#song is costume by fox academy

[oetscop]

wont see you again

well, not for a while

[cyarsk52-20]

Here Are All the Winners From the 2023 Oscars: Complete List

The 95th annual Academy Awards are hosted by Jimmy Kimmel.

The 95th Academy Awards take place on Sunday (March 12) at the Dolby Theatre at Ovation Hollywood and air live on ABC, with Jimmy Kimmel returning as Oscars host for the third time. 

Related 

Jimmy Kimmel Jokes About Nick Cannon’s Kids, the Will Smith Slap in 2023 Oscars… 

03/12/2023

Everything Everywhere All At Once, which earned 11 nods, is the most-nominated film this year. One of those 11 nominations is for best original song (David Byrne, Ryan Lott and Mitski’s “This Is A Life”). They’re competing against Lady Gaga and BloodPop for “Hold My Hand” (Top Gun: Maverick), Tems, Rihanna, Ryan Coogler and Ludwig Goransson for “Lift Me Up (Black Panther: Wakanda Forever), Diane Warren for “Applause” (Tell It Like a Woman) and M.M. Keeravaani and Chandrabose for “Naatu Naatu” (RRR). This is Warren’s 14th nomination, with no wins so far. Gaga previously won this category for co-writing “Shallow” from A Star Is Born. 

Baz Luhrmann’s biopic on 20thcentury icon Elvis Presley, Elvis, was nominated for eight Oscars, including best picture; it also earned a best actor nomination for Austin Butler, who portrayed the King of Rock & Roll.

Check out the complete winners list below, updating live throughout the show. 

Best Actress in a Supporting Role

Angela Bassett in “Black Panther: Wakanda Forever” Hong Chau in “The Whale” Kerry Condon in “The Banshees of Inisherin” Jamie Lee Curtis in “Everything Everywhere All at Once” — WINNER Stephanie Hsu in “Everything Everywhere All at Once”

Best Costume Design

“Babylon” Mary Zophres “Black Panther: Wakanda Forever” Ruth Carter — WINNER “Elvis” Catherine Martin “Everything Everywhere All at Once” Shirley Kurata “Mrs. Harris Goes to Paris” Jenny Beavan

Best Sound

“All Quiet on the Western Front�� Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte “Avatar: The Way of Water” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges “The Batman” Stuart Wilson, William Files, Douglas Murray and Andy Nelson “Elvis” David Lee, Wayne Pashley, Andy Nelson and Michael Keller “Top Gun: Maverick” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor — WINNER

Best Original Score

“All Quiet on the Western Front” Volker Bertelmann — WINNER “Babylon” Justin Hurwitz “The Banshees of Inisherin” Carter Burwell “Everything Everywhere All at Once” Son Lux “The Fabelmans” John Williams

Best Adapted Screenplay

“All Quiet on the Western Front” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell “Glass Onion: A Knives Out Mystery” Written by Rian Johnson “Living” Written by Kazuo Ishiguro “Top Gun: Maverick” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks “Women Talking” Screenplay by Sarah Polley — WINNER

Best Original Screenplay

“The Banshees of Inisherin” Written by Martin McDonagh “Everything Everywhere All at Once” Written by Daniel Kwan & Daniel Scheinert — WINNER “The Fabelmans” Written by Steven Spielberg & Tony Kushner “Tár” Written by Todd Field “Triangle of Sadness” Written by Ruben Östlund

Best Live-Action Short Film

“An Irish Goodbye” Tom Berkeley and Ross White — WINNER “Ivalu” Anders Walter and Rebecca Pruzan “Le Pupille” Alice Rohrwacher and Alfonso Cuarón “Night Ride” Eirik Tveiten and Gaute Lid Larssen “The Red Suitcase” Cyrus Neshvad

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse” Charlie Mackesy and Matthew Freud — WINNER “The Flying Sailor” Amanda Forbis and Wendy Tilby “Ice Merchants” João Gonzalez and Bruno Caetano “My Year of Dicks” Sara Gunnarsdóttir and Pamela Ribon “An Ostrich Told Me the World Is Fake and I Think I Believe It” Lachlan Pendragon

Best Actor in a Supporting Role

Brendan Gleeson in “The Banshees of Inisherin” Brian Tyree Henry in “Causeway” Judd Hirsch in “The Fabelmans” Barry Keoghan in “The Banshees of Inisherin” Ke Huy Quan in “Everything Everywhere All at Once” — WINNER

Best Animated Film

“Guillermo del Toro’s Pinocchio” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley — WINNER “Marcel the Shell with Shoes On” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey “Puss in Boots: The Last Wish” Joel Crawford and Mark Swift “The Sea Beast” Chris Williams and Jed Schlanger “Turning Red” Domee Shi and Lindsey Collins

Best Original Song

“Applause” from “Tell It like a Woman”; Music and Lyric by Diane Warren “Hold My Hand” from “Top Gun: Maverick”; Music and Lyric by Lady Gaga and BloodPop “Lift Me Up” from “Black Panther: Wakanda Forever”; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler “Naatu Naatu” from “RRR”; Music by M.M. Keeravaani; Lyric by Chandrabose — WINNER “This Is A Life” from “Everything Everywhere All at Once”; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

Best International Feature Film

“All Quiet on the Western Front” Germany — WINNER “Argentina, 1985” Argentina “Close” Belgium “EO” Poland “The Quiet Girl” Ireland

Best Makeup and Hairstyling

“All Quiet on the Western Front” Heike Merker and Linda Eisenhamerová “The Batman” Naomi Donne, Mike Marino and Mike Fontaine “Black Panther: Wakanda Forever” Camille Friend and Joel Harlow “Elvis” Mark Coulier, Jason Baird and Aldo Signoretti “The Whale” Adrien Morot, Judy Chin and Anne Marie Bradley — WINNER

Best Production Design

“All Quiet on the Western Front” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper — WINNER “Avatar: The Way of Water” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole “Babylon” Production Design: Florencia Martin; Set Decoration: Anthony Carlino “Elvis” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn “The Fabelmans” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Cinematography

“All Quiet on the Western Front” James Friend — WINNER “Bardo, False Chronicle of a Handful of Truths” Darius Khondji “Elvis” Mandy Walker “Empire of Light” Roger Deakins “Tár” Florian Hoffmeister

Best Visual Effects

“All Quiet on the Western Front” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar “Avatar: The Way of Water” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett — WINNER “The Batman” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy “Black Panther: Wakanda Forever” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick “Top Gun: Maverick” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Film Editing

“The Banshees of Inisherin” Mikkel E.G. Nielsen “Elvis” Matt Villa and Jonathan Redmond “Everything Everywhere All at Once” Paul Rogers — WINNER “Tár” Monika Willi “Top Gun: Maverick” Eddie Hamilton

Best Documentary Feature

“All That Breathes” Shaunak Sen, Aman Mann and Teddy Leifer “All the Beauty and the Bloodshed” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov “Fire of Love” Sara Dosa, Shane Boris and Ina Fichman “A House Made of Splinters” Simon Lereng Wilmont and Monica Hellström “Navalny” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris — WINNER

Best Documentary Short Subject

“The Elephant Whisperers” Kartiki Gonsalves and Guneet Monga — WINNER “Haulout” Evgenia Arbugaeva and Maxim Arbugaev “How Do You Measure a Year?” Jay Rosenblatt “The Martha Mitchell Effect” Anne Alvergue and Beth Levison “Stranger at the Gate” Joshua Seftel and Conall Jones

Best Actor in a Leading Role

Austin Butler in “Elvis” Colin Farrell in “The Banshees of Inisherin” Brendan Fraser in “The Whale” — WINNER Paul Mescal in “Aftersun” Bill Nighy in “Living”

Best Actress in a Leading Role

Cate Blanchett in “Tár” Ana de Armas in “Blonde” Andrea Riseborough in “To Leslie” Michelle Williams in “The Fabelmans” Michelle Yeoh in “Everything Everywhere All at Once” — WINNER

Best Directing

“The Banshees of Inisherin” Martin McDonagh “Everything Everywhere All at Once” Daniel Kwan and Daniel Scheinert — WINNER “The Fabelmans” Steven Spielberg “Tár” Todd Field “Triangle of Sadness” Ruben Östlund

Best Picture

“All Quiet on the Western Front” Malte Grunert, Producer “Avatar: The Way of Water” James Cameron and Jon Landau, Producers “The Banshees of Inisherin” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers “Elvis” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers “Everything Everywhere All at Once” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers — WINNER “The Fabelmans” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers “Tá”r Todd Field, Alexandra Milchan and Scott Lambert, Producers “Top Gun: Maverick” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers “Triangle of Sadness” Erik Hemmendorff and Philippe Bober, Producers “Women Talking” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

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[diptanshukashyapofficial]

B-6 : Oscars 2023 - Predictions vs Reality

The 95th Academy Awards, a.k.a. The Oscars® took place today. The ceremony was full of obvious wins (and some unexpected ones too). The best part was - this year’s Oscars telecast had zero incidents (as the host Jimmy Kimmel points out in the end).

Amid all of this, here's a look at the predicted winners and the actual winners (in order of their presentations):-

Best Animated Feature Film

Prediction: Guillermo del Toro's Pinocchio (Guillermo del Toro, Mark Gustafson, Gary Ungar, and Alex Bulkley)

Reality: Guillermo del Toro's Pinocchio (Guillermo del Toro, Mark Gustafson, Gary Ungar, and Alex Bulkley)

Best Supporting Actor

Prediction: Ke Huy Quan (Everything Everywhere All at Once)

Reality: Ke Huy Quan (Everything Everywhere All at Once)

Best Supporting Actress

Prediction: Angela Bassett (Black Panther: Wakanda Forever)

Reality: Jamie Lee Kurtis (Everything Everywhere All at Once)

Best Documentary Feature Film

Prediction(s): All the Beauty and the Bloodshed (Laura Poitras, Howard Gertler, John Lyons, Nan Goldin, and Yoni Golijov)/A House Made of Splinters ( Simon Lereng Wilmont and Monica Hellström)

Reality:  Navalny (Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller, and Shane Boris)

Best Live Action Short Film

Prediction: An Irish Goodbye (Tom Berkely and Ross White)

Reality: An Irish Goodbye (Tom Berkely and Ross White)

Best Cinematography

Prediction: All Quiet on the Western Front (James Friend)

Reality: All Quiet on the Western Front (James Friend)

Best Makeup & Hairstyling

Prediction: Elvis (Mark Coulier, Jason Baird, and Aldo Signoretti)

Reality: The Whale (Adrien Morot, Judy Chin, and Anne Marie Bradley)

Best Costume Designing

Prediction: Elvis (Catherine Martin)

Reality: Black Panther: Wakanda Forever (Ruth E. Carter)

Best International Feature Film

Prediction(s): All Quiet on the Western Front (Germany - Edward Berger)/Argentina, 1985 (Argentina - Santiago Mitre)

Reality: All Quiet on the Western Front (Germany - Edward Berger)

Best Documentary Short Film

Prediction(s): The Elephant Whispers (Kartiki Gonsalves and Guneet Monga)/The Martha Mitchell Effect (Anne Alvergue and Beth Levison)

Reality: The Elephant Whispers (Kartiki Gonsalves and Guneet Monga)

Best Animated Short Film

Prediction: My Year of Dicks (Sara Gunnarsdóttir and Pamela Ribon)

Reality: The Boy, the Mole, the Fox and the Horse (Charlie Mackesy and Matthew Freud)

Best Production Design

Prediction: Elvis (Production Design - Catherine Martin and Karen Murphy; Set Decoration - Bev Dunn)

Reality:  All Quiet on the Western Front (Production Design - Christian M. Goldbeck; Set Decoration - Ernestine Hipper)

Best Original Score

Prediction(s): The Banshees of Inishrein (Carter Burwell)/Babylon (Justin Hurwitz)

Reality: All Quiet on the Western Front (Volker Bertelmann)

Best Visual Effects

Prediction: Avatar: The Way of Water (Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett)

Reality: Avatar: The Way of Water (Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett)

Best Original Screenplay

Prediction(s): The Banshees of Inisherin (Martin McDonagh)/Everything Everywhere All at Once (Daniel Kwan and Daniel Scheinert)

Reality: Everything Everywhere All at Once (Daniel Kwan and Daniel Scheinert)

Best Adapted Screenplay

Prediction: Women Talking (Sarah Polley - based on the novel by Miriam Toews)

Reality: Women Talking (Sarah Polley - based on the novel by Miriam Toews)

Best Sound

Prediction: Top Gun: Maverick (Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor)

Reality: Top Gun: Maverick (Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor)

Best Original Song

Prediction: "Naatu Naatu" (RRR - Music by M. M. Keeravani; Lyrics by Chandrabose)

Reality: "Naatu Naatu" (RRR - Music by M. M. Keeravani; Lyrics by Chandrabose)

Best Film Editing

Prediction: Top Gun: Maverick (Eddie Hamilton)

Reality: Everything Everywhere All at Once (Paul Rogers)

Best Director

Prediction: Steven Spielberg (The Fabelmans)

Reality:  Daniel Kwan and Daniel Scheinert (Everything Everywhere All at Once)

Best Actor

Prediction(s): Austin Butler (Elvis)/Colin Farrell (The Banshees of Inisherin)/Brendan Fraser (The Whale)

Reality: Brendan Fraser (The Whale)

Best Actress

Prediction(s): Cate Blanchett (Tár)/Michelle Yeoh (Everything Everywhere All at Once)

Reality: Michelle Yeoh (Everything Everywhere All at Once)

Best Picture

Prediction: The Fabelmans

Reality: Everything Everywhere All at Once

Which categories met your expectations? Don’t forget to share them in the comments below.

