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IndieWire: Screen Talk - Episode Summary
Episode Title
Oscars Review from Inside the Dolby; The Problem with Oscars Press; What's Up Next for the Winners?
Hosts
- Anne Thompson (Los Angeles)
- Ryan Latanzio (New York)
Episode Overview
- This episode serves as a review of the Oscars, reflecting on the awards season finale, the ceremony inside the Dolby Theater, and the upcoming projects for the winners.
- The hosts also discuss the implications of the Cannes Film Festival and its influence on the Oscars, alongside a look at Timothée Chalamet's career trajectory post-Oscar loss.
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Key Discussions
Oscars Reflections
- Post-Oscar Numbness:
- Anne and Ryan express feelings of anticlimax after the Oscars, comparing it to the post-wedding depression.
- Ceremony Highlights:
- Anne shares her experience attending the Oscars, noting the palpable excitement for *Sinners*, which received numerous accolades.
- Ryan and Anne both correctly predicted 19 winners but reflect on the challenges of relying on precursors versus instinct.
Key Winners and Future Projects
- Paul Thomas Anderson:
- After winning multiple Oscars, his future projects remain uncertain as he focuses on developing new ideas.
- Ryan Coogler:
- Currently working on *Black Panther 3* and developing an *X-Files* reboot for Hulu.
- Jessie Buckley:
- Upcoming film *Three Incestuous Sisters*, alongside Alicia Rohrwacher.
- Michael B. Jordan:
- Directing *The Thomas Crown Affair* remake in which he also stars.
- Autumn Durald Archipaugh:
- Involved with the *X-Files* reboot and has a promising career ahead.
- Sean Penn:
- Currently in Ukraine, with no known projects forthcoming.
The Role of Press and Celebrity Interactions
- Anne and Ryan criticize the declining quality of celebrity interactions on the red carpet, highlighting the prevalence of influencers over experienced journalists.
- They discuss the low ratings of the Oscars, attributing it to changing viewing habits rather than a lack of interest in the event.
Looking Ahead to Cannes
- Anticipation builds for the Cannes Film Festival, with discussions about its impact on future awards seasons.
- The hosts reflect on how the festival shapes Oscar contenders, noting its historical significance.
Timothée Chalamet's Career Trajectory
- Chalamet's recent Oscar loss raises questions about his future roles, especially with the upcoming *Dune: Part 3*.
- The hosts speculate on the need for him to recalibrate his public image amidst ongoing press scrutiny.
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Key Takeaways
- Oscars Experience:
- The excitement and emotional weight of the Oscars can lead to a sense of loss once the event concludes, mirroring experiences of other major life events.
- Future of Winners:
- Winners are often faced with the challenge of balancing future projects with the demands of award campaigning.
- Press Evolution:
- Traditional press coverage at major events is declining, shifting towards influencer-led interactions that may lack depth.
- Cannes Influence:
- Cannes remains a powerful platform for shaping awards season narratives, with its own unique impact on the film industry.
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Recommendations
- Must-See Film:
- The hosts recommend *Project Hail Mary*, indicating a shared enthusiasm for this title.
Conclusion This episode of IndieWire’s *Screen Talk* provides a comprehensive analysis of the Oscars and the state of independent filmmaking, blending personal anecdotes with industry insights. The discussions highlight the evolving landscape of film awards and the nuanced experiences of filmmakers and actors within this space.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Chapters
Tap a time to open that second in VOOscars Recovery Mode
0:44 to 2:13
Hosts discuss their feelings after the Oscars and the nature of the event.
“Today we're going to close out our Oscar coverage for the year.”
Inside the Dolby Theater
2:15 to 3:05
Anne shares her experience at the Oscars and the atmosphere in the theater.
“What did you learn from being in there this year?”
Celebration of 'Sinners'
3:05 to 4:25
The hosts discuss the reception of the film 'Sinners' during the event.
“And we were looking down on the stars down below.”
Predicting Oscar Winners
4:26 to 6:35
Discussion on their predictions for the Oscars and the impact of precursors.
“Because at the beginning when BAFTA went for one battle after another, I remember being really surprised because I thought it was Sinners that was going to win cinematography for all the reasons that seem so obvious now.”
The Monologue Breakdown
6:36 to 8:41
Analyzing the Oscars monologue and its reception, including key jokes.
“And then I went and looked at the Hulu show afterwards.”
Chalamet's Oscar Journey
8:42 to 10:00
Discussion on Timothée Chalamet's performance and Oscar campaign challenges.
“And Ted Sarandos himself at the governor's ball was was perfectly amused by it and recognizes that to be the butt of a joke is to be famous.”
Oscar Night Adventures
10:01 to 13:53
Recollections of the Oscar night experiences and parties attended post-ceremony.
