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00:00:01,874 --> 00:00:04,923
♪

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>>> HELLO FROM HOLLYWOOD.
YOU ARE LOOKING AT A LIVE SHOT

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00:00:08,031 --> 00:00:12,569
RIGHT NOW OF THE MOST FAMOUS RED
CARPET IN THE WORLD, AND IN JUST

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00:00:12,569 --> 00:00:15,439
A FEW HOURS THE BIGGEST STARS ON
THE PLANET WILL BE RIGHT HERE IN

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THE SPOTLIGHT.

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>> IT IS OSCAR SUNDAY, FOLKS,
AND WE ARE BRINGING YOU

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EXCLUSIVE LIVE COVERAGE OF EVERY
MOMENT AS WE COUNT DOWN TO THE

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96th ANNUAL ACADEMY AWARDS RIGHT
HERE ON ABC.

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>> THIS IS AN ABC NEWS
SPECIAL --

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>> AND THE OSCAR GOES TO --

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>> OSCAR SUNDAY HAS ARRIVED.

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>> THIS IS IT.

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>> IT'S THE MOST IMPORTANT DAY
IN HOLLYWOOD AFTER A LONG AWARDS SEASON.

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>> SHE'S AGED BY EIGHT YEARS
SINCE YOU STARTED DOING INTERVIEWS.

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>> THE BIGGEST SURPRISES IN
HOLLYWOOD ARE ON THE LINE.

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>> WE HAVE FOUR HOURS OF
MATERIAL.

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>> WHO WILL TAKE HOME GOLD ON
THE OSCAR STAGE?

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>> I LOVE CHRIS --

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>> AND WHO WILL SHINE ON THE RED
CARPET?

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>> IT'S BEDLAM OUT THERE.

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>> RIGHT NOW, RIGHT HERE, THE
FILMS.

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>> HI, BARBIE.

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>> HI, KEN.

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>> THE FASHION AND THE NOMINEES
WHO COULD MAKE HISTORY IN JUST A

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FEW HOURS.
WHAT WAS LIFE LIKE FOR THOSE

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STARS LONG BEFORE THE OSCARS?
WE UNCOVER THE LONG LOST CLIPS

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OF SOME OF THEIR EARLIEST ROLES
AND HEAR FROM THE PEOPLE WHO

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KNEW THEM BEFORE THEY WERE
FAMOUS.

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COME WITH US BEHIND THE SCENES
WITH BACKSTAGE ACCESS YOU WON'T

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SEE ANYWHERE ELSE.
THE STARS ARE OUT AND GOING TO

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BE PARTYING.

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♪ ALL NIGHT LONG

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♪ ALL NIGHT LONG

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♪ ALL NIGHT LONG

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♪ ALL NIGHT LONG

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>> THIS IS YOUR OFFICIAL
"COUNTDOWN TO THE OSCARS" ON ABC.

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HERE NOW FROM THE DOLBY THEATRE
IN HOLLYWOOD, LINSEY DAVIS AND

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WHIT JOHNSON.

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>> ALL NIGHT LONG WE ARE HERE
WITH YOU, FOLKS.

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>> THE PERFECT MUSIC TO GET US
GOING.

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>> WE'VE HAD SOME SERIOUS DANCE
MOVES DURING THE BREAK HERE.

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GREETINGS FROM THE DOLBY THEATRE
AND HAPPY OSCAR SUNDAY.

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NEWS TEAM ASSEMBLED.
SO GLAD TO BE BACK WITH WHIT

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JOHNSON, AKA I'M JUST TEN, ONCE
AGAINST ON THE RED CARPET.

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>> TRYING TO CAPTURE THE ENERGY.
YOU ARE STUNNING.

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>> DAPPER AS EVER.

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>> SETTING THE RED CARPET ON
FIRE TODAY.

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I'M SO EXCITED TO BE BACK WITH
YOU FOR ANOTHER YEAR AND THIS IS

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GOING TO BE AN EXCITING ONE
TODAY.

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OUR AMAZING ABC TEAM IS HERE, SO
MUCH GOES INTO MOUNTING AN EVENT

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OF THIS SIZE AND IT'S NOT JUST
ABOUT WHAT'S GOING TO HAPPEN

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INSIDE LATER ON TONIGHT BUT
GETTING THE RED CARPET READY FOR

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ALL THE STARS AND THE HUNDREDS
OF MEDIA OUTLETS FROM AROUND THE

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WORLD HERE BROADCASTING FROM
MORE THAN 200 COUNTRIES.

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THERE'S NOTHING ELSE QUITE LIKE
IT.

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>> YOU ARE EXACTLY RIGHT.
ONE EXCITING CHANGE TO TELL OUR

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VIEWERS ABOUT, THIS YEAR THE
ACADEMY IS MOVING THE AWARDS

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TELECAST UP BY ONE HOUR MEANING
THE RED CARPET WILL OPEN EARLIER

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THAN EVER.
IN JUST A COUPLE HOURS, IN FACT,

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AND WE WILL BE INTERVIEWING THE
STARS AS THEY ARRIVE.

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>> THAT MEANS MORE BUZZ, MORE
ACTIVITY, MORE FUN HAPPENING

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RIGHT HERE.
AND IF YOU HAVEN'T HAD A CHANCE

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TO SEE ALL THE NOMINATED FILMS
OR PERFORMANCES, DON'T WORRY, WE

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WILL BRING YOU UP TO SPEED.
OUR OSCARS EXPERTS ARE HERE TO

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BREAK DOWN THE RACES.
AS ALWAYS OUR CHRIS CONNELLY AND

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KELLEY CARTER AND WHAT'S GOING
ON INSIDE THAT THEATER RIGHT NOW.

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ALSO JOINING US THIS YEAR WITH
SOME EXCLUSIVE BEHIND-THE-SCENES

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ACCESS THAT WE'VE NEVER HAD
BEFORE, A LOT OF ACCESS THIS

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YEAR, TWO OF OUR ABC NEWS
COLLEAGUES FROM "GMA 3" DeMARCO

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MORGAN AND EVA PILGRIM.

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>> WE WILL KICK THINGS OFF WITH
DETAILS ABOUT TONIGHT'S

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BROADCAST.
INSIDE THE THEATER THIS VERY

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HOUR, OSCARS PRODUCERS ARE STILL
REHEARSING AND PRESENTERS AND

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PERFORMERS.
AS FOR THE SHOW ITSELF AND HOW

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THESE 96th ACADEMY AWARDS CAME
TOGETHER AGAINST A LOT OF ODDS,

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BY THE WAY, WE HAVE A PREVIEW OF
WHAT YOU CAN EXPECT.

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LET'S TAKE A LOOK.
THE 96th OSCAR NOMINATIONS WENT

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OUT, AND HISTORY MAKING IS IN.
FROM SNUBS TO SURPRISES TO ALL

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AROUND --

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>> OH, MY GOD!

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>> A NEW YEAR, NEW BEDTIME.
THE OSCARS MAY HAVE A REPUTATION

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FOR RUNNING A LITTLE BIT LONG
AND LATE.

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>> Y'ALL BETTER CUT ME SOME
SLACK.

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WE'RE GOING TO BE TOGETHER A
WHILE.

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>> SO TONIGHT, AN HISTORIC
CHANGE, THE OSCARS WILL BEGIN

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ONE HOUR EARLIER.

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>> THE FIRST OSCARS CEREMONY
LASTED -- THAN IS TRUE -- 15

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MINUTES FROM BEGINNING TO END.
AND PEOPLE STILL COMPLAINED.

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>> ALSO, NEW YEAR, SAME HOST.

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♪ TO THE OSCARS

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>> JIMMY KIMMEL WILL BE BACK TO
HOST HIS FOURTH ACADEMY AWARDS.

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BUT LEADING UP TO TONIGHT, MANY
WONDERED WOULD THERE EVEN BE A

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CEREMONY TO CELEBRATE?
THIS PAST YEAR THERE ARE FEW

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THINGS IN HOLLYWOOD THAT WERE
NOT AFFECTED BY THE WRITERS

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GUILD OF AMERICA AND SCREEN
ACTOR GUILD STRIKES POISED TO BE

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00:05:06,363 --> 00:05:08,732
MONUMENTAL, THE ONLY TIME THE
SHOW EVER TOOK PLACE AMID A

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STRIKE IS BACK IN 1960 WITH THE
32nd OSCARS.

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>> HOW DO YOU DO, LADIES AND
GENTLEMEN, AND WELCOME TO

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HOLLYWOOD'S MOST GLAMOROUS
STRIKE MEETING.

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>> AFTER MONTHS OF NEGOTIATIONS
BOTH GUILDS REACHED DEALS AND

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THE INDUSTRY GOT BACK TO WORK
INCLUDING BACK TO THE BUSINESS

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OF CONGRATULATING EACH OTHER.
FOR THE FIRST TIME EVER, THREE

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OF THE BEST PICTURE NOMINEES ARE
DIRECTED BY WOMEN, CELINE SONG'S

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"PAST LIVE," "ANATOMY OF A
FALL" --

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>> I DID NOT KILL HIM.

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>> AND, OF COURSE, THE HOT PINK
TOPIC OF AWARDS SEASON, GRETA

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GERWIG'S "BARBIE."
BUT IT'S "OPPENHEIMER," THE

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EXPLOSIVE BIOGRAPHICAL THRILLER
HAD US ON THE EDGE OF OUR SEATS.

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>> WHAT DO WE ALL THINK?

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>> A BOMB.

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>> THAT'S THIS YEAR'S
FRONT-RUNNER WITH 13

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NOMINATIONS, NOT FAR BEHIND ARE
""P

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"P"POOR THINGS," A FANTASY WITH
11 NOMINATIONS AND MARTIN

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SCORCESE'S "KILLERS OF THE
FLOWER MOON," THE TRUE STORY OF

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THE 1920s OSAGE TRIBE'S MURDER
WITH TEN NOMINATIONS.

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OTHERS LIKE "AMERICAN FICTION,"
"MAESTRO" AN AND "THE HOLDOVERS

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THANKS TO A NEW INITIATIVE.

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>> THE ACADEMY ROLLING OUT NEW
RULES ANNOUNCING NEW

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REQUIREMENTS FOR REPRESENTATION
AND INCLUSION THAT COULD CHANGE

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THE RACE FOR BEST PICTURE FOR
GOOD.

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>> NOMINATING BEST FILMS MUST
MEET TWO OF FOUR STANDARDS.

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>> ONE OF THE STANDARDS IS ON
SCREEN REPRESENTATION AND THAT

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GOES TO DIVERSITY, EQUITY,
DISABILITIES AND MAKE SURE MORE

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ARE REPRESENTED ON SCREEN.
THAT'S A GOOD THING NOT ONLY FOR

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THE ACADEMY BUT HOLLYWOOD
OVERALL.

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>> IN 2023 ALL THE ACTING AWARDS
WENT TO FIRST TIMERS BUT THIS

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YEAR COULD ANY OF THE
MULTITIMERS YET TO DO SO WALK

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AWAY WITH GOLD MAN IN HAND?
MAYBE THIRD TIME'S A CHARM FOR

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ROBERT DOWNEY JR., OR IS TONIGHT

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THE NIGHT FOR MARK RUFFALO.
IS IT ANNETTE BENING'S YEAR?

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AND A STAGGERING 12 NOMINATIONS,
YET NO WINS.

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MEANWHILE, MANY ARE CURIOUS
WHICH STONE WILL GO UNTURNED.

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THERE ARE SEVERAL STRONG
CONTENDERS FOR BEST ACTRESS, BUT

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PREDICTIONS SAY IT'S BETWEEN
LILY GLADSTONE, WHO, IF SHE

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WINS, THE FIRST INDIGENOUS ACTOR
TO DO SO --

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>> EMMA STONE.

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>> -- AND EMMA STONE, WHO HAS
BEEN NOMINATED FOR HER ROLE AT

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EVERY MAJOR AWARDS SHOW THIS
SEASON.

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AFTER THE NAMES IN THIS CATEGORY
WERE CALLED ON NOMINATION DAY,

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MANY NOTICED A GLARING HOLE, AND
IT WAS SHAPED LIKE BARBIE.

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HOWEVER, MARGOT ROBBIE FOR BEST
ACTRESS AND GRETA GERWIG FOR

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BEST DIRECTOR WEREN'T THE ONLY
ONES THE NEARLY 10,000 VOTING

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MEMBERS SEEMINGLY SNUBBED, THIS
WAS LEONARDO DiCAPRIO FOR

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"KILLERS OF THE FLOWER MOON,"
EARLY HOPEFUL GRETA LEE IN "PAST

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LIVES" AND SALTBERG HAD
HOLLYWOOD ABUZZ JUST TO NAME A

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FEW.
BUT, AS THEY SAY, ONE'S LOSS IS

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ANOTHER'S GAIN.
WHILE WE WON'T GET TO WATCH DUA

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LIPA DANCE THE NIGHT AWAY WE
WILL GET ANOTHER NOMINATED

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"BARBIE" MOVIE TRACK TO FEEL THE
KENERGY TONIGHT.

