, it's funny. I have a hard time loving, I love this performance,

but everything about it, everything else about it is so false and unsure of itself, that her confidence in a weird way is for as good as, I can isolate it from the badness of the movie, but then it kind of makes the movie worse

because it means that she was probably left to direct herself. - You know, no, he just had a real handle on this character. And made all the choices that she wanted to make and she's powerful enough to be like, this is how I'm gonna do this,

but then there were a lot of other actors who were not, I think Garfield's pretty good in it. - He's not his best, he's not his best. - But it's not a good, everyone else's a part is bad. - Yeah, he's making the most of a,

he's kind of like a source of talking points, he's not really like that. - He's so he's 70 is great. - She's wonderful, that she's wonderful at the bar,

“about the Smiths, I think it has never happened ever,”

either, like two very popular professors, just chillin' in the, one of the New Haven dive bar,

didn't, and never, I agree.

- I mean, or all New Haven professors, or Yale professors living like that, because that apartment was there's some people who can do that, it's quite stylish. - It's not a lot about it.

- Well, listen. - It's a chief, what the, - Get back in as a classic. - And then, you mean the house? - Yeah, yeah, yeah, and her apartment.

- Oh, yeah, that's easy, that's just like, there's like three streets for that can happen. - Okay, that's easy. - I mean, it's easy, that's strange, but it's not a threat, it's not a threat.

- It's really a winning this category. - Well, wait, hold on. - I mean, you grow into Jennifer Lawrence. - Kathleen, Kathleen Schalfon. - Yeah, I like familiar talk.

- The exquisite, exquisite, like the idea that there weren't enough actors who saw her give this performance is such a bother to me. - What did she win New York Film Critics Circle? What, she wants something?

- No, she did. She did what? - What prize did she win for this? - Ah, that's very sweet. - She definitely won a Critics Prize that was an early,

like, we're giving this, we're shining a light on this. - Oh, all right, that's good. - But it got, I mean, it was a very small release in May. Not a lot of people saw it, I think it's a very good film. - Very good movie, very well directed,

really well written, and she is so good. - National Society of Film Critics. - Ah, good for them, good for them. I, can we talk about Cyford real quick? - And also, I think she won the Horizonte Award

at Venice for Best Actress. - There you go. Now, the house made, I think she's very amusing in, I don't know that I would put it up in any real awards race. And Leah, I think she's fucking fire in.

- I loved it. - Go on. - Okay, here it's a no. - We divide Miss the Anlie episode. - Yeah.

- Yeah. - It was a real episode. - We don't have to do a conversation. - You don't have to do a conversation. - I will find it.

- Because we both liked it. We thought it was, again, I saw it, like, at Venice with no context or whatever besides knowing that it was monophasible in Brady Corbe. And was surprised and found it to be like,

the other half of the other perspective of the brutalist,

or where they connected the dots a bit more. Well, also being really weird. Like, I really liked the music and the choreography. I thought that it communicated, like-- - I think it's a crazy performance too.

It's very physical with all the birthing stuff that is very traumatic and the physical abuse plus the singing and the choreography and dancing that she has to do. You know, the whole movie is on her face, the whole time.

“I think it's like a major major performance.”

I loved it.

I love her. I've always loved her as an actor.

I like when she challenges herself. The house made us are not really challenging herself. It's a-- - But she's had problems. - She should've also been nominated for-- - Most fun had in a movie.

- Amanda Siferd, me too. - I really, and I love the idea of Brady Corbe and Monophasible. I mean, I love the brutalist, so it's not even like so much the idea.

I love the work. - This one-- - You couldn't get into it. - I just felt like it's trying so hard to not be that shaker movie, but it's the other shaker movie.

And it's so, it's so the other shaker movie that I couldn't get my heart mind with my eyes sometimes all the way around it. And I just ink every, with each passing scene, I felt more alienated by it.

I also wish they had not cast anybody

I recognized because none of the other actors have anything to do, so I'm like, "Well, where Chris Farabico?" - Yeah.