“And it seems like the Academy was turned off on Marty Supreme as well, which lost all of its Academy Awards, including what could have been the first production design Oscar for Jack Fisk.”
Backstage Challenges at the Oscars
14:03 to 16:16
Hear about the difficulties of covering the Oscars from backstage and the impact on stories.
“We like to work the event together, meaning that we sit on a sofa in silence and the show is on.”
Declining Ratings and Audience Engagement
16:16 to 17:41
Explore the reasons behind the Oscars' declining TV ratings and audience engagement trends.
“All the coverage, all the parties, all the pictures, all the moments.”
Empowerment Moment at the Oscars
17:41 to 18:48
A standout moment highlighting women's representation at the Oscars.
“They watch them the next day on YouTube.”
Show all 16 chapters
Future Projects of Oscar Winners
18:48 to 23:05
Discussion about upcoming projects for various Oscar winners and their careers.
“I stood up, every woman stood up, and all the men were sitting down.”
Current Endeavors of Notable Winners
23:05 to 28:00
Insights into what various Oscar winners are working on post-awards.
“this took a hit out of those profits people are now already starting to argue that it's actually a great campy film.”
Ludwig Göransson's Oscar Win and James Cameron's Future
28:00 to 29:18
Discuss the achievements of composer Ludwig Göransson and James Cameron's plans for the Avatar franchise.
“If he's willing to go there, I'd be curious to see what would happen.”
Impact of Cannes on Oscars and Upcoming Festival Predictions
29:18 to 30:06
Examine the influence of Cannes on the Oscars and discuss predictions for the upcoming festival.
“I would like to see him do other things, though.”
Chalamet's Oscar Absence and Dune 3 Expectations
30:06 to 31:13
Analyze Timothy Chalamet's absence from the Oscars and expectations for Dune 3.
“So you you spoke to Terry Fouimau recently, right?”
Leonardo DiCaprio's Next Role and Oscar Moments
31:13 to 34:09
Explore Leonardo DiCaprio's upcoming role in a Scorsese film and memorable moments from the Oscars.
“So among the losers at the Oscars, we have Chalamet, who did not participate in the Dune 3 presser this week, and we got to see the new trailer.”
Transcript
Automatic transcript. May contain errors.0:00Ryan Lattanzio:Score more with the college branded Venmo debit card and earn up to 5 % cash back with Venmo stash. Got paid back? With the Venmo debit card you can instantly access your balance and spend on what you want. Like game day snacks, gear, tickets and more. The more you do, the more cash back you can earn. Plus there's no monthly fee or minimum balance. Sign up now at Venmo.com slash college card. The Venmo MasterCard is issued by the Bancorp Bank N.A. Select schools available. Venmo stash terms and exclusions apply at Venmo.me slash stash terms. Max$100 cash back per month.
0:35Anne Thompson:Welcome to Screen Talk, IndieWire's weekly podcast where we bring you up to speed on what's going on in Hollywood. I am Anne Thompson in Los Angeles in Oscar recovery mode.
0:50Ryan Lattanzio:And I'm Ryan Latanzio in New York. Today we're going to close out our Oscar coverage for the year. It is finally over. Aren't you glad?
0:58Anne Thompson:Yeah.
0:59Ryan Lattanzio:You know, people keep asking me if I'm glad. It's like I'm more sort of numb. There's something anticlimactic about it every year. I can't explain it.
1:06Anne Thompson:It's a very strange thing because we obsess about it and we get into the ornery details of it to such a degree. Eric Cohn called me up to do his podcast in, you know, the Playhouse in Southampton. He has a podcast. And it was weird listening to it and realizing how deep in the weeds we get. It's like people who get into a character and work on a movie. And at some point that movie's over. You have to let it go and drop it. And it doesn't, it's not important anymore. And it doesn't motivate your life anymore. It's a depression. It's a kind of air going out of the balloon feeling.
1:48Ryan Lattanzio:I've heard similar feelings from people who planned and executed their own weddings. There is so much buildup to it. And then it's suddenly over this day that was supposed to be the most important day. But anyway, so today we're going to talk about what went right, what went wrong about the show. I was not there in person, but of course you were. And what some of the key winners and players out of this year's Oscar season have coming up next. So, Anne, you were in the house at the Dolby. What did you learn from being in there this year?
2:17Anne Thompson:Lately, I have been lucky enough to be one. You know, it never gets old. I mean, they don't let you even see what's going on on the real red carpet, by the way. If you're not one of those people, you have to go on a second tier. And they whisk, you know, the whole secret, the way I play it is like, how can I extend the red carpet period for as long as possible when the security guards are trying to rush you through? And so you press yourself against the wall. That works to a degree. And you talk to people, but they keep rushing you forward. And then you end up in the cocktail space upstairs in the sort of lounge area, bar area, before they let you into the actual house.