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♪

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WE ARE LOOKING FORWARD TO THAT
LIVE PERFORMANCE TONIGHT OF "I'M

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JUST KEN."
AND JOINING US NOW, AS THEY DO

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EVERY YEAR WITH MORE INSIGHT
INTO TONIGHT'S BIG SHOW, ARE

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CONTRIBUTORS ON ALL THINGS
ENTERTAINMENT, CHRIS CONNELLY,

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KELLEY CARTER.
YOU ARE FIXTURES ON THE RED

156
00:09:01,932 --> 00:09:05,268
CARPET JUST LIKE THE OSCARS
THEMSELVES AND LOOKING STUNNING.

157
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THAT COLOR IS JUST GORGEOUS.

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>> THANK YOU, GUYS.

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>> AND THE COLOR ON CHRIS, TOO.

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>> CHRIS IS KILLING IT.

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>> LOOK, WE'RE JUST GRATEFUL TO
BE HERE.

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2023 WITH THE STRIKES THAT
HAPPENED, WE WEREN'T SURE FOR A

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LITTLE WHILE, BUT HOLLYWOOD IS
BACK IN BUSINESS.

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WE'RE BACK IN BUSINESS TODAY.
CHRIS, LET'S START WITH YOU AND

165
00:09:23,019 --> 00:09:25,655
TALK ABOUT THE PRESENTERS.
WE'LL HAVE SOME FAMILIAR FACES

166
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SAYING WELCOME TO THE CLUB TODAY.

167
00:09:27,090 --> 00:09:32,529
>> A PENTANGLE OF PRESENTERS,
FIVE PREVIOUS WINNERS STANDING

168
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UP THERE TO GIVE OUT THIS YEAR'S
OSCAR.

169
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AND EACH OF THE WINNERS WITH A
KIND WORD FOR ONE OF THE

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00:09:38,969 --> 00:09:41,137
NOMINEES.
AND THEN AFTER THE NAME IS

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ANNOUNCED, I HOPE, A GROUP HUG.

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>> I LOVE GROUP HUGS.

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>> WE'RE HERE FOR IT.

174
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>> "OPPENHEIMER," ROBERT DOWNEY

175
00:09:51,414 --> 00:09:59,155
JR., LILY GLADSTONE, DO YOU
THINK THEY'RE SHOO INS?

176
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>> "OPPENHEIMER" IS SLATED TO
WIN. IT'S EXPECTED TO WIN BEST

177
00:10:03,226 --> 00:10:06,663
PICTURE, ROBERT DOWNEY JR. IS
EXPECTED TO FINALLY GET UP ON

178
00:10:06,663 --> 00:10:10,600
THAT STAGE AND DELIVER A SPEECH
THAT WE ALL WILL BE TALKING

179
00:10:10,600 --> 00:10:13,236
ABOUT AND I'M LOOKING FORWARD TO
SEEING LILY GLADSTONE MAKE

180
00:10:13,236 --> 00:10:17,540
HISTORY TONIGHT FOR THAT BIG WIN.

181
00:10:17,540 --> 00:10:20,176
>> CHRIS, YOU'RE JUST CHRIS.
I'M JUST WHIT.

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JUST KEN HIMSELF, RYAN GOSLING,
WE HAVE A PHOTOGRAPH OF HIM.

183
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THIS IS HIM REHEARSING.
WE DON'T HAVE MUCH IN THE WAY OF

184
00:10:30,353 --> 00:10:35,191
DETAILS BUT WE HEARD MARK RONSON
SAYING HE WAS HOPING FOR 1,000

185
00:10:35,191 --> 00:10:36,426
KENS, MAYBE A UNICORN.

186
00:10:36,426 --> 00:10:39,462
>> I LIKE THAT HE LOOKS LIKE
ADELE.

187
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IT WILL BE A REAL HIGHLIGHT OF
THE SHOW, AS YOU MENTIONED MARK

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RONSON SAYING WHEN HE RECORDED
THE SONG HE WAS LIKE THE GREAT

189
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CARUSO STANDING FIVE FEET FROM
THE MICROPHONE BOOMING IT OUT.

190
00:10:49,739 --> 00:10:51,908
WHEN HE DOES IT TONIGHT, THE
PLACE WILL GO NUTS.

191
00:10:51,908 --> 00:10:55,111
>> ANOTHER PERSON THE PLACE MAY
GO NUTS FOR, JIMMY KIMMEL, BACK

192
00:10:55,111 --> 00:10:59,315
FOR A FOURTH TIME.
WHAT CAN WE EXPECT?

193
00:10:59,315 --> 00:11:02,252
>> MORE OF THE SAME GOOD STUFF,
BRINGING ON THE FUNNY.

194
00:11:02,252 --> 00:11:06,656
READING THE ROOM, TOO.
THAT'S IMPORTANT WHEN YOU ARE

195
00:11:06,656 --> 00:11:09,592
HOSTING AN EVENT LIKE THIS WITH
THE WORLD'S MOST FAMOUS PEOPLE

196
00:11:09,592 --> 00:11:11,995
WHO ARE GOING TO BE FOLK A
LITTLE BIT OF FUN AT.

197
00:11:11,995 --> 00:11:15,265
I THINK JIMMY WILL KNOW HOW TO
DO IT RESPECTFULLY.

198
00:11:15,265 --> 00:11:19,602
>> THREAD THAT NEEDLE BUT STILL
GET THE BURN IN.

199
00:11:19,602 --> 00:11:22,238
WE LOOK FORWARD TO THE BURNS.
THANKS TO YOU BOTH.

200
00:11:22,238 --> 00:11:26,943
THE TOP OF THE SHOW, THE OSCARS
RED CARPET IS OPENING EARLIER

201
00:11:26,943 --> 00:11:30,246
AND OUR COLLEAGUE, DeMARCO
MORGAN, ONE OF THE BEST

202
00:11:30,246 --> 00:11:33,616
POSITIONS ALONG THE CARPET.
DeMARCO, GREAT TO SEE YOU,

203
00:11:33,616 --> 00:11:34,150
LOOKING SHARP, MY FRIEND.

204
00:11:34,150 --> 00:11:40,657
>> SHARP AS A TACK.

205
00:11:40,657 --> 00:11:43,693
>> THIS IS THE BEST SEAT IN THE
HOUSE, THE RED CARPET, THE FIRST

206
00:11:43,693 --> 00:11:46,429
PLACE PEOPLE WILL BE JUDGED
BASED ON THEIR APPEARANCE.

207
00:11:46,429 --> 00:11:51,434
YOU HAVE TO BRING YOUR "A" GAME.
A LOOK AT THE RED CARPET AND HOW

208
00:11:51,434 --> 00:11:55,271
IT WORKS STARTING WITH IMAGE.
FIRST THINGS FIRST, THE FIT HAS

209
00:11:55,271 --> 00:11:56,773
TO BE TOGETHER.
EVERYBODY IS WATCHING.

210
00:11:56,773 --> 00:12:00,376
WHEN I SAY EVERYBODY, EVERYBODY.
NOW ONCE THE STARS MAKE IT

211
00:12:00,376 --> 00:12:02,278
THROUGH THIS TENT RIGHT HERE,
THEY'LL NOTICE SOMETHING FOR THE

212
00:12:02,278 --> 00:12:05,682
FIRST TIME, A DOUBLE-SIDED STEP
AND REPEAT.

213
00:12:05,682 --> 00:12:07,417
THIS IS FOR CELEBRITIES AND
SPECIAL GUESTS.

214
00:12:07,417 --> 00:12:09,786
THIS SIDE IS FOR THE PRESENTERS
AND THE NOMINEES.

215
00:12:09,786 --> 00:12:12,388
TAKE A WALK WITH ME.
ONCE YOU MAKE IT RIGHT HERE, YOU

216
00:12:12,388 --> 00:12:16,893
HAVE ONE JOB AND ONE JOB ONLY,
AND THAT IS TO STAND HERE AND

217
00:12:16,893 --> 00:12:20,897
LOOK GOOD. COME WITH ME.
YOU'RE GOING TO BE TALKING TO

218
00:12:20,897 --> 00:12:24,400
MORE THAN 100 COUNTRIES,
REPRESENTATIVES FROM THE MEDIA

219
00:12:24,400 --> 00:12:26,903
AROUND THE WORLD ARE GOING TO BE
TALKING TO OUR SPECIAL GUESTS,

220
00:12:26,903 --> 00:12:30,773
OUR NOMINEES AND PRESENTERS,
ASKING QUESTIONS THAT WE LOVE TO

221
00:12:30,773 --> 00:12:32,408
HEAR.
WHAT DO YOU THINK OF THIS NIGHT?

222
00:12:32,408 --> 00:12:34,644
WHAT ARE YOU WEARING?
WHO ARE YOU WEARING?

223
00:12:34,644 --> 00:12:36,479
AND YOU'LL LOVE THOSE ANSWERS
THERE.

224
00:12:36,479 --> 00:12:40,550
THIS IS THE RED CARPET, THE
MAGICAL, MAGICAL PLACE THAT WE

225
00:12:40,550 --> 00:12:43,486
ALL LOVE TO SEE.
NOW HERE'S SOMETHING YOU NEED TO

226
00:12:43,486 --> 00:12:45,221
KNOW.
CELEBRITIES CAN SPEND UP TO 30

227
00:12:45,221 --> 00:12:48,324
MINUTES TO TWO HOURS RIGHT HERE
JUST TALKING TO PEOPLE, TALKING

228
00:12:48,324 --> 00:12:50,693
TO THE MEDIA, CATCHING UP WITH
OLD FRIENDS.

229
00:12:50,693 --> 00:12:52,862
AND, YOU KNOW WHAT, THERE'S
NOTHING WRONG WITH IT BECAUSE

230
00:12:52,862 --> 00:12:54,731
IT'S THE BIGGEST NIGHT IN
HOLLYWOOD, RIGHT?

231
00:12:54,731 --> 00:12:57,867
FOLLOW ME ONE MORE TIME.
OVER HERE TO THE STANDS, THIS IS

232
00:12:57,867 --> 00:13:01,371
WHERE I WOULD LOVE TO BE IF I
DIDN'T HAVE ANY PRESS

233
00:13:01,371 --> 00:13:04,707
CREDENTIALS.
THIS IS SPECIAL GUESTS, HONOREES

234
00:13:04,707 --> 00:13:08,178
HERE, TOO, WORKING WITH SOME OF
THE PROGRAMS WITH THE ACADEMY

235
00:13:08,178 --> 00:13:12,649
AWARDS ORGANIZATION.
THEY GET A CHANCE TO DO SELFIES,

236
00:13:12,649 --> 00:13:15,652
SCREAM OUT NAMES.
HEY, DENZEL, CAN I GET A PICTURE

237
00:13:15,652 --> 00:13:19,055
WITH YOU?
MAYBE DENZEL WILL SAY YES.

238
00:13:19,055 --> 00:13:21,057
MAYBE HE'LL KEEP MOVING DOWN THE
RED CARPET.

239
00:13:21,057 --> 00:13:25,128
EITHER WAY, IT IS A SPECIAL
NIGHT TO LOOK GOOD AND HAVE FUN.

240
00:13:25,128 --> 00:13:29,833
AGAIN, THIS IS OUR TEAM.
WHAT'S UP, ABC? ABC IN THE HOUSE.

241
00:13:29,833 --> 00:13:32,969
SO, ONCE YOU MAKE IT DOWN THIS
WAY, YOU'RE STILL TAKING

242
00:13:32,969 --> 00:13:36,472
PICTURES, BUT YOU'RE GOING TO
SEE THE GOLD OSCAR STATUE RIGHT

243
00:13:36,472 --> 00:13:39,475
THERE, A STATUETTE.
AND WHEN YOU MAKE IT THROUGH,

244
00:13:39,475 --> 00:13:44,113
THIS TURN -- IT TAKES A WHILE TO
GET THROUGH HERE -- THE LARGEST

245
00:13:44,113 --> 00:13:46,583
RED CARPET IN THE WORLD, BY THE
WAY.

246
00:13:46,583 --> 00:13:51,454
THE RED CARPET OF RED CARPETS.
I LICK TO CALL THIS THE FINAL

247
00:13:51,454 --> 00:13:53,790
WALK, THE LAST MILE.
YOU HAVE TO STRUT YOURSELF.

248
00:13:53,790 --> 00:13:57,627
YOU HAVE TO LOOK GOOD DOING IT.
A LITTLE COOLER WALK.

249
00:13:57,627 --> 00:14:02,365
ONCE YOU MAKE IT HERE, YOUR JOB
IS TO MAKE IT TO THOSE RED

250
00:14:02,365 --> 00:14:05,702
STEPS, GO UP, AND THEN YOU'RE
GOING TO ENTER THE THEATER, AND

251
00:14:05,702 --> 00:14:12,675
YOU WILL BE IN FOR A TREAT.

252
00:14:12,675 --> 00:14:16,279
I'M SO EXCITED.
THE DOORS WILL OPEN A LITTLE

253
00:14:16,279 --> 00:14:19,949
EARLIER, 12:30 PACIFIC TIME.
WE CAN'T WAIT TO BRING IT TO YOU.

254
00:14:19,949 --> 00:14:21,918
WE'LL SEND THINGS BACK TO YOU.

255
00:14:21,918 --> 00:14:25,622
>> DeMARCO, I HAVE TO SAY, THAT
BOW TIE, I LOVE IT.

256
00:14:25,622 --> 00:14:27,056
GO BIG OR GO HOME.

257
00:14:27,056 --> 00:14:28,057
>> OKAY.