“- Like, I'm kind of interested in him as an actor”

and now I'm like, is he coming back? Where'd he go? So if it had just been heard in a role of all men. - Right, yeah. - Yeah, I just, except for Lewis Pullman.

- Yes. - Who is in the role of others? - Yeah, nice brother. - Yeah, I just, I really, this movie really kept pushing me out of the theater.

So it could not disagree with you a lot. - Yeah, I know. - I know, I know. - I mean, that's like a pencil of anything. Don't the shakers have a presence and the tension.

- I mean, sure, sure, sure, sure the shit. - Is it in the last, you know, in the New York? - It just wasn't, I don't, the shakers are not a part of my, - I was not not familiar.

- I know that it was shaking Quakers until this movie is so interesting. - So you guys learned, yes, yeah. - I wasn't about that. - To me it was, I find most modern musicals quite tedious

and I thought this was a fascinating re-invention of what to expect from this is such a, - It was a busy rip in the church. - And was like, people who are ecstatically performing their faith as opposed to the,

but I observed as a person going to Catholic church in the suburbs in the 1980s. This was moving, honestly, fascinating. And also like, I really like that and Lee on paper, very much seems like a cook,

very much seems like a cultist, and that the movie does not engage with that. - The movie is over there, but it is a very, it is a very non-judgmental portrayal of the events of her life in a way that I find interesting.

We have to keep going. - Yeah. - Where are we picking in this category? - I'm going with Katherine Schof. - Even though the critics already gave up the,

and you just, you roll your eyes at Jennifer Lawrence, it's an Ophria. - Oh. - Okay, well. - What an embarrassment.

- I love it. - I loved it. - I loved it. - And you know what? I saw it on a date with Zach and we were both cracking up

and we were just like, you were laughing at that. - The movie? - No, because I was postpartum at them when I saw it. I was like, yeah. - I really want to be respectful to that experience,

but you do, and this is, this is one of the most embarrassing uses of two good actors. I have ever seen. They are in acting class 1021, and the instructor is like out and we are watching this.

So, because I mean, some of the things that happen here, I'm like, this is really a thing that happens

in acting class on your first date.

- Right, where are you crawling? - Partly a dog. - I just, I was so embarrassed for these people. - A primal expression of mother-in-law. - And I watched, and I watched the,

“what was the one before this is dinner for Lawrence movie?”

- No hard feelings. - I love that movie, and it's the same. It's kind of the same, like, feet of, not giving a fuck, right? I love that movie so much more because she was giving so much more to a movie

that really didn't need it, and this movie is taking so much from her, and giving us nothing. - Giving us nothing. - Siphoning your life for us. - Siphoning your mental illness.

- Siphoning your mental illness. - And then she just married to this cute dog, I who brings home a dog for no reason. - And he's such a dick. I just, I really, really, really,

- Actively, this is actually weirdly agreeing about the fact that this is sex.

- I fall right in the middle of the two of you.

I don't even give it to you. - Julie Roberts. - Julie Roberts. - Julie Roberts. - Julie Roberts of Hardware for Julia Roberts.

Okay, last two categories. - She only has one. It's not enough. - She has, like, 14 golden gloves. - That doesn't, that doesn't, that doesn't.

- Okay, best director. - What if she sent them back like Tom Cruise? - We don't know. - We did get Moses back real bad. - Yeah, yeah.

- After the HFPA scandal. Okay, best director. - That's for him. - Monofast, volt for the testament of Anne Lee. Steven Soderberg for Black Bag.

Kelly Wright card for the mastermind.

“Clayberman does a failure for the secret agent.”

Park Chan, woke for no other choice. Jeff Farpenah, he for it, was just an accident. I'm just gonna put it on the table. I'm going with Clayberman, it was a failure. - Okay.

- I agree. - I would like to make an honorary case for Defarpenah, he was just an accident. - An honorary? - Not honorary, but, like, I guess I'm, I voted.