[dweemeister]

95th Academy Awards predictions

*deep breath*

In the following format (prediction / what I would like to see win if my prediction doesn’t match up):

Picture: EEAAO

Director: The Daniels, EEAAO / Spielberg, The Fabelmans

Actor: Austin Butler, Elvis / coin toss between Brendan Fraser for The Whale or Bill Nighy for Living

Actress: Yeoh, EEAAO

Supporting Actor: Quan, EEAAO

Supporting Actress: Condon, The Banshees of Inisherin / Hsu, EEAAO

Adapted Screenplay: Women Talking

Original Screenplay: EEAAO / Tár

Animated Feature: GdT’s Pinocchio

Documentary Feature: Navalny / Abstain - I have not seen enough in this category

International Feature: All Quiet (GER) / Argentina, 1985 (ARG)

Cinematography: All Quiet / Tár

Editing: EEAAO

Score: Hurwitz, Babylon / Williams, Fabelmans

Song: “Naatu Naatu”, RRR

Costume Design: Elvis / EEAAO

Makeup/Hairstyling: The Whale / The Batman

Production Design: Babylon / Elvis

Sound: Top Gun: Maverick

Visual Effects: Avatar: The Way of Water

Animated Short: The Boy, the Mole, the Fox and the Horse / Ice Merchants

Doc Short: Stranger at the Gate / The Elephant Whisperers

Live Action Short: Le pupille / The Red Suitcase

No matter what happens tonight, I hope everyone has fun and no one gets slapped! Academy Award recognition doesn’t make films better or worse; it’s just a feather in a movie’s cap and is an indication of what - for a certain people at this time in history - a collection of moviemakers believe is the best in their fields.

And of course, the Oscars are the Academy’s biggest fundraiser of the year. AMPAS maintains one of the largest film libraries in the world (not just comprised of Oscar nominees, but films of all genres and countries and forms) and plays a huge role in film restoration. In addition to a new museum of motion pictures they have in LA!

EDIT: 16/23

[melicmedia]

Predictions for the 95th Academy Awards (March 12, 2023)

And the Oscar goes to...

KEY: Predicted Winner | My pick*

Best Picture

Everything Everywhere All at Once*

The Banshees of Inisherin

All Quiet on the Western Front

Avatar: The Way of Water

Elvis

The Fabelmans

Tár

Top Gun: Maverick

Triangle of Sadness

Women Talking

Best Actor

Brendan Fraser (The Whale)

Collin Farrell (The Banshees of Inisherin)*

Austin Butler (Elvis)

Paul Mescal (Aftersun)

Bill Nighy (Living)

Best Actress

Michelle Yeoh (Everything Everywhere All at Once)*

Ana de Armas (Blonde)

Andrea Riseborough (To Leslie)

Cate Blanchett (Tár)

Michelle Williams (The Fablemans)

Best Supporting Actor

Ke Huy Quan (Everything Everywhere All at Once)*

Brendan Gleeson (The Banshees of Inisherin)

Brian Tyree Henry (Causeway)

Judd Hirsch (The Fablemans)

Barry Keoghan (The Banshees of Inisherin)

Best Supporting Actress

Angela Bassett (Black Panther: Wakanda Forever)

Stephanie Hsu (Everything Everywhere All at Once)*

Hong Chau (The Whale)

Kerry Condon (The Banshees of Inisherin)

Jamie Lee Curtis (Everything Everywhere All at Once)

Best Animated Film

Guillermo del Toro's Pinocchio

Marcel the Shell with Shoes On*

Puss in Boots: The Last Wish

The Sea Beast

Turning Red

Best Director

Daniel Kwan and Daniel Scheinert (Everything Everywhere All at Once)*

Martin McDonagh (The Banshees of Inisherin)

Steven Spielberg (The Fabelmans)

Todd Field (Tár)

Ruben Östlund (Triangle of Sadness)

Best Adapted Screenplay

Women Talking (Sarah Polley)*

All Quiet on the Western Front (Edward Berger, Lesley Paterson, Ian Stokell)

Glass Onion: A Knives Out Mystery (Rian Johnson)

Living (Kazuo Ishiguro)

Top Gun: Maverick (Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Peter Craig and Justin Marks)

Best Original Screenplay

The Banshees of Inisherin (Martin McDonagh)*

Everything Everywhere All at Once (Daniel Kwan, Daniel Scheinert)

The Fabelmans (Steven Spielberg, Tony Kushner)

Tár (Todd Field)

Triangle of Sadness (Ruben Östlund)

Best Cinematography

All Quiet on the Western Front

Tár*

Bardo, False Chronicle of a Handful of Truths

Elvis

Empire of Light

The Banshees of Inisherin was SNUBBED here

Best Film Editing

Everything Everywhere All at Once

The Banshees of Inisherin*

Elvis

Tár

Top Gun: Maverick

Best Original Score

The Fabelmans

The Banshees of Inisherin*

All Quiet on the Western Front

Babylon

Everything Everywhere All at Once

Best Original Song

Naatu Naatu (RRR)*

Applause (Tell it Like a Woman)

Hold my Hand (Top Gun: Maverick)

Lift Me Up (Black Panther: Wakanda Forever)

This Is a Life (Everything Everywhere All at Once)

Best Visual Effects

Avatar: The Way of Water*

All Quiet on the Western Front

The Batman

Black Panther: Wakanda Forever

Top Gun: Maverick

Best Sound

Top Gun: Maverick

All Quiet on the Western Front*

Avatar: The Way of Water

The Batman

Elvis

Best Costume Design

Black Panther: Wakanda Forever*

Bablyon

Elvis

Everything Everywhere All at Once

Mrs. Harris Goes to Paris

Best Makeup & Hairstyling

The Whale

The Batman*

All Quiet on the Western Front

Black Panther: Wakanda Forever

Elvis

Best Production Design

Avatar: The Way of Water

All Quiet on the Western Front*

Babylon

Elvis

The Fabelmans

Best Documentary Feature

Fire of Love*

All That Breathes

All the Beauty and the Bloodshed

A House Made of Splinters

Navalny

Best Documentary Short Subject

Haulout*

The Elephant Whisperers

How Do You Measure a Year

The Martha Mitchell Effect

Stranger at the Gate

Best Animated Short

The Boy, the Mole, the Fox, and the Horse

The Flying Sailor

Ice Merchants

My Year of Dicks

An Ostrich Told Me the World Is Fake and I Think I Believe It

Best Live-Action Short

An Irish Goodbye

Ivalu

Le Pupille

Night Ride

The Red Suitcase

Best International Film

All Quiet on the Western Front (Germany)

EO (Poland)*

Argentina, 1985 (Argentina)

Close (Belgium)

The Quiet Girl (Ireland)

DISCLAIMER:

It is unlikely I will be able to see everything nominated for an Award either due to time or accessibility (or both). I chose not to predict or say my pick in categories where I haven't seen enough of the nominations to form a good enough opinion.

Also, these are my opinions, if you have different predictions or are rooting for another film/person, please let me know! Please stay tuned for my next post: explaining my picks & predictions. Happy watching!

[lotsafilms]

2023 Academy Award picks

Caught up with all the Oscars Best Picture nominations to bring my total film count from 2022 up to 57 (according to my IMDb). Here is my ranking of the grand prize, along with my choices for each award along with wild guesses for lesser categories, runner-ups and ‘snubbed’ entries (1 per film).

Picture (ranked best to worst, with ratings): Everything Everywhere All at Once - 9/10 The Banshees of Inisherin - 9/10 Top Gun: Maverick - 8/10 The Fabelmans - 8/10 Women Talking - 8/10 Tár - 7/10 All Quiet on the Western Front - 7/10 Elvis - 6/10 Triangle of Sadness - 6/10 Avatar: The Way of Water - 6/10

Director: BEST: Daniel Kwan and Daniel Scheinert – Everything Everywhere All at Once RUNNER-UP: Martin McDonagh – The Banshees of Inisherin SNUB: S.S. Rajamouli - RRR

Actor: BEST: Austin Butler – Elvis RU: Bill Nighy – Living SNUB: Rory Kinnear - Men

Actress: BEST: Cate Blanchett – Tár RU: Michelle Yeoh – Everything Everywhere All at Once SNUB: Taylor Russell - Bones and All

Supporting Actor: BEST: Ke Huy Quan – Everything Everywhere All at Once RU: Barry Keoghan – The Banshees of Inisherin  SNUB: Pedro Pascal - The Unbearable Weight of Massive Talent

Supporting Actress: BEST: Stephanie Hsu – Everything Everywhere All at Once  RU: Angela Bassett – Black Panther: Wakanda Forever SNUB: Lashana Lynch - The Woman King/Matilda the Musical

Original Screenplay: BEST: Daniel Kwan and Daniel Scheinert - Everything Everywhere All at Once RU: Martin McDonagh - The Banshees of Inisherin SNUB: Seth Reiss and Will Tracy - The Menu

Adapted Screenplay: BEST: Kazuo Ishiguro - Living RU: Rian Johnson - Glass Onion: A Knives Out Mystery SNUB: Guillermo del Toro and Patrick McHale -  Pinocchio

Animated Feature: BEST: Guillermo del Toro's Pinocchio  RU: Turning Red SNUB: Apollo 10½: A Space Age Childhood

International Feature: BEST: All Quiet on the Western Front  SNUB: Alcarràs

Documentary Feature: GUESS: Fire of Love SNUB: Moonage Daydream

Documentary Short Subject: GUESS: Stranger at the Gate

Live Action Short: GUESS: Le Pupile

Animated Short: BEST: The Boy, the Mole, the Fox and the Horse SNUB: Cat Burglar

Original Score: BEST: John Williams - The Fabelmans RU: Son Lux -  Everything Everywhere All at Once SNUB: Dream Widow (Dave Grohl) - Studio 666

Original Song: BEST: "Naatu Naatu" - RRR RU: "This Is a Life" - Everything Everywhere All at Once  SNUB: “New Body Rhumba” - White Noise

Sound: BEST: All Quiet on the Western Front  RU: The Batman SNUB: Enys Men

Cinematography: BEST: James Friend - All Quiet on the Western Front  RU: Mandy Walker - Elvis SNUB: Hoyte van Hoytema - Nope

Production Design: BEST: All Quiet on the Western Front  RU: Avatar: The Way of Water SNUB: The Batman

Costume Design: BEST: Elvis  RU: Everything Everywhere All at Once SNUB: Glass Onion: A Knives Out Mystery

Makeup and Hairstyling: BEST: Black Panther: Wakanda Forever  RU: The Batman SNUB: The Northman

Visual Effects: BEST: Top Gun: Maverick RU: Avatar: The Way of Water SNUB: Doctor Strange in the Multiverse of Madness

Editing: BEST: Everything Everywhere All at Once  RU: Top Gun: Maverick  SNUB: She Said

[irishfederalreconnaissance]

O'Neill Circum Sets (Master Chief, Halo 1)

In defense of the Naval Veterans Corps (Jackal Force).