258
00:14:28,057 --> 00:14:28,458
>> APPRECIATE YOU.

259
00:14:28,458 --> 00:14:30,727
>> OKAY, THANK YOU.

260
00:14:30,727 --> 00:14:32,595
>> GOT THE VELVET AND
EVERYTHING.

261
00:14:32,595 --> 00:14:35,131
>> YES.
WHAT IS THAT, VELVET?

262
00:14:35,131 --> 00:14:39,135
>> NOBODY WORKS THE RED CARPET
LIKE DeMARCO MORGAN.

263
00:14:39,135 --> 00:14:44,941
WE'LL CHAT MORE WITH YOU IN A
BIT. COMING UP HERE, SO MUCH MORE

264
00:14:44,941 --> 00:14:48,311
LIVE, INTERVIEWS FROM COLMAN
DOMINGO WHOSE BREAK-THROUGH

265
00:14:48,311 --> 00:14:51,281
PERFORMANCE IN "RUSTIN" HAS
PEOPLE PREDICTING HE WILL SNAG

266
00:14:51,281 --> 00:14:52,949
HIS FIRST OSCAR.

267
00:14:52,949 --> 00:14:54,884
>> YOU GOT A CHANCE TO TALK TO
HIM.

268
00:14:54,884 --> 00:14:59,555
AND WILL LILY GLADSTONE BE THE
FIRST NATIVE AMERICAN TO WIN A

269
00:14:59,555 --> 00:15:02,792
BEST ACTRESS OSCAR?
WHAT WOULD OSCAR SUNDAY BE

270
00:15:02,792 --> 00:15:04,827
WITHOUT A PREVIEW OF ALL THE
GREAT FASHION?

271
00:15:04,827 --> 00:15:09,465
WE'LL SEE YOU LATER TODAY.
OUR STYLE EXPERT, MR. JOE ZEE,

272
00:15:09,465 --> 00:15:10,533
IS UP WITH THAT.

273
00:15:10,533 --> 00:15:15,371
>> HE WILL LIKE THAT BOW TIE.
WE CONTINUE RIGHT AFTER THIS

274
00:15:15,371 --> 00:15:18,341
BREAK HERE ON ABC.

275
00:15:31,955 --> 00:15:34,090
♪

276
00:15:34,090 --> 00:15:37,794
>>> A LITTLE USHER AS WE WELCOME
EVERYONE BACK TO THE RED CARPET.

277
00:15:37,794 --> 00:15:41,431
I'M LINSEY DAVIS ALONG WITH MY
COLLEAGUE, THE DAPPER, THE

278
00:15:41,431 --> 00:15:43,032
DASHING WHIT JOHNSON.

279
00:15:43,032 --> 00:15:45,034
>> OH, START, OH, START.

280
00:15:45,034 --> 00:15:52,208
>> HERE AT THE DOLE B DOLBY THEO

281
00:15:52,208 --> 00:15:54,944
MANY WILL MAKE THEIR WAY DOWN
INTO THE THEATER IN JUST A FEW

282
00:15:54,944 --> 00:15:55,478
SHORT HOURS.

283
00:15:55,478 --> 00:15:59,549
>> I'M TRYING TO KEEP UP WITH
YOU, LIGHTING THE RED CARPET ON

284
00:15:59,549 --> 00:16:01,317
FIRE AS WE GO THROUGH THE DAY
HERE.

285
00:16:01,317 --> 00:16:07,924
AND WIN OR LOSE, MOST PEOPLE
LUCKY TO HAVE A SEAT INSIDE THE

286
00:16:07,924 --> 00:16:11,027
DOLBY.
THE STARS WILL CELEBRATE AND LET

287
00:16:11,027 --> 00:16:16,032
LOOSE.
EVA PILGRIM FOR A FIRST-EVER

288
00:16:16,032 --> 00:16:20,003
SNEAK PREVIEW INSIDE THE
GOVERNORS BALLROOM AND WHAT THAT

289
00:16:20,003 --> 00:16:23,740
JOURNEY TO THE GOVERNORS BALL IS
LIKE FOR THE OSCAR WINNERS.

290
00:16:23,740 --> 00:16:31,414
EVA, IT'S GREAT TO SEE YOU.
ALSO LOOKING GORGEOUS TODAY.

291
00:16:31,414 --> 00:16:34,884
>> I'M NOT SURE HOW THEY LET ME
UP HERE, BUT I'M GLAD.

292
00:16:34,884 --> 00:16:37,487
IN JUST A FEW HOURS, THIS PLACE
WILL BE CRAZY.

293
00:16:37,487 --> 00:16:42,692
IT WILL BE THE PLACE TO BE THE
65th YEAR FOR THE MOST EXCLUSIVE

294
00:16:42,692 --> 00:16:46,195
AFTER PARTY IN HOLLYWOOD, THE
WHO'S WHO WILL BE WALKING

295
00:16:46,195 --> 00:16:49,799
THROUGH THOSE DOORS AND, LIKE
YOU SAID, WHIT,A FEW SECONDS,

296
00:16:49,799 --> 00:16:53,569
FOR THE FIRST TIME, A SNEAK PEEK.
WE'LL SHOW YOU HOW THE WINNERS

297
00:16:53,569 --> 00:16:57,340
GET UP HERE, WHEN THEY WALK OFF
THAT STAGE WITH THAT OSCAR IN

298
00:16:57,340 --> 00:17:00,376
HAND, EACH AND EVERY ONE OF THEM
GOES DOWN A VERY SPECIAL

299
00:17:00,376 --> 00:17:02,378
CORRIDOR.
IT'S CALLED THE WINNER'S WALK.

300
00:17:02,378 --> 00:17:06,549
BUT BEFORE THE WINNER'S WALK,
THERE IS THE ROAD TO GET HERE.

301
00:17:06,549 --> 00:17:09,886
AND RIGHT NOW WE'RE GOING TO
TAKE A LOOK BACK AT THE CAREERS

302
00:17:09,886 --> 00:17:17,460
OF THE BEST ACTOR NOMINEES.
TAKE A LOOK.

303
00:17:17,460 --> 00:17:21,731
BRADLEY COOPER IN AN ACTING
CATEGORY FOR HIS TRANSFORMATIVE

304
00:17:21,731 --> 00:17:26,636
PERFORMANCE IN "MAESTRO" AS
LEONARD BERNSTEIN.

305
00:17:26,636 --> 00:17:34,444
>> IT IS THE MOST IMPORTANT
THING I COULD DO.

306
00:17:34,444 --> 00:17:40,750
>> HE CO-STARRED WITH ROBERT DE
NIRO. IN 1999 IT WAS A YOUNG,

307
00:17:40,750 --> 00:17:44,153
INQUISITIVE ACTING STUDENT WHO
HAD THE OPPORTUNITY TO PICK THE

308
00:17:44,153 --> 00:17:47,123
BRAIN OF ONE OF HIS HEROS AND
FUTURE CO-STAR.

309
00:17:47,123 --> 00:17:50,560
>> HOW ARE YOU DOING?
MY NAME IS BRADLEY COOPER.

310
00:17:50,560 --> 00:17:53,463
MY QUESTION IS REGARDING
"AWAKENINGS."

311
00:17:53,463 --> 00:17:56,132
>> HE WENT FROM STUDENT TO
GUEST, AND IN THIS APPEARANCE

312
00:17:56,132 --> 00:17:58,201
PAYING TRIBUTE TO ONE OF HIS
MENTORS.

313
00:17:58,201 --> 00:18:03,473
>> I JUST HAVE TO MENTION, I
LEARNED TO DECONSTRUCT A SCRIPT

314
00:18:03,473 --> 00:18:05,508
FROM THIS MAN HERE.

315
00:18:05,508 --> 00:18:07,844
>> THAT PROFESSOR SAYING HE KNEW
COOPER HAD IT IN HIM TO GO ALL

316
00:18:07,844 --> 00:18:12,115
THE WAY FROM THE MOMENT HE MET
HIM.

317
00:18:12,115 --> 00:18:17,687
>> BRADLEY WAS ONE OF THOSE
STUDENTS WHO REALLY STOOD OUT,

318
00:18:17,687 --> 00:18:21,591
HE'S COMPLETELY DEDICATED.
I SEE HIM UP THERE AND ITCH THE

319
00:18:21,591 --> 00:18:25,428
FLASHBACKS IN CLASS AND THAT'S
BEAUTIFUL. A BEAUTIFUL FEELING.

320
00:18:25,428 --> 00:18:26,329
>> YOU NEED A LIGHT?

321
00:18:26,329 --> 00:18:30,500
>> WHILE IN SCHOOL HE GOT HIS
VERY FIRST BREAK MAKING A GUEST

322
00:18:30,500 --> 00:18:32,401
APPEARANCE IN "SEX IN THE CITY."

323
00:18:32,401 --> 00:18:35,438
>> DO YOU WANT TO GO FOR A RIDE
IN MY PORSCHE?

324
00:18:35,438 --> 00:18:36,539
>> FABULOUS.

325
00:18:36,539 --> 00:18:40,343
>> FROM DRIVING PORSCHES ON THE
STREETS OF NEW YORK TO

326
00:18:40,343 --> 00:18:43,012
WHITEWATER RAFTING IN WEST
VIRGINIA, YES, THAT'S A YOUNG

327
00:18:43,012 --> 00:18:47,450
BRADLEY COOPER WHO HOSTED JUST A
HANDFUL OF EPISODES OF THE

328
00:18:47,450 --> 00:18:49,418
TRAVEL CHANNEL SHOW "GLOBE
TREKKERS."

329
00:18:49,418 --> 00:18:55,258
>> THIS IS THE BEGINNING OF THE
RIVER. I'M PLACING MY CRAFT RIGHT THERE.

330
00:18:55,258 --> 00:19:02,965
>> IN 2001, HE MADE HIS BIG
SCREEN DEBUT IN THE STAR-STUDDED

331
00:19:02,965 --> 00:19:06,335
I INDIE COMEDY, "WET HOT SUMMER."

332
00:19:06,335 --> 00:19:07,637
>> DON'T WASTE OUR TIME.

333
00:19:07,637 --> 00:19:11,040
>> COOPER WOULD MAKE AN
APPEARANCE ON THE PERFORMANCE

334
00:19:11,040 --> 00:19:19,015
TRAINING GROUND THAT IS "LAW AND
ORD ORDER."

335
00:19:19,015 --> 00:19:25,154
COLMAN DOMINGO SHINES IN HIS TRAN
TRANSFORMATIVE PERFORMANCE IN

336
00:19:25,154 --> 00:19:28,424
"RUSTIN" WHICH EARNED HIM HIS
FIRST OSCAR NOMINATION.

337
00:19:28,424 --> 00:19:33,963
>> ON THE DAY THAT I WAS BORN
BLACK, I WAS ALSO BORN A

338
00:19:33,963 --> 00:19:35,898
HOMOSEXUAL.
THEY EITHER BELIEVE IN FREEDOM

339
00:19:35,898 --> 00:19:40,403
AND JUSTICE FOR ALL, OR THEY DO
NOT.

340
00:19:40,403 --> 00:19:44,941
>> EARLY IN HIS CAREER DOMINGO
WAS CAST IN A ROLE HE SAYS

341
00:19:44,941 --> 00:19:48,277
SHAPED HIS CAREER, "PASSING
STRANGE," WHICH WOULD BE FILMED

342
00:19:48,277 --> 00:19:49,045
BY SPIKE LEE.

343
00:19:49,045 --> 00:19:54,685
>> I GOT THAT MUSICAL THE DAY
AFTER MY MOTHER PASSED AWAY.

344
00:19:54,685 --> 00:19:55,851
♪

345
00:19:55,851 --> 00:19:59,722
BUT THAT CHANGED MY LIFE,
BECAUSE SUDDENLY I WAS

346
00:19:59,722 --> 00:20:02,792
PERFORMING IN A VERY RAW MANNER.
THIS WAS A WHOLE OTHER LEVEL.

347
00:20:02,792 --> 00:20:06,262
IT WAS UNTETHERED.
BOTH MY PARENTS WERE GONE, AND

348
00:20:06,262 --> 00:20:07,129
ALL I HAD WAS HEART.

349
00:20:07,129 --> 00:20:10,366
>> HIS BROADWAY SUCCESS WOULD
CONTINUE IN HIS 2011

350
00:20:10,366 --> 00:20:16,939
TONY-NOMINATED PERFORMANCE AS
MR. BONES IN "THE SCOTTSBOR BOYS."

351
00:20:16,939 --> 00:20:18,908
♪ I PLAY ALL KINDS OF

352
00:20:18,908 --> 00:20:19,342
CHARACTERS ♪

353
00:20:19,342 --> 00:20:23,779
>> COLMAN DOMINGO MADE MORE THAN
ONE APPEARANCE ON "LAW AND

354
00:20:23,779 --> 00:20:24,714
ORDER."

355
00:20:24,714 --> 00:20:27,850
>> THIS NIGHT MIGHT HAVE BEEN
USED TO DISMEMBER THE BODIES.

356
00:20:27,850 --> 00:20:32,221
>> IN 2012 HE APPEARED BRIEFLY
AS PRIVATE HAROLD GREEN

357
00:20:32,221 --> 00:20:36,025
ALONGSIDE DANIEL DAY-LEWIS IN
STEVEN SPIELBERG'S "LINCOLN."