2:58Anne Thompson:And then we were on the first mezzanine, Dana Harris, Bridson and I, the editor-in-chief of IndieWire. And we were looking down on the stars down below. We could see Timmy Chalamet in his white suit and Elle Fanning trying to press her enormous tall skirt. into a chair. Luckily, they had her on the aisle. I don't know what she would have done otherwise. What you felt in the room was how much love there was for Sinners, an enormous amount of love. It was palpable, huge, noisy, every single time that Sinners had a musical number, which was very successful in the house, or a win. It was just Michael B.
3:42Anne Thompson:Jordan winning, Ryan Coogler winning, and Autumn... Dural Arkapa winning, which you called all along. How many wins did you end up with, Ryan?
3:53Ryan Lattanzio:I got 19.
3:54Anne Thompson:I did too. I did too.
3:55Ryan Lattanzio:I was right about the shorts. I was having that tie was fortifying for me because I thought that two people exchanging saliva would win. And I also thought that The Girl Who Cried Pearls would win. These are two very sophisticated movies. The Academy is more sophisticated. They absolutely deserve to win.
4:11Anne Thompson:I agree with you. I had the first and second choice correct. I just sometimes got them reversed. If you go with the precursors and you don't follow your gut, sometimes you lose. And that was the one, the cinematography was the one that I regretted. Because at the beginning when BAFTA went for one battle after another, I remember being really surprised because I thought it was Sinners that was going to win cinematography for all the reasons that seem so obvious now. But I went with the precursors because people argued with me about it. They say, hey, it's, you know, BAFTA, ASC, BSC, you know, that's the deal.
4:49Anne Thompson:And that taught me in that category, at least, don't follow the precursors.
4:54Ryan Lattanzio:I will never stray from the precursors. I was wrong about best picture, even though I didn't really necessarily believe it was going to be sinners. I was just trying to keep myself entertained. Perhaps I shouldn't have followed Variety's Clayton Davis, who had been... I do not think he's a valuable predictor. Yes, he had some controversial predictions. He let his heart lead the way.
5:16Anne Thompson:But I, you know, I get it. I kept my head on straight for the most part. But the thing about it is that if Sinners could have had another week.
5:25Ryan Lattanzio:God, can you imagine another week? There was. There was a week. What damage could even be done in another week? I know. It could be the reverse. I know.
5:33Anne Thompson:I know. I know. So I think Sinners would have caught up. But the other thing I think is that in L.A., Sinners was winning. Probably in New York, too. It was the international vote that ended up. Because if you have one battle after another winning six BAFTAs, that's a sign that the international vote was going with one battle.
5:51Ryan Lattanzio:You know what else is winning in New York? Which I had Secret Agent goggles on because that is the international movie that has been winning here all along. And everyone in New York seems to have rallied around that movie. That's not the case in other places. I mean, I think Europe was split between Sentimental Value and Secret Agent. I bet it was a close race. Yeah, I think it was. And L.A., I think, was really behind sentimental value. They'll never show the statistics of what countries voted for what. I mean, that would be too much transparency. But yeah, I mean, I have a feeling those would be pretty telling.
6:25Anne Thompson:Well, finally, sentimental value was more accessible and it had nine nominations versus four. I mean, you just do the numbers. That's all. It's a numbers game in the end. But the governor's ball was really fun. And then I went and looked at the Hulu show afterwards. That's how obsessive I am, because I want to see the reaction shots and, you know, the people hugging, you know, Kugler and Zhao hugging in the aisle and, you know, little moments like that. You know, I wanted to see that.
6:56Ryan Lattanzio:Or Delroy Lindo not clapping for Sean Penn. Correct.
7:00Anne Thompson:So I ended up recognizing that the monologue didn't hit all the time, you know. But after he took over the show, you know, just running the show, I thought he did really well. It felt to me almost as though Conan O 'Brien was sort of shoving too much in in a weird way, like like and doing weird things that that didn't necessarily land. And I want to credit him for that on the one hand, but I bet he learned a lot from this second go round.
7:32Ryan Lattanzio:The careening between satire and sanctimony, often in the same sentence, in the same joke, I found a little bit difficult to engage with. I didn't find it particularly funny either. I know you had some issue with this ribbing of Ted Sarandos, who we know has turned around on his theatrical position and probably will even more so in the wake of the Paramount takeover of Warner's. And in response to that, I mean, there did seem to be some laughter for that in the room. But no, the monologue overall, I didn't feel especially hit.
8:06Anne Thompson:I think the reason that I that I objected to that joke wasn't that it was not funny. it was that it was a little bit tone deaf in terms of where the Hollywood universe is in relation to Ted Sarandos. In other words, he's become relatively benign, a figure that people like more than they did before, compared to the Ellisons at Paramount. That's what it is.