Gene: Transition of fast breaker chemicals, to psychiatric nurses as waitresses; Yemen.

Marie: Transition of Israeli Defense Forces, to Cello's of Rhode Island, Italian-Catholic restauranting services.

Evelyn: Print of Hard Candy, new police film style for campus informant; successful, then a comedy romance, if a failure, then a police procedure drama (NKVD, the SVU model).

Danny: Discordianism, the militants as Jews; the shutdown of Canadian ATF, as Arab-Fenians; the transition of large American corporation, to grocers unions, held through pro-Jewish Rexism.

Roberta: WhatsBetter.Com, the CIA branching test of the singular prize fight, replaced by quadrants of four, the common identifier on a college campus of enemy.

Jimmy: "Pinkville", Salvo House; the clearing of Africans and Wiccan Lesbians, as responsible for beef poisonings; placing the blame on Hell's Angels instead, the arrests of witches under notoriety of Freemasons songs like those produced by "Electric Six" and other Canadian bands, and of the Hell's Angels and related biker groups; rich kid homosexuals.

Timmy: The Trump Assassination, carried out by Pat Ware, born for prison and ready for it; a Navy Star mother, forced to roleplay with combat spies and soldiers and cops, ready for his taste of bitch pussy; personally mentored, by "Stealth Fox", an Air Force Academy, befriended by "Chet", Air Force Reserve Office Training Corps, as an undercover operative.

Francis: The "Horatio Alger" proof of "Asperger's Syndrome", a new political family, the Moens; Ronnie Van Zant, and Chaucer, the Johnstons; Lynyrd Skynyrd returned to the South, for a new region and regime of African police officers.

Alice: The live hunt of enemies, as a soldier spy, and writer, stolen from under by permanent record Samson draws, fully aware of private writership career; the Metro-Goldwyn Mayer, as the top enemy of "Gutwill", his foe, "Wall-E", as Timothy O'Neill III, "Finding Nemo", and David as "Tickle-Me-Elmo", Timothy "Gutwill" O'Neill as Dave's number one Halloween costume, "Oscar the Grouch", "Superman".

[filmseries]

2023 Academy Awards (Oscars) Predictions

PICTURE Want: EEAAO Will: EEAAO

DIRECTOR Want: The Daniels Will: The Daniels

ACTOR Want: Brendan Fraser Will: Brendan Fraser / Austin Butler

ACTRESS Want: Michelle Yeoh Will: Michelle Yeoh / Cate Blanchett

SUPPORTING ACTOR Want: Ke Huy Quan Will: Ke Huy Quan

SUPPORTING ACTRESS Want: Angela Bassett Will: Angela Bassett

ADAPTED SCREENPLAY Want: All Quiet  Will: All Quiet / Woman Talking

ORIGINAL SCREENPLAY Want: EEAAO Will: EEAAO / Banshees

ANIMATED FEATURE Want: Pinocchio Will: Pinocchio

NON-ENGLISH / INTERNATIONAL Want: All Quiet on the Western Front Will: All Quiet on the Western Front

SOUND Want: All Quiet on the Western Front Will: All Quiet on the Western Front / Top Gun: Maverick

SCORE Want: Babylon / All Quiet Will: Babylon

SONG Want: RRR - Naatu Naatu Will: RRR - Naatu Naatu

CINEMATOGRAPHY Want: All Quiet  Will: All Quiet 

COSTUME DESIGN Want: Wakanda Forever Will: Wakanda Forever / Elvis

EDITING Want: EEAAO Will: EEAAO

HAIR AND MAKEUP Want: The Batman Will: Elvis

VISUAL EFFECTS Want: anything but Avatar 2 Will: Avatar 2

ANIMATED SHORT Want: Ice Merchants / Boy, Mole, Fox, Horse Will: Boy, Mole, Fox, Horse

DOCUMENTARY SHORT Want: The Martha Mitchell Effect Will: The Martha Mitchell Effect

*if the category isn’t here, I either don’t care or don’t have a prediction for it. **EEAAO is Everything Everywhere All at Once, duh ***”will” means “probably will”, not “definitely”

[cinemalerta]

93rd Academy Awards Nominees

BEST PICTURE

The Father – David Parfitt, Jean-Louis Livi, and Philippe Carcassonne

Judas and the Black Messiah – Shaka King, Charles D. King, and Ryan Coogler

Mank – Ceán Chaffin, Eric Roth, and Douglas Urbanski

Minari – Christina Oh

Nomadland – Frances McDormand, Peter Spears, Mollye Asher, Dan Javey, and Chloé Zhao

Promising Young Woman – Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara

Sound of Metal – Bert Hamelinick and Sacha Ben Harroche

The Trial of the Chicago 7 – Marc Platt and Stuart Besser

BEST DIRECTOR

Lee Isaac Chung – Minari

Emerald Fennell – Promising Young Woman

David Fincher – Mank

Thomas Vinterberg – Another Round

Chloé Zhao – Nomadland

BEST ACTOR

Riz Ahmed – Sound of Metal as Ruben Stone

Chadwick Boseman (posthumous nominee) – Ma Rainey's Black Bottom as Levee Green

Anthony Hopkins – The Father as Anthony

Gary Oldman – Mank as Herman J. Mankiewicz

Steven Yeun – Minari as Jacob Yi

BEST ACTRESS

Viola Davis – Ma Rainey's Black Bottom as Ma Rainey

Andra Day – The United States vs. Billie Holiday as Billie Holiday

Vanessa Kirby – Pieces of a Woman as Martha Weiss

Frances McDormand – Nomadland as Fern

Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas

BEST SUPPORTING ACTOR

Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman

Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton

Leslie Odom Jr. – One Night in Miami... as Sam Cooke

Paul Raci – Sound of Metal as Joe

Lakeith Stanfield – Judas and the Black Messiah as William "Bill" O'Neal

BEST SUPPORTING ACTRESS

Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan as Tutar Sagdiyev

Glenn Close – Hillbilly Elegy as Bonnie "Mamaw" Vance

Olivia Colman – The Father as Anne

Amanda Seyfried – Mank as Marion Davies

Youn Yuh-jung – Minari as Soon-ja

BEST ORIGINAL SCREENPLAY

Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Will Berson, Shaka King, Keith Lucas, and Kenny Lucas

Minari – Lee Isaac Chung

Promising Young Woman – Emerald Fennell

Sound of Metal – Screenplay by Darius Marder and Abraham Marder; Story by Darius Marder and Derek Cianfrance

The Trial of the Chicago 7 – Aaron Sorkin

BEST ADAPTED SCREENPLAY

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, and Lee Kern; Story by Baron Cohen, Hines, Swimer, and Nina Pedrad; Based on the character Borat Sagdiyev by Baron Cohen

The Father – Christopher Hampton & Florian Zeller, based on the play by Zeller

Nomadland – Chloé Zhao, based on the book by Jessica Bruder

One Night in Miami... – Kemp Powers, based on his play

The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga

BEST INTERNATIONAL FEATURE FILM

Another Round (Denmark) in Danish – directed by Thomas Vinterberg

Better Days (Hong Kong) in Mandarin – directed by Derek Tsang

Collective (Romania) in Romanian – directed by Alexander Nanau

The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania

Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić

BEST ANIMATED FEATURE FILM

Onward – Dan Scanlon and Kori Rae

Over the Moon – Glen Keane, Gennie Rin, and Peilin Chou

A Shaun the Sheep Movie: Farmageddon – Richard Phelan, Will Becher, and Paul Kewley

Soul – Pete Docter and Dana Murray

Wolfwalkers – Tomm Moore, Ross Stewart, Paul Young, and Stéphan Roelants

BEST DOCUMENTARY FEATURE

Collective – Alexander Nanau and Bianca Oana

Crip Camp – Nicole Newnham, Jim LeBrecht and Sara Bolder

The Mole Agent – Maite Alberdi and Marcela Santibáñez

My Octopus Teacher – Pippa Ehrlich, James Reed, and Craig Foster

Time – Garrett Bradley, Lauren Domino, and Kellen Quinn

BEST CINEMATOGRAPHY

Judas and the Black Messiah – Sean Bobbitt

Mank – Erik Messerschmidt

News of the World – Dariusz Wolski

Nomadland – Joshua James Richards

The Trial of the Chicago 7 – Phedon Papamichael

BEST FILM EDITING

The Father – Yorgos Lamprinos

Nomadland – Chloé Zhao

Promising Young Woman – Frédéric Thoraval

Sound of Metal – Mikkel E.G. Nielsen

The Trial of the Chicago 7 – Alan Baumgarten

BEST PRODUCTION DESIGN

The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone

Ma Rainey's Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Sroughton

Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan

Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

BEST COSTUME DESIGN

Emma – Alexandra Byrne

Ma Rainey’s Black Bottom – Ann Roth

Mank – Trish Summerville

Mulan – Bina Daigeler

Pinocchio – Massimo Cantini Parrini

BEST MAKEUP AND HAIRSTYLING

Emma – Marese Langan, Laura Allen, and Claudia Stolze

Hillbilly Elegy – Eryn Krueger Mekash, Patricia Dehaney, and Matthew Mungle

Ma Rainey's Black Bottom – Matiki Anoff, Mia Neal, and Larry M. Cherry

Mank – Kimberley Spiteri, Gigi Williams

Pinocchio – Dalia Colli, Mark Coulier, and Francesco Pegoretti

BEST VISUAL EFFECTS

Love and Monsters – Matt Sloan, Genevieve Camailleri, Matt Everitt, and Brian Cox

The Midnight Sky – Matthew Kasmir, Christopher Lawren, Max Solomon, and David Watkins

Mulan – Sean Faden, Anders Langlands, Seth Maury, and Steven Ingram

The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones, and Santiago Colomo Martinez

Tenet – Andrew Jackson, David Lee, Andrew Lockley and

BEST ORIGINAL SCORE

Da 5 Bloods – Terence Blanchard

Mank – Trent Reznor and Atticus Ross

Minari – Emile Mosseri

News of the World – James Newton Howard

Soul – Trent Reznor, Atticus Ross, and Jon Batiste

BEST ORIGINAL SONG

"Fight for You" from Judas and the Black Messiah – Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

"Hear My Voice" from The Trial of the Chicago 7 – Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

"Husavik" from Eurovision Song Contest: The Story of Fire Saga – Music and Lyric by Savan Kotecha, Fat Max Gsus, and Rickard Göransson

"Io Sì (Seen)" from The Life Ahead – Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

"Speak Now" from One Night in Miami... – Music and Lyric by Leslie Odom Jr. and Sam Ashworth

BEST SOUND

Greyhound – Warren Shaw, Michael Minkler, Beau Borders, and David Wyman

Mank – Ren Klyce, Jeremy Molod, David Parker, Nathan Nance, and Drew Kunin

News of the World – Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett

Soul – Ren Klyce, Coya Elliot, and David Parker

Sound of Metal – Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes, and Philip Bladh

BEST LIVE ACTION SHORT FILM

Feeling Through – Doug Roland and Susan Ruzenski

The Letter Room – Elvira Lind and Sofia Sondervan

The Present – Farah Nabulsi

Two Distant Strangers – Travon Free and Martin Desmond Roe

White Eye – Tomer Shushan and Shira Hochman

BEST ANIMATED SHORT FILM

Burrow – Madeline Sharafian and Michael Capbarat

Genius Loci – Adrien Mérigeau and Amaury Ovise

If Anything Happens I Love You – Will McCormack and Michael Govier

Opera – Eric Oh

Yes-People – Gísli Darri Halldórsson and Arnar Gunnarsson

BEST DOCUMENTARY SHORT SUBJECT

Colette – Anthony Giacchino and Alice Doyard

A Concerto Is a Conversation – Ben Proudfoot and Kris Bowers

Do Not Split – Anders Hammer and Charlotte Cook

Hunger Ward – Skye Fitzgerald and Michael Shueuerman

A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan

[timeless-hollywood-classics]

Richard Cromwell (born LeRoy Melvin Radabaugh, also known as Roy Radabaugh; January 8, 1910 – October 11, 1960) was an American actor. His career was at its pinnacle with his work in Jezebel (1938) with Bette Davis and Henry Fonda and again with Fonda in John Ford's Young Mr. Lincoln (1939). Cromwell's fame was perhaps first assured in The Lives of a Bengal Lancer (1935), sharing top billing with Gary Cooper and Franchot Tone.