358
00:20:36,025 --> 00:20:38,160
>> HOW LONG HAVE YOU BEEN A
SOLDIER?

359
00:20:38,160 --> 00:20:41,998
>> TWO YEARS, SIR.

360
00:20:41,998 --> 00:20:47,169
>> PAUL GIAMATTI FOR HIS
PORTRAYAL AS THE JADED AND

361
00:20:47,169 --> 00:20:51,040
DISILLUSIONED CLASSICS TEACHER
IN "THE HOLDOVERS."

362
00:20:51,040 --> 00:20:52,375
>> I CAN'T FAIL THIS CLASS.

363
00:20:52,375 --> 00:20:54,010
>> OH, DON'T SELL YOURSELF
SHORT.

364
00:20:54,010 --> 00:20:55,478
I TRULY BELIEVE THAT CAN YOU.

365
00:20:55,478 --> 00:20:58,547
>> THIS YEAR'S OSCAR NOMINATION
COMES NEARLY 20 YEARS AFTER HIS

366
00:20:58,547 --> 00:21:05,087
FIRST PERFORMANCE WORKING WITH
T"THE HOLDOVERS'" DIRECTOR THOMS

367
00:21:05,087 --> 00:21:11,260
PAYNE IN "SIDEWAYS."
BEFORE GIAMATTI WAS EDUCATING US

368
00:21:11,260 --> 00:21:17,099
ON THE COMPLEXITIES OF PINOT
NOIR, HE LANDED ON BROADWAY.

369
00:21:17,099 --> 00:21:22,772
IN 1995 HE WAS CAST IN HIS VERY
FIRST FEATURE FILM, WOODY

370
00:21:22,772 --> 00:21:29,979
ALLEN'S "MIGHTYY APHRODITE."

371
00:21:29,979 --> 00:21:33,883
GIAMATTI APPEARS IN A SINGLE
SEEN AS SERGEANT HILL UNDER FIRE

372
00:21:33,883 --> 00:21:38,721
FROM A GERMAN SNIPER IN "PRIVATE
RYAN."

373
00:21:38,721 --> 00:21:43,759
>> THEY ARE CONCENTRATED TO THE
WEST.

374
00:21:43,759 --> 00:21:47,463
>> THE PORTRAYAL OF A

375
00:21:47,463 --> 00:21:53,202
STRUGGLING, AGING WRITER.

376
00:21:53,202 --> 00:21:56,172
>> THE BLACKEST THING ABOUT THIS
ONE IS THE INK.

377
00:21:56,172 --> 00:21:59,442
>> WRIGHT ROSE TO PROMINENCE IN
THE EARLY '90s FOR HIS ICONIC

378
00:21:59,442 --> 00:22:05,481
PERFORMANCE IN THE TONY CUSHNER
PLAY, HIS PERFORMANCE EARNED HIM

379
00:22:05,481 --> 00:22:06,649
A TONY AWARD.

380
00:22:06,649 --> 00:22:09,652
>> FIGHT THE GOOD FIGHT IS ALL I
EVER WANTED TO DO AS AN ACTOR.

381
00:22:09,652 --> 00:22:15,925
TO DO THAT ON BROADWAY AND BE
HONORED FOR IT IS VERY HEAVY.

382
00:22:15,925 --> 00:22:20,896
>> HE WOULD REPRISE THAT ROLE IN
THE ACCLAIMED MINISERIES EARNING

383
00:22:20,896 --> 00:22:23,432
HIM AN EMMY AND A GOLDEN GLOBE.

384
00:22:23,432 --> 00:22:26,369
>> YOU DON'T TALK TO ME LIKE
THAT WHEN I'M HOLDING SOMETHING

385
00:22:26,369 --> 00:22:28,804
THIS SHARP OR I MIGHT SLIP AND
STICK IT IN YOUR HEART, IF YOU

386
00:22:28,804 --> 00:22:29,905
HAVE A HEART.

387
00:22:29,905 --> 00:22:33,642
>> BLINK AND YOU MIGHT MISS HIM
MANNING THE PHONES IN HARRISON

388
00:22:33,642 --> 00:22:38,280
FORD'S 1990 MOVIE "PRESUMED
INNOCENT."

389
00:22:38,280 --> 00:22:41,083
AND WHILE THE ORIGINAL INDIANA
JONES HIMSELF DIDN'T STAR IN THE

390
00:22:41,083 --> 00:22:45,221
SERIES, JEFFREY WRIGHT LANDED
ONE OF HIS FIRST GIGS IN THE

391
00:22:45,221 --> 00:22:48,891
YOUNG "INDIANA JONES" CHRONICLES
IN 1993.

392
00:22:48,891 --> 00:22:54,463
>> NOT TONIGHT, JONES.
TONIGHT WE PLAYING THE BLUES.

393
00:22:54,463 --> 00:22:58,200
>> THREE YEARS LATER, HE WOULD
STAR IN HIS FIRST MAJOR MOTION

394
00:22:58,200 --> 00:23:03,572
PICTURE AS THE VISIONARY ARTIST
JEAN MICHELLE ALONGSIDE DAVID

395
00:23:03,572 --> 00:23:06,809
BOWIE, GARY ALTMAN AND DENNIS
HOPPER.

396
00:23:06,809 --> 00:23:11,947
THE EVER VERSATILE KILLIAN CILL

397
00:23:11,947 --> 00:23:18,754
MURPHY FOR ROBERT J.
"OPPENHEIMER" IN CHRISTOPHER

398
00:23:18,754 --> 00:23:21,891
NOLAN'S "OPPENHEIMER."

399
00:23:21,891 --> 00:23:25,861
>> OPPENHEIMER COULDN'T RUN A
HAMBURGER STAND.

400
00:23:25,861 --> 00:23:28,564
>> I COULDN'T.
BUT I CAN RUN THE MANHATTAN

401
00:23:28,564 --> 00:23:33,035
PROJECT.

402
00:23:33,035 --> 00:23:36,772
>> CILLIAN AND HIS BROTHER WERE
ASPIRING MUSICIANS PLAYING IN

403
00:23:36,772 --> 00:23:40,776
THEIR JAZZ ROCK BAND, A SON OF
MR. GREEN JEANS.

404
00:23:40,776 --> 00:23:45,548
>> HAS HIS ROOTS IN JAZZ AND
'70s MUSIC BUT NOW MOVING ON

405
00:23:45,548 --> 00:23:46,649
IT'S POPULAR NOW.

406
00:23:46,649 --> 00:23:49,785
>> BUT IT WASN'T THE MOVIE
CRITICS THAT NOTICED MURPHY

407
00:23:49,785 --> 00:23:52,221
EARLY ON.
IT WAS THOSE PAYING ATTENTION TO

408
00:23:52,221 --> 00:23:55,558
THE STAGE WHEN THEY FIRST CAUGHT
HIS CRITICALLY ACCLAIMED

409
00:23:55,558 --> 00:24:01,597
PERFORMANCE OF THE PLAY "DISCO
PIGS" IN 1997, WHICH HE REPRISED

410
00:24:01,597 --> 00:24:07,603
ON SCREEN IN 2001.
HE QUICKLY FOUND HIMSELF

411
00:24:07,603 --> 00:24:12,007
PERFORMING ALONGSIDE OTHER
UP-AND-COMING A-LISTERS LIKE

412
00:24:12,007 --> 00:24:15,377
SCARLETT JOHANSSON IN THE 2003
FILM "GIRL WITH THE PEARL EARRING."

413
00:24:15,377 --> 00:24:17,980
>> DON'T WALK AWAY.
LISTEN TO ME.

414
00:24:17,980 --> 00:24:19,915
DON'T GET CAUGHT UP IN HIS WORLD.

415
00:24:19,915 --> 00:24:24,153
>> IN 2005, HE WOULD LAND HIS
FIRST OF SIX CHRISTOPHER NOLAN

416
00:24:24,153 --> 00:24:30,559
FILMS IN "BATMAN BEGINS" PLAYING
THE SCARECROW.

417
00:24:30,559 --> 00:24:35,364
>> I'M PROBABLY NOT VERY
FRIGHTENING TO A GUY LIKE YOU

418
00:24:35,364 --> 00:24:36,966
WITH THESE CRAZIES.

419
00:24:36,966 --> 00:24:43,606
>> BUT IN A ROLE THAT WOULD
EVENTUALLY GO TO CHRISTIAN BALE,

420
00:24:43,606 --> 00:24:47,877
MURPHY WAS ALSO A SERIOUS
CONTENDER TO BE BATMAN AND EVEN

421
00:24:47,877 --> 00:24:52,882
DID SEVERAL SCREEN TESTS FOR
NOLAN.

422
00:24:52,882 --> 00:24:56,352
COUNTLESS AUDITIONS, THEATER
PERFORMANCES AND SINGLE SCENE

423
00:24:56,352 --> 00:25:01,557
ROLES ALL LEADING THESE FIVE
ENORMOUSLY TALENTED ACTORS TO

424
00:25:01,557 --> 00:25:06,395
ONE OF THE BIGGEST NIGHTS OF
THEIR LIVES.

425
00:25:06,395 --> 00:25:09,965
AND ONE OF THOSE MEN WILL BE
WALKING OUT WITH THE OSCAR

426
00:25:09,965 --> 00:25:12,434
TONIGHT. Y'ALL, WE ARE INSIDE THE
GOVERNORS BALL.

427
00:25:12,434 --> 00:25:14,737
I WANT TO SHOW YOU AROUND.
COME WITH ME.

428
00:25:14,737 --> 00:25:16,605
THIS IS THE MAIN BAR HERE IN THE
ROOM.

429
00:25:16,605 --> 00:25:21,543
I'M PICKING UP MY DRESS SO I
DON'T TRIP AND FALL AM CHECK OUT

430
00:25:21,543 --> 00:25:24,647
WHAT'S IN THE MIDDLE.
THIS IS A ROTATING -- THEY CALL

431
00:25:24,647 --> 00:25:28,350
IT A LIQUID OSCAR BECAUSE HE'S
SHINY.

432
00:25:28,350 --> 00:25:31,420
NOT ALL ARE SHINY LIKE THIS ONE,
SO HE'S PARTICULARLY SPECIAL.

433
00:25:31,420 --> 00:25:35,024
BACK HERE IN THIS CORNER BEHIND
THOSE CURTAINS IS WHERE WOLFGANG

434
00:25:35,024 --> 00:25:37,993
PUCK'S KITCHEN IS.
THE 30th TIME HE'LL BE COOKING

435
00:25:37,993 --> 00:25:40,629
FOR THIS BIG EVENT.
WE SAW HIM WALKING IN.

436
00:25:40,629 --> 00:25:45,334
HE WAS TOTALLY CHILL, VERY READY.
HE GAVE THE EXCLUSIVE MENU ON

437
00:25:45,334 --> 00:25:50,372
"GMA." SALMON TRUFFLE POT PIE.
YOU CAN'T FORGET ABOUT THE CHOCK

438
00:25:50,372 --> 00:25:53,542
LASS OSCARS WITH THE GOLD DUST
THAT COVERS THEM.

439
00:25:53,542 --> 00:25:56,445
ALL THE BIGWIG HOLLYWOOD
EXECUTIVES HAVE SPECIAL TABLES

440
00:25:56,445 --> 00:26:00,015
UP IN THIS AREA, AND THEN
EVERYONE ELSE GETS TO MINGLE

441
00:26:00,015 --> 00:26:03,886
ALONG HERE.
WE WILL SHOW YOU MORE OF THIS

442
00:26:03,886 --> 00:26:07,156
PLACE IN JUST A LITTLE BIT, WHIT
AND LINSEY.

443
00:26:07,156 --> 00:26:09,358
IT IS SO COOL IN HERE.

444
00:26:09,358 --> 00:26:12,394
>> LOVE THAT.
SAVE SOME SNACKS FOR US, BY THE WAY.

445
00:26:12,394 --> 00:26:13,929
>> YES.
I AM HUNGRY ALREADY.

446
00:26:13,929 --> 00:26:17,566
>> AND, EVA, FOR FOLKS WHO DON'T
KNOW, SHE'S FROM SOUTH CAROLINA.

447
00:26:17,566 --> 00:26:21,704
SO WHEN SHE DROPS A Y'ALL, THAT
MEANS SHE'S REALLY EXCITED.

448
00:26:21,704 --> 00:26:22,738
>> FEELING RIGHT AT HOME.

449
00:26:22,738 --> 00:26:25,474
>> WE'RE FEELING IT, TOO.
WE'LL SEE YOU IN A BIT.

450
00:26:25,474 --> 00:26:28,611
WE'VE UNCOVERED MORE OF THOSE
VINTAGE CLIPS BEFORE THEY WERE

451
00:26:28,611 --> 00:26:30,379
FAMOUS.
CAN YOU GUESS WHICH ONE OF THE

452
00:26:30,379 --> 00:26:34,249
LEAD ACTRESS NOMINEES WAS ONCE
CREDITED AS THE VOICE OF A DOG?

453
00:26:34,249 --> 00:26:35,818
>> YOU'RE GOING TO HEAR ABOUT
THAT.

454
00:26:35,818 --> 00:26:42,958
ALSO COMING UP, WHY DOES THERE
SEEM TO BE HIGH-PROFILE SNUBS?