8:31Ryan Lattanzio:Well, the joke was a little bit retrograde also. It's one you could have made any number of years pass. Exactly. It especially works. It's out of date for 2026.
8:40Anne Thompson:That's my point. That's really what I felt. And it wasn't a disaster, that joke. And Ted Sarandos himself at the governor's ball was was perfectly amused by it and recognizes that to be the butt of a joke is to be famous.
8:55Ryan Lattanzio:Timothee Chalamet was the butt of a number of jokes. Literally. Which got, yeah, which got a bit tedious, especially because there were people online and some reputable news outlets trying to reframe Misty Copeland's appearance in the Sinners Dance as some sort of a haranguing of, yeah, a rebuke of what he said. And that isn't true at all. She already was set to be in the show. Everything he said was after Oscar voting. And again, everything he said was pretty much taken out of context. And that's not to say that he didn't misbehave along on the campaign trail or misstep, because as we talked about, you know, ad infinitum on this podcast, there were things that he could have done differently.
9:34Anne Thompson:Well, we're going to talk more about Chalamet later. But the point is, I was overestimating his lead in that best actor race. That best actor race was fumfering around. There was no leader, I think, until Michael B. Jordan won the Screen Actors Award. And I believe that Chalamet had issues all the way back to SAG, all the way back to the early campaign for Marty Supreme. People were really turned off to him.
10:06Ryan Lattanzio:And it seems like the Academy was turned off on Marty Supreme as well, which lost all of its Academy Awards, including what could have been the first production design Oscar for Jack Fisk. He didn't have a fighting chance, but I actually think that that movie is going to outlive this award season and be one that's seen as a good, if not a cult classic, perhaps like a classic earnestly where some of these other movies I think might fall away.
10:32Anne Thompson:And Chalamet absolutely gave the performance of his career. I have no argument with that. I actually think he did. Yeah, so far. And that's the point. He's only 30 years old. A lot of people don't vote for young men to get awards. It's unusual. Adrian Brody was young back in the day. But you know that Leonardo DiCaprio had to wait until he was 41 to win for The Revenant. So I also went to the Governor's Ball and talked to Sarandos and talked to my one-liner with Conan O 'Brien, who's really tall. I always forget how tall he is. He looked down on me and he looked at me and he said, I'm fried. And I could imagine, can you imagine how fried he must have been?
11:18Anne Thompson:What a night, what a long haul thing to do, you know? and he did all the I loved I did love all all of his bits with with Amy Madigan and the one battle thing at the end I thought those were very successful and the ad lib with the tie where everybody was going to lose their Oscar pool was very funny but uh the governor's ball is interesting because there used to be a time when all the stars would come and hang out there they would come after it would be normal they would leave the Oscars go to the governor's ball hang out at their studio table, right? And they would all go. And now it has completely changed.
11:56Anne Thompson:The ones who win show up to get their Oscar engraved. They're ushered up to this podium. They're kept away from all the people in the room. And then they're ushered out to an exit door and they're gone. And nobody gets a crack at them, as it were.
12:13Ryan Lattanzio:And then they go to the Vanity Fair. Correct.
12:15Anne Thompson:Or they go to the, or they go to eventually to Beyonce or whatever. That's a party I've never been to. There was a time when I got into the Vanity Fair party, but it was long ago and far away.
12:26Ryan Lattanzio:Those days are done. But I'm sure if you were a reality TV star or social media influencer, you would definitely be able to get in. But you did go to the neon party and that's always a fun one. And I'm sure they were feeling very celebratory about their one win this year.
12:43Anne Thompson:Tom Quinn was happy. He was very happy. And the other little bit of intel, I had a conversation with Jafar Panahi, who didn't win anything, but is plotting to break back into Iran, even though there are no available flights. You can't get in right now. He is going back to Paris. He and his daughter want to go back to Iran. And he wants the real reason. And this is the one I buy. He talks about wanting to be home or with his family or whatever it is. He wants to work. He wants to cover it. His instincts as a filmmaker are he wants to go back and work. That's who he is, is a filmmaker who makes films.
13:27Ryan Lattanzio:Isn't he also going back to serve that prison sentence?
13:30Anne Thompson:That could happen, too, although they may be distracted right now. So the neon party was great. And they had, but again, they had the sentimental value people sequestered behind a velvet rope. You know, it's like you can't, you know, there is no circulating anymore in these universes of Oscar parties. But it was fun. What did you do on Oscar night? You wrote the story. You were the guy who had to write the story.
13:59Ryan Lattanzio:Yeah, I was hanging out with Nigel Smith of People, who's been on the podcast. one of my dear friends. We like to work the event together, meaning that we sit on a sofa in silence and the show is on. With your computers on your laps. No, no alcohol, just take out and heads down. And then I went home and that was it. That was my Oscars and it was okay.