That film was the first major effort directed by Henry Hathaway and it was based upon the popular novel by Francis Yeats-Brown. The Lives of a Bengal Lancer earned Paramount Studios a nomination for Best Picture in 1935, though Mutiny on the Bounty instead took the top award at the Academy Awards that year.

Leslie Halliwell in The Filmgoer's Companion, summed up Cromwell's enduring appeal when he described him as "a leading man, [the] gentle hero of early sound films."

Cromwell was born LeRoy Melvin Radabaugh in Long Beach, California, the second of five children, to his mother Fay B. (Stocking) and his father, Ralph R. Radabaugh, who was an inventor. Among Ralph's patented creations was the amusement-park swing ride called the "Monoflyer", a variation of which is still in use at many carnivals today. In 1918, when young "Roy" was still in grade school, his father died suddenly, one of the millions of people who perished during the "Spanish flu" pandemic.

Later, while enrolled as a teenager in the Chouinard Art Institute in Los Angeles on a scholarship, young Roy helped to support his family with odd jobs. The school was the precursor of the California Institute of the Arts, and it was there where he met fellow classmate Edith Posener. Posener, later known as Edith Head, would become one of the leading costume designers in American film history.

Cromwell ran a shop in Hollywood where he sold pictures, made lampshades, and designed colour schemes for houses. As Cromwell developed his talents for lifelike mask-making and oil painting, he formed friendships in the late 1920s with various film starlets who posed for him and collected his works, including Tallulah Bankhead, Joan Crawford, Greta Garbo, Claire Dubrey and Ann Sothern. Actress and future Academy Award-winner Marie Dressler was also a friend; the two would later share top-billing in the early talkie film Emma.

Still known as "Roy Radabaugh", he had just two days in film extra work on the side, and can be seen in King of Jazz (1930), along with the film's star, Paul Whiteman and his orchestra. On a whim, friends encouraged Roy to audition in 1930 for the remake of the Richard Barthelmess silent: Tol'able David (1930). Radabaugh won the role over thousands of hopefuls, and in storybook fashion, Harry Cohn gave him his screen name and launched his career. Cromwell earned $75 per week for his work on Tol'able David. Noah Beery Sr. and John Carradine co-starred in the film. Later, Cohn signed Cromwell to a multi-year contract based on the strength of his performance and success in his first venture at the box-office. Amidst the flurry of publicity during this period, Cromwell toured the country, even meeting President Herbert Hoover in Washington, D.C.

Cromwell by then had maintained a deep friendship with Marie Dressler, which continued until her death from cancer in 1934. Dressler was nominated for a second Best Actress award for her 1932 portrayal of the title role in Emma.

With that film, Dressler demonstrated her profound generosity to other performers: Dressler personally insisted that her studio bosses cast Cromwell on a loan-out in the lead opposite her — it was another break that helped sustain his rising status in Hollywood. Emma also starred Myrna Loy in one of her earlier screen performances. After production on Emma was completed, Director Clarence Brown tested Cromwell for the male lead in his next feature: The Son-Daughter, which was set to star Helen Hayes. However, the part of the oriental prince ultimately went to Ramón Novarro, and Cromwell never again worked at MGM.

Cromwell's next role in 1932 was on loan to RKO and was as Mike in Gregory La Cava's, The Age of Consent, co-starring Eric Linden and Dorothy Wilson. Cromwell is also remembered during this period in Hoop-La (1933), where he is seduced by Clara Bow. This film is considered the swan song of Bow's career. Next, the much in demand Cromwell starred in Tom Brown of Culver that year, as well.

Around this period in his career in the early to mid-30s, Cromwell also did some print ads and promotional work for Lucky Strike brand cigarettes. According to his niece, Joan Radabaugh, Cromwell was a very heavy smoker. Nevertheless, at his home he was always the gracious host, as his niece related, and as such he took great care to empty the ashtrays regularly, almost to the point of obsession.

Next up, was an early standout performance by Cromwell in the role as the leader of the youth gang in Cecil B. DeMille's now cult-favorite, This Day and Age (1933). To ensure that Cromwell's character used current slang, DeMille asked high school student Horace Hahn to read the script and comment (at the time, Hahn was senior class president at Los Angeles High School). While again on loan from Columbia, Cromwell's by then salary of $200 per week was paid by Paramount Pictures, DeMille's studio. Diana Serra Cary, in her biography of Jackie Coogan, relates an episode on the set wherein Cromwell came to the aid of actress Judith Allen:

I watched as he (DeMille) systematically reduced ingenue ... Allen to screaming hysterics by calling her every insulting name in the book in front of company and crew simply to bring on tears ... Cromwell was the only man on the set who dared confront the tyrannical DeMille. White with rage, Cromwell stopped the scene and threatened to deck him if he didn't let up on the devastated girl. He (Cromwell) then drove her home himself. After that courageous act the chivalric Cromwell was unanimously praised as a veritable dragon slayer by everyone who had witnessed that scene.

After a promising start, Cromwell's many early pictures at Columbia Pictures and elsewhere were mostly inconsequential and are largely forgotten today. Cromwell starred with Will Rogers in Life Begins at 40 for Fox Film Corporation in 1935, it was one of Rogers' last roles and Poppy for Paramount in 1936 wherein Cromwell played the suitor of W.C. Fields' daughter, Rochelle Hudson. In 1937, he was the young bank-robber in love with Helen Mack and on the lam from Lionel Atwill in The Wrong Road for RKO.

In 1936, Cromwell took a detour in his career to Broadway for the chance to star as an evil cadet in an original play by Joseph Viertel, So Proudly We Hail!. The military drama was directed by future film director Charles Walters, co-starred Edward Andrews and Eddie Bracken, and opened to much fanfare. The reviews of the play at the time called Cromwell's acting "a striking portrayal" (New York Herald Tribune) and his performance an "astonishing characterization" (New York World Telegram). The New York Times said that in the play, Cromwell "ran the gamut of emotions". However, the play closed after only 14 performances at the 46th Street Theater.

By now, Cromwell had shed his restrictive Columbia contract, with its handsome $500 per week salary, and pursued acting work as a freelancer in other media as well. On July 15, 1937, Cromwell guest-starred on The Royal Gelatin Hour hosted by Rudy Vallee, in a dramatic skit opposite Fay Wray. Enjoying the experience, Cromwell had his agent secure for him an audition for the role of Kit Marshall, on the soap opera Those We Love, first on NBC Radio and then CBS Radio. As a regular on the Monday night program which ran from 1938 until 1942, Cromwell played opposite Nan Grey who played Kit's twin sister Kathy. Cromwell as Kit was later replaced by Bill Henry. Rounding out the cast were Robert Cummings and Gale Gordon.

In the late 1930s, Cromwell appeared in Storm Over Bengal, for Republic Pictures, in order to capitalize on the success of The Lives of a Bengal Lancer. Aside from the aforementioned standout roles in Jezebel and The Lives of a Bengal Lancer, Cromwell did another notable turn as defendant Matt Clay to Henry Fonda's title-performance in Young Mr. Lincoln (1939).

During this period, Cromwell was continuing to enjoy the various invitations coming his way as a member of the A-list Hollywood social circuit. According to Bob Thomas, in his biography of Joan Crawford, Cromwell was a regular at the Saturday Night dinner parties of his former co-star Franchot Tone and then-wife Crawford. Other guests whom Cromwell dined with there included Barbara Stanwyck and then-husband Frank Fay, and William Haines and his partner Jimmie Shields. During the freewheeling heyday of West L.A. nightlife in the late 30s, Cromwell is said by author Charles Higham to have carried on a sometime, though obviously very discreet, affair with aviator and businessman Howard Hughes.

In 1939, Cromwell again tried his luck on the stage in a regional production of Sutton Vane's play Outward Bound featuring Dorothy Jordan as his co-star. The cast of the production at the Los Angeles Biltmore Theater also included Cora Witherspoon and Reginald Denny

Cromwell served during the last two years of World War II with the United States Coast Guard, along with fellow actor and enlistee Cesar Romero. Actor Gig Young was also a member of this branch of the service during the war. During this period, Cole Porter rented Cromwell's home in the Hollywood Hills, where Porter worked at length on Panama Hattie. Director James Whale was a personal friend, for whom Cromwell had starred in The Road Back (1937), the ill-fated sequel to All Quiet on the Western Front. With the war's end, and upon returning to California from the Pacific after nearly three years of service with the Coast Guard, Cromwell acted in local theater productions. He also signed on for live performances in summer stock in the East during this period.

When in town, Cromwell was a fixture within the Hollywood social scene. According to the book Cut! Hollywood Murders, Accidents and Other Tragedies, Cromwell was a regular at George Cukor's "boys nights".

Back in California for good, Cromwell was married once, briefly (1945–1946), to actress Angela Lansbury, when she was 19 and Cromwell was 35. Cromwell and Lansbury eloped and were married in a small civil ceremony on September 27, 1945, in Independence, California. In her authorized biography, Balancing Act, Lansbury recounts her life with Cromwell, as well as the couple's close friendship with Zachary Scott and his first wife, Elaine. Lansbury and Cromwell have stars within walking distance of each other on the Hollywood Walk of Fame.

Cromwell made just one statement to the press regarding his wife of nine months and one of her habits: "All over the house, tea bags. In the middle of the night she'd get up and start drinking tea. It nearly drove me crazy."

According to the biography: Angela Lansbury, A Life on Stage and Screen, Lansbury stated in a 1966 interview that her first marriage, "was a mistake" and that she learned from it. She stated, "I wouldn't have not done it", and, "I was too young at 19. [The marriage] shouldn't have happened." Articles based on interviews with Lansbury have stated that Cromwell was gay. Cromwell and Lansbury remained friends until his death in 1960.

Before World War II, in the early 1940s, Universal Pictures released Enemy Agent starring Cromwell as a draftsman who thwarts the Nazis. In 1942 he then went on to appear in marginal but still watchable fare such as Baby Face Morgan, which co-starred Mary Carlisle and was produced by Producers Releasing Corporation, one of the "Poverty Row" studios.

Cromwell enjoyed a career boost, if not a critically acclaimed performance, in the film adaptation of the hit radio serial: Cosmo Jones, Crime Smasher (1943), opposite Gale Storm. Next up at Monogram Pictures he was cast as a doctor working covertly for the police department to catch the mobsters in the very forgettable, though endearing Riot Squad, wherein his "fiancée", Rita Quigley, breaks their engagement. Cromwell's break from films due to his stint in the Service meant that he was not much in demand after the War's end, and he retired from films after his comeback fizzled. His last role was in a noir flick of 1948, Bungalow 13. All told, Cromwell's film career spanned 39 films.

In the 1950s, Cromwell went back to artistic roots and studied ceramics. He built a pottery studio at his home. The home still stands today and is located in the hills above Sunset Boulevard on North Miller Drive. There, he successfully designed coveted decorative tiles for himself and for his industry friends, which, according to his niece, Joan Radabaugh, he marketed under his stage name.