455
00:26:42,958 --> 00:26:44,960
CHRIS CONNELLY WILL TELL US
ABOUT THE MOST SURPRISING

456
00:26:44,960 --> 00:26:47,196
OVERSIGHTS IN OSCARS' HISTORY.

457
00:26:47,196 --> 00:26:53,802
ALL OF THAT AND MUCH MORE FROM

458
00:26:53,802 --> 00:26:57,573
"THE OSCARS RED CARPET."
I'M HUNGRY.

459
00:27:10,719 --> 00:27:12,454
♪ I WILL PROVE YOU WRONG

460
00:27:12,454 --> 00:27:14,023
I'LL TAKE YOU ALL THE WAY ♪

461
00:27:14,023 --> 00:27:16,425
♪ BOY, JUST COME ALONG

462
00:27:16,425 --> 00:27:18,127
HEAR ME WHEN I SAY ♪

463
00:27:18,127 --> 00:27:20,562
>>> A LITTLE MURDER ON THE DANCE
FLOOR FOR US.

464
00:27:20,562 --> 00:27:24,500
>> SING IT, LINSEY.

465
00:27:24,500 --> 00:27:28,337
>> WELCOME BACK TO HOLLYWOOD.
JUST A FEW HOURS THIS FAMOUS

466
00:27:28,337 --> 00:27:32,608
CARPET WILL BE LINED WITH THE
BIGGEST STARS IN ENTERTAINMENT,

467
00:27:32,608 --> 00:27:35,778
NOT JUST THE NOMINEES BUT
SUPERSTAR PRESENTERS SLATED ON

468
00:27:35,778 --> 00:27:39,882
ON STAGE TONIGHT WHO HAVE BEEN
REHEARSING INSIDE THE DOLBY

469
00:27:39,882 --> 00:27:45,220
THEATRE, STARS LIKE DWAYNE
JOHNSON.

470
00:27:45,220 --> 00:27:47,122
JENNIFER LAWRENCE AND CHRIS
HEMSWORTH.

471
00:27:47,122 --> 00:27:50,159
>> WE'RE GETTING THOSE PICTURES
JUST COMING IN AS THE DAY GETS

472
00:27:50,159 --> 00:27:52,528
ROLLING HERE.
AND WE ARE LOOKING FORWARD TO

473
00:27:52,528 --> 00:27:56,598
SEEING THEM HERE VERY SOON.
AND AS OUR OWN COUNTDOWN

474
00:27:56,598 --> 00:27:59,802
CONTINUES TO TONIGHT'S AWARDS,
SOME OF THE MOST TALKED ABOUT

475
00:27:59,802 --> 00:28:01,403
RACES.
OUR EXPERTS WILL JOIN US SOON

476
00:28:01,403 --> 00:28:04,239
WITH THEIR PREDICTIONS.
LET'S REMIND WHO IS NOM NAPTED

477
00:28:04,239 --> 00:28:10,479
IN THE BEST ACTRESS CATEGORY.

478
00:28:10,479 --> 00:28:16,218
>> MOLLY BURKHART, PLEASE SEND
HELP. THE POLICE DO NOTHING.

479
00:28:16,218 --> 00:28:22,925
I LOST MY MOTHER AND MY SISTERS.
SO MANY KILLED FOR THE OIL MONEY.

480
00:28:22,925 --> 00:28:26,061
>> I WOULD LOOK AT EVERYONE,
EVEN MY OWN CHILDREN.

481
00:28:26,061 --> 00:28:28,197
SUCH PITY BECAUSE THEY'RE
LONGING FOR THE ATTENTION.

482
00:28:28,197 --> 00:28:31,633
IT WAS A BANNER I WORE SO
PROUDLY. I DON'T NEED.

483
00:28:31,633 --> 00:28:37,706
I DON'T NEED. AND LOOK AT ME NOW.

484
00:28:37,706 --> 00:28:41,343
>> I KNOW THE WORLD WANTS ME TO
SHUT MY MOUTH AND SIT DOWN AND

485
00:28:41,343 --> 00:28:45,147
WAIT TO DIE, BUT I DIDN'T THINK
YOU DID.

486
00:28:45,147 --> 00:28:45,581
>> STOP.

487
00:28:45,581 --> 00:28:49,451
>> I CAN'T. I WON'T.
I WILL NOT ACCEPT DEFEAT.

488
00:28:49,451 --> 00:28:51,954
>> UNDERSTAND WE NEVER LIVED
OUTSIDE GOD'S HOUSE.

489
00:28:51,954 --> 00:28:53,889
>> WHAT?

490
00:28:53,889 --> 00:28:59,428
>> SO MUCH TO DISCOVER, AND YOUR
SAD FACE MAKES ME DISCOVER ANGRY

491
00:28:59,428 --> 00:29:03,532
FEELINGS FOR YOU.

492
00:29:03,532 --> 00:29:07,202
>> YOU COME HERE WITH MAYBE YOUR

493
00:29:07,202 --> 00:29:14,176
OPINION, AND YOU TELL ME WHO AND
WHAT WE WERE GOING THROUGH.

494
00:29:14,176 --> 00:29:17,579
WHAT YOU SAY IS JUST A LITTLE

495
00:29:17,579 --> 00:29:22,718
PART OF THE WHOLE SITUATION.

496
00:29:22,718 --> 00:29:26,155
>> SO MANY GREAT PERFORMANCES
THERE, AND I'M SURE OSCAR VOTERS

497
00:29:26,155 --> 00:29:28,490
LIKELY HAD A VERY HARD TIME
CHOOSING A WINNER.

498
00:29:28,490 --> 00:29:32,561
AND FOR ONE OF THOSE TALENTED
ACTRESSES, ANNETTE BENING,

499
00:29:32,561 --> 00:29:39,134
TONIGHT HAS A CHANCE TO FINALLY,
SHE HAS A MOMENT TO WALK HOME

500
00:29:39,134 --> 00:29:43,172
FOR AN OSCAR FIVE TIMES.
SHE WAS NOMINATED AS WORLD

501
00:29:43,172 --> 00:29:48,777
RECORD DISTANCE SWIMMER DIANA
NYAD IN THE FILM "NYAD."

502
00:29:48,777 --> 00:29:51,079
SO LET'S TALK ABOUT THE OSCARS
HERE.

503
00:29:51,079 --> 00:29:53,882
YOUR FIFTH NOMINATION FOR AN
ACADEMY AWARD.

504
00:29:53,882 --> 00:29:57,152
WHAT'S IT LIKE TO BE GOING BACK
TO THE OSCARS?

505
00:29:57,152 --> 00:30:01,590
>> OH, IT'S SO EXCITING.
I MEAN, I WAS FIRST NOMINATED IN

506
00:30:01,590 --> 00:30:04,560
THE SUPPORTING CATEGORY, AND
BEFORE THE SHOW BEGAN, ALL OF

507
00:30:04,560 --> 00:30:08,497
THE ACTRESSES IN OUR CATEGORY,
WE ALL GOT INTO THIS LITTLE

508
00:30:08,497 --> 00:30:12,000
HUDDLE AND WE WERE ALL CHATTING,
AND WE AGREED WE WOULD GO TO

509
00:30:12,000 --> 00:30:14,970
DINNER THE NEXT WEEK, AND
WHOEVER WON WOULD PAY.

510
00:30:14,970 --> 00:30:22,945
>> AND THE OSCAR GOES TO --
WHOOPI GOLDBERG.

511
00:30:22,945 --> 00:30:29,084
>> WHOOPI GOLDBERG WON THE AWARD
THAT YEAR FOR "GHOST," SO WE ALL

512
00:30:29,084 --> 00:30:33,121
GATHERED, AND WHOOPI THREW US
THIS BEAUTIFUL DINNER, A

513
00:30:33,121 --> 00:30:38,827
CHOCOLATE OSCAR AND A GARDENIA
AND WE JUST HUNG OUT.

514
00:30:38,827 --> 00:30:42,798
>> FOR THIS CHARACTER, DIANA
NYAD, THE DISTANCE SWIMMER WHO

515
00:30:42,798 --> 00:30:47,402
WOULDN'T TAKE NO FOR AN ANSWER,
WHAT WAS IT ABOUT HER THAT DREW

516
00:30:47,402 --> 00:30:48,971
YOU TO THIS CHARACTER?

517
00:30:48,971 --> 00:30:51,006
>> OH, BECAUSE SHE WAS SO
COMPLEX.

518
00:30:51,006 --> 00:30:53,175
SHE WAS FUNNY AND EXASPERATING

519
00:30:53,175 --> 00:31:01,149
AND BRILLIANT AND CHARISMATIC.

520
00:31:01,149 --> 00:31:01,950
WE HAVE LEARNED SO MUCH EACH
TIME.

521
00:31:01,950 --> 00:31:02,584
I'VE LEARNED ABOUT MYSELF, TOO.

522
00:31:02,584 --> 00:31:03,085
>> WHAT DID YOU LEARN?

523
00:31:03,085 --> 00:31:05,754
>> I DON'T WANT TO LOOK BACK AND
FEEL I COULD HAVE FOUGHT HARDER.

524
00:31:05,754 --> 00:31:08,590
I HATE THAT FEELING.
AND THE IDEA OF GETTING TO PLAY

525
00:31:08,590 --> 00:31:12,628
AN ATHLETE WHEN I WAS IN MY 60s,
I MEAN, WHEN I ACTUALLY DID THE

526
00:31:12,628 --> 00:31:17,065
FILM, I WAS 64, WHICH IS EXACTLY
HOW OLD SHE WAS WHEN SHE DID THE SWIM.

527
00:31:17,065 --> 00:31:20,702
>> WAS THERE ANYTHING THAT YOU
LEARNED ABOUT HER OR IN PLAYING

528
00:31:20,702 --> 00:31:25,641
THIS ROLE THAT WAS UNEXPECTED OR
SURPRISED YOU?

529
00:31:25,641 --> 00:31:30,946
>> WELL, I THINK WHAT SURPRISED
ME MOST WAS, AS I GOT TO KNOW

530
00:31:30,946 --> 00:31:34,449
DIANA AND SPENT TIME WITH HER
ALONE AND AS SHE BEGAN TO TRUST

531
00:31:34,449 --> 00:31:36,718
ME, JUST HOW MUCH WAS GOING ON
INSIDE OF HER.

532
00:31:36,718 --> 00:31:40,422
SHE'S A REALLY COMPLEX PERSON,
AND I WAS HONORED THAT SHE LET

533
00:31:40,422 --> 00:31:41,089
ME IN.

534
00:31:41,089 --> 00:31:44,559
>> AND YOU WENT SWIMMING WITH
HER? IS THAT RIGHT?

535
00:31:44,559 --> 00:31:48,397
OR SHE HOPPED IN A POOL WITH YOU.
HOW DID THAT PLAY OUT?

536
00:31:48,397 --> 00:31:52,034
>> SHE CAME TO MY HOUSE.
I WANTED HER TO SEE ME SWIM.

537
00:31:52,034 --> 00:31:53,035
>> NO PRESSURE.

538
00:31:53,035 --> 00:31:55,337
>> I WAS SO NERVOUS.
I DID SWIM FOR HER.

539
00:31:55,337 --> 00:31:58,507
AND THEN SHE GOT IN THE POOL
WITH ME AND WE SWAM A LITTLE BIT

540
00:31:58,507 --> 00:32:00,208
TOGETHER.
AND WHEN WE WERE SHOOTING, SHE

541
00:32:00,208 --> 00:32:03,645
GOT IN THE TANK WITH ME AND WE
SWAM A LITTLE BIT.

542
00:32:03,645 --> 00:32:06,181
>> WHAT DO YOU THINK PEOPLE
SHOULD TAKE AWAY FROM HER AND

543
00:32:06,181 --> 00:32:06,915
THIS MOVIE?

544
00:32:06,915 --> 00:32:13,121
>> I WANT PEOPLE TO TAKE AWAY
THAT A QUEER WOMAN IN HER 60s

545
00:32:13,121 --> 00:32:15,190
COULD GO OUT AND DO SOMETHING
LIKE THIS.

546
00:32:15,190 --> 00:32:19,928
AND I WANT PEOPLE TO ENJOY THEY
GET TO SEE THIS RELATIONSHIP

547
00:32:19,928 --> 00:32:20,696
BETWEEN THESE TWO WOMEN.

548
00:32:20,696 --> 00:32:24,499
>> YOU SAID I NEEDED TO DO
SOMETHING TO GET OUT OF MY FUNK.

549
00:32:24,499 --> 00:32:29,738
>> I MEANT YOU SHOULD SIGN UP
FOR SPEED DATING NOT COME OUT OF

550
00:32:29,738 --> 00:32:31,440
RETIREMENT FOR AN ABSURD FANTASY.

551
00:32:31,440 --> 00:32:33,141
>> I AM DOING IT.
I'M NOT DONE.

552
00:32:33,141 --> 00:32:35,977
I HAVE MORE IN ME AND SO DO YOU.

553
00:32:35,977 --> 00:32:41,249
>> WHEN DIANA NEEDED A COACH, A
CORNER PERSON, SHE NEEDED

554
00:32:41,249 --> 00:32:44,052
SOMEBODY THERE TO GET HER
THROUGH THE ENTIRE EXPERIENCE,

555
00:32:44,052 --> 00:32:47,556
SHE ASKED BONNIE, WHO WAS HER
BESTY, TO DO IT WITH HER.