Read the full transcript
14:22Anne Thompson:Well, that's a hard store to do. I've done it. The hardest one to do is if you're backstage at the Oscars. I don't know if you've done it this way.
14:30Ryan Lattanzio:I've done it a few times then because you you don't you're not really seeing the show you're also trying to see it
14:37Anne Thompson:and you're trying to listen to the interviews that as they come in and you're trying to to get the info that you need for the story and at the end you have to write that story up and it's done that's one of the most extraordinarily difficult things and you were sent there to cover
14:52Ryan Lattanzio:the backstage winners quotes and those aren't very inspired because they're just kind of rehashing the same talking points from the past year, or they're not even doing it. As we saw on the red carpet, where a lot of stars just sailed on through. Michael B.
15:07Anne Thompson:Jordan, you could see the shot of him just walking fast past every single outlet. And again, I think that's terrible. I really do.
15:18Ryan Lattanzio:I wouldn't talk if I was a celebrity. Nothing good can come of it.
15:21Anne Thompson:Yes, but the whole point, I mean, you know, they should give it up. It's just a photo op now. And then they have the they have their own influencer that they've hired to do anything you can and do say and do will be used against you.
15:36Ryan Lattanzio:Literally. Yeah. I mean, there was this guy named Jake Shane who they had a vanity fair asking appalling questions to celebrities taking digs at if I had legs like kick you when he's talking to Damson Idris or talking to Julia Fox who put this little kid in his place. anyway it's very embarrassing and unfortunate that those of us who are professionals who have years of experience we are not getting the plum spots anymore because they're going to teenagers and people in their early 20s
16:06Anne Thompson:that don't know what they're doing but the real Oscars I think even though I enjoyed obviously I'm a very lucky person that I get to go and it never gets old but it's the morning after when you get up and you read through on Twitter in my case. All the coverage, all the parties, all the pictures, all the moments. That's the fun part. And I think that's the part that explains part of why we had the lowest ratings since 2022, down 9%. Why do you think they were so low?
16:40Ryan Lattanzio:It's not because people didn't want to turn out and see the cadaverously thin celebrities. I think actually, according to Reuters, the online engagement was up 40 % or something. People just aren't watching this stuff on live TV or streaming platforms as much. And if you don't have Hulu, it's very hard to watch. And if you don't, if you're a cord cutter and you don't have Hulu for one, and maybe you don't have the investment in the movies necessarily, but I just don't know that live TV is really that popular among the younger generation that is the core of the theater goers, as we've talked about on this podcast.
17:14Ryan Lattanzio:But, you know, and the Grammys and the Globes were also down. There's just an ongoing decline in these kind of shows.
17:19Anne Thompson:The Oscars are still the number one primetime entertainment special.
17:24Ryan Lattanzio:And I don't think that this number is egregious. I mean, the last few years have hovered around this 17 to 20 million range. It doesn't really seem like a dip so much as just part of a trend that we've seen in the last few years.
17:36Anne Thompson:Well, it's part of the same trend that has late night talk shows down. You know, people don't watch them live on their televisions. They watch them the next day on YouTube. and I'm perfectly guilty of same, you know? And that's what I'm saying. A lot of people were watching the Oscars in clips on YouTube, you know? They were watching Amy Madigan on YouTube, basically.
17:58Ryan Lattanzio:Yeah, I didn't really watch the Grammys, but I watched clips on social media the next day.
18:03Anne Thompson:Exactly, so that's part of why, that's how I always watch the Grammys. That's part of why I think the Oscars have sort of, you know, succumbed to reality and signed up with YouTube in the first place. But they have to get through ABC for a couple more years.
18:21Ryan Lattanzio:It's funny when Autumn Gerald-Archipow won, she said something to the effect, all the little girls watching are going to have a great night because they see someone who looks like them on the screen. I'm like, honey, the little girls probably aren't watching and they're probably asleep.
18:36Anne Thompson:The moment when she said that she was on the shoulders of all the people, women who came before her and she asked all the women in the Dolby Theater to stand up. It was a great moment. It felt wonderful. I stood up, every woman stood up, and all the men were sitting down. I loved it. I did. Okay, so let's run through what we know about what the winners have coming up. Big winner Paul Thomas Anderson went from 14 nominations, no wins, to three Oscar statues. Do we know what's next, Ryan?
19:13Ryan Lattanzio:We have no idea. One thing to say is that if you are on the campaign trail for a movie that you wrapped on the same year that your campaign started, and then you're, I mean, it's impossible to work. These people can't work. And they're not getting paid to be campaigning, but it's a full-time job. So I'm sure he has something in the works, but he's not going to tell anyone what it is. I mean, it took forever to unravel what One Battle After Another was going to be.
19:39Anne Thompson:And it took decades to get that where it needed to. And he writes his own things. So he has to write a screenplay in order to make a movie. Has he ever directed anything he didn't write? I don't think so.
