YOUTH ON POINTE | YAGP GALA
On April 16th the Youth America Grand Prix will have its World’s Largest Ballet Scholarship Competition for their 2026 Stars of Today Meet the Stars of Tomorrow Gala which is hosted by Misty Copeland. Rebecca Hessel Cohen, Founder and Creative Director of LoveShackFancy, as well as Melanie Hamrick, choreographer, author and ballerina will be honored at David H. Koch Theater in NYC. The event’s Gala Creative Chair is Marcella Guarino Hymowitz. There will be performances by Christine Shevchenko and Calvin Royal III of the American Ballet Theatre, Polina Semionova of the Berlin State Ballet, Roman Mejia of New York City Ballet, Reece Clarke of The Royal Ballet, and Nicoletta Manni and Timofej Andrijashenko of La Scala Ballet.
In addition to seeing phenomenal performances and enjoying a dinner at the gala, The Pointe Project shoes will be available for all to bid on via Givebutter.com starting on April 16th - April 23rd at 12pm ET.
You can still purchase tickets to YAGP Gala. We had the chance to talk to a few people ahead of this event. We had the pleasure of interviewing Misty Copeland a few years ago for our OCT ISSUE #94 and as this year’s host, we wanted to catch up with her on what she has been up to, why YAGP is important to her, and upcoming projects she is involved in.
ATHLEISURE MAG: We had the pleasure of interviewing you a few years ago and it’s great that we connected with you again! What do you love about ballet?
MISTY COPELAND: I love that ballet is a language beyond words. It’s discipline, imagination, and storytelling through the body. It gave me purpose and a way to connect with people across cultures and generations.
AM: What did it mean to you to be a Prima Ballerina for the ABT?
MC: It was deeply meaningful both personally and historically. It meant honoring the path that came before me while helping expand what audiences believe is possible in ballet.
AM: You retired from the ABT, and we know you just performed at the Oscars with Sinners, what are the kinds of projects that you will be taking on that we can keep an eye out for?
MC: I have a new middle-grade novel, Firebird Waltz, coming soon, along with future performances and creative projects across stage, film, and producing. I’m also continuing to grow the work of my foundation.
AM: You are hosting the YAGP Gala. Why did you want to be involved in this year’s event and what are you looking forward to?
MC: YAGP plays such an important role in nurturing young dancers. I wanted to support and celebrate the next generation of artists.
AM: Why is the Youth America Grand Prix important for dancers?
MC: YAGP creates access to training, mentorship, scholarships, and global visibility. For many dancers, it’s a life-changing opportunity.
We wanted to know more about the importance of YAGP and sat down with Marcella Guarino Hymowitz, who is the YAGP Gala Creative Chair.
AM: Before we delve into YAGP and the upcoming gala, can you tell me a bit about your background?
MARCELLA GUARINO HYMOWITZ: I’ve been dancing for as long as I can remember—I started at three, was assisting classes by twelve, and performing professionally as a teenager. Dance was my first language. It taught me discipline, expression, and how to connect with an audience without saying a word.
Over time, my path evolved beyond performing into choreography, creative direction, and experience design. Today, I run The Pearl in New York City, a dance and wellness studio built around confidence, community, and self-expression, and I also create immersive entertainment for events through Studio MGH.
Everything I do still stems from that same foundation—using movement and storytelling to make people feel something.
AM: When did you first fall in love with dance and why do you love it?
MGH: I fell in love with dance very young, but I think I understood WHY I loved it as I got older. It’s one of the only art forms where your body becomes the medium.
Dance gives you a way to process emotion, to tell stories, and to transform—not just how others see you, but how you see yourself. It builds confidence in a very real, physical way.
There’s also something magical about the shared experience of it. Whether you’re on stage or in a class, you’re connecting with the people around you. That energy is addictive.
AM: Why is YAGP so important for those that are in the ballet community?
MGH: YAGP is incredibly important because it creates access and opportunity in a way that is truly life-changing for young dancers.
For many students, traveling around the world to audition for top schools and companies simply isn’t financially possible. What YAGP does is bring those opportunities to them. With regional competitions in many countries, dancers are able to be seen by panels of judges representing some of the most prestigious institutions in the world—Stuttgart Ballet, Princess Grace Academy, The Royal Ballet School, Paris Opera Ballet School, John Cranko School, La Scala, ABT, Miami City Ballet, and many more of the top companies across the United States.
It’s not just exposure—it’s a direct pathway. Through the support of donors, YAGP is able to help bring students to these competitions and award scholarships that can completely change the trajectory of a dancer’s life.
Beyond that, it creates a global community. Young dancers from different backgrounds, countries, and training styles come together, learn from one another, and feel part of something much bigger than themselves.
YAGP isn’t just shaping careers - it’s shaping the future of ballet.
AM: You are serving as the gala’s Creative Chair this year for the 2026 Stars of Today Meets the Stars of Tomorrow Gala. What does this role involve?
MGH: As Creative Chair, my role is to shape the overall experience of the evening - how it feels, how it flows, and how the audience connects to what they’re seeing.
That includes working closely with YAGP’s founder, Larissa Saveliev, on performance curation, pacing, transitions, and the emotional arc of the night. I’m thinking about everything from the energy in the room to how each moment builds on to the next.
And beyond that, my goal is to help make the night one of the most exciting ballet programs in New York this season - to bring in new audiences and create more fans of the art form by exposing them to different interpretations of ballet, and showing how expansive and relevant it can be today.
The party after the performance is also exciting and fun because we will have all of the performers with us. It gives guests a chance to meet the performers and understand how Youth America Grand Prix helped to make their dreams come true.
AM: What are you looking forward to for this year’s performance as well as the gala?
MGH: I’m most looking forward to that moment when everything comes together - the dancers, the music, the audience - and you can feel the energy shift in the room.
This gala is such a beautiful intersection of emerging talent and established artists, and there’s something really powerful about witnessing that exchange in real time.
I’m also especially excited to debut the pointe shoes that will be auctioned off for The Pointe Project. They’ll be on display for the first time at the gala, with designs from Carolina Herrera, Michael Kors, Alice + Olivia, Monse, and more. It’s such a unique fusion of fashion and ballet, and a really special way to celebrate creativity across disciplines. These pointe shoes will be available for all to bid on via Givebutter.com starting April 16 and closing one week later at 12pm EST on April 23rd.
AM: Are there any upcoming projects that we should keep an eye out for from you?
MGH: We have a lot of exciting things happening at The Pearl right now. We’re continuing to expand our collaborations and host pop-up wellness and fitness events for adults that feel both elevated and community-driven.
We’re also really focused on building meaningful programming for teens - from workout classes to “teen talks” featuring inspiring voices speaking on topics that matter to them. Creating a space where they feel strong, seen, and supported is incredibly important to me.
And starting this fall, we’ll be launching both a competitive cheer team and a dance team, led by top-tier instructors. It’s a natural extension of what The Pearl stands for - confidence, discipline, and community - just taken to the next level.
We wanted to talk with performers who will be part of YAGP Gala and caught up with ABT’s Christine Shevchenko and Calvin Royal III.
AM: When did you first fall in love with ballet?
CHRISTINE SHEVCHENKO: I vividly remember falling in love with ballet at the age of four. My mother took me backstage to see “The Sleeping Beauty.” A friend of hers was performing as a prima ballerina in Ukraine, and the show was quite lengthy - about three hours. I stood mesmerized in the wings, captivated by the music, costumes, lighting, and the enchanting story unfolding before me.
CALVIN ROYAL III: I came to ballet a bit later than most, at fourteen. At first, it was a curiosity more than anything, but I fell in love with the discipline, the music, and the feeling of discovering something I didn’t know I was capable of.
AM: When did you realize that you wanted to be a ballerina and to do it as a career?
CS: I realized I wanted to be a professional ballerina when I was around eleven. That was when things started to click for me, and I began truly enjoying my dance journey. Ballet consumed my thoughts; even in school, my mind would wander to ballet classes and rehearsals.
CR III: When I started training seriously and saw how much growth was possible, I realized this could be more than just a hobby. Being introduced to opportunities like YAGP, summer intensives, and eventually a scholarship to the ABT School made it that much more real. That this could actually be a path forward.
AM: What does it mean to you to dance for ABT and is there a specific performance that you are excited about that you will do this Spring or Summer season?
CS: Dancing for ABT means the world to me. This has been my dream company ever since I admired legends like Baryshnikov and Makarova, as well as the extensive classical repertoire they offer. I’m particularly thrilled to perform “Don Quixote” again this season; it’s one of my beloved ballets. Additionally, I’m eagerly anticipating my role in “Onegin.”
CR III: Dancing with ABT has been one of the defining chapters of my life. It’s where I grew up, both as an artist and as a person from student to Principal dancer over the years. There’s a deep sense of responsibility in carrying forward the company’s legacy while also finding my own voice within it. This season, I’m looking forward to exploring roles that challenge me both technically and emotionally, and allow me to deepen my artistry. I’m constantly searching for ways to bring meaning and sincerity to the stage every time the curtain goes up.
AM: Why is YAGP so important to ballet?
CS: YAGP plays a crucial role in the ballet world because it offers life-changing opportunities for young dancers to be noticed by some of the most influential figures in the industry. It fosters resilience and confidence, provides invaluable stage experience, and creates lasting friendships.
CR III: YAGP creates access. It’s a platform that opened doors for myself and thousands of young dancers, for decades, who may not otherwise have a clear path into the professional world. I see it as a program that continues to shape the next generation by connecting talent with opportunity on a global scale.
AM: What are you looking forward to for this year’s 2026 Stars of Today Meets the Stars of Tomorrow Gala?
CS: I am excited to perform alongside world-class dancers who are also friends, and to inspire a new generation of dancers to chase their dreams.
CR III: There’s something really special about bringing together established artists and young dancers on the same stage. I’ll never forget being an aspiring dancer looking up to the pros. Returning this year feels full circle, and a reminder of the continuum of this art form. I’m looking forward to that exchange of energy and inspiration when the curtain rises at Lincoln Center next month.
This year’s auctioned pointe shoe designs are those that we are excited about as mentioned by Marcella. Libby Klein is also contributing a design at this year’s Gala. We wanted to know more about her aesthetic and why she wanted to participate.
AM: How would you describe your work’s aesthetic?
LIBBY KLEIN: My work is rooted in beauty, but not surface-level beauty. It is layered, intentional, and deeply symbolic.
I am a mother of six, and that shapes everything I create. Every day I am balancing two worlds, art and home. Being a mother is not something separate from my work. It is part of it.
I lost my father at a young age, and that gave me a different relationship with life early on. I learned to notice what is fragile, what is meaningful, and what truly lasts. I also come from a family built on tradition and entrepreneurship, the Reichmans, where creating and building something lasting was always part of our foundation.
Alongside that, I was deeply influenced by my great-grandmother. She carried a quiet strength and an understanding that being a woman is not only about what you give to others, but also what you create from within yourself. That stayed with me.
So I built a life where both could exist. I am raising a family, and I am also an artist. I never saw those as separate roles.
My work reflects that balance. It holds beauty and responsibility, softness and strength, tradition and growth. It is not about escaping life, it is about taking everything life gives you and turning it into something meaningful.
I am drawn to blending old and new, preserving tradition while allowing it to evolve. You will see that in my work through delicate, timeless compositions, florals, birds, and natural elements, each one placed with intention.
So the aesthetic is beauty, but beauty with depth, with story, and with purpose.
AM: Where do you look for inspiration when it comes to creating new pieces?
LK: I look at my life.
My children, my home, and the way I choose to see the world, even when it is not simple, especially when it is not simple.
I have always believed that you can either focus on what is broken, or you can choose to find the beauty within it. That choice is where my work comes from.
I create from that perspective. I want to bring into the world the beauty that I see. I want people to feel something when they look at my work, to see light, to see hope, to see something good.
A lot of that is rooted in the power of women. In motherhood, in creation, in the quiet strength that women carry every single day. There is something incredibly powerful about being a woman, about holding so much, building so much, and still choosing softness. That balance inspires me constantly.
If someone can walk away from a piece and feel even a little more grounded, a little more inspired, or simply reminded that there is still beauty in the world, then I have done what I set out to do.
At the end of the day, it is about making the world feel a little brighter, a little softer, and a little more whole.
AM: Why did you want to be involved in the 2026 Stars of Today Meets the Stars of Tomorrow Gala?
LK: As a mother of six, this felt deeply personal to me.
I understand how important it is to nurture talent and to give children a space to grow, to express themselves, and to believe in what they are capable of. Life is not always easy, but when a child is given the opportunity to create, to move, and to be seen, it can shape everything.
This gala represents that. It is not just about performance, it is about possibility.
Being part of something that uplifts the next generation, that gives young dancers a platform and a sense of belief in themselves, is incredibly meaningful to me.
It aligns with everything I value, family, growth, resilience, and the ability to create something beautiful even through challenge.
AM: Tell us about the pointe shoes that you designed that will be auctioned off on this night?
LK: I chose to center the design around the poppy flower because its symbolism really spoke to me. There is something about the poppy. It represents hope, renewal, and resilience how something can grow and bloom even after difficulty. The more I thought about it, the more it felt so connected to ballet.
I also felt a personal connection to it. I grew up in Israel, and this kind of flower is deeply tied to the land. It carries a quiet message of strength, of healing, and of the idea that even in places that have seen so much, beauty can still grow.
What you see on stage is beautiful, but what it takes to get there is not easy. It is repetition, pressure, setbacks, and still choosing to get back up and keep going. That is the poppy to me.
The red carries that strength. It is soft, but it is not weak. That duality feels very feminine to me, the idea that softness and strength exist together.
I added a young bambi into the design because it felt like these dancers, at the beginning of something, still growing, still stepping into who they are becoming.
The butterflies bring a sense of transformation, that everything is constantly unfolding.
And the bees are something very personal to me. There is this idea that a bee should not be able to fly, but because it does not know its limitations, it does anyway. That reflects how I see life as a mother and as an artist, and it is something I see in these dancers as well.
So the shoes are not just decorative. They are a reflection of that whole journey, of becoming, of pushing through, and of finding beauty in it all, and a quiet hope for more unity, peace, and beauty in the world.
AM: Are there any upcoming projects or things we should keep an eye out for?
LK: Lately, I’ve been working on a collection that feels very close to me, the Glow Collection. It really comes from the idea that light doesn’t always come easily, sometimes it’s something you find after moving through darker moments. That kind of beauty, the kind that is built, not given, is something I’ve come to appreciate more over time.
I’ve also been involved in different fundraising efforts and creating pieces that support women, including work around breast cancer awareness. That part of what I do is very important to me, making sure the art gives back and reaches beyond itself.
PHOTOGRAPHY CREDITS | YAGP
Read the MAR ISSUE #123 of Athleisure Mag and see YOUTH ON POINTE | YAGP Gala in mag.
Featured
PHOTO CREDIT | ABC/Oscars
AWARDS SEASON | OSCARS WINNERS
Today, the 98th Oscars announced the nominations for this show that will take place on Sunday, Mar 15th on ABC and Hulu at 7pm ET from the Dolby Theatre in LA. The show will be hosted by Conan O’Brien for his second year in a row. As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.
Best Picture
Bugonia (Focus Features); Ed Guiney & Andrew Lowe, Yorgos Lanthimos, Emma Stone and Lars Knudsen, Producers
F1 (Apple); Chad Oman, Brad Pitt, Dede Gardner, Jeremy Kleiner, Joseph Kosinski and Jerry Bruckheimer, Producers
Frankenstein (Netflix); Guillermo del Toro, J. Miles Dale and Scott Stuber, Producers
Hamnet (Focus Features); Liza Marshall, Pippa Harris, Nicolas Gonda, Steven Spielberg and Sam Mendes, Producers
Marty Supreme (A24); Eli Bush, Ronald Bronstein, Josh Safdie, Anthony Katagas and Timothée Chalamet, Producers
One Battle After Another (Warner Bros.); Adam Somner, Sara Murphy and Paul Thomas Anderson, Producers
The Secret Agent (Neon); Emilie Lesclaux, Producer
Sentimental Value (Neon); Maria Ekerhovd and Andrea Berentsen Ottmar, Producers
Sinners (Warner Bros.); Zinzi Coogler, Sev Ohanian and Ryan Coogler, Producers
Train Dreams (Netflix); Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler, Producers
Best Director
Hamnet (Focus Features), Chloé Zhao
Marty Supreme (A24), Josh Safdie
One Battle After Another (Warner Bros.), Paul Thomas Anderson
Sentimental Value (Neon), Joachim Trier
Sinners (Warner Bros.), Ryan Coogler
Best Actor
Timothée Chalamet in Marty Supreme (A24)
Leonardo DiCaprio in One Battle After Another (Warner Bros.)
Ethan Hawke in Blue Moon (Sony Pictures Classics)
Michael B. Jordan in Sinners (Warner Bros.)
Wagner Moura in The Secret Agent (Neon)
Best Actress
Jessie Buckley in Hamnet (Focus Features)
Rose Byrne in If I Had Legs I’d Kick You (A24)
Kate Hudson in Song Sung Blue (Focus Features)
Renate Reinsve in Sentimental Value (Neon)
Emma Stone in Bugonia (Focus Features)
Best Supporting Actor
Benicio Del Toro in One Battle After Another (Warner Bros.)
Jacob Elordi in Frankenstein (Netflix)
Delroy Lindo in Sinners (Warner Bros.)
Sean Penn in One Battle After Another (Warner Bros.)
Stellan Skarsgård in Sentimental Value (Neon)
Best Supporting Actress
Elle Fanning in Sentimental Value (Neon)
Inga Ibsdotter Lilleaas in Sentimental Value (Neon)
Amy Madigan in Weapons (Warner Bros.)
Wunmi Mosaku in Sinners (Warner Bros.)
Teyana Taylor in One Battle After Another (Warner Bros.)