I mean, another honor, like, let's just, let's have the conversation. - This has happened to this wonderful film that has just been absolutely-- - It's a good question.

- Overlooked. - I think that at some point, it's gotten-- - We're gonna lose paper, guys. - But that's not the reason. - I know, it's not.

- Because I think the thing that works about this movie is it, it's applicable to all moments in time of human history. - Yes. - I also think that it is specifically,

obviously, a better one. But I just really, I love this movie. - Yeah. - I just can pick one person, I'm picking men Joseph. - Because he made the movie that to me

of these people was the most difficult to achieve to pull off, right? This is operating in a kind of, like, narrative and moral and political swamp. He has found a real, like, light on the boat

that takes you across the hell river. - Mm-hmm. - I think, to Farpenai, he--

“I think that script is really the achievement there.”

Also, he's very good at directing those actors. - Yeah. - I think that Kelly Reichard's achievement with the mastermind is the script that is the single best movie ending of the year. - I was going to say we should have put it in ending.

Do we want to go back and take it from Bagonia and give it to the mastermind? - No, mastermind. - It's so good. - I know.

- The ending of the mastermind. - It was like, well, what was that? - Yeah. - I mean, just wonderful, wonderful, wonderful ending. - That's so, if you haven't seen the masterminds

on movie right now, I would have highly encourage you to be able to check it out. - But I think that I'm going to say that, that, that, that-- - How am I feeling when Doshah is your winner?

- I agree. - Yeah. - Directing-- - This is a very strong character.

- You never acted before.

- You know, you guys talking about Panahi, it occurs to me that even though we all we do is talking about the International Academy, right? And it's become very European in the last 10 years and increasingly South American.

And Brazilian films are really getting there. Do right now, we've seen some of the popular rain films from Chile, I got some love. - There have never been a film from the Middle East or film from Africa nominated for Best Picture,

the History of the Academy Awards. Very notable.

“- I mean, I think they probably think they got it done”

without Africa. - I can cross it. - Big Cross it on. - I know this. - I wonder if that is the next phase

that it's almost like the Academy is not really as familiar with Panahi's work. - And they don't have the same level of legacy. And like, you know, they're maybe haven't seen all the Kierstami films.

They don't know about the Iranian new wave and they're not into that history. - I mean, but there's like still stuff, I mean, they're like the West Africans, the black French,

the Iranians, although, I mean, what are we talking about now, right? I mean, you know, there's like Tunisian cinema. - Sure, sure. - There are all kinds of places.

- There are still the Romanians, like, I mean, one of those guys is gonna have a moment. - Well, you know, this is an interesting way to think about how much bigger the tent has to get. - Well, like my father's shadow,

which is a Nigerian British film, is set in Legos. Like it is, it is, it's an African movie. - Right. - And it's like very well reviewed

and was represented at BAFTA,

but like, has it never even had a moment

in any Oscar conversation? And I'm just pointing it up. - No, no, I mean, it's more rewarding. - I think that is to come, I believe. - It'll tell you. - It feels like it.

- It might be a decade or two, before they really get all around to all of that, 'cause it's a lot of history that most Western film lovers are just not as informed about. And so they don't feel the same sense of,

well, we have to recognize Pena, he's achievements, because, you know, they didn't see Taxi or whatever, or forget about the tones that he made in the '90s and 2000s, like, taxis. - There is, there is the, I mean,

- He's made many other masterpiece pieces. - Okay, yeah. - Last category, best picture. So we gotta get out of here. The nominees are Black Bag, Eddington, Dime I Love.

It was just an accident, no other choice. The mastermind, the Phoenician scheme, sorry baby, the testament to Van Lee, and weapons. I have no idea what's winning here, this is easy for me. - Go ahead.

- Weapons. - It seems like they're probably, is the most, this is probably the film that has the highest number of votes to get into best picture in the academy that didn't make it, that would be my guess.