19:53Ryan Lattanzio:No, can't think of it.
19:55Anne Thompson:No.
19:55Ryan Lattanzio:Not once. What about original screenplay winner, Ryan Kukler? What's going on with him?
20:00Anne Thompson:He's got a lot going on. He's making Black Panther 3 as his next directing project after Sinners. And then X-Files reboot on Hulu, which is he's like developing and directing the pilot for that and writing, which is currently in active production.
20:18Ryan Lattanzio:You know, one thing I'll say about the X-Files reboot, which Hulu already rebooted disastrously with David Duchovny and Gillian Anderson. We just saw Chloe Zhao's Buffy Hulu series that completely foundered.
20:33Anne Thompson:That was predictable, don't you think, Ryan? I think so. She's not a TV person. It shows me that her people and her and she did not recognize. This has happened before where you have TV people trying to move into film and not understanding what it really requires. And film people moving into TV, then the same thing. It's a specific set of skills and the opposite of what Chloe Zhao is.
20:56Ryan Lattanzio:Right. You need to do coverage, which is something that auteurs that are on a film set aren't interested in doing. It seems like she has IP in her heart, but it didn't go well with Eternals. So I'm really not surprised about that. I think a Kugler X-Files reboot sounds interesting, and I'm sure he can bring something fresh to it. But that is a series that they kept putting the defibrillators on, and it just got worse and worse over time. So I don't really know why we're going back there, but OK.
21:24Anne Thompson:So what's Jessie Buckley doing? She won Best Actress, obviously.
21:28Ryan Lattanzio:Yeah. So Jessie Buckley next up, she's going to be working with Alicia Rohrwalker, which is very exciting. I love her. Yeah. With Saoirse Ronan, Josh O 'Connor, who, of course, was in La Kimera. La Kimera. And then one of the most overrated talents that, as you know, for me, which is Dakota Johnson in the film Three Incestuous Sisters, which is from a kind of creepy children's book for adults. It's an illustrated novel by Audrey Niffenegger, who wrote The Time Traveler's Wife. And this is set up at Indian Paintbrush. This just got announced like three weeks ago.
22:03Anne Thompson:That actually sounds interesting. And I would also suggest to you that you may think that Dakota Johnson is less than, but she's also bankable. And in the end, the materialists did well. You know, it ended up being a hit.
22:15Ryan Lattanzio:Yeah. Well, the jellied quality that Johnson brings to everything she does was not really the reason that made it a hit. I think it was a hit because people are in love with the two guys who are extremely charismatic. They're ping ponging around her.
22:26Anne Thompson:But people are attracted to Dakota Johnson. No, of course.
22:30Ryan Lattanzio:She's very, very hot.
22:31Anne Thompson:In the old Hollywood parlance, forgive me, everyone. Men want to fuck her. OK, that's what it comes down to. You may not want to. I don't.
22:41Ryan Lattanzio:No, I don't. But if I did want to fuck any woman, Dakota Johnson would be at the top of the list. um okay so well and speaking of jesse buckley she just bombed in the bride and so the timing of that was she's very fortunate that that came out after the oscar it's a blip everybody's
22:59Anne Thompson:forgotten it already it's over completely dead even though it's gonna lose 90 million dollars for warner brothers and a weird way if you look at the the wins they had one battle weapons sinners this took a hit out of those profits people are now already starting to argue that it's actually
23:16Ryan Lattanzio:a great campy film. I just, I don't even want to hear that right now. No way. No way. I'm just in 10 years, there'll be arguments and pieces saying, you know, we did so wrong with this movie, probably written by an AI chatbot or something. Anyways, what about best actor winner, Michael B. Jordan?
23:32Anne Thompson:So Michael B. Jordan has a directing career as well as an acting career. And he had already directed Creed 3, and he's supposed to direct Creed 4. But what he's going to do, what he's doing right now is directing the Thomas Crown Affair, the remake of the Thomas Crown Affair, which he is also starring in with Aubrey Plaza and Adria Arahona, who I love. I love both of those actresses. That's a good sign. I think that could turn out well. And then supporting actor winner Sean Penn, he turned up for a, not at the Oscars, but at a photo shoot in the Ukraine to express his sense of what's important in the world.
24:12Anne Thompson:What's he doing now?
24:13Ryan Lattanzio:He has nothing on the docket. I checked IMDb and I checked Luminate, which often has deeper cuts of upcoming projects. Yeah, he's in Ukraine right now. And I think he would have liquidated his Oscar anyway, as he did with the previous ones. Or he did just offer to do that.
24:31Anne Thompson:I don't know if he actually did that. That's a good question. We should find out.
24:35Ryan Lattanzio:What about Amy Madigan? I mean, is she or scripts flying in her direction now?