Best Adapted Screenplay
Bugonia (Focus Features); Screenplay by Will Tracy
Frankenstein (Netflix); Written for the Screen by Guillermo del Toro
Hamnet (Focus Features); Screenplay by Chloé Zhao & Maggie O’Farrell
One Battle After Another (Warner Bros.); Written by Paul Thomas Anderson
Train Dreams (Netflix); Screenplay by Clint Bentley & Greg Kwedar
Best Original Screenplay
Blue Moon (Sony Pictures Classics); Written by Robert Kaplow
It Was Just an Accident (Neon); Written by Jafar Panahi; Script collaborators Nader Saïvar, Shadmehr Rastin, Mehdi Mahmoudian
Marty Supreme (A24); Written by Ronald Bronstein & Josh Safdie
Sentimental Value (Neon); Written by Eskil Vogt, Joachim Trier
Sinners (Warner Bros.); Written by Ryan Coogler
Best Animated Feature
Arco (Neon); Ugo Bienvenu, Félix de Givry, Sophie Mas and Natalie Portman
Elio (Walt Disney); Madeline Sharafian, Domee Shi, Adrian Molina and Mary Alice Drumm
KPop Demon Hunters (Netflix); Maggie Kang, Chris Appelhans and Michelle L.M. Wong
Little Amélie or the Character of Rain (GKIDS); Maïlys Vallade, Liane-Cho Han, Nidia Santiago and Henri Magalon
Zootopia 2 (Walt Disney); Jared Bush, Byron Howard and Yvett Merino
Best International Feature
Brazil, The Secret Agent
France, It Was Just an Accident
Norway, Sentimental Value
Spain, Sirât
Tunisia, The Voice of Hind Rajab
Best Documentary Feature
The Alabama Solution (HBO Documentary Films); Andrew Jarecki and Charlotte Kaufman
Come See Me in the Good Light (Apple); Ryan White, Jessica Hargrave, Tig Notaro and Stef Willen
Cutting Through Rocks; Sara Khaki and Mohammadreza Eyni
Mr. Nobody Against Putin (PINK);
The Perfect Neighbor (Netflix); Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee
Best Animated Short
Butterfly (Sacrebleu Productions); Florence Miailhe and Ron Dyens
Forevergreen; Nathan Engelhardt and Jeremy Spears
The Girl Who Cried Pearls (National Film Board of Canada); Chris Lavis and Maciek Szczerbowski
Retirement Plan; John Kelly and Andrew Freedman
The Three Sisters (Polydont Films/Rymanco Ventures); Konstantin Bronzit
Best Casting
Hamnet (Focus Features); Nina Gold
Marty Supreme (A24); Jennifer Venditti
One Battle After Another (Warner Bros.); Cassandra Kulukundis
The Secret Agent (Neon); Gabriel Domingues
Sinners (Warner Bros.); Francine Maisler
Best Cinematography
Frankenstein (Netflix), Dan Laustsen
Marty Supreme (A24), Darius Khondji
One Battle After Another (Warner Bros.), Michael Bauman
Sinners (Warner Bros.), Autumn Durald Arkapaw
Train Dreams (Netflix), Adolpho Veloso
Best Costume Design
Avatar: Fire and Ash (Walt Disney); Deborah L. Scott
Frankenstein (Netflix); Kate Hawley
Hamnet (Focus Features); Malgosia Turzanska
Marty Supreme (A24); Miyako Bellizzi
Sinners (Warner Bros.); Ruth E. Carter
Best Documentary Short
All the Empty Rooms (Netflix); Joshua Seftel and Conall Jones
Armed Only With a Camera: The Life and Death of Brent Renaud (HBO); Craig Renaud and Juan Arredondo
Children No More: “Were and Are Gone” (Sky); Hilla Medalia and Sheila Nevins
The Devil Is Busy (HBO); Christalyn Hampton and Geeta Gandbhir
Perfectly a Strangeness (Second Sight Pictures); Alison McAlpine
Best Film Editing
F1 (Apple); Stephen Mirrione
Marty Supreme (A24); Ronald Bronstein and Josh Safdie
One Battle After Another (Warner Bros.); Andy Jurgensen
Sentimental Value (Neon); Olivier Bugge Coutté
Sinners (Warner Bros.); Michael P. Shawver
Best Live-Action Short
Butcher’s Stain (Tel Aviv University Steve Tisch School of Film and Television); Meyer Levinson-Blount and Oron Caspi
A Friend of Dorothy; Lee Knight and James Dean
Jane Austen’s Period Drama; Julia Aks and Steve Pinder
The Singers (Netflix); Sam A. Davis and Jack Piatt
Two People Exchanging Saliva (Canal+/The New Yorker); Alexandre Singh and Natalie Musteata
Best Makeup and Hairstyling
Frankenstein (Netflix); Mike Hill, Jordan Samuel and Cliona Furey
Kokuho (GKIDS); Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu
Sinners (Warner Bros.); Ken Diaz, Mike Fontaine and Shunika Terry
The Smashing Machine (A24); Kazu Hiro, Glen Griffin and Bjoern Rehbein
The Ugly Stepsister (Independent Film Company/Shudder); Thomas Foldberg and Anne Cathrine Sauerberg
Best Original Score
Bugonia (Focus Features); Jerskin Fendrix
Frankenstein (Netflix); Alexandre Desplat
Hamnet (Focus Features); Max Richter
One Battle After Another (Warner Bros.); Jonny Greenwood
Sinners (Warner Bros.); Ludwig Goransson
Best Original Song
“Dear Me” from Diane Warren: Relentless (MasterClass/Greenwich Entertainment); Music and Lyric by Diane Warren
“Golden” from KPop Demon Hunters (Netflix); Music and Lyric by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park
“I Lied to You” from Sinners (Warner Bros.); Music and Lyric by Raphael Saadiq and Ludwig Goransson
“Sweet Dreams of Joy” from Viva Verdi! (Viva Verdi!); Music and Lyric by Nicholas Pike
“Train Dreams” from Train Dreams (Netflix); Music by Nick Cave and Bryce Dessner, Lyric by Nick Cave
Best Production Design
Frankenstein (Netflix); Production Design: Tamara Deverell; Set Decoration: Shane Vieau
Hamnet (Focus Features); Production Design: Fiona Crombie; Set Decoration: Alice Felton
Marty Supreme (A24); Production Design: Jack Fisk; Set Decoration: Adam Willis
One Battle After Another (Warner Bros.); Production Design: Florencia Martin; Set Decoration: Anthony Carlino
Sinners (Warner Bros.); Production Design: Hannah Beachler; Set Decoration: Monique Champagne
Best Sound
F1 (Apple) Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta
Frankenstein (Netflix) Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern
One Battle After Another (Warner Bros.); José Antonio García, Christopher Scarabosio and Tony Villaflor
Sinners (Warner Bros.); Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker
Sirāt (Neon); Amanda Vil
Best Visual Effects
Avatar: Fire and Ash (Walt Disney); Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
F1 (Apple); Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson
Jurassic World Rebirth (Universal); David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould
The Lost Bus (Apple); Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin
Sinners (Warner Bros.) Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean
Featured
PHOTO CREDIT | ABC/Oscars
AWARDS SEASON | OSCARS NOMINATIONS
Today, the 98th Oscars announced the nominations for this show that will take place on Sunday, Mar 15th on ABC and Hulu at 7pm ET from the Dolby Theatre in LA. The show will be hosted by Conan O’Brien for his second year in a row. As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.
Best Picture
Bugonia (Focus Features); Ed Guiney & Andrew Lowe, Yorgos Lanthimos, Emma Stone and Lars Knudsen, Producers
F1 (Apple); Chad Oman, Brad Pitt, Dede Gardner, Jeremy Kleiner, Joseph Kosinski and Jerry Bruckheimer, Producers
Frankenstein (Netflix); Guillermo del Toro, J. Miles Dale and Scott Stuber, Producers
Hamnet (Focus Features); Liza Marshall, Pippa Harris, Nicolas Gonda, Steven Spielberg and Sam Mendes, Producers
Marty Supreme (A24); Eli Bush, Ronald Bronstein, Josh Safdie, Anthony Katagas and Timothée Chalamet, Producers
One Battle After Another (Warner Bros.); Adam Somner, Sara Murphy and Paul Thomas Anderson, Producers
The Secret Agent (Neon); Emilie Lesclaux, Producer
Sentimental Value (Neon); Maria Ekerhovd and Andrea Berentsen Ottmar, Producers
Sinners (Warner Bros.); Zinzi Coogler, Sev Ohanian and Ryan Coogler, Producers
Train Dreams (Netflix); Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler, Producers
Best Director
Hamnet (Focus Features), Chloé Zhao
Marty Supreme (A24), Josh Safdie
One Battle After Another (Warner Bros.), Paul Thomas Anderson
Sentimental Value (Neon), Joachim Trier
Sinners (Warner Bros.), Ryan Coogler
Best Actor
Timothée Chalamet in Marty Supreme (A24)
Leonardo DiCaprio in One Battle After Another (Warner Bros.)
Ethan Hawke in Blue Moon (Sony Pictures Classics)
Michael B. Jordan in Sinners (Warner Bros.)
Wagner Moura in The Secret Agent (Neon)
Best Actress
Jessie Buckley in Hamnet (Focus Features)
Rose Byrne in If I Had Legs I’d Kick You (A24)
Kate Hudson in Song Sung Blue (Focus Features)
Renate Reinsve in Sentimental Value (Neon)
Emma Stone in Bugonia (Focus Features)
Best Supporting Actor
Benicio Del Toro in One Battle After Another (Warner Bros.)
Jacob Elordi in Frankenstein (Netflix)
Delroy Lindo in Sinners (Warner Bros.)
Sean Penn in One Battle After Another (Warner Bros.)
Stellan Skarsgård in Sentimental Value (Neon)
Best Supporting Actress
Elle Fanning in Sentimental Value (Neon)
Inga Ibsdotter Lilleaas in Sentimental Value (Neon)
Amy Madigan in Weapons (Warner Bros.)
Wunmi Mosaku in Sinners (Warner Bros.)
Teyana Taylor in One Battle After Another (Warner Bros.)
Best Adapted Screenplay
Bugonia (Focus Features); Screenplay by Will Tracy
Frankenstein (Netflix); Written for the Screen by Guillermo del Toro
Hamnet (Focus Features); Screenplay by Chloé Zhao & Maggie O’Farrell
One Battle After Another (Warner Bros.); Written by Paul Thomas Anderson
Train Dreams (Netflix); Screenplay by Clint Bentley & Greg Kwedar
Best Original Screenplay
Blue Moon (Sony Pictures Classics); Written by Robert Kaplow
It Was Just an Accident (Neon); Written by Jafar Panahi; Script collaborators Nader Saïvar, Shadmehr Rastin, Mehdi Mahmoudian
Marty Supreme (A24); Written by Ronald Bronstein & Josh Safdie
Sentimental Value (Neon); Written by Eskil Vogt, Joachim Trier
Sinners (Warner Bros.); Written by Ryan Coogler
Best Animated Feature
Arco (Neon); Ugo Bienvenu, Félix de Givry, Sophie Mas and Natalie Portman
Elio (Walt Disney); Madeline Sharafian, Domee Shi, Adrian Molina and Mary Alice Drumm
KPop Demon Hunters (Netflix); Maggie Kang, Chris Appelhans and Michelle L.M. Wong
Little Amélie or the Character of Rain (GKIDS); Maïlys Vallade, Liane-Cho Han, Nidia Santiago and Henri Magalon
Zootopia 2 (Walt Disney); Jared Bush, Byron Howard and Yvett Merino
Best International Feature
Brazil, The Secret Agent
France, It Was Just an Accident
Norway, Sentimental Value
Spain, Sirât
Tunisia, The Voice of Hind Rajab
Best Documentary Feature
The Alabama Solution (HBO Documentary Films); Andrew Jarecki and Charlotte Kaufman
Come See Me in the Good Light (Apple); Ryan White, Jessica Hargrave, Tig Notaro and Stef Willen
Cutting Through Rocks; Sara Khaki and Mohammadreza Eyni
Mr. Nobody Against Putin (PINK); Nominees to be determined
The Perfect Neighbor (Netflix); Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee
Best Animated Short
Butterfly (Sacrebleu Productions); Florence Miailhe and Ron Dyens
Forevergreen; Nathan Engelhardt and Jeremy Spears
The Girl Who Cried Pearls (National Film Board of Canada); Chris Lavis and Maciek Szczerbowski
Retirement Plan; John Kelly and Andrew Freedman
The Three Sisters (Polydont Films/Rymanco Ventures); Konstantin Bronzit
Best Casting
Hamnet (Focus Features); Nina Gold
Marty Supreme (A24); Jennifer Venditti
One Battle After Another (Warner Bros.); Cassandra Kulukundis
The Secret Agent (Neon); Gabriel Domingues
Sinners (Warner Bros.); Francine Maisler
Best Cinematography
Frankenstein (Netflix), Dan Laustsen
Marty Supreme (A24), Darius Khondji
One Battle After Another (Warner Bros.), Michael Bauman
Sinners (Warner Bros.), Autumn Durald Arkapaw
Train Dreams (Netflix), Adolpho Veloso
Best Costume Design
Avatar: Fire and Ash (Walt Disney); Deborah L. Scott
Frankenstein (Netflix); Kate Hawley
Hamnet (Focus Features); Malgosia Turzanska
Marty Supreme (A24); Miyako Bellizzi
Sinners (Warner Bros.); Ruth E. Carter
Best Documentary Short
All the Empty Rooms (Netflix); Joshua Seftel and Conall Jones
Armed Only With a Camera: The Life and Death of Brent Renaud (HBO); Craig Renaud and Juan Arredondo
Children No More: “Were and Are Gone” (Sky); Hilla Medalia and Sheila Nevins
The Devil Is Busy (HBO); Christalyn Hampton and Geeta Gandbhir
Perfectly a Strangeness (Second Sight Pictures); Alison McAlpine
Best Film Editing
F1 (Apple); Stephen Mirrione
Marty Supreme (A24); Ronald Bronstein and Josh Safdie
One Battle After Another (Warner Bros.); Andy Jurgensen
Sentimental Value (Neon); Olivier Bugge Coutté
Sinners (Warner Bros.); Michael P. Shawver
Best Live-Action Short
Butcher’s Stain (Tel Aviv University Steve Tisch School of Film and Television); Meyer Levinson-Blount and Oron Caspi
A Friend of Dorothy; Lee Knight and James Dean
Jane Austen’s Period Drama; Julia Aks and Steve Pinder
The Singers (Netflix); Sam A. Davis and Jack Piatt
Two People Exchanging Saliva (Canal+/The New Yorker); Alexandre Singh and Natalie Musteata
Best Makeup and Hairstyling
Frankenstein (Netflix); Mike Hill, Jordan Samuel and Cliona Furey
Kokuho (GKIDS); Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu
Sinners (Warner Bros.); Ken Diaz, Mike Fontaine and Shunika Terry
The Smashing Machine (A24); Kazu Hiro, Glen Griffin and Bjoern Rehbein
The Ugly Stepsister (Independent Film Company/Shudder); Thomas Foldberg and Anne Cathrine Sauerberg
Best Original Score
Bugonia (Focus Features); Jerskin Fendrix
Frankenstein (Netflix); Alexandre Desplat
Hamnet (Focus Features); Max Richter
One Battle After Another (Warner Bros.); Jonny Greenwood
Sinners (Warner Bros.); Ludwig Goransson
Best Original Song
“Dear Me” from Diane Warren: Relentless (MasterClass/Greenwich Entertainment); Music and Lyric by Diane Warren
“Golden” from KPop Demon Hunters (Netflix); Music and Lyric by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park
“I Lied to You” from Sinners (Warner Bros.); Music and Lyric by Raphael Saadiq and Ludwig Goransson
“Sweet Dreams of Joy” from Viva Verdi! (Viva Verdi!); Music and Lyric by Nicholas Pike
“Train Dreams” from Train Dreams (Netflix); Music by Nick Cave and Bryce Dessner, Lyric by Nick Cave
Best Production Design
Frankenstein (Netflix); Production Design: Tamara Deverell; Set Decoration: Shane Vieau
Hamnet (Focus Features); Production Design: Fiona Crombie; Set Decoration: Alice Felton
Marty Supreme (A24); Production Design: Jack Fisk; Set Decoration: Adam Willis
One Battle After Another (Warner Bros.); Production Design: Florencia Martin; Set Decoration: Anthony Carlino
Sinners (Warner Bros.); Production Design: Hannah Beachler; Set Decoration: Monique Champagne
Best Sound
F1 (Apple) Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta
Frankenstein (Netflix) Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern
One Battle After Another (Warner Bros.); José Antonio García, Christopher Scarabosio and Tony Villaflor
Sinners (Warner Bros.); Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker
Sirāt (Neon); Amanda Vil
Best Visual Effects
Avatar: Fire and Ash (Walt Disney); Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
F1 (Apple); Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson
Jurassic World Rebirth (Universal); David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould
The Lost Bus (Apple); Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin
Sinners (Warner Bros.) Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean
Featured
STARCHAT WITH ZURI HALL
We've all enjoyed a number of our favorite shows that recently wrapped from their fall premiers and we're now in the Summer portion of the season with an array of shows to watch. One of those shows is NBC's America Ninja Warriors which will kick off S17 on Jun 2nd at 8pm ET. Hosted by Zuri Hall, we wanted to catch up with her to talk about her career as a journalist and host. You can see her on the network's daily celebrity show Access Hollywood, E! Live From the Red Carpet as well as Miss USA and Miss Universe competition shows. We wanted to talk with her about her work, Awards Season, and how she navigates the balance between a career and mental health.
ATHLEISURE MAG: It is so great to chat with you again as we spoke a few years ago.
ZURI HALL: Oh I remember you!
AM: Great – well I love that we’re fellow Midwest girls, attended Big Ten universities -
ZH: Big Ten all day baby – let’s go!
AM: Exactly! It’s so phenomenal to see how you continue to navigate through your career and I always love your IG feed as the outfits are always on point. What you wore recently to the Met Gala, Bishme is a genius and we had the pleasure of attending his NYFW show a few seasons back – your look was truly a moment.
ZH: He’s so good, right? He is always the sweetest soul too. He is so humble but his talent!
AM: It’s next level without question and of course, you killed it again which is never a question.
ZH: I mean, he did take it to the next level!
AM: Without a doubt, but then there is also the Zuri factor – you know how to wear a look!
ZH: Thank you!
AM: I’m glad we’re able to connect again and to talk about all the things that you have going on.
ZH: Thank you and I’m glad we get to chat again.
AM: When you look back at your career and all of the things that you have been able to do at this point, did you think that you would be in this space that you are in right now?
ZH: Honestly, yeah – it was always kind of the vision! I mean, I know that some people are always tempted to demure and say that they don’t know how they got where they are. But I kind of meticulously planned and worked towards getting here since I was a kid. Honestly, I always knew that I wanted to be in Hollywood and in entertainment and I knew that at the age of 6 or 7. In Junior High, that is when I aggressively pursued it. Every choice that I made outside of academics was to kind of lay down the foundation for the future career. All the activities I chose from theater workshops, trying to get a commercial agent from Toledo, Ohio – so this was always the plan. But I think that this is what leaves me also humbled and in awe of what God can do. Because for better or for worse and with all of the ups and downs, being this little girl from Toledo to make it to where I am and to live this life that I have always dreamed of against all odds, I am very very blessed.
AM: I enjoy Access Hollywood and watching it when I’m traveling or prepping for a project. What do you enjoy about being part of this show?