Around this time, Baby Peggy Montgomery (a.k.a. Diana Serra Cary), who had appeared in This Day and Age with Cromwell many years earlier, recalled visiting Cromwell at his home along with her late husband during this period to see his "beautiful ceramic screen which had won him a prize at the L.A. County Fair." His original tiles as well as his large decorative art deco-style wall paintings of Adam and Eve can still be seen today in the mezzanine off the balcony of the restored Pantages Theatre in Hollywood, which is today considered a noted architectural landmark.

Under the name Radabaugh, Cromwell wrote extensively, producing several published stories and an unfinished novel in the 1950s. After years of heavy drinking with a social circle of friends that included the likes of Christopher Isherwood, Cromwell ultimately changed his ways and became an early participant and supporter of Alcoholics Anonymous in the Los Angeles Area.

In July 1960, Cromwell signed with producer Maury Dexter for 20th Century Fox's planned production of The Little Shepherd of Kingdom Come, co-starring Jimmie Rodgers, Bob Dix (son of Richard Dix), and Neil Hamilton who replaced Cromwell in the film. Cromwell became ill and died on October 11, 1960 in Hollywood of liver cancer, at the age of 50. He is interred at Fairhaven Memorial Park in Santa Ana, California.

Cromwell's legacy is preserved today by his nephew Dan Putnam, and his cousin Bill Keane IV, both of the Conejo Valley in Southern California, as well as the family of his late niece, Joan Radabaugh, of the Central Coast. In 2005, Keane donated materials relating to Cromwell's radio performances to the Thousand Oaks Library's Special Collection, "The American Radio Archive". In 2007, Keane donated memorabilia relating to Cromwell's film career and ceramics work to the AMPAS Margaret Herrick Library in Beverly Hills.

Cromwell was mentioned in Gore Vidal's satirical novel Myra Breckinridge (1968) as "the late Richard Cromwell, so satisfyingly tortured in Lives of a Bengal Lancer".

[joeygoeshollywood]

Oscars 2020: My Fantasy Winners and Nominees

If you were like me, then you were completely pissed about this year’s nominees, particularly all the snubs that the Academy made. Well, here are my fantasy winners and nominees. And I encourage you all to do the same!

Best Picture

Winner: Parasite

Nominees:

1917 The Farewell Hotel Mumbai Jojo Rabbit Joker Richard Jewell Rocketman Uncut Jems Us

Best Actor

Winner: Joaquin Phoenix - Joker

Nominees:

Adam Driver - Marriage Story Taron Egerton - Rocketman Paul Walter Hauser - Richard Jewell Eddie Murphy - Dolemite is My Name Adam Sandler - Uncut Gems

Best Actress

Winner: Lupita Nyong’o - Us

Nominees:

Awkwafina - The Farewell Cynthia Erivo - Harriet Scarlett Johannson - Marriage Story Renée Zellweger - Judy

Best Supporting Actor

Winner: Alessandro Nivola - The Art of Self-Defense

Nominees:

Willem Dafoe - The Lighthouse  Zack Gottsagen - The Peanut Butter Falcon Tom Hanks - A Beautiful Day in the Neighborhood Brad Pitt - Once Upon a Time... in Hollywood Kang-ho Song - Parasite

Best Supporting Actress

Winner: Jennifer Lopez - Hustlers

Nominees:

Laura Dern - Marriage Story Da'Vine Joy Randolph - Dolemite is My Name Zhao Shuzhen - The Farewell Julie Walters  - Wild Rose

Best Director

Winner: Bong Joon Ho - Parasite

Nominees:

Sam Mendes - 1917 Jordan Peele - Us Todd Phillips - Joker Taika Waititi - Jojo Rabbit

Best Original Screenplay

Winner:  Parasite

Nominees:

The Farewell Knives Out Once Upon a Time... in Hollywood Us

Best Adapted Screenplay

Winner:  Jojo Rabbit

Nominees:

A Beautiful Day in the Neighborhood Joker Little Women Richard Jewell

Best Cinematography

Winner:  1917

Nominees:

Joker The Last Black Man in San Francisco  The Lighthouse Once Upon a Time… in Hollywood Waves

Best Editing

Winner:  Ford v Ferrari

Nominees:

Hotel Mumbai Parasite Joker Uncut Gems

Best Production Design

Winner:  Once Upon a Time... in Hollywood

Nominees:

1917 Little Women Midsommar Parasite

Best Costume Design

Winner:  Rocketman

Nominees:

Dolemite is My Name Judy Little Women Once Upon a Time... in Hollywood

Best Makeup and Hairstyling

Winner:  Bombshell

Nominees:

Dolemite is My Name Joker Judy Rocketman

Best Original Score

Winner:  1917

Nominees:

Joker Little Women The Last Black Man in San Francisco Us

Best Original Song

Winner: “Glasgow (No Place Like Home)”  - Wild Rose

Nominees:

“Catchy Song”  - The LEGO Movie: The Second Part “I’m Gonna Love Me Again”  - Rocketman “Into the Unknown” - Frozen II “Stand Up”  - Harriet

Best Sound Editing

Winner:  Hotel Mumbai

Nominees:

1917 Avengers: Endgame Ford v Ferrari Star Wars: The Rise of Skywalker

Best Sound Mixing

Winner:  Rocketman

Nominees:

1917 Avengers: Endgame Ad Astra Ford v Ferrari

Best Visual Effects

Winner: Avengers: Endgame

Nominees:

1917 The Irishman The Lion King Star Wars: The Rise of Skywalker

Best Animated Feature

Winner: The Missing Link

Nominees:

Frozen II How to Train Your Dragon: The Hidden World Toy Story 4

ORIGINAL CATEGORIES

Best Ensemble

Winner: Knives Out

Nominees:

Jojo Rabbit Little Women Marriage Story Parasite

Best Stunts

Winner: Once Upon a Time... in Hollywood

Nominees:

1917 Avengers: Endgame Jumanji: The Next Level Star Wars: The Rise of Skywalker

Best Breakthrough Filmmaker

Winner: Lulu Wang - The Farewell

Nominees:

Anthony Maras - Hotel Mumbai Tyler Nilson, Michael Schwartz  - The Peanut Butter Falcon Benny Safdie, Josh Safdie - Uncut Gems Lorene Scafaria  - Hustlers Joe Talbot - The Last Black Man in San Francisco 

Best Breakthrough Actor

Winner: Kelvin Harrison Jr. - Waves

Nominees:

Roman Griffin Davis  - Jojo Rabbit Jimmie Fails - The Last Black Man in San Francisco Viveik Kaira - Blinded By the Light Archie Yates - Jojo Rabbit

Best Breakthrough Actress

Winner: Jessie Buckley - Wild Rose

Nominees:

Julia Fox - Uncut Gems Florence Pugh - Little Women Taylor Russell - Waves Samara Weaving - Ready or Not

Best Comedy

Winner: Jojo Rabbit

Nominees:

Booksmart Dolemite is My Name The Peanut Butter Falcon Ready or Not

[enjscurls]

Helloooo

1. Top 3 books

2. Top 3 movies

3. Top 3 series

4. Top 3 songs

5. Top 3 characters

6. Top 3 countries you've gone/ want to visit

7. Top 3 places to be kissed at

8. Top 3 things to shout on the top of a hill, when you feel you're on top of the world

9. Top 3 experiences you've had

10. Top 3 characters you've always loved

11. Top 3 colors

12. Top 3 clothing items

13. Top 3 subjects at school

14. Top 3 careers you'd like to study

15. Top 3 things you have to do before you die

16. Top 3 animals

17. Top 3 things you've done during the pandemic

18. Top 3 food

19. Top 3 favorite feelings

20. Top 3 places to go at midnight with your friends

Hope you like it!

ANON YOU ARE MY SAVIOR I LOVE YOU!!!

We finna speed run this bitch (dudududu)

Top 3 Books: (imma pretend I actually read anything other than fanfics)

Les Misérables, Good Omens, and uh... The Very Hungry Caterpillar. Look I told you I don't read!

Top 3 Movies:

Captain America: The Winter Soldier, Thor: Ragnarok, and Rocky Horror Picture Show.

Top 3 Series:

Supernatural (I'm only on season one don't sue me), Will & Grace, and The Umbrella Academy. (I was considering putting Nothing To Declare: Australia's Front Line in because I watch the FUCK out of that show)

Top 3 Songs:

Losing Face by Wilbur, Heat Waves by Glass Animals, and Love Song by Yungblud :) that was so hard to pick how could you

Top 3 Characters

BRO ARE YOU TRYING TO KILL ME WHAT?

Combeferre (Les Misérables), Loki (Thor), and Ben Hargreeves (The Umbrella Academy).

Top 3 Countries You've Been/Want To Visit:

Bro I've been out of the UK once shdjd, I'll do places I want to visit :)

France, Italy, and Australia.

Top 3 Places To Be Kissed At:

Okay I don't know if you mean like geographical location or like body parts, either way I am literally the most touch starved person do you really think I've been kissed??? Ehm

Locations: Beach (idk its cute), in bed, and in the rain (i know that's not a location Shh)

Body parts: Forehead, neck, and hand. I'm simple.

Top 3 Things To Shout on the Top of a Hill, When You Feel You're On Top of the World:

Suck my dick. That is the only acceptable answer. That or just scream!

Top 3 Experiences You've Had:

When I went to see twenty one pilots live, when I went to a drama camp and made so many friends that I miss very much, and getting to hold an owl :)

Top 3 Characters You've Always Loved:

Bloo from Fosters Home for Imaginary Friends, Peter Parker, and Jack from Will & Grace.

Top 3 Colours:

Purple, Yellow, and Black. (just want you to know that it's only thanks to autocorrect that you don't get to see how badly I spelt purple and black)

Top 3 Clothing Items:

Fishnet tights, skater dresses, and oversized hoodies :D

Top 3 Subjects At School:

Music, English, Spanish. The only teachers I like at that school :)

Top 3 Careers You'd Like To Study:

My therapist asked me this today and I just shrugged wjsjdjd

In an ideal world: acting, music, or costume design, but we all know I ain't talented enough for any of those.

Top 3 Things You'd Like To Do Before You Die:

Meet all of my Internet friends (and I mean all of them, none of you are escaping), move far away from home, and be able to actually be happy with myself.

Top 3 Animals:

Meerkat, fox, and cats :)

Top 3 Things You've Done During The Pandemic:

Learned how to crochet, been on national TV, and started learning guitar. (as well as becoming severely depressed)

Top 3 Food:

Mac and Cheese, Peaches, and Pineapple.

Top 3 Feelings:

Happy, Loved, and Excited.

And finally, Top 3 Places You Want To Go At Midnight With A Friend:

Some sort of highstreet that is always busy, on a nature walk, and a library :)

Thank you once again anon for all of the questions! I really do appreciate your work, and I'd encourage anyone else to answer these questions as well ❤️💞💖💕

[mamapriest]

Behind The Scenes Secrets: The Wizard Of Oz

by Unfiltered Hooch PART I

The 1939 film The Wizard of Oz is one of the most iconic films of all time. It launched Judy Garland into the throes of major movie stardom. Though the film made Garland’s career, it also ruined her life. The Wizard of Oz was a gorgeous, Technicolor film, but there was undeniable darkness on set. From crippling addiction and devastating assault, to injury and ever near-death experiences, behind the scenes of Oz will change your perspective on the classic film.

“OVER THE RAINBOW” WAS ALMOST CUT FROM THE FILM

“Over the Rainbow” is one of the most well-known songs of all time, but it almost didn’t exist as we know it. The Wizard of Oz had an insanely long run-time. It was two hours long, and producers had to cut it down by at least 20 minutes for it to be a reasonable length.

"Over the Rainbow" was originally cut because producers thought the black and white scenes dragged, and that younger audience wouldn’t understand the song’s message (they were totally wrong). Instead of cutting the version Dorothy sang in Kansas, they ended up cutting the reprise when Dorothy was imprisoned in the Wicked Witch’s lair.