24:40Anne Thompson:You know, in the past, there have been a lot of examples of women who've won, and nothing seemed to, you know, Kathy Bates complained that nothing happened, and I think Diane Keaton complained that nothing happened. But in her case, she's got a couple of appearances on TV series, Department of One and All the Sinners Bleed, two of which I've never heard of. And she stars for a very good director, James Ponsult, in a movie called Sponsor, which is an Apple original film. And she plays the title role. So she helps to change the life of a recovering Jason Segel. so and what about history making cinematography winner Autumn Durald Archipaugh she's also got
25:28Ryan Lattanzio:the X-Files reboot with Ryan Coogler so I so I'm sure I mean which obviously isn't in production she's not working on that right now she's another one who's been on the trail with this movie since back in March but she's got it already has a really good resume of she's done all of Gia Coppola's okay I don't know if I call that really good I actually think all of Gia Coppola's movies have been bad. I'm afraid I'm with you. Yes, but she also, you know, she's worked with Derek C in France and so forth as on second unit. And so I think she's going to have many offers coming.
26:00Anne Thompson:No, no, I'm not. We're not worried about Archipa. We're not worried about her.
26:05Ryan Lattanzio:All right. What's going on with Joachim Trier, who won international feature for Sentimental Value?
26:10Anne Thompson:I know they don't give it to the director, which is always confusing when you look things up on IMDb. But yes, he directed Sentimental Value. And I had his partner Eskel Folkt on the writing panel in Santa Barbara. And he said that as of March 16th, which is the day after the Oscars, they would start the process of imagining a new Norwegian original film from scratch. It could take a year and they will have no trouble casting or financing it. I think they have a remarkably beautiful thing going that many Hollywood people would envy in a way. I mean, they can do whatever they want. So what do we expect from the K-pop Demon Hunters directors, Chris Appelhands and Maggie Kang?
26:56Ryan Lattanzio:It's pretty predictable. They are returning for a sequel as they already have an exclusive writing and directing deal with Netflix Animation. So they're going to be working on K-pop Demon Hunters 2, which we don't know anything about. I don't know if Huntrix is returning at this point. It would behoove them, a Netflix, I imagine, to give this a robust theatrical play that involves bringing Sony back in. I don't know the terms of that deal on a franchise level, but there's dump trucks of money to be made for this movie.
27:25Anne Thompson:Now that it has been established, I've heard Ted Sarandas explain how it wouldn't have worked to go theatrical with that movie right away. that it took a long time for it to build up, even on Netflix, before it became a huge hit.
27:41Ryan Lattanzio:I remember when it was first announced, I said to you, what in the algorithmic hell is K-pop Demon Hunters? It sounds like it was completely created in a lab to cater to certain audiences on the streaming platform. But little did we know, it was obviously the winner.
27:57Anne Thompson:Well, I think this will be a test of your theory about Ted Sarandos' attitude toward theatrical. This will be a very good test. If he's willing to go there, I'd be curious to see what would happen. All right.
28:09Ryan Lattanzio:So what about the very handsome Ludwig Corinsen, the composer of Sinners, who won his third Oscar after another Ryan Coogler movie, Black Panther, and then, of course, Christopher Nolan's Oppenheimer?
28:22Anne Thompson:So he has worked with Christopher Nolan before he did Tenet also. And therefore, it is all too predictable that he's working on Chris Nolan's The Odyssey, as well as Star Wars, The Mandalorian, and Grogu. He did The Mandalorian also back in the day. So he's in demand. He has now won three Oscars, which is really remarkable. And he deserves it. He's extraordinary. Now, you probably know the answer to this one. James Cameron, whose VFX team won for Avatar, Far and Ash.
28:54Ryan Lattanzio:Yep. He is directing two more Avatar movies set for 2029.
28:59Anne Thompson:Maybe we were hoping he wasn't.
29:01Ryan Lattanzio:We were. There was conversation about him passing the baton. But no, he is intent at this point on directing them himself. But we're not going to see Avatar 4 until 2029. And then Avatar 5, God knows where it will be, 2031.
29:14Anne Thompson:I will say that I actually enjoy these movies and like them very much. I was speaking on your behalf there. But I'm a big James Cameron fan. So anything he does is fine with me.
29:26Ryan Lattanzio:Yeah, I'm a fan up until Avatar.
29:29Anne Thompson:I would like to see him do other things, though. This is getting, I mean, at least this last one became very repetitive, and he would have to really change it up in the next one to make it interesting to me. I have to say that. So, Ryan, we have Cannes to look forward to in May. That's really when the awards drum rolls will begin again. We have our passes. We have our plane tickets. We have our condo. And the camp, you know, camp had an enormous impact on the Oscars this year with two prize winners in Best Picture, one in Director, five acting nominations and four of the five international feature nominees.