ZH: Ooo Access Hollywood what I can say that I love and appreciate most is that they are family now! I love my co-hosts, I love our team, our Executive Producer Mike is incredible, and there is a team of Supervising Producers. Everyone is just on board with the vision and we all work together not to just make the show work, but to support one another in each person’s personal endeavors and our personal ventures, as well as professionally. It feels like an environment where everyone wants to see everyone win. It feels good to wake up every day and to go to work and I know that everyone doesn’t always get that lucky and I haven’t always worked in places where I could say that. That’s a big blessing and I take a lot of pride in the fact that we center around celebrity news and entertainment news, but we very much so pride ourselves on being seen as friends to people that we speak to – so it’s very welcoming and warm – a safe space.
AM: That’s what I love about it!
ZH: That’s what I love about it too! I couldn’t do it otherwise.
AM: What is your process in terms of preparing for interviews like this? How do you make sure that you are getting out those conversations that you are looking to achieve?
ZH: You know when I am going in to do interviews like this, we have incredible producers that do research on the front end. I’m talking about that we have so many people on any given week and it’s a lot to keep up with. Our producers, they cover us. They give us the help that we need to have.
What I most pride myself on is really prioritizing thoughtful questions and thoughtful conversations. I want people to feel safe in talking with me. I said this on a podcast recently with a dear friend of mine who has a podcast called Why Not Me with Mike Jackson from Get Lifted Productions. I was saying that I have always prided myself on not being a gotcha journalist and after 10 years in Hollywood – 10 years at NBC Universal, I’ve started to feel the dividends. I have a rapport with all of these incredible actors and musicians. They know me and they see me. They come and they want to talk because they know it's a safe place where they will be able to say what they need to say and they can trust that it won’t be taken out of context. They are comfortable and funny enough, they may even share more because they are comfortable to share. Joining Live from E! as the Red Carpet host, from my first season ever, one of the biggest things has been the way that I have asked the question around fashion. Everyone has said, “oh, we notice that you ask how do you feel in this look or how are you feeling in this look,“ and I think that that just speaks to my approach. I think fashion can be feelings and it can be hard to get in touch with my feelings over the years, so I try to bring that to my interviews. That is what I try to bring in – the emotions, the heart, and I hope that whoever is speaking with me that they feel the connection with me and I trust that it will allow the viewer to connect with them so much more. I just look at myself as hopefully a safe platform or vessel as a way for them to be able to share their message or their story.
AM: I mean watching you there is always warmth and authenticity, and a genuine curiosity to your style as a journalist. Regardless of whether you’re on the red carpet doing an interview, or being on Access Hollywood, and then you have American Ninja Warrior which I love that show! It’s back for another season – how did you get attached to it and what was it about this show that you wanted to take this on within your portfolio?
ZH: I can’t believe – you know I’m getting up there when I have to say, what year is this for me on this show? We had the regular seasons and then we had the COVID years and so it throws it off because we batched 2 seasons. There was a lot going on then, okay?
AM: You made it work!
ZH: Right? I will never forget my first season, my rookie year I was over at E! News. I think that I had just turned 30 and it was a new chapter in my life. This was the biggest show that I had ever gotten to this point. When I got the call that I got the position, I knew that my life was going to change and I don’t say that to be dramatic – I just felt it and it absolutely has. The reason that I was most excited to sign on to American Ninja Warrior, the show is just fun, it’s awesome, it’s big, and it’s buzzy. These athletes are incredible with what they do and I have always watched in awe. So to now realize that I was going to be part of it, it was just really humbling and exciting. Then, when I got into the show, I fell in love with the community of ninjas so quickly and I really prioritized building friendship with them on the sidelines even when the cameras were not rolling. Interacting with them on social and on IG all year around and not just when we are filming. We built that trust with one another so quickly. The biggest compliment that any one of the ninjas can give me is when they get to the sideline and they say, “Oh my gosh, I have been dreaming of getting to the sideline when I finally get to interview you,” because it just means that they finally got to run through the course. So for me to be part of the ninja experience and for them to be just a kid at one time and now they’re old enough to compete and finally they get to compete, and then they get what they say is their “Zuri interview” that really means something to me. I’m usually the first person that they talk to after they hit a buzzer and they’re excited or go down early or their run ends in a way that they hadn’t hoped for and they’re devastated. Sometimes, there are a lot of tears. I take a lot of pride and responsibility in being able to show up for them emotionally or in whatever way they need – whether it’s a hug or a, “I hope I see you next year” so they have that encouragement and don’t quit or give up. Sometimes it’s let bring the family in ASAP because you need your mama right now. I just take pride in being that emotional support on the sideline for the ninjas. That’s my favorite part.
AM: It’s crazy because we had Jessie Graff as a cover a few years back for our AUG ISSUE #20 in 2017 and to have her styled in couture gowns and doing stunts – it’s not something that I will forget for a very long time. I mean what is life and that’s why I love this show as she was doing things I could never do, but you can see the training, athleticism, art, creativity, and pride!
ZH: Yeah! That’s incredible! I love Jessie. She’s the OG for real – for real!
AM: Exactly!
ZH: What’s so cool about the show is how it is a springboard for people’s careers! People have Ninja Gyms across the country. Jessie is in Hollywood doing all of these incredible stunts and stunt work on Wonder Woman and other big blockbuster films! Ninja really does launch people into the next chapter of their careers.
AM: It truly is special!
What can we expect from this season?
ZH: This season is S17! It’s super special because it’s premiering on my birthday! So if you want to celebrate with me, you guys need to tune in on Mon Jun 2nd on 8pm Eastern on NBC of course and you can see it the next day streaming on Peacock. I think that the biggest thing that I am excited about for this year, it’s all taking place in Vegas. Normally, you would see us in different cities across the country which is really special. But for the first time ever, we’re doing qualifiers, semi-finals and national finals all in Vegas which I
think is really interesting too because it allowed for the Ninjas to have this adult summer camp! We all descended upon Las Vegas to create this magic in this chunk of time. For all of the Ninjas, the production team, us as the hosts – we were all there together for all of that. It was really fun and beautiful and allowed us to buid this sort of momentum and spirit. We didn’t have this starting/stopping and new city cycle as in previous seasons. So that was really cool and also, the finals are nuts! We’re doing the side-by-side races and the head-to-head races and there is a new bracket style tournament for this season as well. That’s what’s going to determine the Ninja Warrior Champion right? So I think that the bracket style is really kind of like raising the stakes. It’s feeling very – Ninja Warrior is a sport and as each season progresses, you can see it coming together in a way that you could see where this has come to head to the 2028 Summer Games [Editor’s Note: For LA28, a Ninja Warrior-style obstacle course will be part of the Summer Games making their debut in the Modern Pentathlon portion of the program]. It’s true athleticism and it’s going to be fun to watch. It’s going to be a different viewing experience then what fans have seen before. The stakes are crazy high and to think that some of our Ninjas could be winning gold medals someday because of the Olympics play, it’s bigger than ever!
AM: That is amazing and then once again, you have such a medley of things that you do. I have enjoyed seeing you at the pageants as a host. That is such an amazing world and I started to know more about it when I had the opportunity to style Miss America 2019 Nia Franklin as well as Miss Ecuador Universe 2018 Virginia Limongis for projects. Seeing you on that platform was yet another level. What do you like about being involved in those shows?
ZH: That is such a great question! What do I love about being part of those shows? I love the pageantry, the poise, I love glam of it all. I love a little glam moment. I am so night and day as the Gemini that I am. What’s great, is that I can only fully appreciate hosting a show like Miss Universe of Miss USA because I get to pull up in my sneakers and my jeans and host a show like America Ninja Warrior. I need both. Because I very much so live in sneakers and jeans, but in that 15%, I’m going to give you glam ok?
Miss USA and Miss Universe has been a great opportunity for me to be able to do that! The women are just so brilliant and just so beautiful – the least beautiful thing about them is how they look which is saying a lot because those women are stunning. They are so smart, they have incredible human interests, from philanthropy, to non-profit causes, to raising awareness on Mental Health or children living in poverty. I am just so inspired by them and that competition is not easy – those competitions are a grind! I have so much respect for the pageant world and that is something that I have come to after hosting this show. I didn’t grow up in pageants and now I have such an appreciation and respect for it. So it’s really fun and it’s really fun to play dress up on a superficial level too! It’s just wearing those gowns, those sequins, more, is more and nothing is too much in a space like that. It’s a lot of fun.
AM: When you’re doing the red carpets, we just came off of Awards Season, it’s a big run and this year it was compounded with the LA fires – I can’t even imagine the navigation around that. How do you approach that hectic time of the year?
ZH: Ooo Awards Season! I approach Awards Season with a lot of intention and a lot of calm before the storm. I intentionally carve out a lot of calm leading up to Awards Season because I know after the clock hits midnight, it’s a New Year and we’re hitting the ground running with the Golden Globes and it’s not going to stop running until after the Academy Awards. That is 3 months of grind for me.
This year as I mentioned, stepping into this new position – in the main position for Live from the Red Carpet on E! and the carpet specials, I took it all the more seriously! I have always taken it seriously. It’s really about the holidays for me being about rest, it’s research, I’m celebrating Christmas, I’m celebrating New Years Eve, but I have a research packet as thick as a Bible with all of the films, the nominees, the categories, the storylines we’re following throughout the season and doing that research ahead of time allows me to step into the New Year locked and loaded - I'm ready. I make time for meditation and prayer every show day, all week long, all Awards Season. It’s important for me to have those moments so that I can recharge and I can fill my cup because you give a lot on those show days. You’re live sometimes 3 hours – 3 and a half hours straight! It’s non-stop so just taking care of my mental, spiritual, and physical health before the in between time is how I get through a season like that!
AM: Oh wow! Well you always do it so well as you always look great on the carpet and the questions and engagement that you have makes those conversations enjoyable to watch.
ZH: Thank you – I’m trying!
AM: Going back to Met Gala, I loved your outfit, Bishme is always taking it to the next level and what he created for you was something to see. What was that process like in terms of getting dressed? Were you working weeks or months in advance?
ZH: No! You know what was so crazy? He is so talented that we met probably a couple of weeks out from Met Gala.
AM: Oh wow!
ZH: Yes for the first time. I’m so busy, he is so busy, everyone just has so many things going on. I couldn’t even mentally pivot to Met Gala until the last thing was done. If Grammys is coming up, I’m like, don’t ask me about the Oscars until after I get through Grammys. Don’t ask me about Grammys until after I get through Globes. I literally have to take it a step at a time or I would go crazy.
AM: Oh yeah!
ZH: So Met Gala, I couldn’t think about mentally from a fashion perspective until probably Aprilish because I had to get through Oscars and I had a few things going on in the office. So I meet with him and he shows me these sketches and pulls out these fabric swatches and I am immediately blown away. He is crazy talented. We landed on a sketch that felt right. For me, I just can’t think about the fashion statement which I absolutely want to make, but it also has to be practical because I’m working. I’m not just going in hanging around and partying. I have to stand on a red carpet in a really tight space for up to 4 hours. For the Met Gala, I was in that dress and in those heels standing for the most part for 6 hours. We have to get there so early before the gridlock so it has to be practical and it also has to be fashionable because I love a moment.
It was kind of funny because Bishme, we had our first fitting a week and a half out. Then it was probably 2 or 3 days ahead of the Met Gala that we had a fitting and he literally brought some fabric and I was like, “ok, let’s see how this goes.” He made a dress out of thin air with a piece of fabric – I think it is called muslin.
By the end of that 15-20 mins fitting, I was low key wearing a dress. Him and my stylist were laughing because he is used to that Project Runway life. He was not stressed and we were like, Met Gala is in 2 days” and he was like, “I got this. Say less.” We had that final fitting and he finished the gown within 3 or 4 days. It was a perfect fit. It was better than anything ever and people loved it.
It was a total hit. He works so well under pressure. It was a super fast process and extremely efficient and only someone as talented as him could pull something off like that. I was just grateful to wear his design because he had great vision.
AM: This year's theme was amazing. What were 3 looks that you enjoyed seeing on the carpet?
ZH: The theme was incredible Super Fine Tailoring Black Style and I loved that it was a celebration of Black Dandyism because I am really big on joy and I think that the Met Gala night really exemplified that. My 3 favorite looks – I loved Diana Ross’ (The Wiz, Mahogany, Lady Sings the Blues) entrance. To be there watching that happen and for her making us remember what it is like to have one of those divas in the best way possible entrance – it was like yesss – you are giving the people what they need right now!
Her look was incredible and I loved her daughter’s look – Tracee Ellis Ross (Girlfriends, Black-ish, American Fiction). She is such a style maven and she gets it from her momma.
AM: Yup.
ZH: I love that she raids her mom’s closet and she calls it shopping. Tracee’s look was fun.
Zendaya (Euphoria, Dune franchise, Challengers) always gets it right. I loved the tailored suit and sort of the minimalist silhouette with that beautiful gorgeous fedora – that hat that she wore.
The fellas brought it too – A$AP Rocky as a Co-Chair was incredible and he has always had such awesome style and of course with Rihanna to pull up and with the baby bump as the final arrival on the Met Gala Red Carpet! She said that A$AP brought the umbrellas and she brought the +1 – the baby to the party. She looked great!
I loved Ciara, her in LaQuan Smith looked gorgeous. Her and Russell Wilson being able to walk this Red Carpet for the first time ever because he’s usually occupied at that time. So to see them walk that for the first time together was special especially since he is playing for the Giants now. There were so many really fun looks that was enjoyable to see.
AM: With all the worlds that you’re involved in – how do you make sure that you don’t have burnout? We love what we do, we’re immersed in what we do, but I mean – you need a breath. How do you get that balance?
ZH: For me, it’s something that we have heard before, but I have only recently appreciated it in the last few years in what it means and taking it to heart. My no’s are just as important if not more important than my yeses. I used to say yes to everything. You kind of have to have that chapter of grinding it out and saying yes to everything as you never know what opportunity is going to open that next door. But then you get to a point in your life hopefully where you look up and say, there is a lot going on and I need to get more intentional with my yeses. If I can’t show up with a full cup at max capacity for the things that I have said yes to, do I want to show up? I want to show up fully and I deserve to experience this thing fully and also the people who have asked me to be part of it, they deserve the best of me if I say yes. So it is less yeses but they are hell yeses! So, the ones I am really excited about that I can show up for fully means that there were no’s that had to be said. I have to be ok with potentially disappointing some one who would have hoped that I could do a thing. But I can say next time – it’s not no forever it’s just I can’t right now and I am honoring where I am at my max capacity bucket.
I think carving out slow moments is really important on the day-to-day. I like counting down to a vacation. I have been counting down by the way to a non existent vacation in my head since Jan 1st! There is no trip booked, no flights, but I’m like, “I can’t wait to get to that beach,” and my dog is looking at me like what beach?
AM: You mean beach at home haha!
ZH: Haha – the living room, basement – what are we talking about?
But, having those slow moments to look forward to on any even given day – even if I have a 20mins coffee break that I carved out for myself with my favorite Lavender Latte at 3 o’clock. That is a slow moment. It’s a gift to myself. A massage that I booked for myself after a long day. That’s a moment and that’s a gift to myself. I think it is important to give ourselves small little gifts so that we have earned small wins. It doesn’t have to be a big thing or a long weekend away. It can be 10mins to yourself with the lights off and if you have kids, your spouse is like – I got them. I will take them upstairs and lock them away for 15mins. You just sit in the dark if that is what you need.
AM: What do you want your legacy to be? You have done so much and such a beacon for people. I think about when I was growing up, I didn’t have a lot of people I could think of except for Oprah – there weren’t other people like that out there. But we live in a time where those coming up have Zuri’s and others that they can look towards.
ZH: Wow, oh man. Well first of all, thank you for saying that. To hear, we have the Zuri’s is kind of a moment. I haven’t been able to wrap my mind around fully – you kind of left me speechless with that one. That means a lot just because, what do I want my legacy to be? I want for people to feel good and I want people to be unapologetic about prioritizing feeling good. I want people to feel good at work, I want people to feel good in their home and personal lives. I think why I bring that into the legacy conversation is because I work really hard and for a long time, all I did was work. My career was everything and to be quite frank, that wasn’t healthy. I realized I needed to build up the other pillars of my life because if 1 pillar shook and it was the career and that’s the only pillar – my world was shaking, my home was shaking – there was no foundation. A part of my legacy is that I want other people to say when I watched her I felt inspired and I felt entertained. I also felt that I was given permission or really encouragement to feel good in my life to take time and to prioritize myself. Even if it is just because they see me having the career that I have and then seeing me have the kinds of conversations that I have around mental health and spiritual wellness and how important it is to make rest, to avoid burnout it’s important. Seeing me crush it in my career maybe that is what someone came to see, but then realizing how I am doing it – I very much so want to make sure that that is part of my legacy.
If I can inspire even one little girl, little boy or one kid – who looks at me and sees a trajectory that they would like to follow, that is really special. I have a mom who DM’d me a couple of months ago and I have had moms reach out to me in the last few years. She let me know that she named her daughter after me. I thought it was incredible and it was so nice to hear. But then I was like, “how old is your daughter?” She’s like 6 and I’m like, “dang, I haven’t been around that long!” I’m old now! How do I have a 6 year old Zuri running around? It’s special and at the end of the day, I hope that my legacy and the biggest part of it is that people can look and see that I really enjoyed this life that I lived and that I rode it until the wheels fell off. She wasn’t just having a career that was incredible, but I get the sneaking suspicion that she really enjoyed it fully!
IG @zurihall
PHOTOS COURTESY | PG 76 - 79 Matt Sayles | PG 80 IG/Zuri Hall |
Read the MAY ISSUE #113 of Athleisure Mag and see STARCHAT WITH Zuri Hall in mag.
Featured
9R3DCARP3T
PHOTO CREDIT | ABC/Oscars
AWARDS SEASON | OSCAR WINNERS
Today the winners of the 97th Oscars took place today and was hosted by Conan O’Brien which aired on ABC as well as Hulu.
As we have done throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. Below are the winners which includes those that wwe predicted correctly as well as those we didn’t.
Best picture
"Anora" (Neon)
"The Brutalist" (A24)
"A Complete Unknown" (Searchlight)
"Conclave" (Focus)
"Dune: Part Two" (Warner Bros.)