VICTOR FLEMING SLAPPED JUDY GARLAND ON SET

Yes, it’s true. Victor Fleming slapped Judy Garland on set. To make things worse, the actress was just 16 years old at the time of the film’s shooting. Talk about totally inappropriate! It happened when director Victor Fleming ran into a bit of trouble during the scene where Dorothy slaps the Cowardly Lion. Apparently, Garland just couldn’t stop laughing. At this point in Garland’s career, she was less of a massive movie star and more of a teenage girl; she had never been in a production of this scale.

According to producer Pandro S. Berman, after Garland’s unshakeable case of the giggles was well under way, Fleming pulled her aside, slapped her and then told her to get back to work. That’s one way to rip the smile right off of a teenage girl’s face.

THE WIZARD OF OZ  WAS SUPPOSED TO LOOK TOTALLY DIFFERENT

The film’s original director, Richard Thorpe, had an entirely different idea of how the film should look. Dorothy more closely resembled the original drawings in John R. Neill’s book and had a chicer, blonde haircut with a full face of baby doll makeup.

Judy Garland, who arguably madeThe Wizard of Oz what it was, wasn’t cast for the role of Dorothy, either. Thorpe was hopeful that the studio could score Shirley Temple (which didn’t end up happening, but more on that later). Thorpe was also the one who cast Buddy Ebsen as the tin man. Thorpe ended up being fired from the film after two weeks.

JUDY GARLAND ALMOST DIDN’T PLAY DOROTHY

Judy Garland makes The Wizard of Oz what it is, and while she was always a studio favorite for the role, she wasn’t the studio favorite. Execs thought Shirley Temple was a better fit – she was a better age and a bigger star. Despite Temple’s fame, producers worried that she didn’t have a good enough singing voice for the part.

Fortunately for Garland, Temple was contracted to 20th Century Fox, not MGM. MGM wanted to trade Clark Gable and Jean Harlow for Temple, but the idea was shot down when Jean Harlow died unexpectedly at the age of 26. According to recent reports, it may have been Harlow’s toxic hair dye that caused her kidneys to fail and led to her untimely death.

A TEMPORARY DIRECTOR CAME UP WITH DOROTHY’S LOOK

After Thorpe was fired, George Cukor was brought in to be the film’s temporary director. He never intended to stay throughout the whole movie because he hoped to land a gig as the director of Gone with the Wind. Unfortunately, that coveted job ended up going to Victor Fleming, who ended up being the director of Wizard of Oz, too.

During Cukor’s stay on set, he gave Dorothy her signature look. He threw away the blonde wig and opted for something more “natural” that would directly contrast the fantastical nature of Oz.

BUDDY EBSEN, THE ORIGINAL TIN MAN, WAS POISONED ON SET

Poor Buddy Ebsen was cast as the hilarious, quirky tin man, but his stint on set was pretty short lived. Ebsen was actually poisoned in a freak accident that happened just nine days after filming began. Apparently, the silver makeup used in his character’s costume contained aluminum dust, which he inadvertently breathed in (it was all over his face, after all). His lungs failed, and he was hospitalized.

Ebsen spent two weeks in the hospital and took six more to recover at home. He had to be recast and was eventually replaced by Jack Haley, who did not suffer from the same aluminum allergy. To avoid the same problem, the makeup artists on set used aluminum paste instead of aluminum powder.

JACK HALEY DIDN’T HAVE A GREAT TIME AS THE TIN MAN EITHER

Playing the Tin Man really seemed like a labor of love. While it’s true that Ebsen may have been poisoned by the makeup, it’s not like Jack Haley had it easy. Even though makeup artists switched from aluminum powder to aluminum paint, Haley still contracted an eye infection.

The costume was also incredibly stiff (obviously, it’s the Tin Man!). Haley couldn’t rest in the costume whatsoever because he couldn’t sit down. He couldn’t even get up on his own if he decided to lie down on the ground. This forced him to stand up for the entire time his costume was on, and his only relief was leaning against something.

THE COWARDLY LION’S COSTUME WAS ACTUALLY MADE FROM REAL-LIFE LIONS

The Cowardly Lion’s costume is epic and pretty detailed to resemble what a lion would actually look like if it was part human. This is no accident – Bert Lahr’s costume for The Wizard of Oz was partially made from the pelts of real lions. This caused the costume to weigh a whopping 48 lbs (though he still had it better than the Tin Man).

Rumors also report that MGM considered using their famous lion Jackie – the lion in their logo – to play Bert Lahr’s role, but they ended opting for an actual human. Bert Lahr offers a really relatable, humorous take on the character that wouldn’t really be possible with an actual lion.

THERE’S NO PLACE LIKE HOME FOR THESE SHOES

In 2005, one of the pairs of ruby slippers from The Wizard of Oz was stolen from a museum in Minnesota. In September 2018, 13 years later, law authorities announced that they had located the treasured slippers. North Dakota United States Attorney Christopher Myers said, "We reached the first goal, the recovery, and it’s a great day. But we’re not done. Police are still working to determine who the thief is."

There are six known pairs of ruby slippers worn by Judy Garland during filming. Fans can visit some of the other pairs at locations such as the National Museum of American History, the Academy of Motion Pictures Arts and Sciences Museum, and Oz Park in Chicago. Other pairs are owned by private collectors.

*Sources: unfilteredhooch.net

MGM Studios/MGM Studios/Getty Images

💚💚💚

[silent-era-of-cinema]

Janet Gaynor (born Laura Augusta Gainor; October 6, 1906 – September 14, 1984) was an American film, stage and television actress and painter.

Gaynor began her career as an extra in shorts and silent films. After signing with Fox Film Corporation (later 20th Century-Fox) in 1926, she rose to fame and became one of the biggest box office draws of the era. In 1929, she was the first winner of the Academy Award for Best Actress for her performances in three films: 7th Heaven (1927), Sunrise: A Song of Two Humans (1927), and Street Angel (1928). This was the only occasion on which an actress has won one Oscar for multiple film roles. Gaynor's career success continued into the sound film era, and she achieved a notable success in the original version of A Star Is Born (1937), for which she received a second Best Actress Academy Award nomination.

After retiring from acting in 1939, Gaynor married film costume designer Adrian with whom she had a son. She briefly returned to acting in films and television in the 1950s and later became an accomplished oil painter. In 1980, Gaynor made her Broadway debut in the stage adaptation of the 1971 film Harold and Maude and appeared in the touring theatrical production of On Golden Pond in February 1982. In September 1982, she sustained multiple injuries when the taxicab in which she and others were passengers was struck by a drunken driver. These injuries eventually caused her death in September 1984.

Gaynor was born Laura Augusta Gainor (some sources stated Gainer) in Germantown, Philadelphia. Nicknamed "Lolly" as a child, she was the younger of two daughters born to Laura (Buhl) and Frank De Witt Gainor. Frank Gainor worked as a theatrical painter and paperhanger. When Gaynor was a toddler, her father began teaching her how to sing, dance, and perform acrobatics. As a child in Philadelphia, she began acting in school plays. After her parents divorced in 1914, Gaynor, her sister, and her mother moved to Chicago. Shortly thereafter, her mother married electrician Harry C. Jones. The family later moved west to San Francisco.

After graduating from San Francisco Polytechnic High School in 1923, Gaynor spent the winter vacationing in Melbourne, Florida, where she did stage work. Upon returning to San Francisco, Gaynor, her mother, and stepfather moved to Los Angeles, where she could pursue an acting career. She was initially hesitant to do so, and enrolled at Hollywood Secretarial School. She supported herself by working in a shoe store and later as a theatre usher. Her mother and stepfather continued to encourage her to become an actress and she began making the rounds to the studios (accompanied by her stepfather) to find film work.

Gaynor won her first professional acting job on December 26, 1924, as an extra in a Hal Roach comedy short. This led to more extra work in feature films and shorts for Film Booking Offices of America and Universal. Universal eventually hired her as a stock player for $50 a week. Six weeks after being hired by Universal, an executive at Fox Film Corporation offered her a screen test for a supporting role in the film The Johnstown Flood (1926). Her performance in the film caught the attention of Fox executives, who signed her to a five-year contract and began to cast her in leading roles. Later that year, Gaynor was selected as one of the WAMPAS Baby Stars (along with Joan Crawford, Dolores del Río, Mary Astor, and others).

By 1927, Gaynor was one of Hollywood's leading ladies. Her image was that of a sweet, wholesome, and pure young woman who was notable for playing her roles with depth and sensitivity. Her performances in 7th Heaven, the first of 12 films she would make with actor Charles Farrell; Sunrise, directed by F. W. Murnau; and Street Angel, also with Charles Farrell, earned her the first Academy Award for Best Actress in 1929, when for the first and only time the award was granted for multiple roles, on the basis of total recent work rather than for one particular performance. This practice was prohibited three years later by a new Academy of Motion Picture Arts and Sciences rule. Gaynor was not only the first actress to win the award, but at 22, was also the youngest until 1986, when actress Marlee Matlin, 21, won for her role in Children of a Lesser God.

Gaynor was one of only a handful of established lead actresses who made a successful transition to sound films. In 1929, she was reteamed with Charles Farrell (the pair was known as "America's favorite love birds") for the musical film Sunny Side Up. During the early 1930s, Gaynor was one of Fox's most popular actresses and one of Hollywood's biggest box office draws. In 1931 and 1932, she and Marie Dressler were tied as the number-one box office draws. After Dressler's death in 1934, Gaynor held the top spot alone.[9] She was often cited as a successor to Mary Pickford, and was cast in remakes of two Pickford films, Daddy Long Legs (1931) and Tess of the Storm Country (1932). Gaynor drew the line at a proposed remake of Rebecca of Sunnybrook Farm, which she considered "too juvenile".

Gaynor continued to garner top billing for roles in State Fair (1933) with Will Rogers and The Farmer Takes a Wife (1935), which introduced Henry Fonda to the screen as Gaynor's leading man. However, when Darryl F. Zanuck merged his fledgling studio, Twentieth Century Pictures, with Fox Film Corporation to form 20th Century-Fox, her status became precarious and even tertiary to those of burgeoning actresses Loretta Young and Shirley Temple. According to press reports at the time, Gaynor held out on signing with the new 20th Century-Fox until her salary was raised from $1,000 a week to $3,000. The studio quickly issued a statement denying that Gaynor was holding out for more money. She quietly signed a new contract, the terms of which were never made public.

Gaynor received top billing above Constance Bennett, Loretta Young, and Tyrone Power in Ladies in Love (1937) but her box office appeal had already begun to wane: once ranked number one, she had dropped to number 24. She considered retiring due to her frustration with studio executives, who continued to cast her in the same type of role that brought her fame while audiences' tastes were changing. After 20th Century-Fox executives proposed that her contract be renegotiated and she be demoted to featured player status, Gaynor left the studio, but her retirement plans were quashed when David O. Selznick offered her the leading role in a new film to be produced by his company, Selznick International Pictures. Selznick, who was friendly with Gaynor off-screen, was convinced that audiences would enjoy seeing her portray a character closer to her true personality. He believed that she possessed the perfect combination of humor, charm, vulnerability, and innocence for the role of aspiring actress Esther Blodgett (later "Vicki Lester") in A Star Is Born. Gaynor accepted the role. The romantic drama was filmed in Technicolor and co-starred Fredric March. Released in 1937, it was an enormous hit and earned Gaynor her second Academy Award nomination for Best Actress; she lost to Luise Rainer for The Good Earth.

A Star Is Born revitalized Gaynor's career, and she was cast in the screwball comedy The Young in Heart (1938) with Paulette Goddard. That film was a modest hit, but by then Gaynor had definitely decided to retire. She later explained, "I had been working steadily for 17 long years, making movies was really all I knew of life. I just wanted to have time to know other things. Most of all I wanted to fall in love. I wanted to get married. I wanted a child. And I knew that in order to have these things one had to make time for them. So I simply stopped making movies. Then as if by a miracle, everything I really wanted happened." At the top of the industry, she retired at age 33.