556
00:32:47,556 --> 00:32:54,129
SO I THINK THAT IS SOMETHING
THAT IS UNUSUAL TO SEE A REAL

557
00:32:54,129 --> 00:32:56,732
RELATIONSHIP BETWEEN THESE TWO
WOMEN THAT'S REALLY EXPLORED AND

558
00:32:56,732 --> 00:32:59,735
HAS ALL KINDS OF IMPERFECTIONS
AND, YOU KNOW, THEY'VE KNOWN

559
00:32:59,735 --> 00:33:02,604
EACH OTHER A LONG, LONG TIME.
THEY'VE BEEN THROUGH A LOT

560
00:33:02,604 --> 00:33:07,142
TOGETHER.
AND THEY ARE SUCH GOOD FRIENDS.

561
00:33:07,142 --> 00:33:09,845
IT LOOKS LIKE A SOLITARY SPORT,

562
00:33:09,845 --> 00:33:18,019
BUT IT TAKES A TEAM.

563
00:33:18,019 --> 00:33:21,723
>> SHE REALLY TRANSFORWARD INTO
NYAD.

564
00:33:21,723 --> 00:33:22,758
YOU HAVE SOMETHING IN COMMON?

565
00:33:22,758 --> 00:33:26,361
>> WE WENT TO SAN FRANCISCO
STATE UNIVERSITY, GO GATORS.

566
00:33:26,361 --> 00:33:29,531
WE WERE BONDING OVER OUR
CALIFORNIA ROOTS. IT WAS FUN.

567
00:33:29,531 --> 00:33:32,234
>> WE'LL SEE IF SHE CAN DO IT ON
HER FIFTH NOMINATION.

568
00:33:32,234 --> 00:33:37,906
HERE NOW TO HELP US HANDICAP THE
OSCAR RACE IS MY LONG LOST

569
00:33:37,906 --> 00:33:41,943
COUSIN, CLAYTON DAVIS, JOINED
FURTHER DOWN THE RED CARPET,

570
00:33:41,943 --> 00:33:44,946
CHRIS AND KELLEY.
WE ASK IT THIS WAY EVERY YEAR,

571
00:33:44,946 --> 00:33:48,250
WHO WILL WIN BEST ACTRESS?
WHO SHOULD WIN, AND WHO HAS A

572
00:33:48,250 --> 00:33:51,953
CHANCE OF PULLING OFF AN UPSET?
CLAYTON?

573
00:33:51,953 --> 00:33:53,922
>> THE HARDEST CATEGORY OF THE
NIGHT --

574
00:33:53,922 --> 00:33:54,923
>> THE MOST COMPETITIVE.

575
00:33:54,923 --> 00:34:00,228
>> LET'S GET TO IT.
THIS IS SO TIGHT BETWEEN LILY

576
00:34:00,228 --> 00:34:03,598
GLADSTONE, "KILLERS OF THE

577
00:34:03,598 --> 00:34:08,904
FLOWER MOON," AND LILY GLADSTONE.

578
00:34:08,904 --> 00:34:13,275
A TIE WITH BARBRA STREISAND AND
KATHARINE HEPBURN.

579
00:34:13,275 --> 00:34:16,912
I'M PREDICTING LILY GLADSTONE
WILL SQUEAK IT OUT BY A HAIR.

580
00:34:16,912 --> 00:34:19,047
SHOULD WIN.
IT SHOULD BE LILY GLADSTONE.

581
00:34:19,047 --> 00:34:22,284
>> YOU THINK THERE WILL BE A
STONE IN THE NAME ONE WAY OR ANOTHER.

582
00:34:22,284 --> 00:34:26,388
>> I THINK WE'RE THROWING ROCKS
TODAY.

583
00:34:26,388 --> 00:34:29,291
>> AND THE POSSIBILITY OF A TIE
THROWN OUT THERE.

584
00:34:29,291 --> 00:34:30,592
>> YOU COULD FLIP A COIN.

585
00:34:30,592 --> 00:34:31,993
>> KELLEY, WHO DO YOU LIKE?

586
00:34:31,993 --> 00:34:36,198
>> I MEAN, LILY GLADSTONE, I'VE
BEEN SAYING THIS FOR MONTHS NOW,

587
00:34:36,198 --> 00:34:39,534
I THINK SHE IS GOING TO PULL OFF
THE BIG WIN AND MAKE HISTORY AND

588
00:34:39,534 --> 00:34:42,537
I THINK IT WILL BE ONE OF THE
MORE TOUCHING MOMENTS OF THE EVENING.

589
00:34:42,537 --> 00:34:46,174
>> ALL RIGHT, WELL, I'M GOING TO

590
00:34:46,174 --> 00:34:52,647
SAY SAN DR. DRA HULLER HAS COUR
SCENES AND YOU DON'T KNOW IF SHE

591
00:34:52,647 --> 00:34:55,750
DID IT OR NOT.
WHAT DOES SHE HAVE TO DO TO GET

592
00:34:55,750 --> 00:34:58,620
AN OSCAR?
TWO OTHER GREAT PERFORMANCES

593
00:34:58,620 --> 00:35:02,624
AMONG THEM.
EMMA STONE, SHE COULD DO ROMCOMS

594
00:35:02,624 --> 00:35:05,894
AND AFTER SCHOOL SPECIALS AND
MAKE BANK. SHE DIDN'T.

595
00:35:05,894 --> 00:35:09,397
SHE DID A DIFFICULT FILM AND
THEY'RE MAKING A CHALLENGING

596
00:35:09,397 --> 00:35:12,334
MOVIE. GOOD FOR HER.
I THINK IT'S LILY, TOO, SOMEONE

597
00:35:12,334 --> 00:35:16,972
WHO REALLY CHANGED THE SCRIPT OF
"KILLERS OF THE FLOWER MOON" BY

598
00:35:16,972 --> 00:35:19,541
THE NATURE OF HER PERFORMANCE
REPRESENTING IN A MAJOR WAY FOR

599
00:35:19,541 --> 00:35:22,344
NATIVE AMERICANS IN A HOLLYWOOD
THAT HAS NOT ALWAYS DONE VERY

600
00:35:22,344 --> 00:35:25,580
WELL IN THAT ERA AND IN AN OSCAR
CEREMONY THAT HASN'T DONE VERY

601
00:35:25,580 --> 00:35:27,949
WELL IN THAT ERA.
I THINK IT'S LILY.

602
00:35:27,949 --> 00:35:30,785
>> OKAY.
LILY GLADSTONE DEFINITELY A

603
00:35:30,785 --> 00:35:31,853
FAVORITE HEADING INTO THE NIGHT.

604
00:35:31,853 --> 00:35:32,854
>> SOUNDS LIKE IT.

605
00:35:32,854 --> 00:35:35,991
>> THANKS TO ALL OF YOU.
WE'LL HAVE MUCH MORE OSCAR

606
00:35:35,991 --> 00:35:37,926
PREDICTIONS AS WELL AS MORE
INTERVIEWS WITH SOME OF YOUR

607
00:35:37,926 --> 00:35:40,195
FAVORITE NOMINEES IN JUST A FEW
MINUTES.

608
00:35:40,195 --> 00:35:43,198
AND, AFTER THE BREAK, WE'RE
GOING TO TALK ABOUT OSCARS

609
00:35:43,198 --> 00:35:44,332
FASHION.
OUR STYLE EXPERT JOINS US NEXT.

610
00:35:44,332 --> 00:35:45,567
STAY WITH US.

611
00:36:01,183 --> 00:36:02,350
♪ ALL NIGHT LONG

612
00:36:02,350 --> 00:36:09,090
>>> THIS IS THE SCENE OUTSIDE
THE DOLBY THEATRE WHERE HUNDREDS

613
00:36:09,090 --> 00:36:11,626
ARE GETTING READY FOR THE DOORS
TO OFFICIALLY OPEN.

614
00:36:11,626 --> 00:36:14,496
>> IT'S NOT JUST PHOTOGRAPHERS
TRAINED ON THE NOMINEES LATER

615
00:36:14,496 --> 00:36:18,033
TODAY, TONIGHT'S OSCAR CEREMONY
WILL BE BROADCAST LIVE IN MORE

616
00:36:18,033 --> 00:36:22,103
THAN 200 COUNTRIES AND
TERRITORIES AROUND THE WORLD,

617
00:36:22,103 --> 00:36:25,340
JUST WALKING DOWN THE CARPET
HERE PAST THE MEDIA, YOU HEARD

618
00:36:25,340 --> 00:36:27,242
DOZENS OF LANGUAGES BEING SPOKEN.

619
00:36:27,242 --> 00:36:30,045
>> THE ENERGY, THE EXCITEMENT
ALREADY BUILDING FOR THE DAY.

620
00:36:30,045 --> 00:36:34,382
NO DOUBT MANY OF THOSE WATCHING
ARE AS EXCITED ABOUT THE RED

621
00:36:34,382 --> 00:36:36,451
CARPET FASHIONS AS THE AWARDS
THEMSELVES.

622
00:36:36,451 --> 00:36:39,087
WHO IS LIKELY TO WIN THE AWARD
FOR BEST DRESSED TONIGHT?

623
00:36:39,087 --> 00:36:42,757
JOINING US AGAIN THIS YEAR IS
OUR FRIEND, STYLE EXPERT, MR.

624
00:36:42,757 --> 00:36:43,258
JOE ZEE.

625
00:36:43,258 --> 00:36:43,992
>> HELLO.

626
00:36:43,992 --> 00:36:45,627
>> GREAT TO SEE YOU.

627
00:36:45,627 --> 00:36:49,798
>> YOU ARE THE BEST PROM COUPLE
I'VE EVER SEEN. I LOVE IT.

628
00:36:49,798 --> 00:36:52,968
I LOVE IT.
IT'S GREAT TO BE BACK AGAIN WITH

629
00:36:52,968 --> 00:36:56,738
YOU THIS YEAR AND TO RECAP
WHAT'S BEEN A STELLAR AWARDS

630
00:36:56,738 --> 00:36:59,441
SEASON WHEN IT COMES TO RED
CARPETS.

631
00:36:59,441 --> 00:37:02,143
HIGH FASHION AND BIG GLAM IS
BACK, BABY.

632
00:37:02,143 --> 00:37:06,081
AND HERE ARE JUST A FEW OF THE
STANDOUT LOOKS WE'VE SEEN THIS

633
00:37:06,081 --> 00:37:08,049
FAR AND WHAT WE HOPE TO SEE ON
THE RED CARPET IN JUST A FEW

634
00:37:08,049 --> 00:37:13,255
HOURS. IT'S AWARDS SEASON.
STATEMENT FASHION HAS DOMINATED

635
00:37:13,255 --> 00:37:15,323
THE RED CARPET.

636
00:37:15,323 --> 00:37:19,461
>> IT GOES BACK TO THE
HIGH-OCTANE GLAM.

637
00:37:19,461 --> 00:37:23,798
GLOVES AND SLEEVES IS REALLY
HAVING A MOMENT.

638
00:37:23,798 --> 00:37:26,001
I THINK THE GLOVES TAKES IT BACK
OLD HOLLYWOOD.

639
00:37:26,001 --> 00:37:30,872
WE'VE SEEN IT ON TAYLOR SWIFT.
WE'VE SEEN IT ON MARGOT ROBBIE.

640
00:37:30,872 --> 00:37:35,277
>> IT'S NOT JUST GLOVES THAT ARE
A THROWBACK TO OLD HOLLYWOOD

641
00:37:35,277 --> 00:37:37,846
STYLE --
AS DESIGNERS CONTINUE OPENING

642
00:37:37,846 --> 00:37:42,083
THEIR FASHION VAULT, WE'VE SEEN
MORE AND MORE MUSEUM PIECES WALK

643
00:37:42,083 --> 00:37:45,387
THE RED CARPET.
BEST ACTRESS NOMINEE CAREY

644
00:37:45,387 --> 00:37:50,492
MULLIGAN WAS IN HER ARCHIVAL ERA
IN HER "MAESTRO" CHARACTER

645
00:37:50,492 --> 00:37:57,165
WEARING LOOKS FROM 1949 AT THE
GOLDEN GLOBES AND A 1951 DIOR

646
00:37:57,165 --> 00:38:02,704
GOWN AT THE BAFTAS.
AND ZENDAYA STUNNED IN THIS LOOK

647
00:38:02,704 --> 00:38:07,942
FROM 1995, THE YEAR BEFORE SHE
WAS BORN.

648
00:38:07,942 --> 00:38:10,412
>> IT WAS SOMETHING THAT NOBODY
EXPECTED.

649
00:38:10,412 --> 00:38:15,050
IT IS ALSO A LOOK THAT NOT MANY
PEOPLE CAN GET THEIR HANDS ON.

650
00:38:15,050 --> 00:38:19,888
I THINK WE WERE ALL, LIKE, OH,
WOW. SHE'S TAKING IT.

651
00:38:19,888 --> 00:38:25,427
>> HEADING INTO TONIGHT, THE TWO
FRONT-RUNNER ACTRESSES ARE ALSO

652
00:38:25,427 --> 00:38:26,661
FASHION FAVORITES.