"Emilia Pérez" (Netflix)
"I'm Still Here" (Sony Classics)
"Nickel Boys" (Amazon/MGM)
"The Substance" (Mubi)
"Wicked" (Universal)
Best director
Sean Baker, "Anora"
Brady Corbet, "The Brutalist"
James Mangold, "A Complete Unknown"
Jacques Audiard, "Emilia Pérez"
Coralie Fargeat, "The Substance"
Best actress
Cynthia Erivo, "Wicked"
Karla Sofia Gascón, "Emilia Pérez"
Mikey Madison, "Anora"
Demi Moore, "The Substance"
Fernanda Torres, "I'm Still Here"
Best actor
Adrian Brody, "The Brutalist"
Timothée Chalamet, "A Complete Unknown"
Colman Domingo, "Sing Sing"
Ralph Fiennes, "Conclave"
Sebastian Stan, "The Apprentice"
Best supporting actress
Monica Barbaro, "A Complete Unknown"
Ariana Grande, "Wicked"
Felicity Jones, "The Brutalist"
Isabella Rossellini, "Conclave"
Zoe Saldaña, "Emilia Pérez"
Best supporting actor
Yura Borisov, "Anora"
Kieran Culkin, "A Real Pain"
Edward Norton, "A Complete Unknown"
Guy Pearce, "The Brutalist"
Jeremy Strong, "The Apprentice"
Best original screenplay
"Anora," Sean Baker
"The Brutalist," Brady Corbet & Mona Fastvold
"A Real Pain," Jesse Eisenberg
"September 5," Tim Fehlbaum & Moritz Binder
"The Substance," Coralie Fargeat
Best adapted screenplay
"A Complete Unknown," Jay Cocks & James Mangold
"Conclave," Peter Straughan
"Emilia Pérez," Jacques Audiard, Thomas Bidegain & Nicolas Livecchi
"Nickel Boys," RaMell Ross & Joslyn Barnes
"Sing Sing," Clint Bentley, Greg Kwedar, Clarence Maclin & John "Divine G" Whitfield
Best international feature
"I'm Still Here," Walter Salles (Brazil)
"The Girl with the Needle," Magnus von Horn (Denmark)
"Emilia Pérez," Jacques Audiard (France)
"The Seed of the Sacred Fig," Mohammad Rasoulof (Germany)
"Flow," Miguel Gomes (Latvia)
Best documentary feature
"Black Box Diaries," Shiori Itō (MTV)
"No Other Land," Basel Adra, Hamdan Ballal, Yuval Abraham & Rachel Szor (No distributor)
"Porcelain War," Brendan Bellomo & Slava Leontyev (Picturehouse)
"Soundtrack for a Cout d'Etat," Johan Grimonprez (Kino Lorber)
"Sugarcane," Julian Brave NoiseCat & Emily Kassie (Nat Geo)
Best animated feature
"Flow" (Janus Films/Sideshow)
"Inside Out 2" (Disney/Pixar)
"Memoir of a Snail" (IFC Films)
"Wallace & Gromit: Vengeance Most Fowl" (Aardman/Netflix)
"The Wild Robot" (Dreamworks/Universal)
Best cinematography
"The Brutalist," Lol Crawley
"Dune: Part Two," Greig Fraser
"Emilia Pérez," Paul Guillaume
"Maria," Edward Lachman
"Nosferatu," Jarin Blaschke
Best costume design
"A Complete Unknown," Arianne Phillips
"Conclave," Lisy Christl
"Gladiator II," Janty Yates
"Nosferatu," Linda Muir
"Wicked," Paul Tazewell
Best film editing
"Anora," Sean Baker
"The Brutalist," Dávid Jancsó
"Conclave," Nick Emerson
"Emilia Pérez," Juliette Welfling
"Wicked," Myron Kerstein
Best production design
"The Brutalist," Judy Becker
"Conclave," Suzie Davies
"Dune: Part Two," Patrice Vermette
"Nosferatu," Craig Lathrop
"Wicked," Nathan Crowley
Best original score
"The Brutalist," Daniel Blumberg
"Conclave," Volker Bertelmann
"Emilia Pérez," Clément Ducol & Camille
"Wicked," John Powell & Stephen Schwartz
"The Wild Robot," Kris Bowers
Best original song
"Never Too Late," "Elton John: Never Too Late" (Elton John & Brandi Carlile)
"El Mal," "Emilia Pérez" (Clement Ducol, Camille & Jacques Audiard)
"Mi Camino," "Emilia Pérez" (Clement Ducol & Camille)
"Like a Bird," "Sing Sing" (Adrian Quesada & Abraham Alexander)
"The Journey," "The Six Triple Eight" (Diane Warren)
Best sound
"A Complete Unknown"
"Dune: Part Two"
"Emilia Pérez"
"Wicked"
"The Wild Robot"
Best visual effects
"Alien: Romulus"
"Better Man"
"Dune: Part Two"
"Kingdom of the Planet of the Apes"
"Wicked"
Best makeup and hairstyling
"A Different Man"
"Emilia Pérez"
"Nosferatu"
"The Substance"
"Wicked"
Best documentary short
"Death by Numbers"
"I Am Ready, Warden"
"Incident"
"Instruments of a Beating Heart"
"The Only Girl in the Orchestra"
Best animated short
"Beautiful Men"
"In the Shadow of the Cypress"
"Magic Candies"
"Wander to Wonder"
"Yuck!"
Best live-action short
"A Lien"
"Anuja"
"I'm Not a Robot"
"The Last Ranger"
"The Man Who Could Not Remain Silent"
Featured
PHOTO CREDIT | ABC/Oscars
AWARDS SEASON | OSCAR NOMINATIONS
Today, actors Bowen Yang (SNL, Wickedd, Fire Island) and Rachel Sennott (Saturday Night, The Idol, Bottoms) were the host for the 97th Oscars nominations that were announced this morning. This show will be a bit different as there won’t be any live musical performances and in many ways it will be a love letter to LA who has been battling wildfires. This show is slated to air on Mar 2nd live on ABC and on Hulu.
As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.
Best picture
"Anora" (Neon)
"The Brutalist" (A24)
"A Complete Unknown" (Searchlight)
"Conclave" (Focus)
"Dune: Part Two" (Warner Bros.)
"Emilia Pérez" (Netflix)
"I'm Still Here" (Sony Classics)
"Nickel Boys" (Amazon/MGM)
"The Substance" (Mubi)
"Wicked" (Universal)
Best director
Sean Baker, "Anora"
Brady Corbet, "The Brutalist"
James Mangold, "A Complete Unknown"
Jacques Audiard, "Emilia Pérez"
Coralie Fargeat, "The Substance"
Best actress
Cynthia Erivo, "Wicked"
Karla Sofia Gascón, "Emilia Pérez"
Mikey Madison, "Anora"
Demi Moore, "The Substance"
Fernanda Torres, "I'm Still Here"
Best actor
Adrian Brody, "The Brutalist"
Timothée Chalamet, "A Complete Unknown"
Colman Domingo, "Sing Sing"
Ralph Fiennes, "Conclave"
Sebastian Stan, "The Apprentice"
Best supporting actress
Monica Barbaro, "A Complete Unknown"
Ariana Grande, "Wicked"
Felicity Jones, "The Brutalist"
Isabella Rossellini, "Conclave"
Zoe Saldaña, "Emilia Pérez"
Best supporting actor
Yura Borisov, "Anora"
Kieran Culkin, "A Real Pain"
Edward Norton, "A Complete Unknown"
Guy Pearce, "The Brutalist"
Jeremy Strong, "The Apprentice"
Best original screenplay
"Anora," Sean Baker
"The Brutalist," Brady Corbet & Mona Fastvold
"A Real Pain," Jesse Eisenberg
"September 5," Tim Fehlbaum & Moritz Binder
"The Substance," Coralie Fargeat
Best adapted screenplay
"A Complete Unknown," Jay Cocks & James Mangold
"Conclave," Peter Straughan
"Emilia Pérez," Jacques Audiard, Thomas Bidegain & Nicolas Livecchi
"Nickel Boys," RaMell Ross & Joslyn Barnes
"Sing Sing," Clint Bentley, Greg Kwedar, Clarence Maclin & John "Divine G" Whitfield
Best international feature
"I'm Still Here," Walter Salles (Brazil)
"The Girl with the Needle," Magnus von Horn (Denmark)
"Emilia Pérez," Jacques Audiard (France)
"The Seed of the Sacred Fig," Mohammad Rasoulof (Germany)
"Flow," Miguel Gomes (Latvia)
Best documentary feature
"Black Box Diaries," Shiori Itō (MTV)
"No Other Land," Basel Adra, Hamdan Ballal, Yuval Abraham & Rachel Szor (No distributor)
"Porcelain War," Brendan Bellomo & Slava Leontyev (Picturehouse)
"Soundtrack for a Cout d'Etat," Johan Grimonprez (Kino Lorber)
"Sugarcane," Julian Brave NoiseCat & Emily Kassie (Nat Geo)
Best animated feature
"Flow" (Janus Films/Sideshow)
"Inside Out 2" (Disney/Pixar)
"Memoir of a Snail" (IFC Films)
"Wallace & Gromit: Vengeance Most Fowl" (Aardman/Netflix)
"The Wild Robot" (Dreamworks/Universal)
Best cinematography
"The Brutalist," Lol Crawley
"Dune: Part Two," Greig Fraser
"Emilia Pérez," Paul Guillaume
"Maria," Edward Lachman
"Nosferatu," Jarin Blaschke
Best costume design
"A Complete Unknown," Arianne Phillips
"Conclave," Lisy Christl
"Gladiator II," Janty Yates
"Nosferatu," Linda Muir
"Wicked," Paul Tazewell
Best film editing
"Anora," Sean Baker
"The Brutalist," Dávid Jancsó
"Conclave," Nick Emerson
"Emilia Pérez," Juliette Welfling
"Wicked," Myron Kerstein
Best production design
"The Brutalist," Judy Becker
"Conclave," Suzie Davies
"Dune: Part Two," Patrice Vermette
"Nosferatu," Craig Lathrop
"Wicked," Nathan Crowley
Best original score
"The Brutalist," Daniel Blumberg
"Conclave," Volker Bertelmann
"Emilia Pérez," Clément Ducol & Camille
"Wicked," John Powell & Stephen Schwartz
"The Wild Robot," Kris Bowers
Best original song
"Never Too Late," "Elton John: Never Too Late" (Elton John & Brandi Carlile)
"El Mal," "Emilia Pérez" (Clement Ducol, Camille & Jacques Audiard)
"Mi Camino," "Emilia Pérez" (Clement Ducol & Camille)
"Like a Bird," "Sing Sing" (Adrian Quesada & Abraham Alexander)
"The Journey," "The Six Triple Eight" (Diane Warren)
Best sound
"A Complete Unknown"
"Dune: Part Two"
"Emilia Pérez"
"Wicked"
"The Wild Robot"
Best visual effects
"Alien: Romulus"
"Better Man"
"Dune: Part Two"
"Kingdom of the Planet of the Apes"
"Wicked"
Best makeup and hairstyling
"A Different Man"
"Emilia Pérez"
"Nosferatu"
"The Substance"
"Wicked"
Best documentary short
"Death by Numbers"
"I Am Ready, Warden"
"Incident"
"Instruments of a Beating Heart"
"The Only Girl in the Orchestra"
Best animated short
"Beautiful Men"
"In the Shadow of the Cypress"
"Magic Candies"
"Wander to Wonder"
"Yuck!"
Best live-action short
"A Lien"
"Anuja"
"I'm Not a Robot"
"The Last Ranger"
"The Man Who Could Not Remain Silent"
Featured
9R3DCARP3T
AWARDS SEASON | OSCARS WINNERS
Earlier today, The Academy Awards announced the nominees for the 96th Oscars which ends the road to Awards Season on Sunday, March 10th! WIth a number of our favorite movies getting recognition, we can’t wait to see what’s in store for us when it airs on ABC. Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.
Best Picture
American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers)
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)
Best Directing
Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)
Best Actor in a Leading Role
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Best Actress in a Leading Role
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Best Actor in a Supporting Role
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Best Actress in a Supporting Role
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)
Best Writing (Adapted Screenplay)
American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)
Best Writing (Original Screenplay)
Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari)
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)
Best Animated Feature
The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental (Peter Sohn and Denise Ream)
Nimona (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)
Best Documentary Feature Film
Bobi Wine: The People’s President (Moses Bwayo, Christopher Sharp and John Battsek)
The Eternal Memory (Nominees to be determined)
Four Daughters (Kaouther Ben Hania and Nadim Cheikhrouha)
To Kill a Tiger (Nisha Pahuja, Cornelia Principe and David Oppenheim)
20 Days in Mariupol (Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath)
Best International Feature Film
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)
Best Animated Short Film
Letter to a Pig (Tal Kantor and Amit R. Gicelter)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Pachyderme (Stéphanie Clément and Marc Rius)
War Is Over! Inspired by the Music of John & Yoko (Dave Mullins and Brad Booker)
Best Live-Action Short Film
The After (Misan Harriman and Nicky Bentham)
Invincible (Vincent René-Lortie and Samuel Caron)
Knight of Fortune (Lasse Lyskjaer Noer and Christian Norlyk)
Red, White and Blue (Nazrin Choudhury and Sara McFarlane)
The Wonderful Story of Henry Sugar (Wes Anderson and Steven Rales)
Best Documentary Short Film
The ABCs of Book Banning (Sheila Nevins and Trish Adlesic)
The Barber of Little Rock (John Hoffman and Christine Turner)
Island in Between (S. Leo Chiang and Jean Tsien)
The Last Repair Shop (Ben Proudfoot and Kris Bowers)
Nǎi Nai & Wài Pó (Sean Wang and Sam Davis)
Best Cinematography
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)
Best Costume Design
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)
Best Makeup and Hairstyling
Golda (Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou and Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier and Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí and Montse Ribé)
Best Original Song
“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)
Best Original Score
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)
Best Production Design
Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers of the Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)
Best Film Editing
Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)
Best Sound
The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic)
Mission: Impossible — Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon and Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)
Best Visual Effects
The Creator (Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek)
Mission: Impossible — Dead Reckoning, Part One (Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould)
Read the latest issue of Athleisure Mag.
Featured
AWARD WINNING SIPS | CHARLES JOLY
We're in the thick of Awards Season and whether you enjoy this time of year for the red carpet looks, hearing behind the scenes information on your favorite shows and artists, or the atmosphere of predicting wins, we all love how we celebrate these shows whether solo or with friends and family.
During Awards Season the days leading up to the ceremonies as well as the big night is filled with big moments and there's nothing like the perfect sip. We caught up with Charles Joly, DIAGEO Reserve World Class Award Winning Mixologist who poured Johnnie Walker Blue Label as the Official Spirits Partner of the 75th Emmy® Awards.
We talked about how he got into the industry, being a mixologist, being a leader in the industry, how he prepares to create cocktails at one of the largest events, and more.
ATHLEISURE MAG: What was the cocktail that made you realize that you wanted to know more about this industry?
CHARLES JOLY: I can remember the cocktail that gave me my “a-ha!” moment. The one that made me question everything and wonder what I’d been drinking before then.
It was a simple, freshly made whiskey sour. Nothing fancy - just a solid bourbon, fresh
citrus, simple syrup, egg white & bitters; perfectly balanced. I never looked back.
AM: When did you realize that you wanted to be a mixologist?
CJ: When I began to meet people like my dear friend and mentor Bridget Albert, Tony Abou-Ganim, and Francesco Lafranconi, my eyes were opened to a new realm of possibilities in hospitality.
I’d already been in the industry for years running several successful bars. When I was introduced to the craft cocktail side of things, it all clicked. I already loved the hospitality aspect of the business. Hosting a party every night was a dream job. Adding in the history, flavors and creativity of craft bartending brought it all together. The bar is a stage, no matter what type of venue you work in. The mixology world gave me something I could be really excited about sharing with my guests.
AM: You're known as a leader in the international craft cocktail and the spirits movement. What are you looking for when it comes to a well-crafted cocktail?
CJ: It’s of the utmost importance to me that every ingredient plays an integral role. It all boils down to being intentional and having an understanding of how and why you may be using a particular spirit, modifier, technique, glass etc.
It’s this intentionality that can make even the most simple classic cocktail shine from one bartender, while another falls short. This is the difference between a perfectly acceptable, good cocktail and one that makes your eyes light up.
AM: You have created cocktail pairings with Dominique Crenn, Stephanie Izard, and Jose Andrés. What is the synergy between an amazing dish and a cocktail that you're looking for?
CJ: Food and cocktail pairing is one of my favorite exercises.
At the time I opened my first craft cocktail bar, The Drawing Room in Chicago circa 2007, the best palates in the building were in the kitchen. We were just figuring things out behind the bar, so I got very close with the chefs and spent as much time as they’d allow in the kitchen. The head chef, Nick Lacasse, and I would often go to the Green City Farmer’s Market together and begin to talk about pairing ideas as we made our way through.
When I look at cocktails to pair with food, I prefer to let the chef create their dish first. I can more easily adjust a cocktail than they can rebalance an entire plate. From there, I think about complementary & contrasting flavors, textures, colors, temperatures, regionality, season, theme etc.
AM: As a bartender, you were on the judging panel with Andrew Zimmern and Emeril at Eric Ripert's Cayman Cookout. What did you enjoy about being part of this event?
CJ: It’s a massive honor to continue to be part of Cayman Cookout for so many years. They just celebrated their 15th anniversary. It’s one of the best around. Cayman Cookout is much more intimate than other festivals, so you can really interact with all of guests and talent.
Many food and wine events are dominated by chefs and sommeliers, so it’s important to have cocktail and spirit representation along the way. Our guests are certainly on board and excited about expanding the diversity of beverage offerings, so it makes sense.
I’ve always had a focus on the culinary side of cocktails and enjoyed working with chefs, whether at the Drawing Room, The Aviary or hosted dinners. It makes me so happy to see bartenders standing side-by-side with top culinary talent.
AM: You are the only American to ever win World Class by Diageo, you have been James Beard Awards Nominated and you're known for doing a number of signature events at Awards Season, the Kentucky Derby, celebrity parties, weddings, and more. What do you love about being someone who is involved in the process and bringing these moments together with a great sip!
CJ: I absolutely LOVE creating cocktails for events, dinners and special occasions. Designing a signature menu with such a specific occasion in mind is so much fun. You get to really unleash your creativity while taking into account the theme, event, attendees etc.
It also comes with challenges that I enjoy embracing. How do you create a striking cocktail worthy of the Emmys or Oscars, while making the flavor profile accessible to a couple thousand guests and then recreate that several thousand times over the course of an evening? It’s always a thrill to go through the process.
AM: You're in your 5th year of creating and serving signature cocktails at the Oscars and Emmys. When you're thinking of serving at these key red carpet moments, where do you start in terms of inspiration and creation?
CJ: I absolutely love working on both of these events and am so appreciative of the opportunity. We work with amazing teams on the brand side, like Johnnie Walker Blue Label.
We really look at the occasion. These are major award shows - the artists being nominated have worked their entire lives on their respective crafts and are being honored at the highest level. We want the drinks to match the occasion.