In August 1939, Gaynor married Hollywood costume designer Adrian with whom she had a son in 1940. The couple divided their time between their 250-acre cattle ranch in Anápolis, Brazil, and their homes in New York and California. Both were also heavily involved in the fashion and arts community. Gaynor returned to acting in the early 1950s with appearances in live television anthology series including Medallion Theatre, Lux Video Theatre, and General Electric Theater.[8] In 1957, she appeared in her final film role as Dick Sargent's mother in the musical comedy Bernardine, starring Pat Boone and Terry Moore. In November 1959, she made her stage debut in the play The Midnight Sun, in New Haven, Connecticut. The play, which Gaynor later called "a disaster", was not well received and closed shortly after its debut.

Gaynor also became an accomplished oil painter of vegetable and flower still lifes. She sold over 200 paintings and had four showings under the Wally Findlay Galleries banner in New York, Chicago, and Palm Beach from 1975 to February 1982.

In 1980, Gaynor made her Broadway debut as "Maude" in the stage adaptation of the 1971 film Harold and Maude. She received good reviews for her performance, but the play was panned by critics and closed after 21 performances. Later that year, she reunited with her Servants' Entrance co-star Lew Ayres to film an episode of the anthology series The Love Boat. It was the first television appearance Gaynor had made since the 1950s and was her last screen role. In February 1982, she starred in the touring production of On Golden Pond. This was her final acting role.

Gaynor was romantically involved with her friend and frequent co-star, Charles Farrell, during the time of their work together in silent film, until she married her first husband. Choosing to keep their relationship out of the public eye, Gaynor and Farrell were often assisted by mutual friend Douglas Fairbanks Jr. in maintaining the ruse. Looking back, Fairbanks would later recall, "We three were so chummy that I became their 'beard,' the cover-up for their secret romance. I would drive them out to a little rundown, wooden house well south of Los Angeles, near the sea. I'd leave them there and go sailing or swimming until [it was] time to collect them and then we'd all have a bit of dinner."

According to Gaynor's biographer Sarah Baker, Farrell proposed marriage during the filming of Lucky Star, but the two never followed through with it. In her later years, Gaynor would hold their different personalities accountable for their eventual separation.

Gaynor was married three times and had one child. Her first marriage was to lawyer Jesse Lydell Peck, whom she married on September 11, 1929. Gaynor's attorney announced the couple's separation in late December 1932.

She was granted a divorce on April 7, 1933. On August 14, 1939, she married MGM costume designer Adrian in Yuma, Arizona. This relationship has been called a lavender marriage, since Adrian was openly gay within the film community while Gaynor was rumored to be gay or bisexual. The couple had one son, Robin Gaynor Adrian, born in 1940. Those rumors were never hinted at in newspapers or magazines. Gaynor and Adrian remained married until Adrian's death from a stroke on September 13, 1959.

On December 24, 1964, Gaynor married her longtime friend, stage producer Paul Gregory, to whom she remained married until her death. The two maintained a home in Desert Hot Springs, California and also owned 3,000 acres of land near Brasília.

Gaynor and her husband traveled frequently with her close friend Mary Martin and her husband. A Brazilian press report noted that Gaynor and Martin briefly lived with their respective husbands in Anapolis, state of Goiás at a ranch (fazenda in Portuguese) in the 1950s and 1960s – both houses are still there nowadays. There is a project by the Jan Magalinski Institute to restore their houses to create a Cinema Museum of Goiás.

On the evening of September 5, 1982, Gaynor, her husband Paul Gregory, actress Mary Martin, and Martin's manager Ben Washer were involved in a serious car accident in San Francisco. A van ran a red light at the corner of California and Franklin Streets and crashed into the Luxor taxicab in which the group was riding, knocking it into a tree. Ben Washer was killed, Mary Martin sustained two broken ribs and a broken pelvis, and Gaynor's husband suffered two broken legs. Gaynor sustained several serious injuries, including 11 broken ribs, a fractured collarbone, pelvic fractures, a punctured lung, and injuries to her bladder and kidney. The driver of the van, Robert Cato, was arrested on two counts of felony drunk driving, reckless driving, speeding, running a red light, and vehicular homicide. Cato pleaded not guilty and was later released on $10,000 bail. On March 15, 1983, he was found guilty of drunk driving and vehicular homicide and was sentenced to three years in prison.

As a result of her injuries, Gaynor was hospitalized for four months and underwent two surgeries to repair a perforated bladder and internal bleeding. She recovered sufficiently to return to her home in Desert Hot Springs, but continued to experience health issues due to the injuries and required frequent hospitalizations. Shortly before her death, she was hospitalized for pneumonia and other ailments. On September 14, 1984, Gaynor died at Desert Hospital in Palm Springs at the age of 77. Her doctor, Bart Apfelbaum, attributed her death to the 1982 car accident and stated that Gaynor "...never recovered" from her injuries.

Gaynor is buried at Hollywood Forever Cemetery next to her second husband, Adrian. Her headstone reads "Janet Gaynor Gregory", her legal name after her marriage to her third husband, producer and director Paul Gregory.

For her contribution to the motion picture industry, Janet Gaynor has a star on the Hollywood Walk of Fame at 6284 Hollywood Blvd.

On March 1, 1978, Howard W. Koch, then the president of the Academy of Motion Picture Arts and Sciences, presented Gaynor with a citation for her "truly immeasurable contribution to the art of motion pictures".

In 1979, Gaynor was awarded the Order of the Southern Cross for her cultural contributions to Brazil.

[dweemeister]

What I’d like to see at the 93rd Academy Awards

This was a difficult year for many of us, let alone the film industry. Every year I typically do a full alternate Oscars, a sort of simulations where I pick all the winners and nominees if I could stuff the ballots, even to the points of discarding nominations I disagreed with. I did not see a lot of 2020 releases until awards season drew near - didn’t want to have to deal with virtual cinema or too much streaming due to distractions at home - so my opinions are a more incomplete than usual.

So instead of a full ceremony, these are a list of preferences for the actual nominees tonight instead. I am resigned to the fact that the Academy will disappoint me tonight, in the face of some of the most overtly political (but not necessarily artful) movies ever in a class of Oscar nominations. And, as of an hour ago, I have seen all the Best Picture nominees and almost all of the movies with acting nominations. Non-American films predominantly in a language other than English are accompanied by their country of origin (or a three-letter IOC/FIFA abbreviation of that country)

If anybody sees this or dares respond to this, I imagine it’ll be questioning why I’m so down on Nomadland (if Zhao is supposed to be the new face of American cinema, I don’t see it, sorry). 

Best Picture

The Father (Sony Pictures Classics)

Minari (A24)

Sound of Metal (Amazon)

Judas and the Black Messiah (Warner Bros.)

Mank (Netflix)

Promising Young Woman (Universal)

Nomadland (Searchlight... rip “FOX”)

The Trial of the Chicago 7 (Netflix)

Should have been nominated: City Hall and Wolfwalkers Maybe should have been here (have not seen, but based on what I’ve heard and will get to over the course of the next few months: Bacurau (Brazil); Collective (Romania) and Quo Vadis, Aida? (Bosnia-Herzegovina)

Best Director: UGH. There’s not a lot of interesting direction going on here. Let’s just say Thomas Vinterberg, Another Round

Best Actor: Anthony Hopkins, The Father

Best Actress: Viola Davis, Ma Rainey’s Black Bottom

Best Supporting Actor: Daniel Kaluuya, Judas and the Black Messiah (WB is gaming the system here, because Kaluuya and co-star Stanfield are actually leads)

Best Supporting Actress: Youn Yuh-jung, Minari

Best Adapted Screenplay: Christopher Hampton and Florian Zeller, The Father

Best Original Screenplay: Lee Isaac Chung, Minari

Best Animated Feature: Wolfwalkers

Best Documentary Feature: Collective (ROU)

Best International Feature Film: Quo Vadis, Aida?, Bosnia-Herzegovina

Best Cinematography: Dariusz Wolski, News of the World

Best Film Editing: Mikkel E.G. Nielsen, Sound of Metal

Best Original Score: James Newton Howard, News of the World (though I think they should have nominated and given it to either Christopher Willis for The Personal History of David Copperfield or Hans Zimmer for Wonder Woman 1984... but the Academy disproportionately nominates scores from films in the Best Picture mix rather than outside of that)

Best Original Song: “Husavik”, music and lyrics by Rickard Göransson, Fat Max Gsus and Savan Kotecha, Eurovision Song Contest: The Story of Fire Saga

Best Costume Design: Trish Summerville, Mank

Best Makeup and Hairstyling: Dalia Colli, Mark Coulier and Francesco Pegoretti, Pinocchio (ITA)

Best Production Design: Donald Graham Burt and Jan Pascale, Mank

Best Sound: Coya Elliot, Ren Klyce, and David Parker, Soul

Best Visual Effects: Scott R. Fisher, Andrew Jackson, David Lee, and Andrew Lockley, Tenet

Best Animated Short: Genius Loci (FRA) - my reviews for this category here

Best Live Action Short: Feeling Through - my reviews for this category here

Best Documentary Short: Do Not Split (NOR) - my reviews for this category to be published later today hopefully

WINNERS 3 wins: The Father 2 wins: Mank; Minari; News of the World 1 win: Another Round; Collective; Do Not Split; Eurovision Song Contest: The Story of Fire Saga; Feeling Through; Genius Loci; Judas and the Black Messiah; Ma Rainey’s Black Bottom; Pinocchio; Quo Vadis, Aida?; Soul; Sound of Metal; Tenet; Wolfwalkers

[shattersstar]

toothaches. (my baby's sweet as can be)

Pairing: Jason Todd x Reader Excerpt: You stood in front of him, hands clasped behind your back as if you touched him, you’d pull him into you, into your orbit and he’d be stuck. Content, but stuck. You pressed a kiss to his bottom lip, chaste and daring. Daring him to break away from the life he led. You’d never truly tell him that, give him an ultimatum of you or vigilantism, but you liked to play in dangerous waters. Water with tumultuous waves that pulled your legs from under you and lapped over you incessantly till you gave in. Until he gave in.  Warnings: semi-nsfw, injury mention, fluff a/n: after @jason-redhood​ sent me an ask i was inspired to write more about Jason’s hands because why wouldn’t I? feedback is always appreciated 

toothaches playlist Work Song - Hozier The Lourve - Lorde Warm Honey - Willow I Don’t Wanna Be Okay Without You - Charlie Burg Lavender Blood - Fox Academy  Makeout - Faze Wave  Honey - III Spector  My Soul I - Anna Leone Nothing’s Gonna Hurt You Baby - Cigarette After Sex  Wasteland, Baby! - Hozier

Was he greedy, did he hoard things in piles and bury them for his use only and take and take and take? Jason would say no, that he was practical, functional and excessive in flare, but not in life. Not in emotions. But then again, maybe he was greedy when it came to you. When it came to your attention, your kisses, your smile. He wanted it all, all the time; he wanted to fester in you and lock you in his heart and let you fill up all the emptiness with your soft proclamations of love. He wanted to drown in your eyes and wallow in your thoughts. He wanted to sink deep into your mind and dance on your tongue and be underneath your fingertips. Yeah, he was greedy when it came to you and he was okay with that. He was okay with letting you have him so wholly just because you wanted him. You were avaricious when it came to him too, and you knew it. You knew it in the way you’d reach out for him at night, hands ready to pull him as close as he let you. And Jason always let you.

Tonight you were on the couch, reading the book Jason had suggested for you. Which  meant he’d keep bringing it up till you bothered to read it. He was in the bedroom currently, you thought about making your way over several times. You imagined sliding into his lap from where he most likely laid on the bed, but each time the thought danced across your mind, your attention was pulled back to your novel. It was one of those things you’d regret not doing later, you knew that already. And as the thought came back, the bedroom door creaked open, and Jason appeared in his costume, red helmet tucked under his arm.