653
00:38:26,661 --> 00:38:29,898
>> WHAT'S EXCITING ABOUT LILY
GLADSTONE THIS SEASON, THERE ARE

654
00:38:29,898 --> 00:38:33,001
SO MANY OPPORTUNITIES FOR
CULTURAL MOMENTS IN THE THINGS

655
00:38:33,001 --> 00:38:35,603
SHE WEARS TO MAKE A STATEMENT.
SHE LOVES THE GLAM, THE OLD

656
00:38:35,603 --> 00:38:39,941
HOLLYWOOD GLAM WE'VE BEEN SEEING
A LOT, BUT WE'VE, AGAIN, PAID

657
00:38:39,941 --> 00:38:42,210
HOMAGE TO HER NATIVE AMERICAN
HERITAGE.

658
00:38:42,210 --> 00:38:44,179
I LOOK FORWARD TO WHAT SHE DOES
FOR THE OSCARS.

659
00:38:44,179 --> 00:38:48,750
SHE IS THE STANDOUT RIGHT NOW
AND THE FRONT-RUNNER TO WIN.

660
00:38:48,750 --> 00:38:51,486
>> AND IN THE SUPPORTING ACTRESS
FIELD --

661
00:38:51,486 --> 00:38:54,489
>> Da'VINE JOY HAS NOT SHIED
FROM THE GLAM AT ALL THIS IS

662
00:38:54,489 --> 00:39:00,161
REALLY HER MOMENT, HER SEASON.
THERE HAS BEEN NOTHING

663
00:39:00,161 --> 00:39:01,830
UNDERSTATED ABOUT HER LOOKS, AND
WE LOVE IT.

664
00:39:01,830 --> 00:39:05,266
WE'VE SEEN A LOT OF THE GLOVES,
WE'VE SEEN PLUNGING NECK LINES,

665
00:39:05,266 --> 00:39:07,469
WE'VE SEEN BUST, WE'VE SEEN THE
SLEEVES.

666
00:39:07,469 --> 00:39:10,739
I WOULD LOVE TO SEE HER IN RED.
I THINK IT WOULD BE A MOMENT

667
00:39:10,739 --> 00:39:15,543
THAT WOULD TRULY BE CHEF'S KISS.

668
00:39:15,543 --> 00:39:20,415
>> NOW WE HAVE TO TALK ABOUT
MARGOT ROBBIE'S STYLE SHE HAS

669
00:39:20,415 --> 00:39:24,452
BEEN ROCKING SINCE "BARBIE'S"
MOVIE PREMIERE.

670
00:39:24,452 --> 00:39:27,889
ALL THE DOLLS WERE MADE BY
HIGH-END LUXURY DESIGNERS THAT

671
00:39:27,889 --> 00:39:35,864
WERE CLAMORING TO WORK WITH A
RED CARPET DARLING LIKE MARGOT.

672
00:39:35,864 --> 00:39:41,469
SHE WAS LOCKED DOWN WITH CHANEL
AND, OF COURSE, DESIGNERS

673
00:39:41,469 --> 00:39:45,340
UNDERSTOOD THE EFFECT OF
"BARBIE" AND HOW IT COULD BUILD

674
00:39:45,340 --> 00:39:49,778
THEIR BUSINESS.
A PERFORM OF MARGOT, GRETA AND

675
00:39:49,778 --> 00:39:52,247
THE "BARBIE" EFFECT TO MAKE IT
THE ONE OPPORTUNITY FOR

676
00:39:52,247 --> 00:39:54,482
DESIGNERS TO DEPART FROM THEIR
USUAL STYLE.

677
00:39:54,482 --> 00:40:00,889
>> ANY INTEL INTO WHO MARGOT
MIGHT BE WEARING TONIGHT?

678
00:40:00,889 --> 00:40:05,960
>> THERE ARE HUGE REDDIT THREADS
WHICH DOLL SHE WILL BE WEARING.

679
00:40:05,960 --> 00:40:08,797
ONE IS CALLED PEACHES AND CREAM.
LET'S WAIT AND SEE.

680
00:40:08,797 --> 00:40:14,969
>> DIG INTO THE ARCHIVES ON
THAT. THANK YOU.

681
00:40:14,969 --> 00:40:16,805
>> ALL RIGHT, JOE, THANK YOU SO
MUCH.

682
00:40:16,805 --> 00:40:23,645
WE HAVE A LOT MORE COMING UP ON
OUR "COUNTDOWN TO THE 96 OSCARS."

683
00:40:23,645 --> 00:40:25,246
CAN YOU IDENTIFY THE NOMINEE WHO
GOT DOWN INTO THE SAND FROM ONE

684
00:40:25,246 --> 00:40:29,484
OF HER EARLIEST ROLES IN THE
STAGE LONG BEFORE SHE WAS UP FOR

685
00:40:29,484 --> 00:40:31,886
AN OSCAR?
STAY TUNED FOR THE OSCAR AND A

686
00:40:31,886 --> 00:40:34,289
WHOLE LOT MORE FROM THE REPD
CARPET HERE ON ABC.

687
00:40:44,265 --> 00:40:45,567
♪ BECAUSE I'M HAPPY

688
00:40:45,567 --> 00:40:49,237
CLAP ALONG IF YOU FEEL LIKE A
ROOM WITHOUT A ROOF ♪

689
00:40:49,237 --> 00:40:52,507
>>> CLAP ALONG.
WELCOME BACK TO HOLLYWOOD AND

690
00:40:52,507 --> 00:40:56,177
OUR "COUNTDOWN TO THE 96th
ACADEMY AWARDS."

691
00:40:56,177 --> 00:40:59,380
YOU ARE LOOKING LIVE AT THE
SCENE OUTSIDE THE DOLBY THEATRE

692
00:40:59,380 --> 00:41:03,318
WHERE THE STATUETTES WILL BE
HANDED OUT JUST A FEW HOURS FROM NOW.

693
00:41:03,318 --> 00:41:05,720
>> YES, THEY WILL.
WE TALKED ABOUT WHICH LEAD

694
00:41:05,720 --> 00:41:07,388
ACTRESS MIGHT TAKE HOME THE
OSCAR.

695
00:41:07,388 --> 00:41:10,458
WE WONDER WHAT IT WAS LIKE FOR
THEM LONG BEFORE THEY WERE

696
00:41:10,458 --> 00:41:14,796
HOUSEHOLD NAMES.
SO THE SMALL, UNGLAMOROUS ROLES

697
00:41:14,796 --> 00:41:16,965
THEY TOOK ON TO PAY THEIR DUES
AND TO GET NOTICED AND WHETHER

698
00:41:16,965 --> 00:41:19,968
THE FIVE WOMEN COULD HAVE EVER
IMAGINED ONE DAY ENDING UP HERE

699
00:41:19,968 --> 00:41:24,505
AS AN OSCAR NOMINEE.
AND DeMARCO MORGAN IS BACK AGAIN

700
00:41:24,505 --> 00:41:26,641
WITH SOME ANSWERS. DeMARCO?

701
00:41:26,641 --> 00:41:28,676
>> IT'S GOOD TO SEE YOU GUYS
AGAIN.

702
00:41:28,676 --> 00:41:36,384
WELL, ONE THING WE KNOW FOR
SURE, NO

703
00:41:36,384 --> 00:41:38,453
COMMUNITY THEATER ACTRESSES
DOING WHATEVER THEY HAD TO DO.

704
00:41:38,453 --> 00:41:45,059
JUST TO GET TO THIS MOMENT. BUT
ONE THING

705
00:41:45,059 --> 00:41:52,066
TAKE HOME THE GOLD TONIGHT.
THIS YEAR EMMA STONE IS A STRONG

706
00:41:52,066 --> 00:41:58,139
CONTENDER TO TAKE HOME HER
SECOND OSCAR FOR HER ENJOYABLE

707
00:41:58,139 --> 00:41:59,274
PERFORMANCE IN "POOR THINGS."

708
00:41:59,274 --> 00:42:00,308
>> YOU'RE IN MY SUN.

709
00:42:00,308 --> 00:42:00,909
>> WHAT?

710
00:42:00,909 --> 00:42:05,613
>> THE THIRD-TIME NOMINEE'S
JOURNEY TO THE OSCARS BEGAN AT

711
00:42:05,613 --> 00:42:11,287
VALLEY YOUTH THEATER.

712
00:42:11,287 --> 00:42:12,487
♪

713
00:42:12,487 --> 00:42:17,325
IN 2004 SHE MADE HER TELEVISION
DEBUT IN REALTY PILOT IN SEARCH

714
00:42:17,325 --> 00:42:22,997
FOR "THE PARTRIDGE FAMILY,"
INTRODUCED TO US AS EMILY STONE.

715
00:42:22,997 --> 00:42:31,105
>> HERE COMES EMILY STONE!

716
00:42:31,105 --> 00:42:31,573
♪

717
00:42:31,573 --> 00:42:34,742
>> THE FOLLOWING YEAR SHE
APPEARED IN A SINGLE EPISODE OF

718
00:42:34,742 --> 00:42:38,146
"MALCOLM IN THE MIDDLE" AS
DIANE, PART OF A GROUP OF MEAN

719
00:42:38,146 --> 00:42:44,252
GIRLS TARGETED FOR REVENGE BY
THE MOM CHARACTER, LOIS.

720
00:42:44,252 --> 00:42:47,522
>> OH, MY GOD, NO!

721
00:42:47,522 --> 00:42:50,658
>> THROUGHOUT THIS PERIOD IN
STONE'S CAREER, SHE WOULD MAKE

722
00:42:50,658 --> 00:42:54,429
BRIEF APPEARANCES ON SHOWS LIKE
"MEDIUM" AND YOU MIGHT RECOGNIZE

723
00:42:54,429 --> 00:42:54,996
THIS VOICE.

724
00:42:54,996 --> 00:42:58,700
>> I DON'T KNOW ABOUT YOU, BUT I
AM HEARING WEDDING BELLS.

725
00:42:58,700 --> 00:43:01,903
>> YEAH, THAT'S EMMA STONE AS
THE VOICE OF THIS DOG IN THE

726
00:43:01,903 --> 00:43:06,341
DISNEY CHANNEL'S "THE SWEET LIFE
OF ZACH AND CODY."

727
00:43:06,341 --> 00:43:10,979
THE ANNETTE BENING FOR HER
PERFORMANCE IN "NYAD."

728
00:43:10,979 --> 00:43:13,982
>> NO MORE SITTING ON THE
SIDELINES. I'VE HAD IT.

729
00:43:13,982 --> 00:43:17,151
LISTEN, BONNIE, I JUST KNOW I
CAN DO IT, OKAY, AND I WANT TO

730
00:43:17,151 --> 00:43:18,686
DO IT WITH YOU.

731
00:43:18,686 --> 00:43:21,923
>> BENING SAYS IT WAS DURING HER
YEARS AT SAN DIEGO MESA COLLEGE

732
00:43:21,923 --> 00:43:25,193
SHE BEGAN TO FALL IN LOVE WITH
ACTING AND WOULD FORM HER CRAFT

733
00:43:25,193 --> 00:43:27,829
ON SMALL THEATER STAGES AROUND
THE COUNTRY.

734
00:43:27,829 --> 00:43:32,400
>> THERE WERE A FEW LITTLE
COMMUNITY THEATER PROJECTS THAT

735
00:43:32,400 --> 00:43:36,437
I DID, SAN DIEGO REPERTORY
THEATER, I DID A PLAY THERE WHEN

736
00:43:36,437 --> 00:43:37,872
I WAS 18, 19.

737
00:43:37,872 --> 00:43:42,410
>> THAT PLAY, "VOICES."
THAT'S A YOUNG ANNETTE BENING

738
00:43:42,410 --> 00:43:42,910
STARTING OUT.

739
00:43:42,910 --> 00:43:44,412
>> I FOLLOWED IT BECAUSE I LOVED
IT.

740
00:43:44,412 --> 00:43:47,148
I WANTED TO BE UP ON THE STAGE.

741
00:43:47,148 --> 00:43:52,320
>> FROM SMALL COMMUNITY THEATERS
TO BROADWAY WHERE SHE WOULD EARN

742
00:43:52,320 --> 00:43:54,055
A TONY AWARD NOMINATION.

743
00:43:54,055 --> 00:43:56,891
>> YOU KNOW WHAT I READ IN A
BOOK?

744
00:43:56,891 --> 00:44:01,729
THAT THE ISLAND OF ATLANTIS WAS
REALLY INHABITED BY DOLPHINS.

745
00:44:01,729 --> 00:44:06,200
>> SHE MADE HER BIG SCREEN DEBUT
IN 1988 ALONGSIDE DAN AYKROYD

746
00:44:06,200 --> 00:44:10,238
AND JOHN CANNEDY IN THE
SLAPSTICK COMEDY "THE GREAT OUTDOORS."

747
00:44:10,238 --> 00:44:12,106
>> I THINK THEY'RE TRYING TO SAY
WE'RE NOT WELCOME.

748
00:44:12,106 --> 00:44:15,376
>> TWO YEARS LATER ON A SHORT
SCENE ALONGSIDE MERYL STREEP IN

749
00:44:15,376 --> 00:44:19,247
THE FILM "POST CARD FROM THE
EDGE."

750
00:44:19,247 --> 00:44:25,219
>> I'M IN IT FOR THE ENDOLPHIN
RUSH.