We talk to the Academy members to get insights into any particular themes, color schemes etc that they are focusing on and take that into account. Of course we look to the amazing lead spirits and all the ways we can showcase them. The final menu needs to have a diverse array of cocktail flavors, styles, glassware and profiles. In the 4-5 drinks we offer, I want to be able to find a favorite for every guest that comes up to the bar.
AM: In looking at the Emmys, Johnnie Walker Blue Label had a curated selection of cocktails as they were the Official Spirits Partner of the 75th Emmy® Awards. What do you enjoy about Johnnie Walker and for those that may not be familiar with Johnnie Walker Blue Label, can you tell us some tasting notes or what makes it different?
CJ: To say that Johnnie Walker Blue label is an iconic and revered spirit is an understatement. People were so excited to see those bottles gracing the bar and at the lead of our cocktails. I mean, what better way to celebrate?
We really worked hard to present this flagship Whisky in unexpected ways. You can make bright, refreshing drinks with scotch whisky, you can make Tiki cocktails with it and you can showcase it with progressive serve styles. Scotch can be for everyone.
The Johnnie Walker team, headed up by Master Blender Dr. Emma Walker, has access to over 10 million casks of whisky in Scotland. These whiskies cover a massive breadth of flavor and aroma profiles. Upon tasting the final product, especially with something as nuanced as Johnnie Walker Blue Label, you’ll find everything from fruity tropical notes, to spices and dried herbs, to woody-earthy-smoky tones and beyond. When we design a cocktail, we can focus in on any one or more of these notes and use that as a springboard for inspiration. The possibilities are literally endless.
AM: The drinks that you served show the versatility of scotch. What were the 3 drinks that were served and what was the inspiration behind them?
CJ: The three core cocktails each represented a unique style.
First up was the Rhapsody in Gold. This was playful and approachable. It turned what one may expect from a scotch cocktail on its head. A pour of Johnnie Walker Blue Label was accompanied by a splash of Zacapa No. 23 Rum. We pulled in seasonal citrus by way of lemon juice, a much more interesting, aromatic way to add acidity to the cocktail. Next, we layered in a golden spice syrup; introducing a hint of turmeric, cinnamon, cardamom and other spices. All of this was served in a hammered, gold aluminum cup over crushed ice. We topped this off with mint and an inverted 50ml bottle of Johhnie Walker Blue Label filled with Sidral soda. The result was a little bit Tiki and very celebratory.
Next we had The 75th, a cocktail directly inspired by the exceedingly popular Espresso Martini. Let me tell you, once you have this classic cocktail with scotch at the lead, you may never go back. It was of course named in honor of the 75th anniversary of the Emmy® Awards. I was designing the drinks heading into the holidays and must have had seasonal cookies on my mind, because this cocktail draws inspiration directly from a traditional ginger-snap cookie. We did a soft infusion of ginger and cinnamon to play on the inherent spice notes in Johnnie Walker Blue Label. A key part was using pure blackstrap molasses to balance the cocktail. This is much less sweet than typical sugar, has a mineral quality and heaps of complexity. The flavor bridge between the espresso, spices, molasses and scotch are perfect.
Last but not least was the Sleight of Hand. This one was a lot of fun, as it was meant to trick the mind a bit. The presentation looked like a classic, spirit-forward, stirred scotch cocktail (think Rob Roy, Old Fashioned etc), but the flavor ended up being crisp and relatively refreshing. I combined Johnnie Walker Blue Label with sweet vermouth, Pedro
Ximénez Sherry and Ume (plum) extract. This was brightened with a bit of lemon juice so the cocktail remained translucent but tasted like a whisky sour. We poured the cocktail over a perfect large-format cube from Abstract Ice in northern California, etched with the Johnnie Walker monogram. Finally, it was garnished with a bubble filled with bergamot orange vapor and released the aroma when the bubble would burst.
AM: The 75th Emmys was a great show to watch as we navigate a super-packed Award Season this year. What was it like to be there on that big night?
CJ: We love to be an oasis for guests at these events. I think a lot of attendees now expect us to be there and seek out our specialty bar. They know we’ll have something special waiting for them and give them a spot to hang out for a bit. The bar was absolutely hopping this year, but we have an amazing team with the expert crew from Liquid Productions and myself.
AM: What was it like for you to prepare for the Emmys and how long was the bar open for everyone to enjoy your creations?
CJ: It takes many months of planning and coordination to pull an event like this together. I can’t begin to tell you how many moving parts there are and the countless hours people put into it. From brand teams, to marketing and PR, the event staff, sound, lighting, catering, floral, photographers etc...there are a lot of unsung heroes. Being part of the team that makes it all happen is part of the fun.
We served our cocktails over the course of several events. While only one night of the awards is televised, there are several evenings of presentations, winners and parties. A typical event may have the bar open for around 6 hours. We are prepping on-site many days in advance and off-site for months prior.
AM: You've had a busy season from Awards Season to the Sundance Film Festival, how do you take some time for yourself?
CJ: 2024 certainly came strong out of the gates! It’s been such an exciting start to the year. I’m definitely aware of work-life balance, although it’s certainly not always perfect. I make sure to carve out quality time to see friends. I’ll often get up early and go for a run to clear my mind while traveling. The second I get home from a trip, I pretty much tackle my dog and we have a good snuggle session
IG @charlesjoly
PHOTOGRAPHY CREDITS | PG 74 + 81 Rich Polk/Invision for the Television Academy/AP Image | PG 77 + 78 DIAGEO
Read the JAN ISSUE #97 of Athleisure Mag and see AWARD WINNING SIPS | Charles Joly in mag.
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AWARDS SEASON | OSCAR NOMINATIONS
Earlier today, The Academy Awards announced the nominees for the 96th Oscars which ends the road to Awards Season on Sunday, March 10th! WIth a number of our favorite movies getting recognition, we can’t wait to see what’s in store for us when it airs on ABC. Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.
Best Picture
American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers)
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)
Best Directing
Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)
Best Actor in a Leading Role
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Best Actress in a Leading Role
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Best Actor in a Supporting Role
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Best Actress in a Supporting Role
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)
Best Writing (Adapted Screenplay)
American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)
Best Writing (Original Screenplay)
Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari)
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)
Best Animated Feature
The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental (Peter Sohn and Denise Ream)
Nimona (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)
Best Documentary Feature Film
Bobi Wine: The People’s President (Moses Bwayo, Christopher Sharp and John Battsek)
The Eternal Memory (Nominees to be determined)
Four Daughters (Kaouther Ben Hania and Nadim Cheikhrouha)
To Kill a Tiger (Nisha Pahuja, Cornelia Principe and David Oppenheim)
20 Days in Mariupol (Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath)
Best International Feature Film
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)
Best Animated Short Film
Letter to a Pig (Tal Kantor and Amit R. Gicelter)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Pachyderme (Stéphanie Clément and Marc Rius)
War Is Over! Inspired by the Music of John & Yoko (Dave Mullins and Brad Booker)
Best Live-Action Short Film
The After (Misan Harriman and Nicky Bentham)
Invincible (Vincent René-Lortie and Samuel Caron)
Knight of Fortune (Lasse Lyskjaer Noer and Christian Norlyk)
Red, White and Blue (Nazrin Choudhury and Sara McFarlane)
The Wonderful Story of Henry Sugar (Wes Anderson and Steven Rales)
Best Documentary Short Film
The ABCs of Book Banning (Sheila Nevins and Trish Adlesic)
The Barber of Little Rock (John Hoffman and Christine Turner)
Island in Between (S. Leo Chiang and Jean Tsien)
The Last Repair Shop (Ben Proudfoot and Kris Bowers)
Nǎi Nai & Wài Pó (Sean Wang and Sam Davis)
Best Cinematography
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)
Best Costume Design
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)
Best Makeup and Hairstyling
Golda (Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou and Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier and Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí and Montse Ribé)
Best Original Song
“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)
Best Original Score
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)
Best Production Design
Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers of the Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)
Best Film Editing
Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)
Best Sound
The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic)
Mission: Impossible — Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon and Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)
Best Visual Effects
The Creator (Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek)
Mission: Impossible — Dead Reckoning, Part One (Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould)
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9LIST R3DCARP3T
PHOTO CREDIT | ABC
AWARDS SEASON | 95TH OSCARS WINNERS
Awards Season comes to an end on Mar 12th for the 95th Oscars! We enjoyed watching the red carpet as people arrived at the Academy Awards. Tonight’s show allows us to see our favorite movies and who won what! Tonight’s show was hosted by Jimmy Kimmel on ABC. Below are the nominations with our predictions are italicized, winners are in bold and those that we guessed correctly that won are italicized in bold.
ACTOR IN A LEADING ROLE
NOMINEES
AUSTIN BUTLER
Elvis
COLIN FARRELL
The Banshees of Inisherin
BRENDAN FRASER
The Whale
PAUL MESCAL
Aftersun
BILL NIGHY
Living
ACTOR IN A SUPPORTING ROLE
NOMINEES
BRENDAN GLEESON
The Banshees of Inisherin
BRIAN TYREE HENRY
Causeway
JUDD HIRSCH
The Fabelmans
BARRY KEOGHAN
The Banshees of Inisherin
KE HUY QUAN
Everything Everywhere All at Once
ACTRESS IN A LEADING ROLE
NOMINEES
CATE BLANCHETT
Tár
ANA DE ARMAS
Blonde
ANDREA RISEBOROUGH
To Leslie
MICHELLE WILLIAMS
The Fabelmans
MICHELLE YEOH
Everything Everywhere All at Once
ACTRESS IN A SUPPORTING ROLE
NOMINEES
ANGELA BASSETT
Black Panther: Wakanda Forever
HONG CHAU
The Whale
KERRY CONDON
The Banshees of Inisherin
JAMIE LEE CURTIS
Everything Everywhere All at Once
STEPHANIE HSU
Everything Everywhere All at Once
ANIMATED FEATURE FILM
NOMINEES
GUILLERMO DEL TORO'S PINOCCHIO
Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
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
CINEMATOGRAPHY
NOMINEES
ALL QUIET ON THE WESTERN FRONT
James Friend
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS
Darius Khondji
ELVIS
Mandy Walker
EMPIRE OF LIGHT
Roger Deakins
TÁR
Florian Hoffmeister
COSTUME DESIGN
NOMINEES
BABYLON
Mary Zophres
BLACK PANTHER: WAKANDA FOREVER
Ruth Carter
ELVIS
Catherine Martin
EVERYTHING EVERYWHERE ALL AT ONCE
Shirley Kurata
MRS. HARRIS GOES TO PARIS
Jenny Beavan
DIRECTING
NOMINEES
THE BANSHEES OF INISHERIN
Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan and Daniel Scheinert
THE FABELMANS
Steven Spielberg
TÁR
Todd Field
TRIANGLE OF SADNESS
Ruben Östlund
DOCUMENTARY FEATURE FILM
NOMINEES
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
DOCUMENTARY SHORT FILM
NOMINEES
THE ELEPHANT WHISPERERS
Kartiki Gonsalves and Guneet Monga
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
FILM EDITING
NOMINEES
THE BANSHEES OF INISHERIN
Mikkel E.G. Nielsen
ELVIS
Matt Villa and Jonathan Redmond
EVERYTHING EVERYWHERE ALL AT ONCE
Paul Rogers
TÁR
Monika Willi
TOP GUN: MAVERICK
Eddie Hamilton
INTERNATIONAL FEATURE FILM
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Germany
ARGENTINA, 1985
Argentina
CLOSE
Belgium
EO
Poland
THE QUIET GIRL
Ireland
MAKEUP AND HAIRSTYLING
NOMINEES
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
MUSIC (ORIGINAL SCORE)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Volker Bertelmann
BABYLON
Justin Hurwitz
THE BANSHEES OF INISHERIN
Carter Burwell
EVERYTHING EVERYWHERE ALL AT ONCE
Son Lux
THE FABELMANS
John Williams
MUSIC (ORIGINAL SONG)
NOMINEES
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
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 PICTURE
NOMINEES
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
THE FABELMANS
Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
TÁR
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
PRODUCTION DESIGN
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
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
SHORT FILM (ANIMATED)
NOMINEES
THE BOY, THE MOLE, THE FOX AND THE HORSE
Charlie Mackesy and Matthew Freud
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
SHORT FILM (LIVE ACTION)
NOMINEES
AN IRISH GOODBYE
Tom Berkeley and Ross White
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
SOUND
NOMINEES
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
VISUAL EFFECTS
NOMINEES
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
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
WRITING (ADAPTED SCREENPLAY)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Screenplay - 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
WRITING (ORIGINAL SCREENPLAY)
NOMINEES
THE BANSHEES OF INISHERIN
Written by Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Written by Daniel Kwan & Daniel Scheinert
THE FABELMANS
Written by Steven Spielberg & Tony Kushner
TÁR
Written by Todd Field
TRIANGLE OF SADNESS
Written by Ruben Östlund
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Featured
PHOTO CREDIT | ABC
AWARDS SEASON | 95TH OSCARS NOMINATIONS
This morning, the nominations for the Academy Awards was announced! Awards Season comes to an end on Mar 12th for the 95th Oscars! You can watch the red carpet (there are a number of channels and streaming platforms that air this that start as early as 5pm ET) as well as the awards show itself hosted by Jimmy Kimmel on ABC at 8pm ET. Below are the nominations with our predictions are italicized, winners are in bold and those that we guessed correctly that won are italicized in bold.
ACTOR IN A LEADING ROLE
NOMINEES
AUSTIN BUTLER
Elvis
COLIN FARRELL
The Banshees of Inisherin
BRENDAN FRASER
The Whale
PAUL MESCAL
Aftersun
BILL NIGHY
Living
ACTOR IN A SUPPORTING ROLE
NOMINEES
BRENDAN GLEESON
The Banshees of Inisherin
BRIAN TYREE HENRY
Causeway
JUDD HIRSCH
The Fabelmans
BARRY KEOGHAN
The Banshees of Inisherin
KE HUY QUAN
Everything Everywhere All at Once
ACTRESS IN A LEADING ROLE
NOMINEES
CATE BLANCHETT
Tár
ANA DE ARMAS
Blonde
ANDREA RISEBOROUGH
To Leslie
MICHELLE WILLIAMS
The Fabelmans
MICHELLE YEOH
Everything Everywhere All at Once
ACTRESS IN A SUPPORTING ROLE
NOMINEES
ANGELA BASSETT
Black Panther: Wakanda Forever
HONG CHAU
The Whale
KERRY CONDON
The Banshees of Inisherin
JAMIE LEE CURTIS
Everything Everywhere All at Once
STEPHANIE HSU
Everything Everywhere All at Once
ANIMATED FEATURE FILM
NOMINEES
GUILLERMO DEL TORO'S PINOCCHIO
Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
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
CINEMATOGRAPHY
NOMINEES
ALL QUIET ON THE WESTERN FRONT
James Friend
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS
Darius Khondji
ELVIS
Mandy Walker
EMPIRE OF LIGHT
Roger Deakins
TÁR
Florian Hoffmeister
COSTUME DESIGN
NOMINEES
BABYLON
Mary Zophres
BLACK PANTHER: WAKANDA FOREVER
Ruth Carter
ELVIS
Catherine Martin
EVERYTHING EVERYWHERE ALL AT ONCE
Shirley Kurata
MRS. HARRIS GOES TO PARIS
Jenny Beavan
DIRECTING
NOMINEES
THE BANSHEES OF INISHERIN
Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan and Daniel Scheinert
THE FABELMANS
Steven Spielberg
TÁR
Todd Field
TRIANGLE OF SADNESS
Ruben Östlund
DOCUMENTARY FEATURE FILM
NOMINEES
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
DOCUMENTARY SHORT FILM
NOMINEES
THE ELEPHANT WHISPERERS
Kartiki Gonsalves and Guneet Monga
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
FILM EDITING
NOMINEES
THE BANSHEES OF INISHERIN
Mikkel E.G. Nielsen
ELVIS
Matt Villa and Jonathan Redmond
EVERYTHING EVERYWHERE ALL AT ONCE
Paul Rogers
TÁR
Monika Willi
TOP GUN: MAVERICK
Eddie Hamilton
INTERNATIONAL FEATURE FILM
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Germany
ARGENTINA, 1985
Argentina
CLOSE
Belgium
EO
Poland
THE QUIET GIRL
Ireland
MAKEUP AND HAIRSTYLING
NOMINEES
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
MUSIC (ORIGINAL SCORE)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Volker Bertelmann
BABYLON
Justin Hurwitz
THE BANSHEES OF INISHERIN
Carter Burwell
EVERYTHING EVERYWHERE ALL AT ONCE
Son Lux
THE FABELMANS
John Williams
MUSIC (ORIGINAL SONG)
NOMINEES
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
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 PICTURE
NOMINEES
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
THE FABELMANS
Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
TÁR
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
PRODUCTION DESIGN
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
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
SHORT FILM (ANIMATED)
NOMINEES
THE BOY, THE MOLE, THE FOX AND THE HORSE
Charlie Mackesy and Matthew Freud
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
SHORT FILM (LIVE ACTION)
NOMINEES
AN IRISH GOODBYE
Tom Berkeley and Ross White
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
SOUND
NOMINEES
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
VISUAL EFFECTS
NOMINEES
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
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
WRITING (ADAPTED SCREENPLAY)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Screenplay - 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
WRITING (ORIGINAL SCREENPLAY)
NOMINEES
THE BANSHEES OF INISHERIN
Written by Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Written by Daniel Kwan & Daniel Scheinert
THE FABELMANS
Written by Steven Spielberg & Tony Kushner
TÁR
Written by Todd Field
TRIANGLE OF SADNESS
Written by Ruben Östlund
Read the latest issue of Athleisure Mag.
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IT'S ALL JUST STORY | RODNEY BARNES
This year when the NBA unveiled their 75th Anniversary Team of retired and active players, it included 17 members who played for the Lakers which includes the Showtime era of the 70/80s with players Kareem Abdul-Jabbar and Magic Johnson. To understand the importance of this era and what it did to how we enjoy the game, and how it moved the game forward in terms of commerce and making players brand, Winning Time: The Rise of the Lakers Dynasty illustrates the dynamics at play.
We talked with Rodney Barnes, who has written for STARZ Heels, STARZ American Gods, Everybody Hates Chris and more. He shares how he got into the industry, the positions he has held, his approach to his work, being the Executive Producer and writer for Winning Time, Zombie Love Studios and his passion for comic books and graphic novels.
ATHLEISURE MAG: You’ve worked in various positions in the entertainment industry as a Production Assistant, showrunner, Executive Producer and an award-winning screenwriter. With all of these roles, what was the moment that you realized that you wanted to work in this industry?