30:06Anne Thompson:So you you spoke to Terry Fouimau recently, right?
30:10Ryan Lattanzio:Yeah, he gave me nothing about the festival. Yeah. And then he spoke about, you know, he's one of the people who signed the letter supporting Tricia Tuttle, keeping her opposed to Berlin. You know, he was saying that it's really important for these festivals to have state support. So that was looking kind of grim for in Germany. But and then obviously, you know, that's not really up for question and can. You know, I'm just obviously we're going to unpack the lineup when that comes on April 9th and some of our predictions. But it's not looking like there's big studio movies predicted to be at the festival.
30:43Anne Thompson:so the the one I'm disappointed that isn't going to be there when it's my buddy Ruben Ostlands the entertainment system is down I don't know why but that's one of the movies that I'm most looking forward to and it sounds like he's still working on it I'm worried about that one a little
31:00Ryan Lattanzio:bit like two and a half hours which is how long it'll be on an airplane is rough even for an actual flight so I don't know but Kirsten Dunst is in it so you know she can do no wrong we love
31:12Anne Thompson:Kirsten Dunst. So among the losers at the Oscars, we have Chalamet, who did not participate in the Dune 3 presser this week, and we got to see the new trailer. What do you think, Ryan? And what does he need to do to fix up his profile?
31:31Ryan Lattanzio:I was going to say he needs to go away or take a step back, but he can't really do that because he needs to be on the Dune 3. You know what, actually, that is a movie that I mean that's going to make tons of money it doesn't need press ops with him necessarily I don't know do they go to comic-con or something I don't even know they start probably more overseas stuff probably right right and I don't know that it'll be at any festivals or anything it's a December 18th release we you and I have different feelings about this particular franchise but I'm trying to be optimistic the other element of it of course is Zendaya's returning we're going to see more of Léa Seydoux's character, more of Florence Pugh's character.
32:12Anne Thompson:Actually, I thought the trailer looked fabulous, I have to say. It does, sure.
32:16Ryan Lattanzio:It looks good.
32:17Anne Thompson:We like Denis Villeneuve. We like him, and it sounds like it's going in a different direction from the last one, getting darker and nastier. If there's too much war, that could be annoying. We'll see. We'll see. Too much action. It sounds like there's more action in this one, from what I can gather. All right. So Leonardo DiCaprio with the mustache at the Oscars. There's a reason for that mustache. It's for his character in the next Martin Scorsese movie, which is an Apple Original Films thriller, What Happens at Night? And he co-stars with Jennifer Lawrence. And it's adapted from Peter Cameron's novel.
32:57Anne Thompson:And it's shooting in the Czech Republic. And then they've shared a first look image today, the day we're recording anyway, Thursday. Um, so I'm, I actually have to go look at that. I haven't seen that. Um, so I'm, I'm excited about that. Of course, one of my favorite moments in the Oscar show to go back to that was a long ass hug between DiCaprio and Michael Jordan. I was very touched by that. Yeah.
33:23Ryan Lattanzio:I'm excited about this Scorsese movie. I'm sure it's got an insane budget. It's at Apple original films. Uh, and it's, It's, again, Scorsese treading into gothic horror territory. I've kind of looked at the book. And so it's, you know, it'll be a departure or maybe sort of a hark back to like Shutter Island in that regard. It's also a marriage story. And the screen, you know, I love Patrick Marber, the screenwriter. He's written some of my favorite plays and favorite screenplays. Like he wrote the script for Notes on a Scandal, which I, one of my favorite movies. I love that movie. Yeah. Yeah.
33:59Ryan Lattanzio:So, oh, you know, actually, recently I interviewed Andre Gregory of my Dinner with Andre fame because he has a play here in New York called What We Did Before Our Moth Days. He let it slip that he is also in this movie.
34:11Anne Thompson:So before we go, we both want to recommend a movie for you to see this weekend. And I think we agree on the same movie because we've already talked about it and we love it. It's Project Hail Mary.
34:22Ryan Lattanzio:I don't know if I love it, but I do like it a lot. So, yes, please go see it.
34:27Anne Thompson:Okay, off we go until next week.
34:30Ryan Lattanzio:Talk to you then.
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From the publisher
We made it to the grand finale of the awards season! Listen to Anne and Ryan share their thoughts on the big races, how the show went over live inside the Dolby Theater, and what projects the winners have coming up next. Then they peek ahead at the Cannes film festival and discuss its effect on the Oscars, and also look to the upcoming "Dune: Part 3" and its place in Chalamet's career following his best actor loss.
Listen to IndieWire's Filmmaker Toolkit Podcast, a weekly conversation with leading Directors and Showrunners about their process and craft. Learn the tools of the trade behind your favorite films and series.
https://podcasts.apple.com/us/podcast/indiewires-filmmaker-toolkit/id1142632832
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