- Yeah, what makes, maybe it was just an accident, is there, too? - Or no, well, no other choice, no. - No other choice just got dinged everywhere. - I know.

- I would pick no other choice. - Another choice was my favorite movie. - I love no other choice. - I love no other choice. I love no other choice.

- I just, I also just, I mean, I've seen Park Chan will do that before. - Sure.

“- I think that's been the biggest criticism.”

- If you've seen his movies, you know that this is just him returning to form. It's not him transcending the form he returned. - That is a very fair take. - I think that weapons was,

before, by the way, that you're referring to is up one of the 15 greatest filmmakers on earth. Like it's not as though he's returning to form, which is a piece of shit. - Oh no, the movie is still very good.

- But I mean, this movie is not better than,

you know, the first four.

- I love it. - But I really, really love it. I mean, it's good, I think it's good, I think it's good. I think it's in like, I think it's like a minus territory. - And he has a couple minus, right?

- It's a whole boy. - He has hand in. He has a couple of like a movie. - I also don't love the ending. I think that everything is,

everything about this movie is not perfect until you get to the dismount. Also, once again, AI. - Yeah. - That last shot.

- Oh, yeah. - Oh, yeah, with that 10. - Yeah. - I mean, weapons, weapons. Where do you, where do you lean? - I think, no other choice.

It was just an accident. Weapons are probably like the consensus things here. Like, if you were on the editing train, I might put, but you're not. - I'm really not. - You know?

- And it's all about consensus. That's my number two movie of the year. - I knew that, I knew that, I knew that, I knew that. - And I really liked it. - I love listening, I love listening to people,

I love, I've not read 'em. I've not read enough about this movie, but I've heard, you know, I've heard enough. - It is just like, it is the dark vampiric truth of how the world is.

And the paramount Warner Brothers thing that we clear our throat about for three hours ago is like, it's all there, man. - Yeah, no, it's true. I mean, it might warrant me rewatching it under the circumstances,

but I mean, for our purposes today, I'm going to say, - I'm good with weapons. - I'm gonna say weapon. - Okay, sorry. - Sorry, Mr. Penahi. - I think weapons is an absolutely wonderful winner

'cause it's a movie that would never win best picture

in the Academy Awards.

“And that's why it deserves its love here.”

How do you feel with the sex dress, how it's good? - Yeah, I love to talk to you guys. - We solved everything. - Figuring it all out. - Yeah, I'm gonna work a paramount, guys.

- Yes, that's it. - Sorry, last episode, thanks everybody. Hey, Jack, thank you so much for everything. I'll see you never again, okay, buddy. Gotta go join the else in Army.

- Whoa. - Yeah. - I mean, I guess we can do this. - You guys can do this. - Congratulations, you've been elevated from third chair.

- Oh my God. - Just second chair. - If you did it, it can't under the, under the, I mean, although we get to stay here until y'all buy us or buy us buy us buy us buy us buy us buy my first act and buy the new time. Yes, I will be buy the new times and you buy us buy the five. Yeah, I will blow. Hey guys. It's Sean. The big pictures.

Cancel. Was it more? Thank you. We can find you in the New York Times. We can find you on your show, Cannonball, which I highly encourage people to listen to. Where else can we find you? That's it. Okay. Home. Well, hopefully they don't find your traveling with my man. I don't know where you're going next. Lima, Peru. Wow. My best friend in his and his wife who's also my very good friend. They live there. They live there for years. This is their last year before they move somewhere else.

And so my annual trips to Lima are going to come to it. Oh, that's a very sad about it. But I'm going to go for one that a great eating city of the best time. I mean, just one of the great cities to die in in the world.

I've never been to South America. I really want to go help yourself. Lima's a great place to start. Interesting.

“I mean, thank you. Do you feel like you've done humans work today?”

The old woman's work. Sure. I think I got my major points across, you know. I can help for. Thanks for producing Jack Sayers for working as episode. Thanks the Lucas

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