RODNEY BARNES: I was going to Howard University and I was in the School of C (Howard University Cathy Hughs School of Communication) and I was working at Georgetown Law Center as a campus cop at night and I found out that the movie The Pelican Brief was coming to my job to film some scenes. So I was really excited because it’s one thing to go to school for this and it’s another thing to actually be able to see it up close. So I signed up for all of the overtime details and I got them all. I started watching the movie being put together and it was so exciting! So I met a guy and he was the PA, he was a Key Set PA. So I asked him how I could get a job doing what he did. He said that that weekend, they had some big scenes that were taking place at the Washington Monument and that if I wanted to come and do it for a day, they'd be happy to have me.
So I did it and it was the most exciting, fun and best $100 that I ever made in my entire life! It was something about it that felt right. I felt more purpose in doing that and being close to this thing that I wanted to be close to then I did doing anything else that paid a lot better. I quit my job at Georgetown and started working as a PA full time.
AM: What a story, we always tell people that we embrace the multi-hyphenate. As someone who has worked in a number of roles and continues to do so from writing and producing, when did you know that you wanted to take on these areas and what the specific area was that you wanted to start in first? Or was there just a confluence that took place to make all of this come together?
RB: I knew I wanted to be a writer, but I knew what I didn’t know. I knew that I didn’t understand how any of this worked and I had a very fundamental understanding of what writing was and telling stories. Quite frankly, emotionally and psychologically, I wasn’t mature enough or evolved enough to be able to take on the big job. So, working as a PA, I look at it as being an apprentice. I had an opportunity to meet people, to sort of find my tribe, to figure out the psychology of how it would work and to just get my legs under me which was a bit like bootcamp. It was always writing, but I had to build up to the idea of being able to take my shot at it because it just felt too big.
AM: What do you think was the biggest thing that you learned from being a PA that has helped you with your career or was it just being able to see all the parts that were moving and to be able to understand how they connect?
RB: There was that. I think that the thing for me was that I always had this idea that everybody in Hollywood must be a genius and I haven’t met a genius yet. But, what I have met are some folks that have worked really really hard at their craft. It sort of demystified the entire process for me in being able to see it up close and to be able to observe. I wouldn’t say that I was a vital part although I know that some people would disagree. It was sort of the type of thing where getting to know people as friends and mentors even though that’s a problematic word as no one put their arm around me and said, “son this is what you do.” But they allowed me to be in their circle and to be able to see how the sausage is made. I got an opportunity to be able to just see things up close and to decide whether or not I could do it, if I wanted to do it and the closer I got to the thing that I wanted, the better that things got for me, but I wouldn’t have been able to do any of it if I hadn’t been a PA.
AM: From a screenwriting aspect, you have written a number of things. I loved your work in American Gods which I loved that show and obviously Winning Time and then you look at shows like Everybody Hates Chris. How do you get inspiration to write and then where do you start from when you’re trying to put words to paper to create these worlds for us?
RB: I never looked at it from a place of inspiration because if I need the emotional investment to do it, then I’m not going to be inspired some of those days and I’m still going to have to do it. For me, the difference was, approaching every day like I’m at work which was no different then when I was at Walmart or Target or any of those places that I worked at along the way. I had to get up, I had to work, I didn’t feel like it and then somewhere midday or so, it got a little bit better and then a little bit better. I sort of approach writing in the same way. I have a lot of resistance on the days that I don’t feel like doing it, but it needs to be done because I have a deadline. 78% of the time, I’m able to be disciplined and I’m able to get it done and the other times, I might go to the movies, sit and watch a game or do something else when I’m supposed to be writing. But I think it’s more of a discipline of doing the thing than an emotional component to it. There are days where I feel it and if I'm writing something like a horror driven thing like in my graphic novels, I'm enjoying it a great deal so it’s easier to do, but whether I feel it or I don’t feel it or am some place in between, I still do it.
AM: Just to circle back to American Gods, one of my minors in college was Classical Civilization so it covered mythologies of the world in addition to Greece and Rome and included African and Asian nations. So when I watched it, I loved seeing all of these stories that came to life. What was it like writing for that?
RB: It was great! The best thing that came out of it was my relationship with Orlando Jones (Sleepy Hollow, American Gods, The Good Lord Bird) who played Anansi/Mr. Nancy on our show. I had a similar thing as you, I didn’t do it in college but I studied a lot of different types of mythology and some of these characters like Anansi and Bilquis and others, you don’t really get to hear a lot about them. Because of comic books, you get Thor and Zeus, Odin and Hercules and those guys but oftentimes, Gods of color don’t get a lot of love. Even when they do, it’s in secondary roles. Working for American Gods and I’m a huge Neil Gaiman fan. So to be able to play in that sort of world and get some genre credits under my name was great as I have a comic book company and I also tell a lot of genre driven stories so being able to legitimize that beyond wanting to do it was always something that I wanted to do.
AM: It was such a phenomenal series. I remember seeing the episodes and being able to see some of these characters that I had read about being brought to life so fully, it kept me glued and it was truly incredible.
So as a screenwriter, what is that process like in terms of getting attached to a project and how does one pitch themselves to get into this work?
RB: Well my agents do a lot of my pitching. They typically open doors, but I’d say that about 75% of the work that I get, outside of the things that I create, really comes from via word of mouth. Right now it’s a good time because of Winning Time and people seemingly are enjoying it and you get a lot of offers to do things because they like it which I am grateful for and it is a blessing. More often than not, it’s about putting yourself in the right position you know? People know that I write graphic books and comic books so whenever a project like that comes around and it seems like they can use a writer like me, oftentimes, they’ll call or not so much now because I have been doing it for awhile but maybe 7 or 8 years ago, if it was something that I had heard about that was coming down the pike, I would tell my agents to keep an eye out on it and then see if maybe they could get me up there to be considered.
AM: Is it a different flow for you when you’re writing for the BET Awards or the Oscars – is there a different approach because it’s a live audience or a different format then just a show or even the comic books?
RB: Not really, I look at all of it like it’s story whether it’s writing a joke, Chris Rock or one of his specials or whoever I’m working for for the Oscars or an awards show. Even a joke is a story. It has a beginning, a middle and an end. Whether I’m telling a funny story or a horrifying story or a dramatic story, at the end of the day, it’s all a story. So, I approach it all the same way. The biggest thing for me is really understanding who’s going to be interpreting the words. Like, I work a lot with Chris Rock, and I know him really, really well so if I’m going to pitch something to him, I incorporate that knowledge into the pitch. Like, I can sort of filter myself and know that he wouldn’t like this or he would really like that part. In writing the shows, I have built a great relationship with a lot of our cast and so, I try to write to their strengths as well as to the story that I am trying to tell. When I am saying that I’m writing to their strengths, I'm talking dialogue. There is a cadence to how people talk and if you can make it easier for them to interpret the words, I think that they become more comfortable with it so it's really more so about having familiarity with it for the task at hand.
AM: Also in your body of work, you have been a co-producer and a producer in shows like Heels, Winning Time and Wu-Tang: An American Saga. We’ve had a number of WWE wrestlers as our cover and shared their stories so seeing Heels was another show that we enjoyed. When did you realize that you wanted to add these roles into your body of work and how does that change your perspective especially when you're also writing the show as well?
RB: Well it’s funny, those titles of producing can mean a lot of different things. Earlier in my career, say on My Wife and Kids, when I was a producer, it wasn’t really a lot more to do than sitting in a room and writing. It’s sort of like the government, government jobs they have G-1, G-2 as you work up and it’s sort of like that in television in writing as well. If you do it long enough, you start out as a staff writer and then you move up to a story editor and then an executive story editor and then you go up through the WGA (Writers Guild of America) classifications that go with moving up. But then, in certain gigs like in Everybody Hates Chris, I was in the writer’s room and wrote a number of episodes, but I also produced the voiceover that you would hear in every show. So I would write the lines and go with Chris Rock and go record the lines together and then I would place them in the show in editing. So, to me that was actually the beginning of actually producing and so on different shows, that idea of what a producer means is something different.
On Winning Time, I actually work with the actors whether it’s working on set with their lines, working with the director to see whether or not a shot is sort of lining up with how we saw it when we were writing the show – it can mean a lot of different things. There are some shows where I have been an EP and it didn't mean anything more than just writing a show and putting it together or on some shows I'm actually tangibly doing something different. On American Gods, I wrote and also worked on the set with the actors and the director as well and putting it all together. On Heels, not so much. Marvel's Runaways – not so much. But it’s different with each one, so it’s a classification that comes with being a TV writer and as the responsibilities go, it has more to do with what that show requires.
AM: When I first heard about Winning Time last fall, I knew I was going to love it, I remember as a kid in 1986 loving this team even though I grew up in Indiana and it continues even though I live in NY now. So seeing this story, hearing about this story and getting this inside scoop of what was going on has made it really enjoyable to watch. How did you get attached to this project and what made you want to be involved?
RB: Max Borenstein (Kong: Skull Island, Worth, Godzilla vs Kong) who is our showrunner and the other Executive Producer as well, he and I have been writing together for about 10 years and when Jim Hecht (Fairly OddParents, Ice Age 2: The Meltdown, The Ice Age Adventures of Buck Wild) first optioned the book, he got the book to Adam McKay (Talladega Nights: The Ballad of Ricky Bobby, Vice, Don’t Look Up), and he got it to HBO and they said they would do a pilot I believe, I don’t know if the project was picked up then. They hired Max, Max called me and I said yes that I would want to be a part of it. That’s how it started.
AM: It’s an incredible cast and I love McKay films and the people that are in it. In terms of writing this where you had Jeff Pearlman’s book Showtime: Magic, Kareem, Riley and the Los Angeles Lakers Dynasty of the 1980s, how much source material did you have as I know players of that time as well as the franchise didn’t reach out to you on this. How did you coalesce these things all together to create this story and to provide that insider feel?
RB: Well we were really fortunate that book. So we studied a lot of books and Rick Fox, former Laker was our technical advisor, we talked to a lot of folks who were around the team at that time who worked for the organization, YouTube – we did a lot of research everywhere – articles anything that we could find. We sort of incorporated into the narrative and some stuff we had to tie in together for dramatization purposes.
AM: Obviously with the people that were involved, John C Reilly (Gangs of New York, The Aviator, Anchorman II: The Legend Continues), Jason Clarke (Brotherhood, Chappaquiddick, Silk Road), Rob Morgan (Stranger Things, The United States vs. Billie Holiday, Don’t Look Up), Jason Segel (How I Met Your Mother, Dispatches from Elsewhere, Hotel Artemis) and Adrien Brody (The Grand Budapest Hotel, Peaky Blinders, Succession) etc, there are actors in there where there is a lot of secret sauce. You have actors who were athletic but didn’t play basketball and having to do so for this role, having Quincy Isaiah play such a key and iconic person who was new to this platform, how did all of this come together to get that energy, to make an audience believe that these people who be playing this game even though they didn’t necessarily have this background?
RB: Francine Maisler (Uncut Gems, Being the Ricardos, Dune) is our casting director and she did a great job finding folks. Sometimes you get lucky like in the case of Quincy who is from Michigan and was an athlete – a football player. He had to lose 80lbs or so to come down to being able to have a Magic Johnson-like look. Solomon Hughes who plays, Kareem Adbul-Jabbar is an educator, is 7-feet tall, plays jazz and he played basketball on a professional level before. You just get lucky sometimes. I think that that’s across the board in finding people that not only have the talent but also the emotional stuff.
If you think about our players, they have to learn how to play the game because some had never played the game before, they had to be convincing to learn how to play a particular way that their character played, they had to go through physical training everyday and then they had to learn their lines and then they had to act. So there would be times when they would have to come from training, be on set, leave their work, leave set and go and play basketball everyday for however long – for a year or so. Then there is the training that went into it before hand and always having a good attitude about it as they were going. We got really really fortunate to find the folks that we found.
AM: When did you realize that you were going to be Maurice?
RB: I’ll tell you when I was working, Max was working on a movie called Worth in NY that’s on Netflix now. I was working on the first season of Wu-Tang: An American Saga. I was in Staten Island, he was in Manhattan. We would meet on the weekends and we would go over it with Jim Hecht and Rebecca Bertuch (Worth) and we would work on putting the show together. Every now and then, this name would pop up, Maurice, Maurice, Maurice – like who the hell is Maurice? Oh, you’re going to see and it was like an inside joke. They knew that I didn’t know. When we were officially on board and we started in the writer’s room in LA, we had all the pictures up of the actors on the wall and then there was a picture of me. I was like, “why is my picture on the wall?” They said, you’re going to play Maurice and I was like, “oh, ok – haha Maurice.” So Max actually wrote Maurice’s lines and the only scene that I had at one time was the scene with Pat Reily where I don’t let him in The Forum. I thought, “ok, I can do that, I’ve been a security guard my whole damn life!” I know how to say you can’t come in. You don’t even need to even write out the lines just let me stand there and I know how to not let you in some place. Then, all of a sudden, I started seeing Maurice pop up in other scripts! He's like a leprechaun where he sort of shows up in different places and I'm like, "why am I popping up?” and then I had a walk and talk which is very difficult as an actor because you have to walk, you have to think and you have to move which was in episode 5 where I had that scene. I was nervous about that scene. Actually, I messed up the scene that is on. I messed up a line but Gabby Hoffman (High Maintenance, Girls, Transparent) who plays Claire Rothman is so great, you would never know because she kept going and I kept going and so that was it and they cut and we went on with the day – but I messed up.
It's cool, the network likes it, everyone likes him and I think that Maurice is going to come back and probably say more words.
AM: We always like when he pops up!
RB: Well, thank you! As long as I stay big and relatively menacing and intimidating, Maurice will probably be around.
AM: What has been your biggest takeaway of being part of this particular project, seeing it come together and the reception of people loving this?
RB: Anytime you work hard at a thing for a long time that is intended to entertain people, you always want that to land the way it is intended so that people are entertained. I think that we’ve got a great reception and that people really seem to like it and it’s sort of gratifying because I and a lot of people give a lot when you do these sort of things and it’s not easily assembled. For me certainly being able to talk about African American culture as it pertains to sports in a way that is sort of elevated is always an honor. It’s a good thing.
AM: Well, you guys have been greenlit for a second season. What does that look like, what do you want to tackle – will it continue with these same players or will it be another part of Laker history or even another time in NBA history for a Winning Time situation?
RB: As of the moment, the plan is to continue on in the same narrative and to just keep telling the story as we have been. Even now, when we first started the process before, we were going in the third or fourth iteration of what you see on screen now – we were going to go a lot faster. Then, the decision was made during COVID to slow down the process of storytelling and we had to go back to the drawing board a couple of times to slow it down. I say all of that to say that you never know. We could speed up a couple of seasons, we can keep going the way that it is, but I think that the plan for now is to continue going in the direction that it is.
AM: One of the things that I enjoy especially with a lot of the HBO shows is that there is a companion podcast and literally, I can’t wait until Mon to listen to the show which drops right after the episode airs on Sun. I listen to JB Smoove and then I listen to your podcast. It’s great to get your insights, what’s going on – the Rob Morgan episode was really great to hear. Every episode is great as there are so many tidbits that can be enjoyed. How did you get attached to hosting this podcast and how much input do you have over who ends up being on the episode with you?
RB: Very similar to how I became Maurice. Somebody thought that it would be a good idea to have me do it and my first reaction was, I have never done a podcast before and they were like, “oh you can do it.” I think that I tried to back out a couple of times and they were like no just give it a shot. I think that I got better as time went on which is sort of the course of life, the more you do it, the better you get at the thing that you do. But, it also helps that I know everybody. Everybody that I have had on so far whether it was Snoop Dogg, Rob Morgan or Quincy, or Max or whoever, I know them. It’s like having a conversation with someone who is a friend and not so much like talking to someone who is a stranger.
They always ask me who I would like to have on and I try to spread it around between the cast members, but also the people behind the scenes. I had Todd Banhazl (Janelle Monae: Dirty Computer, They Call Me Magic, Hustlers), I had Max, I had Jim Hecht, Rebecca, I had Sarah Scott (Pam & Tommy, The Offer, The Flight Attendant) our intimacy coordinator. I had Idan Ravin whose the basketball coordinator. I had our director Salli Richardson (The Chi, Altered Carbon, The Wheel of Time) and Tanya Hamilton (Big Sky, The Deuce, Snowfall). I try to mix it up where you have one of the cast members and then someone who is a technical part of the team so that for people who are interested in being part of the business as one time I was, you can actually hear some of what they do and realize that there are a number of jobs besides the big 4 or 5 at producer, director, writer. There are a lot of other things to be done and some things may spark to someone and hopefully that podcast can help a little bit.
AM: We love seeing the birth of the NBA as we know it today as this entertainment platform with next level dancers, club lounges and had this came together with Dr. Buss. This has become the standard for what it means to go to a NBA game. Being able to hear more about Jack McKinney and his time with the Lakers. I knew he was a coach for the Pacers, but I didn’t know about his backstory. What is it that you want audiences to walk away with after watching this season or subsequent seasons?
RB: Always with our show, we have what you know and the thing that you can Google and find out. Who won the game, who lost the game and those types of things. But there’s also those things that you didn’t know. Like in the case of Jack McKinney, a lot of people had forgotten not just him, but the accident that he was in – the basketball accident and how that changed the course of the Lakers coaching dynamic. So, being able to tell some of those stories and show the Shakespearean dynamic of the coaching system with Paul West head and Pat Riley, most people know Pat Riley being the Lakers coach and they sort of identify with just him, but there were other guys too.
I think that the other side of that coin is Spencer Haywood who was a big part of NBA free agency and a lot of how we look at basketball today in the fact that we can look at James Harden and see him go from team to team to team or LeBron just being able to go to the Heat and all of that – a lot of that has to do with Spencer Haywood and going to court to battle for free agency rights for players. When I was growing up watching the NBA, I’m from Maryland so we had the Bullets, now the Wizards. Usually if a player got drafted, he played with one team for his entire career. It was big news when a player would move from one team to another.
Now, when you look at the change and the evolution both in the style of play when you look at the Showtime offense of Jack McKinney that evolved and to Spencer Haywood’s contribution, that you see in these 2 gentleman, it has a lot to do with the way that the game is played and it’s rarely recognized over the course of history. Anytime we can incorporate things that folks don’t know, it’s always a treat!
AM: Usually, when an episode concludes, we’re usually Googling about 4 things! It becomes a great way to understand how far the game has come in really such a short period of time and how things are so different and the shoulders that people stood on to get to where we are now.
RB: Exactly.
AM: Where did your love for comic books come from. You have Killadelphia that you’re writing, Marvel, Star Wars universes and Lucas Film Studios – where did this come from?