You blinked up at him, smiling softly before drifting your attention back to the book. “I thought you weren’t going out.” You commented, always speaking in tongues. Always telling Jason what you wanted in sly manners. Straightforward was no fun. “Change of plans.” He shrugged, trying to act like it didn’t tear something inside him to upset you. To deny you when you wanted him. “Be safe baby.” You chimed, pushing off the couch, book left behind. You stood in front of him, hands clasped behind your back as if you touched him, you’d pull him into you, into your orbit and he’d be stuck. Content, but stuck. You pressed a kiss to his bottom lip, chaste and daring. Daring him to break away from the life he led. You’d never truly tell him that, give him an ultimatum of you or vigilantism, but you liked to play in dangerous waters. Water with tumultuous waves that pulled your legs from under you and lapped over you incessantly till you gave in. Until he gave in.

“I always am.” He grinned, watching you almost float into the bedroom. The same place you’d be waiting for him upon return. And he would return battered, bruised, bloodied and you would be tender with him as always. You pushed yourself out of bed with little resistance, his uniform falling off in a timely manner. You had gotten good at taking it apart. He was sitting on the edge of the bathtub, hands running over your thighs as you cleaned a wound a top of head. The blood had run down his face as you took his helmet off, not questioning how he even managed to get a head wound. After the sea of his black hair was cleansed, you sunk down to your knees, his hands trailing up to your sides as you wiped the blood from his face. It turned your white wash cloth pink, another one you’d have to throw out, but it was small price to pay. Jason squeezed your waist, frowning smally at your lack of reaction. But you had gotten used to this, his way of trying to distract you.

Trying to make one, or both of you believe that you were kneeling between his legs for other reasons. Not to stitch him back up, hoping the seams held this time. Hoping he didn’t unravel before your eyes. You swiped the towel down his cheek, rubbing a little harder before the wet fabric brushed over his lips. It pulled on his bottom lip and you gave in with a sigh, leaning in closer and kissing him. Kissing him fully this time, hands resting on his knees and swallowing the copper taste on his tongue. His fingers pressed into your spine, and he wished he hadn’t gone out. He wished he didn’t ache as much as he did and he could make you feel as good as you wanted. Why did he have to give so much of himself to people that would never want him?

Jason’s grip faltered on your skin, leaving him to wonder if it was because of his injuries, or you. You hummed, leaving a peck to his lips before shifting away. “I just--fuck--I’m sorry.” He gritted through his teeth. You waved it off, smirking like he did when wicked ideas crossed his mind. Jason never seemed to smile as often as he grinned, and smirked. People liked to think they were interchangeable, but his grin, lips quirked in their particular manner were very much their own. And when he smirked at you, it was like his thoughts rode on the radio waves, spiraling around and pulling you in. “It’s okay, no need to apologize Jason.” You hummed, his full name sounding better on your lips than it ever had before.

Like you took all things associated with it and threw it out the window. When you said his name--Jason--he was more the than sum of his parts, more than the boy who lived, died and lived again. Like he was the reason to be alive and god he wanted to believe it. Your lips moved across his jaw, breath fanning against his throat. You kissed his adams apple, teeth biting into his collarbone as you continued down. An exchange of kisses and nips on his scarred skin, bruises getting softer pecks before you moved on. Your hands squeezed his thighs, Jason’s breath already picking up and he only far off hoped he didn’t fall backwards into the bathtub. Especially as he lifted his hips up, pants sliding off and falling to his ankles. You looked up at him from between his legs, your eyes swirling in those waters again. “Good god you’re mine aren’t you?” You sighed, taking him into the warmth of your mouth.

And Jason was yours, but god played no part in this. Divinity meant nothing when you looked at him, when you were the first thing he saw in the morning and the one holding him at night. Gods were spiteful, angry and thieving. They stole him far too soon and part of him liked to think they played no role in bringing him back. Bringing him to find you and your expanding love that filled a room, only leaving space for him. Divinity was a notion, heaven and hell, and where else were nothing, but places he knew he didn’t want to be. His place was here, with you, your name tumbling from his chapped lips.

You liked the way your name sounded, falling from his lips in helpless sighs. Soft mewling pleas that always made a shiver run up your spine. It made your name sound pretty, like it was a holy pray that only got whined in sacred moments. You also liked how you felt underneath Jason’s gaze, a clouded look that ran deep with so many emotions you lost count. You pretended not to notice the when he looked at you like that from the across the living room or when you bustled around inside, him on the balcony with a cigarette hung between his lips. You knew it embarrassed him, being caught with his eyes so full of love that was sickeningly sweet. His eyes dripped with honey, molten on your lips.

And you liked the taste of him on your lips. From his kisses to everything else. Those good morning kisses that are just a little sweeter, and a little deeper are amongst your favourites. It's those that always remind you of Jason's inexplicably ability to be so soft. To cup both sides of your face with strong hands, hands that have done so much damage, and kiss you with an air of desire. A dizzying hello as the sun soaks in your living room. It was hard not to drown in those moments.

For him though, those breath hitching, day dreaming moments are when your lips press to his knuckles. All scarred and knotted skin met with such an intimate action. So gentle compared to his jagged exterior. Mouth moving across his slender fingers, tongue swiping over the skin occasionally before slipping his fingers into your mouth. Teeth nudging and tongue pushing as you'd suck with a doe eyed look. Oh, how you got under his skin. How you knew him so well, understanding him when no one bothered too. It always was alarming how good you were at that; knowing him. It made Jason want to build walls up in front of you, barricading himself in, but it would all be pointless. Frivolous, as you'd shake your head, telling him to talk to you when he felt like being an adult and kissing his cheek. And he always seemed to break, crumbling and falling into your embrace and letting you hold him as long as he needed. It should've stopped surprising him, or maybe make him less defensive, but he was a creature of habit.

Even after long missions away, when all he wanted was to crumble willingly around you, something told him not too. Told him to hold himself together with split knuckles and ringing ears. Made him play the part of aloof and mysterious and frankly, arrogant. You’d always sigh at those moment, deep breaths puffing up your chest as you dropped your arms from where they were crossed, leaving him be. You both didn’t want this, you wanted each other in the most consuming way possible after these outings. After the endless days that you reassured never bothered you. The ones that made him hesitate at the door, stealing a glance you pretended not to notice as you forced yourself to be distracted by the dishes or some scuff mark on the counter. You always wore your emotions on your sleeve until they became too saddening. Too lonely and heavy.

And after that awkward few days where you tried to accommodate to his space while also wanting to suffocate in him, Jason would relent. All the anger and hurt he stored in his chest would be too much and he’d fall into your lap. You were sitting on the couch, reading the same book from months ago. The one you had a penchant for forgetting about till he asked how you were liking it. It had been a tense few days, and nights with too much distance between your bodies, but you knew better. Better than to force him into your embrace and kiss him when all he wanted to do was curl up and be alone. Try to be small again.

But today, he was ready to be small under your gaze and mutter something akin to an apology. He barely gave you a warning, coming in from the balcony and pushing himself into your space. You held your arms high over your head as he pulled his long legs onto the couch, tucking them as best he could into himself. “I don’t like not talking to you.” He huffed, shoving his cold hands between his thighs. He made the air perfume with cigarette smoke and your shampoo. “Ditto.” You matched his quiet tone, resting your hands on his body. Your book was forgotten, maybe he was why you had trouble reading it. One of your hands rested on his bicep, thumb swiping over the cool skin. Winter had found its way into the city. Your other one pulled one of his hands from between his thighs, fingers raw from last night’s work and still bruised from his out of country adventure. You ran your thumb along his knuckles, wrapping his strong hand with yours. You hunched over him, awkwardly, leaving a wet kiss to the back of his hand, before letting a silence fall between you two.

His eyes were closed, squeezed shut and you didn't push him. You watched the muted television, till his tears slipped onto your bare legs. You sighed than, but not one of exasperation, one of understanding. The pads of your fingers slipped up his arm to his temple, a faint hiss falling from his lips. Jason had injured his head more times than you could count, and you knew how his mind got. How his ears ached, jaw too. How his vision would fog and hands reaching for yours in fear this might be the time his vision would go. You knew this worry was plaguing him since he had gotten back. If his careful demeanour didn’t give it away, the large bandage wrapped around his forehead would’ve. You knew this pain was, the rare time he described it as, unbearable.

You were pulling him towards your bedroom, hushing him and leaving kisses over his face. You yanked the curtains closed as he fell onto your shared bed, rubbing his nose with the back of his hand. It was dark, despite being midday, and Jason burrowed himself into the mattress. You sat at the top of your bed, hand resting on the his forearm. He laid on his stomach, pillows hugged to his face. You sat in the silence with him, sat in the darkness with him, sat through the pain with him, just waiting. Waiting till he’d laugh this off, forefinger and thumb catching your chin as he’d grin into a kiss. It was his thank you, a little roundabout, but you were no better.

And when he did, all so predictably, you wasted no time slotting your mouth open. Falling back onto your pillows, pushing his shirt over his head. “Guess you missed me.” He teased, smirking down at you. Stealing shallow kisses, nosing along your jaw as you let your eyes fall close. “Of course I did.” You swooned, imagining everyday could be like this. Low light and stolen air. Jason’s lips barely left yours as he pushed himself into you, one hand pushing your hips into the mattress while the other wrapped around your wrist, fingers sliding up till you managed to intertwine your hands like your bodies were.

Than, it was quiet again, breathes deep and mingling as Jason rested his forearms on either side of your head. Bodies thinly veiled with sweat and shivering with goosebumps when a stray breeze snuck passed your window. You shuddered underneath Jason, not entirely sure the cause, but it didn’t matter. Not as you traced over the scar on his clavicle, the crept up his neck and tapered off his jaw. You grazed over to his lips, pushing your index and middle finger against them. Jason smiled as you did, kissing your fingertips before your hand fell to your side. “I love you Jason.” You said softly, voice syrupy sweet.

It wasn’t a jarring statement, it was one you had shared with Jason many times. He liked when you said it, when your voice was all sugar and low and somewhere far off. Like on the beach. The place he first said it back, actual said it back. The ocean was on your lips, and sand clung to both your bodies as you fell a top of him. He claimed he was been working on his tan, but in truth didn’t want to move from where he had situated himself with a drink.

You let him be, ebbing and flowing with the current before flicking the water off your hands at him. You sank into the sand next to him, head resting on his chest as you met his gaze. He was smiling, those real rare smiles that made you go all mushy inside. Made you want to store this moment in a snowglobe, and shake the sand and fake water and watch Jason smile like that again and twist the key so a car ad played on the radio next to you two. “My god I think I love you Jason Todd.” You laughed, moving to straddle him. “Really?” He teased, pulling his sunglasses off his nose. “Why of course.” You put on your best posh accent, squealing as he yanked on your arms, face hovering over his. “That’s a coincidence ‘cos I think I love you too.” He had dropped his voice lower, like the private beach goers of you and him would scream it to the heavens. To the tabloids and any stranger that would listen; Jason Todd was in love.

But, just as you did in the dark of you shared bedroom, you kissed him with a beam quirking at your lips, eyes lidded and body warm. He may not say it all that often, but you knew Jason loved you. You knew it in the looks and the touches and the way he always hesitated before leaving you. If it was an hour, or two weeks, a trepidation came with leaving the sanctuary he created with you. And it wouldn’t take Jason much to know you loved him. If you weren’t so fond of the proclamation, Jason could find your love in the way you’d always be there for him, to nurse him back to health and be that crutch to lean on. And he would always come home back to you, crawling if he had too. He had been taken from those who loved him once and he’d never let it happen again. Not to you. Not to the person who kept on loving him when all the signs told you not too.

No amount of blood loss or distance would stop Jason from taking your face in his hands and kissing you while you muttered how you loved him. And didn’t he love kissing you. Kissing you how he wanted, holding you how he wanted and being with you how he wanted. And, yeah, greed was a sin, this indulgence was so dangerous and terrifying to lose. But Jason would rather lose it all, burn it down to the ground in front of him, than not to give himself to you as wholly as you wanted. “I love you too.”