RB: The only inciting influence that I can find in my mind and my heart was that my mother was a school teacher. Before computers and all of that stuff, she would go to the public library to do her lesson plans and she would bring me. There was always this area where you would have kids like in a pen, your Cat in the Hat, Curious George books etc. I had no interest in any of those books because under those books was a box and in that box was comic books. I knew exactly where it was and I don’t think that they ever changed them in all the years that I went. I would just sit in the corner and read them for hours. It sort of became a thing where it was infectious you know? The moral throughline and some of the stories were more evolved than what my 5 or 6 year old mind could handle but I was intrigued by that idea. Then later, people would give them to me and my grandfather would call them funny books back then. They would give me a stack of them and it was a way to keep me quiet. Later on, when I would have odd jobs, I would buy them. This was during a period of time where you could get comic books anywhere – the convenience store, liquor store, virtually any place that had a spinner rack full of comics. Now, you have to go to a comic shop on Wed to get them. But back then, they were readily available and they were only 20 cents or a quarter. Now they’re $4 if not more.
It was just a love that just evolved along with my life. In the beginning, it was mostly about the art and the story. Then in my teen and later years, there were guys like Alan Moore (Watchmen, V for Vendetta, Swamp Thing) and Grant Morrison (Doom Patrol, New X-Men, Fantastic Four 1234) and Frank Miller (Daredevil, The Dark Knight Returns, Sin City), they sort of made it like literature and evolved into something that was more serious and that kept me involved and then later television and film like most people. So there has always been this relationship.
When I was younger, I tried to write comics professionally, but couldn’t find a way in. Like a lot of things that I’m sure people feel with television and film, it’s a tough nut to crack. But even more so back then, there weren’t a whole lot of African American characters and there wasn’t a big indie space when I was coming up. It was just Marvel and DC and every once in a while there’d be a new company that would pop in. They didn’t have the same distribution chain as DC so you were relegated to those 10 characters maybe if there were 10. I think that a lot of times, companies back then felt like unless you were writing for a character of color, what’s the point of hiring this person? So for me, I wanted to take a shot at writing a comic so when I was on the show Runaways which was a Marvel show, they liked my work and I sort of leveraged the appreciation of my work to say, “hey if you guys have any relationship with Marvel Publishing, I’d love to write a comic book.” They gave me Falcon. I quickly realized that I had no idea what the hell I was doing or how to write a comic book. I just took my shot. It was received ok-ish. Then again like the podcast, I kept doing it again and again and again and I got better and better and better at it and then I had the idea for Killadelphia and started a whole new thing. Now I write 10 books a month and I have my own company and it’s taken on a life all of it’s own.
AM: Which is amazing and I know in looking at your IG, you were talking about The Mandalorian which I’m a fan of. You have a project coming out in June – can you tell us more?
RB: Yes, it’s June the 22nd, The Mandalorian adaptation of the TV show and it’s the first adaptation that Marvel and Lucas Film have done with a project. It’s basically straight adaptation of that story. They don’t let you deviate too far from the story because it’s Star Wars cannon and you can’t really interfere or add new things because it’s connected to the television show. So I basically do my version of the television show would be.
AM: It’s still very cool though!
RB: Yes, it’s an honor to play in that space.
I just finished IG-88 Star Wars: War of the Bounty Hunters and I did Lando Double or Nothing earlier. I love to play in the space. I have a Luke Cage short that’s coming up and maybe a Luke Cage miniseries coming up for Marvel. So anytime you get to play in that space, it’s always fun because it’s such a big fan base that you get to connect with that many people is always an honor.
AM: You created Zombie Love Studio which deals with creating original graphic novels and things of that nature, what are some things coming out of there that you want to highlight?
RB: The first book is Blacula, a reboot of the Blacula character from Blaxploitation era in Oct/Nov which should be dropping then. I also have another book, Florence and Normandie and alien attack story that takes place on the corner of Florence and Normandie famous because of the Rodney King riots that started from there. I’m writing that with Xzibit. I have Tales from the Crip with Snoop Dogg which is the Crip Keeper. I have a book called Crownsville which is set in one of the first black mental asylums in America that’s a ghost story.
There's a bunch of other things that we’re developing that are moving along. There aren’t enough hours in the day, but I’m really excited about it all and it’s coming together slowly but surely.
AM: The depth of what you’ve done is truly phenomenal. What are things on your bucket list that you have yet to do or areas that you want to put into that body of work that you haven’t but that you’re still interested in tackling.
RB: Well certainly, developing the Zombie Love books and Killadelphia and things like that into my Substack page where I do 4 of the books. 3 that are connected to the Killadelphia world which is the book that I do at Image. There are 3 books that I do at Image, Killadelphia, Nita Hawes’ Nightmare Blog and Monarch an alien attack miniseries that I am doing. My Substack page has 3 other series, Johnny Gatlin who is a gun slinger in hell and hell is like the Wild West. 20 Degrees Past Rigor which is a zombie story set in Flint, Michigan where zombies are connected to the polluted waters of Flint. The Butcher of Black Bottom which is a serial killer story set in 1920’s Black Bottom section of Detroit. Then there’s Elysium Gardens which is in the back of Killadelphia which has an ongoing story on a Substack page. So, there are those books as well. There’s a lot of stuff and next, I hope to adopt a lot of those things into other forms of media whether it’s animated, live action or television or those kinds of things.
AM: Because you have so many projects that are just in constant rotation, how do you deal with the overlap? Do you have to be at a certain point before you take other things on – do you slice it up like a pizza and mix it the best that you can?
RB: Ha! That’s basically it. I try to tackle each thing as the day comes at me. I usually get up at 4 in the morning and then I start writing and I get the comic book stuff done in the morning. Then I tackle my day jobs like Winning Time or anything else that I have in front of me and I take it as the day comes. Whoever is yelling the most that is owed the thing to them – so yeah! Whoever’s voice is the loudest at the moment!
AM: I think that the time that we’re living in right now, although there is still a need for a lot more representation, to think of myself now versus the younger me who wouldn’t have thought to know that there would be an Ava Du Vernay (A Wrinkle in Time, Queen Sugar, Girls Trip), yourself, Shonda Rhimes (Bridgerton, Inventing Anna, Grey’s Anatomy) all these people that are moving storytelling forward. How important is it for you to reflect that in your work and to have POC be able to see themselves as well as for others to understand why they need to be an ally and to make these spaces more open?
RB: Well I think it’s important because the world doesn’t connect in the same way anymore like physically. We don’t talk to each other the way that we used to and it wasn’t perfect back then either. It’s more important than ever to be able to tell stories that have a ring of truth or some semblance of honesty. That way you get to see people as they are good, bad and indifferent more so than as a caricature or something that feels contrived in some way. I think that a lot of the biases that we hold with each other comes from those depictions. I know since 1619, a concerted effort was made speaking directly to African American culture to make us less than human. There’s one idea of being less than human, but you have to reinforce that on a regular basis. So you either make them caricatures or villains – one extreme or the other. If that idea has the ability to sort of ferment for 400 years or more then you’re at a place where it almost becomes truth because you’re so used to seeing that be the case.
So when you have this culture that is fighting for a slice of the pie or some semblance for respect and dignity, living in a culture and you’re sort of burdened by living with that depiction. It's really a hard thing to overcome because then even the culture itself starts to believe it – is this who I am and some people do. That can be problematic in its own way because you start to devalue yourself and people who look like you.
So I think that the more folks that can get in for various gender, sexual orientation, race or whatever it may be – to be able to speak to your truth in an honest way cannot only help you and the group that you’re in but also people outside of that group so that they have a better understanding of who you are and the struggle that you navigate just to be a human being and to have a human experience.
AM: Who are 3 people that you feel were profound, instrumental or helpful to be in your career?
RB: Damon Wayans (My Wife and Kids, Lethal Weapon, Major Payne) is always first! He was the first person that gave me an opportunity to work on a television show. Were it not for him, I wouldn’t be here. Don Reo (Everybody Hates Chris, Two and a Half Men, The Ranch) who was the showrunner and creator with Damon on My Wife and Kids. He helped take whatever raw ability I had and allowed me into a space in a way that pushed me to a space where I was able to see for myself what I had to do. I’m eternally grateful to him as well. I have to say that there is a tie for number 3 Allen Hughes (Dead Presidents, Menace II Society, The Book of Eli) of the Hughes Brothers, a director. He helped me to bridge art and commerce. He gave me an opportunity to write in a different type of way and helped me find my way of doing art. He was very supportive in that. Then, Max Borenstein who is our showrunner on Winning Time who sort of did the same thing but in a different way. There’s a push sometimes that you need to get out of where you have been to where you want to be and Max was very helpful in being able to push me. Beyond him pushing me, was me pushing me as well. There are a lot of other people and if you had given me 10 or 20, I could have continued on with other people who have helped me even if it was just survival – that’s important as well. So when it comes to writing and being a professional writer, those people come to mind.
PHOTOGRAPHY CREDITS | PG 78 Warrick Page/HBO MAX | PG 81 - 85 STARZ/American Gods | PG 87 + 88 STARZ/Heels | PG 91 -102 HBO MAX/Winning Time |
Read the APR ISSUE #77 of Athleisure Mag and see IT’S ALL JUST STORY | Rodney Barnes in mag.
Featured
AWARDS SEASON | OSCARS WINNERS
This morning, nominations for the Academy Awards, known as The Oscars were announced. It’s definitely going to be interesting to see who the winners will be. Ahead of the big night. we’re sharing who we predict will win in bold, winners that we predicted correctly will be in bold italic and those that won that we didn’t get correct will be in italics.
BEST PICTURE
“Belfast,” Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, producers
“CODA,” Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, producers
“Don’t Look Up,” Adam McKay and Kevin Messick, producers
“Drive My Car,” Teruhisa Yamamoto, producer
“Dune,” Mary Parent, Denis Villeneuve and Cale Boyter, producers
“King Richard,” Tim White, Trevor White and Will Smith, producers
“Licorice Pizza,” Sara Murphy, Adam Somner and Paul Thomas Anderson, producers
“Nightmare Alley,” Guillermo del Toro, J. Miles Dale and Bradley Cooper, producers
“The Power of the Dog,” Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, producers
“West Side Story,” Steven Spielberg and Kristie Macosko Krieger, producers
BEST DIRECTOR
Kenneth Branagh (“Belfast”)
Ryûsuke Hamaguchi (“Drive My Car”)
Paul Thomas Anderson (“Licorice Pizza”)
Jane Campion (“The Power of the Dog”)
Steven Spielberg (“West Side Story”)
BEST LEAD ACTOR
Javier Bardem (“Being the Ricardos”)
Benedict Cumberbatch (“The Power of the Dog”)
Andrew Garfield (“Tick, Tick … Boom!”)
Will Smith (“King Richard”)
Denzel Washington (“The Tragedy of Macbeth”)
BEST LEAD ACTRESS
Jessica Chastain (“The Eyes of Tammy Faye”)
Olivia Colman (“The Lost Daughter”)
Penélope Cruz (“Parallel Mothers”)
Nicole Kidman (“Being the Ricardos”)
Kristen Stewart (“Spencer”)
BEST SUPPORTING ACTOR
Ciarán Hinds (“Belfast”)
Troy Kotsur (“CODA”)
Jesse Plemons (“The Power of the Dog”)
J.K. Simmons (“Being the Ricardos”)
Kodi Smit-McPhee (“The Power of the Dog”)
BEST SUPPORTING ACTRESS
Jessie Buckley (“The Lost Daughter”)
Ariana DeBose (“West Side Story”)
Judi Dench (“Belfast”)
Kirsten Dunst (“The Power of the Dog”)
Aunjanue Ellis (“King Richard”)
BEST ADAPTED SCREENPLAY
“CODA,” screenplay by Siân Heder
“Drive My Car,” screenplay by Ryusuke Hamaguchi, Takamasa Oe
“Dune,” screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth
“The Lost Daughter,” written by Maggie Gyllenhaal
“The Power of the Dog,” written by Jane Campion
BEST ORIGINAL SCREENPLAY
“Belfast,” written by Kenneth Branagh
“Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay and David Sirota
“King Richard,” written by Zach Baylin
“Licorice Pizza,” written by Paul Thomas Anderson
“The Worst Person in the World,” written by Eskil Vogt, Joachim Trier
BEST CINEMATOGRAPHY
“Dune,” Greig Fraser
“Nightmare Alley,” Dan Laustsen
“The Power of the Dog,” Ari Wegner
“The Tragedy of Macbeth,” Bruno Delbonnel
“West Side Story,” Janusz Kaminski
BEST ANIMATED FEATURE FILM
“Encanto,” Jared Bush, Byron Howard, Yvett Merino and Clark Spencer
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Luca,” Enrico Casarosa and Andrea Warren
“The Mitchells vs. the Machines,” Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht
“Raya and the Last Dragon,” Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho
BEST ANIMATED SHORT FILM
“Affairs of the Art,” Joanna Quinn and Les Mills
“Bestia,” Hugo Covarrubias and Tevo Díaz
“Boxballet,” Anton Dyakov
“Robin Robin,” Dan Ojari and Mikey Please
“The Windshield Wiper,” Alberto Mielgo and Leo Sanchez
BEST COSTUME DESIGN
“Cruella,” Jenny Beavan
“Cyrano,” Massimo Cantini Parrini and Jacqueline Durran
“Dune,” Jacqueline West and Robert Morgan
“Nightmare Alley,” Luis Sequeira
“West Side Story,” Paul Tazewell
BEST ORIGINAL SCORE
“Don’t Look Up,” Nicholas Britell
“Dune,” Hans Zimmer
“Encanto,” Germaine Franco
“Parallel Mothers,” Alberto Iglesias
“The Power of the Dog,” Jonny Greenwood
BEST SOUND
“Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri
“Dune,” Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett
“No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor
“The Power of the Dog,” Richard Flynn, Robert Mackenzie and Tara Webb
“West Side Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy
BEST ORIGINAL SONG
“Be Alive” from “King Richard,” music and lyric by Dixson and Beyoncé Knowles-Carter
“Dos Oruguitas” from “Encanto,” music and lyric by Lin-Manuel Miranda
“Down To Joy” from “Belfast,” music and lyric by Van Morrison
“No Time To Die” from “No Time to Die,” music and lyric by Billie Eilish and Finneas O’Connell
“Somehow You Do” from “Four Good Days,” music and lyric by Diane Warren
BEST DOCUMENTARY FEATURE
“Ascension,” Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell
“Attica,” Stanley Nelson and Traci A. Curry
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Summer of Soul (…Or, When the Revolution Could Not Be Televised),” Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein
“Writing With Fire,” Rintu Thomas and Sushmit Ghosh
BEST DOCUMENTARY SHORT SUBJECT
“Audible,” Matt Ogens and Geoff McLean
“Lead Me Home,” Pedro Kos and Jon Shenk
“The Queen of Basketball,” Ben Proudfoot
“Three Songs for Benazir,” Elizabeth Mirzaei and Gulistan Mirzaei
“When We Were Bullies,” Jay Rosenblatt
BEST FILM EDITING
“Don’t Look Up,” Hank Corwin
“Dune,” Joe Walker
“King Richard”, Pamela Martin
“The Power of the Dog,” Peter Sciberras
“Tick, Tick…Boom!” Myron Kerstein and Andrew Weisblum
BEST INTERNATIONAL FEATURE FILM
“Drive My Car” (Japan)
“Flee” (Denmark)
“The Hand of God” (Italy)
“Lunana: A Yak in the Classroom” (Bhutan)
“The Worst Person in the World” (Norway)
Best Makeup and Hairstyling
“Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer
“Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon
“Dune,” Donald Mowat, Love Larson and Eva von Bahr
“The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh
“House of Gucci,” Göran Lundström, Anna Carin Lock and Frederic Aspiras
BEST PRODUCTION DESIGN
“Dune,” production design: Patrice Vermette; set decoration: Zsuzsanna Sipos
“Nightmare Alley,” production design: Tamara Deverell; set decoration: Shane Vieau
“The Power of the Dog,” production design: Grant Major; set decoration: Amber Richards
“The Tragedy of Macbeth,” production design: Stefan Dechant; set decoration: Nancy Haigh
“West Side Story,” production design: Adam Stockhausen; set decoration: Rena DeAngelo
BEST VISUAL EFFECTS
“Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
“Free Guy,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick
“No Time to Die,” Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould
“Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver
“Spider-Man: No Way Home,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick
BEST LIVE ACTION SHORT FILM
“Ala Kachuu – Take and Run,” Maria Brendle and Nadine Lüchinger
“The Dress,” Tadeusz Łysiak and Maciej Ślesicki
“The Long Goodbye,” Aneil Karia and Riz Ahmed
“On My Mind,” Martin Strange-Hansen and Kim Magnusson
“Please Hold,” K.D. Dávila and Levin Menekse
Read the latest issue of Athleisure Mag.
Featured
AWARDS SEASON | OSCARS NOMINATIONS
This morning, nominations for the Academy Awards, known as The Oscars were announced. It’s definitely going to be interesting to see who the winners will be. Ahead of the big night. we’re sharing who we predict will win in bold, winners that we predicted correctly will be in bold italic and those that won that we didn’t get correct will be in italics.
BEST PICTURE
“Belfast,” Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, producers
“CODA,” Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, producers
“Don’t Look Up,” Adam McKay and Kevin Messick, producers
“Drive My Car,” Teruhisa Yamamoto, producer
“Dune,” Mary Parent, Denis Villeneuve and Cale Boyter, producers
“King Richard,” Tim White, Trevor White and Will Smith, producers
“Licorice Pizza,” Sara Murphy, Adam Somner and Paul Thomas Anderson, producers
“Nightmare Alley,” Guillermo del Toro, J. Miles Dale and Bradley Cooper, producers
“The Power of the Dog,” Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, producers
“West Side Story,” Steven Spielberg and Kristie Macosko Krieger, producers
BEST DIRECTOR
Kenneth Branagh (“Belfast”)
Ryûsuke Hamaguchi (“Drive My Car”)
Paul Thomas Anderson (“Licorice Pizza”)
Jane Campion (“The Power of the Dog”)
Steven Spielberg (“West Side Story”)
BEST LEAD ACTOR
Javier Bardem (“Being the Ricardos”)
Benedict Cumberbatch (“The Power of the Dog”)
Andrew Garfield (“Tick, Tick … Boom!”)
Will Smith (“King Richard”)
Denzel Washington (“The Tragedy of Macbeth”)
BEST LEAD ACTRESS
Jessica Chastain (“The Eyes of Tammy Faye”)
Olivia Colman (“The Lost Daughter”)
Penélope Cruz (“Parallel Mothers”)
Nicole Kidman (“Being the Ricardos”)
Kristen Stewart (“Spencer”)
BEST SUPPORTING ACTOR
Ciarán Hinds (“Belfast”)
Troy Kotsur (“CODA”)
Jesse Plemons (“The Power of the Dog”)
J.K. Simmons (“Being the Ricardos”)
Kodi Smit-McPhee (“The Power of the Dog”)
BEST SUPPORTING ACTRESS
Jessie Buckley (“The Lost Daughter”)
Ariana DeBose (“West Side Story”)
Judi Dench (“Belfast”)
Kirsten Dunst (“The Power of the Dog”)
Aunjanue Ellis (“King Richard”)
BEST ADAPTED SCREENPLAY
“CODA,” screenplay by Siân Heder
“Drive My Car,” screenplay by Ryusuke Hamaguchi, Takamasa Oe
“Dune,” screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth
“The Lost Daughter,” written by Maggie Gyllenhaal
“The Power of the Dog,” written by Jane Campion
BEST ORIGINAL SCREENPLAY
“Belfast,” written by Kenneth Branagh
“Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay and David Sirota
“King Richard,” written by Zach Baylin
“Licorice Pizza,” written by Paul Thomas Anderson
“The Worst Person in the World,” written by Eskil Vogt, Joachim Trier
BEST CINEMATOGRAPHY
“Dune,” Greig Fraser
“Nightmare Alley,” Dan Laustsen
“The Power of the Dog,” Ari Wegner
“The Tragedy of Macbeth,” Bruno Delbonnel
“West Side Story,” Janusz Kaminski
BEST ANIMATED FEATURE FILM
“Encanto,” Jared Bush, Byron Howard, Yvett Merino and Clark Spencer
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Luca,” Enrico Casarosa and Andrea Warren
“The Mitchells vs. the Machines,” Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht
“Raya and the Last Dragon,” Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho
BEST ANIMATED SHORT FILM
“Affairs of the Art,” Joanna Quinn and Les Mills
“Bestia,” Hugo Covarrubias and Tevo Díaz
“Boxballet,” Anton Dyakov
“Robin Robin,” Dan Ojari and Mikey Please
“The Windshield Wiper,” Alberto Mielgo and Leo Sanchez
BEST COSTUME DESIGN
“Cruella,” Jenny Beavan
“Cyrano,” Massimo Cantini Parrini and Jacqueline Durran
“Dune,” Jacqueline West and Robert Morgan
“Nightmare Alley,” Luis Sequeira
“West Side Story,” Paul Tazewell
BEST ORIGINAL SCORE
“Don’t Look Up,” Nicholas Britell
“Dune,” Hans Zimmer
“Encanto,” Germaine Franco
“Parallel Mothers,” Alberto Iglesias
“The Power of the Dog,” Jonny Greenwood
BEST SOUND
“Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri
“Dune,” Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett
“No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor
“The Power of the Dog,” Richard Flynn, Robert Mackenzie and Tara Webb
“West Side Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy
BEST ORIGINAL SONG
“Be Alive” from “King Richard,” music and lyric by Dixson and Beyoncé Knowles-Carter
“Dos Oruguitas” from “Encanto,” music and lyric by Lin-Manuel Miranda
“Down To Joy” from “Belfast,” music and lyric by Van Morrison
“No Time To Die” from “No Time to Die,” music and lyric by Billie Eilish and Finneas O’Connell
“Somehow You Do” from “Four Good Days,” music and lyric by Diane Warren
BEST DOCUMENTARY FEATURE
“Ascension,” Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell
“Attica,” Stanley Nelson and Traci A. Curry
“Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie
“Summer of Soul (…Or, When the Revolution Could Not Be Televised),” Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein
“Writing With Fire,” Rintu Thomas and Sushmit Ghosh
BEST DOCUMENTARY SHORT SUBJECT
“Audible,” Matt Ogens and Geoff McLean
“Lead Me Home,” Pedro Kos and Jon Shenk
“The Queen of Basketball,” Ben Proudfoot
“Three Songs for Benazir,” Elizabeth Mirzaei and Gulistan Mirzaei
“When We Were Bullies,” Jay Rosenblatt
BEST FILM EDITING
“Don’t Look Up,” Hank Corwin
“Dune,” Joe Walker
“King Richard”, Pamela Martin
“The Power of the Dog,” Peter Sciberras
“Tick, Tick…Boom!” Myron Kerstein and Andrew Weisblum
BEST INTERNATIONAL FEATURE FILM
“Drive My Car” (Japan)
“Flee” (Denmark)
“The Hand of God” (Italy)
“Lunana: A Yak in the Classroom” (Bhutan)
“The Worst Person in the World” (Norway)
Best Makeup and Hairstyling
“Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer
“Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon
“Dune,” Donald Mowat, Love Larson and Eva von Bahr
“The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh
“House of Gucci,” Göran Lundström, Anna Carin Lock and Frederic Aspiras
BEST PRODUCTION DESIGN
“Dune,” production design: Patrice Vermette; set decoration: Zsuzsanna Sipos
“Nightmare Alley,” production design: Tamara Deverell; set decoration: Shane Vieau
“The Power of the Dog,” production design: Grant Major; set decoration: Amber Richards
“The Tragedy of Macbeth,” production design: Stefan Dechant; set decoration: Nancy Haigh
“West Side Story,” production design: Adam Stockhausen; set decoration: Rena DeAngelo
BEST VISUAL EFFECTS
“Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
“Free Guy,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick
“No Time to Die,” Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould
“Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver
“Spider-Man: No Way Home,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick
BEST LIVE ACTION SHORT FILM
“Ala Kachuu – Take and Run,” Maria Brendle and Nadine Lüchinger
“The Dress,” Tadeusz Łysiak and Maciej Ślesicki
“The Long Goodbye,” Aneil Karia and Riz Ahmed
“On My Mind,” Martin Strange-Hansen and Kim Magnusson
“Please Hold,” K.D. Dávila and Levin Menekse
Read the latest issue of Athleisure Mag.
Featured
AWARDS SEASON 2021 | ACADEMY AWARD WINNERS
The 93rd annual Academy Awards -known as the Oscars. The awards show takes place live tonight. As always, we like to share who we think will win, who actually won and whether we were correct on our predictions. It’s been quite an awards season as we have navigates the pandemic for over the past year and we’re always looking forward to who will hit the red carpet and come home with the Oscar.
ACTOR IN A LEADING ROLE
RIZ AHMED Sound of Metal
CHADWICK BOSEMAN Ma Rainey’s Black Bottom
ANTHONY HOPKINS The Father
GARY OLDMAN Mank
STEVEN YEUN Minari
ACTOR IN A SUPPORTING ROLE
SACHA BARON COHEN The Trial of the Chicago 7
DANIEL KALUUYA Judas and the Black Messiah
LESLIE ODOM, JR. One Night in Miami…
PAUL RACI Sound of Metal
LAKEITH STANFIELD Judas and the Black Messiah
ACTRESS IN A LEADING ROLE
VIOLA DAVIS Ma Rainey’s Black Bottom
ANDRA DAY The United States vs. Billie Holiday
VANESSA KIRBY Pieces of a Woman
FRANCES MCDORMAND Nomadland
CAREY MULLIGAN Promising Young Woman
ACTRESS IN A SUPPORTING ROLE
MARIA BAKALOVA Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
GLENN CLOSE Hillbilly Energy
OLIVIA COLMAN The Father
AMANDA SEYFRIED Mank
YUH-JUNG Minari
ANIMATED FEATURE FILM
ONWARD Dan Scanlon and Kori Rae
OVER THE MOON Glen Keane, Gennie Rim and Peillin 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 Stephan Roelants
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
COSTUME DESIGN
EMMA Alexandra Byrne
MA RAINEY’S BLACK BOTTOM Ann Roth
MANK Trish Summerville
MULAN Joshua Bina Daigeler
PINOCCHIO Massimo Cantini Parrini
DIRECTING
ANOTHER ROUND Thomas Vinterberg
MANK David Fincher
MINARI Lee Isaac Chung
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Emerald Fennell
DOCUMENTARY (FEATURE)
COLLECTIVE Alexander Nanau and Bianca Oana
CRIP CAMP Nicole Newnham, Jim LeBrecht and Sara Bolder
THE MOLE AGENT Maite Alberdi and Marcela Santibanez
MY OCTOPUS TEACHER Pippa Ehrlich, James Reed and Craig Foster
TIME Massimo Garrett Bradley, Lauren Domino and Kellen Quinn
DOCUMENTARY (SHORT SUBJECT)
COLETTE Anthony Glacchino 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 Scheuerman
A LOVE SONG FOR LATASHA Sophia Nahli Allison and Janice Duncan
FILM EDITING
THE FATHER Rorgos Lamprinos
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Frederic Thoraval
SOUND OF METAL Mikkel E. G. Nielsen
THE TRIAL OF THE CHICAGO 7 Alan Baumgarten
INTERNATIONAL FEATURE FILM
ANOTHER ROUND Denmark
BETTER DAYS Hong Kong
COLLECTIVE Romania
THE MAN WHO SOLD HIS SKIN Tunisia
QUO VADIS, AIDA? Bosnia and Herzegovina
MAKEUP AND HAIRSTYLING
EMMA Marese Langan, Laura Allen and Claudia Stolze
HILLBILLY ELEGY Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
MA RAINEY’S BLACK BOTTOM Sergio-Lopez RIvera, Mia Neal and Jamika Wilson
MANK Gigi Williams, Kimberley Spiteri and Colleen LaBaff
PINOCCHIO Mark Coullier, Dalia Colli and Francesco Pegoretti
MUSIC (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
MUSIC (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 Pamberton and Celeste Waite
HUSAVIK From Eurovision Song Contest: The Story of Fire Saga; Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Goransson
IO SI (SEEN) From the Life Ahead (La Vita Davanti a Se); 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 PICTURE
THE FATHER David Parfitt, Jean-Louis Livi and Phillippe Carcassonne, Producers
JUDAS AND THE BLACK MESSIAH Shaka King, Charles D. King and Ryan Coogler, Producers
MANK Cean Chaffin, Eric Roth and Douglas Urbanski, Producers
MINARI Christina Oh, Producer
NOMADLAND Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloe Zhao, Producers
PROMISING YOUNG WOMAN Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
SOUND OF METAL Bert Hamelinck and Sacha Ben Harroche, Producers
THE TRIAL OF THE CHICAGO 7 Marc Platt and Stuart Besser, Producers
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 Stoughton
MANK Production Design: Donald Graha, 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
SHORT FILM (ANIMATED)
BURROW Madeline Sharafian and Michael Capbarat
GENIUS LOCI Adrien Merigeau and Amaury Ovise
IF ANYTHING HAPPENS I LOVE YOU Will McCormack and Michael Govier
OPERA Erick Oh
YES-PEOPLE Gisli Darri Halidorsson and Arnar Gunnarsson
SHORT FILM (LIVE ACTION)
FEELING THROUGH Doug Roland and Susan Ruzenski
THE LETTER ROOM Elvira Lind and Sofia Sondervan
THE PRESENT Farah Nabulsi and Ossama Bawardi
TWO DISTANT STRANGERS Travon Free and Martin Desmond Roe
WHITE EYE Tomer Shushan and Shira Hochman
SOUND
GREYHOUND Warren Shaw, Michael Minkler, Beau Borders and David Wyman
MANK Ren Klyce, K+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 Elliott and David Parker
SOUND OF METAL Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes and Phillip Bladh
VISUAL EFFECTS
LOVE AND MONSTERS Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
THE MIDNIGHT SKY Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
MULAN Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
THE ONE AND ONLY IVAN Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
TENET Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
WRITING (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 & Eric Rivinoja & Dan Maxer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
THE FATHER Screenplay by Christopher Hampton and Florian Zeller
NOMADLAND Written for the screen by Chlow Zhao
ONE NIGHT IN MIAMI… Screenplay by Kemp Powers
THE WHITE TIGER Written for the screen by Ramin Bahrani
WRITING (ORIGINAL SCREENPLAY)
JUDAS AND THE BLACK MESSIAH Screenplay by Will Benson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
MINARI Written by Lee Isaac Chung
PROMISING YOUNG WOMAN Written by Emerald Fennell
SOUND OF METAL Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Clanfrance
THE TRIAL OF THE CHICAGO 7 Written by Aaron Sorkin
JEAN HERSHOLT HUMANITARIAN AWARD
MOTION PICTURE AND TELEVISION FUND
TYLER PERRY
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AWARDS SEASON 2021 | ACADEMY AWARDS
The 93rd annual Academy Awards -known as the Oscars. The awards show takes place live on April 25th from the Dolby Theatre at the Hollywood & Highland Center in Los Angeles. As always, we like to share who we think will win, who actually won and whether we were correct on our predictions. This particular awards show allows the industry to vote on their colleagues and is always a nice one to watch throughout the night.
ACTOR IN A LEADING ROLE
RIZ AHMED Sound of Metal
CHADWICK BOSEMAN Ma Rainey’s Black Bottom
ANTHONY HOPKINS The Father
GARY OLDMAN Mank
STEVEN YEUN Minari
ACTOR IN A SUPPORTING ROLE
SACHA BARON COHEN The Trial of the Chicago 7
DANIEL KALUUYA Judas and the Black Messiah
LESLIE ODOM, JR. One Night in Miami…
PAUL RACI Sound of Metal
LAKEITH STANFIELD Judas and the Black Messiah
ACTRESS IN A LEADING ROLE
VIOLA DAVIS Ma Rainey’s Black Bottom
ANDRA DAY The United States vs. Billie Holiday
VANESSA KIRBY Pieces of a Woman
FRANCES MCDORMAND Nomadland
CAREY MULLIGAN Promising Young Woman
ACTRESS IN A SUPPORTING ROLE
MARIA BAKALOVA Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
GLENN CLOSE Hillbilly Energy
OLIVIA COLMAN The Father
AMANDA SEYFRIED Mank
YUH-JUNG Minari
ANIMATED FEATURE FILM
ONWARD Dan Scanlon and Kori Rae
OVER THE MOON Glen Keane, Gennie Rim and Peillin 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 Stephan Roelants
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
COSTUME DESIGN
EMMA Alexandra Byrne
MA RAINEY’S BLACK BOTTOM Ann Roth
MANK Trish Summerville
MULAN Joshua Bina Daigeler
PINOCCHIO Massimo Cantini Parrini
DIRECTING
ANOTHER ROUND Thomas Vinterberg
MANK David Fincher
MINARI Lee Isaac Chung
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Emerald Fennell
DOCUMENTARY (FEATURE)
COLLECTIVE Alexander Nanau and Bianca Oana
CRIP CAMP Nicole Newnham, Jim LeBrecht and Sara Bolder
THE MOLE AGENT Maite Alberdi and Marcela Santibanez
MY OCTOPUS TEACHER Pippa Ehrlich, James Reed and Craig Foster
TIME Massimo Garrett Bradley, Lauren Domino and Kellen Quinn
DOCUMENTARY (SHORT SUBJECT)
COLETTE Anthony Glacchino 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 Scheuerman
A LOVE SONG FOR LATASHA Sophia Nahli Allison and Janice Duncan
FILM EDITING
THE FATHER Rorgos Lamprinos
NOMADLAND Chloe Zhao
PROMISING YOUNG WOMAN Frederic Thoraval
SOUND OF METAL Mikkel E. G. Nielsen
THE TRIAL OF THE CHICAGO 7 Alan Baumgarten
INTERNATIONAL FEATURE FILM
ANOTHER ROUND Denmark
BETTER DAYS Hong Kong
COLLECTIVE Romania
THE MAN WHO SOLD HIS SKIN Tunisia
QUO VADIS, AIDA? Bosnia and Herzegovina
MAKEUP AND HAIRSTYLING
EMMA Marese Langan, Laura Allen and Claudia Stolze
HILLBILLY ELEGY Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
MA RAINEY’S BLACK BOTTOM Sergio-Lopez RIvera, Mia Neal and Jamika Wilson
MANK Gigi Williams, Kimberley Spiteri and Colleen LaBaff
PINOCCHIO Mark Coullier, Dalia Colli and Francesco Pegoretti
MUSIC (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
MUSIC (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 Pamberton and Celeste Waite
HUSAVIK From Eurovision Song Contest: The Story of Fire Saga; Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Goransson
IO SI (SEEN) From the Life Ahead (La Vita Davanti a Se); 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 PICTURE
THE FATHER David Parfitt, Jean-Louis Livi and Phillippe Carcassonne, Producers
JUDAS AND THE BLACK MESSIAH Shaka King, Charles D. King and Ryan Coogler, Producers
MANK Cean Chaffin, Eric Roth and Douglas Urbanski, Producers
MINARI Christina Oh, Producer
NOMADLAND Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloe Zhao, Producers
PROMISING YOUNG WOMAN Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
SOUND OF METAL Bert Hamelinck and Sacha Ben Harroche, Producers
THE TRIAL OF THE CHICAGO 7 Marc Platt and Stuart Besser, Producers
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 Stoughton
MANK Production Design: Donald Graha, 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
SHORT FILM (ANIMATED)
BURROW Madeline Sharafian and Michael Capbarat
GENIUS LOCI Adrien Merigeau and Amaury Ovise
IF ANYTHING HAPPENS I LOVE YOU Will McCormack and Michael Govier
OPERA Erick Oh
YES-PEOPLE Gisli Darri Halidorsson and Arnar Gunnarsson
SHORT FILM (LIVE ACTION)
FEELING THROUGH Doug Roland and Susan Ruzenski
THE LETTER ROOM Elvira Lind and Sofia Sondervan
THE PRESENT Farah Nabulsi and Ossama Bawardi
TWO DISTANT STRANGERS Travon Free and Martin Desmond Roe
WHITE EYE Tomer Shushan and Shira Hochman
SOUND
GREYHOUND Warren Shaw, Michael Minkler, Beau Borders and David Wyman
MANK Ren Klyce, K+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 Elliott and David Parker
SOUND OF METAL Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes and Phillip Bladh
VISUAL EFFECTS
LOVE AND MONSTERS Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
THE MIDNIGHT SKY Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
MULAN Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
THE ONE AND ONLY IVAN Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
TENET Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
WRITING (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 & Eric Rivinoja & Dan Maxer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
THE FATHER Screenplay by Christopher Hampton and Florian Zeller
NOMADLAND Written for the screen by Chlow Zhao
ONE NIGHT IN MIAMI… Screenplay by Kemp Powers
THE WHITE TIGER Written for the screen by Ramin Bahrani
WRITING (ORIGINAL SCREENPLAY)
JUDAS AND THE BLACK MESSIAH Screenplay by Will Benson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
MINARI Written by Lee Isaac Chung
PROMISING YOUNG WOMAN Written by Emerald Fennell
SOUND OF METAL Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Clanfrance
THE TRIAL OF THE CHICAGO 7 Written by Aaron Sorkin
Featured