751
00:44:25,219 --> 00:44:26,354
>> ENDORPHIN.

752
00:44:26,354 --> 00:44:27,021
>> WHATEVER.

753
00:44:27,021 --> 00:44:30,658
>> GERMAN ACTRESS SANDRA HULLER
IS HAVING A BREAKOUT YEAR AND IS

754
00:44:30,658 --> 00:44:35,363
IN TWO OSCAR-NOMINATED FILMS
THIS YEAR.

755
00:44:35,363 --> 00:44:37,598
"THE ZONE OF INTEREST" AND
"ANATOMY OF A FALL," IT'S HER

756
00:44:37,598 --> 00:44:41,035
PERFORMANCE IN THE LATTER WHICH
EARNED HER HER FIRST ACADEMY

757
00:44:41,035 --> 00:44:41,836
AWARD NOMINATION.

758
00:44:41,836 --> 00:44:45,640
>> I THOUGHT ABOUT IT,
OBVIOUSLY, BUT I JUST CAN'T

759
00:44:45,640 --> 00:44:48,342
IMAGINE HIM JUMPING WITH DANIEL
SO CLOSE BY.

760
00:44:48,342 --> 00:44:50,144
I CAN'T GET IT IN MY HEAD.

761
00:44:50,144 --> 00:44:53,114
>> BUT BEFORE HER RECENT
INTERNATIONAL SUCCESS HULLER

762
00:44:53,114 --> 00:44:56,584
BEGAN HER CAREER LIKE SO MANY
OTHERS ON THE STAGE AND ENJOYED

763
00:44:56,584 --> 00:45:01,656
YEARS OF SUCCESS IN SWITZERLAND.
SHE WOULD BE INTRODUCED TO AN

764
00:45:01,656 --> 00:45:08,496
AMERICAN AUDIENCE IN A FILM THAT
WAS NOMINATED FOR THE OSCARS IN

765
00:45:08,496 --> 00:45:13,701
2017. IN 2019 "ANATOMY OF A FALL"

766
00:45:13,701 --> 00:45:22,810
DIRECTOR JUSTIN TRIAT.

767
00:45:22,810 --> 00:45:27,415
CAREY MULLIGAN SHINES AS THE
WIFE AND MUSE OF LEONARD

768
00:45:27,415 --> 00:45:30,651
BERNSTEIN PLAYED BY BRADLEY
COOPER IN "MAESTRO."

769
00:45:30,651 --> 00:45:35,323
>> IT'S MY OWN ARROGANCE, TO
THINK I COULD SURVIVE AND WHAT

770
00:45:35,323 --> 00:45:36,057
HE COULD GIVE.

771
00:45:36,057 --> 00:45:42,096
>> THE PERFORMANCE ADDED A THIRD
OSCAR NOMINATION FOR MULLIGAN

772
00:45:42,096 --> 00:45:46,134
AND HER PERFORMANCE IN
"EDUCATION" AND HER ROLE IN THIS

773
00:45:46,134 --> 00:45:47,468
2020 REVENGE THRILLER.

774
00:45:47,468 --> 00:45:50,238
>> I WANTED TO BE A DOCTOR MY
WHOLE LIFE.

775
00:45:50,238 --> 00:45:55,176
>> BUT BEFORE SHE WAS EXACTING
REVENGE ON PREDATORS AND A

776
00:45:55,176 --> 00:45:57,678
PROMISING YOUNG WOMAN, SHE WAS A
PROMISING YOUNG ACTRESS AT THE

777
00:45:57,678 --> 00:46:00,114
ROYAL COURT THEATER IN LONDON IN
2004.

778
00:46:00,114 --> 00:46:03,985
AND LANDED HER FIRST MAJOR MOVIE
ROLE THE FOLLOWING YEAR IN THE

779
00:46:03,985 --> 00:46:06,888
PERIOD DRAMA "PRIDE AND
PREJUDICE."

780
00:46:06,888 --> 00:46:09,757
>> PAPA, IS HE HANDSOME?

781
00:46:09,757 --> 00:46:15,496
>> MULLIGAN WOULD CONTINUE TO
STAR IN PERIOD DRAMAS LIKE "MY

782
00:46:15,496 --> 00:46:17,198
BOY JACK."

783
00:46:17,198 --> 00:46:19,400
>> I'M SURE WE WILL BE THE VERY
BEST OF FRIENDS.

784
00:46:19,400 --> 00:46:22,603
>> A FEW SHORT YEARS BEFORE HER
OSCAR NOMINATION, SHE APPEARED

785
00:46:22,603 --> 00:46:28,309
IN A SINGLE EPISODE OF THE
BRITISH MAINSTAY "DR. WHO."

786
00:46:28,309 --> 00:46:31,012
>> PEOPLE HAVE DIED AND I'M NOT
HAPPY.

787
00:46:31,012 --> 00:46:34,649
>> SHE WOULD RISE TO NEW HEIGHTS
PORTRAYING THE WEALTHY SOCIALITE

788
00:46:34,649 --> 00:46:40,588
DAISY BUCHANAN ALONGSIDE
LEONARDO DiCAPRIO IN "THE GREAT

789
00:46:40,588 --> 00:46:42,924
GATSBY."
THIS IS LILY GLADSTONE'S FIRST

790
00:46:42,924 --> 00:46:48,496
OSCAR NOMINATION FOR HER
PERFORMANCE AS THE REAL-LIFE

791
00:46:48,496 --> 00:46:51,766
WOMAN AT THE CENTER OF "KILLERS
OF THE FLOWER MOON."

792
00:46:51,766 --> 00:46:55,903
>> I DIDN'T REALIZE IT WAS A
RACE.

793
00:46:55,903 --> 00:46:57,972
I DON'T CARE IF WE'RE WATCHING
HORSES.

794
00:46:57,972 --> 00:47:01,876
>> BUT IN 2020 GLADSTONE SAYS
SHE WAS GOING TO QUIT ACTING AND

795
00:47:01,876 --> 00:47:08,716
APPLY FOR SEASONAL WORK TRACKING
MURDER HORNS.

796
00:47:08,716 --> 00:47:11,118
AND THEN MARTIN SCORCESE CAME
CALLING.

797
00:47:11,118 --> 00:47:15,089
SHE IS THE FRONT-RUNNER TO TAKE
HOME THE OSCAR THIS YEAR AND YET

798
00:47:15,089 --> 00:47:18,259
IT WOULD BE A SURPRISE TO NONE
OF HER FORMER CLASSMATES AT

799
00:47:18,259 --> 00:47:21,762
MOUNTAIN LAKE TERRACE HIGH.
THAT'S HER WITH FELLOW CLASSMATE

800
00:47:21,762 --> 00:47:23,598
DUBBED MOST LIKELY TO WIN AN
OSCAR.

801
00:47:23,598 --> 00:47:28,736
>> IN SOME WAYS IT IS BEYOND MY
WILDEST DREAM, LIKE WHO WOULD

802
00:47:28,736 --> 00:47:31,906
HAVE THOUGHT?
BUT, ALSO, AT THE SAME TIME IT

803
00:47:31,906 --> 00:47:34,075
MAKES A LOT OF SENSE.
SUPER TALENTED.

804
00:47:34,075 --> 00:47:39,280
DOES A LOT OF REALLY GOOD WORK.
WHAT SEPARATED LILY WAS SHE,

805
00:47:39,280 --> 00:47:43,751
EVEN BACK THEN, REALLY WANTED TO
DO JUSTICE BY THE CHARACTERS SHE

806
00:47:43,751 --> 00:47:44,552
WAS PLAYING.

807
00:47:44,552 --> 00:47:48,055
>> HER DEBUT ON THE SILVER
SCREEN CAME IN 2013 WITH A SMALL

808
00:47:48,055 --> 00:47:53,928
ROLE IN THE FRENCH FILM, PSYCHO
PERFECT THINK OF A PLAINS INDIAN.

809
00:47:53,928 --> 00:48:00,568
>> I'M SO SORRY, JIMMY.

810
00:48:00,568 --> 00:48:06,340
>> IN 201 SHE LANDED A ROLE IN
"CERTAIN WOMEN" WHICH WON BEST

811
00:48:06,340 --> 00:48:07,141
SUPPORTING ACTRESS.

812
00:48:07,141 --> 00:48:11,312
>> I DON'T MEAN TO KEEP FROM YOU
GETTING WORK OR ANYTHING, I JUST

813
00:48:11,312 --> 00:48:14,148
KNOW IF I DIDN'T START DRIVING,
I WOULDN'T SEE YOU AGAIN.

814
00:48:14,148 --> 00:48:19,420
>> SHE WOULD GO ON TO WORK ON
OTHER INDIE FILMS IN "THE THIN

815
00:48:19,420 --> 00:48:21,355
LINE."
SHE'S NO STRANGER TO TELEVISION

816
00:48:21,355 --> 00:48:23,157
EITHER.
GLADSTONE APPEARED IN SEVERAL

817
00:48:23,157 --> 00:48:25,793
EPISODES OF THE FINANCIAL DRAMA
"BILLIONS."

818
00:48:25,793 --> 00:48:31,766
>> I'M OFFENDED BY THE IDEA OF
PAYING FOR A FAMILY LEGACY WHEN

819
00:48:31,766 --> 00:48:35,436
THE FAMILY DIDN'T ACT LIKE A
FAMILY.

820
00:48:35,436 --> 00:48:40,041
>> AND AN ESTRANGED, MISS TEAR
YEAH MOTHER, IN THE SERIES

821
00:48:40,041 --> 00:48:41,008
"RESERVATION DOGS."

822
00:48:41,008 --> 00:48:44,278
>> WE CREATE SPACE FOR YOUR
FRIENDS.

823
00:48:44,278 --> 00:48:48,249
>> DO IT WITH INTENTION.

824
00:48:48,249 --> 00:48:52,286
>> I DON'T KNOW.
IT'S A LOT OF TALENT IN THAT

825
00:48:52,286 --> 00:48:54,322
CATEGORY.
IT IS PREDICTED LILY GLADSTONE

826
00:48:54,322 --> 00:48:58,526
IS FAVORED TO WIN.
WE KNOW IT'S OSCARS, COMES

827
00:48:58,526 --> 00:49:00,127
SURPRISES.
WE'LL BE WATCHING, WAITING AND

828
00:49:00,127 --> 00:49:02,430
SEEING. WE WISH THEM ALL WELL.
GUYS, BACK TO YOU.

829
00:49:02,430 --> 00:49:04,398
>> YES, WE DO.
AND ANYTHING CAN HAPPEN.

830
00:49:04,398 --> 00:49:07,301
WE KNOW THAT.
SOME SURPRISES IN STORE, DeMARCO.

831
00:49:07,301 --> 00:49:10,004
THANK YOU SO MUCH.
COMING UP AFTER THE BREAK, A

832
00:49:10,004 --> 00:49:12,740
REPORT CARD ON REPRESENTATION IN
HOLLYWOOD.

833
00:49:12,740 --> 00:49:19,413
AMERICA FERRARA ONE OF THE
TALENTED ACTORS FROM THE LATINO CATEGORY.

834
00:49:19,413 --> 00:49:23,084
>> THE ACTRESS VYING FOR THE
SAME AWARD AS AMERICA THIS

835
00:49:23,084 --> 00:49:27,555
EVENING.
CAN Da'VINE JOY RANDOLPH CAP OFF

836
00:49:27,555 --> 00:49:29,924
OSCAR GOLD?
THAT AND MORE AS OUR LIVE

837
00:49:29,924 --> 00:49:33,194
COVERAGE FROM THE RED CARPET
CONTINUES RIGHT HERE ON ABC.

838
00:49:41,836 --> 00:49:47,575
♪

839
00:49:47,575 --> 00:49:49,009
>>> AND WELCOME BACK TO
HOLLYWOOD.

840
00:49:49,009 --> 00:49:52,780
WE ARE LIVE OUTSIDE THE DOLBY
THEATRE WHERE, IN JUST A FEW

841
00:49:52,780 --> 00:49:56,117
HOURS, SOME VERY EXCITED AND
NERVOUS NOMINEES, PERHAPS, WILL

842
00:49:56,117 --> 00:49:58,285
BE DREAMING OF WALKING AWAY WITH
AN OSCAR.

843
00:49:58,285 --> 00:50:04,825
>> AND MOANING THEM, COLMAN
DOMINGO, THE FIRST AFRO-LATINO

844
00:50:04,825 --> 00:50:10,097
NOMINEE.
AMERICA FERRARA NOMINATED,

845
00:50:10,097 --> 00:50:13,868
ORIGINAL SONG, MAKEUP, HAIR
STYLING, LATINOS ARE DOMINATED

846
00:50:13,868 --> 00:50:18,839
IN MULTIPLE CATEGORIES TONIGHT.
HOLLYWOOD STILL HAS SOME WORK TO

847
00:50:18,839 --> 00:50:22,543
DO WHEN IT COMES TO
REPRESENTATION.

848
00:50:22,543 --> 00:50:24,145
>> I FEEL, HALLELUJAH.

849
00:50:24,145 --> 00:50:28,916
>> AFTER YEARS OF SOUNDING THE
ALARMS, LATINOS IN HOLLYWOOD CAN

850
00:50:28,916 --> 00:50:30,017
FINALLY FEEL SOME VINDICATION.

851
00:50:30,017 --> 00:50:31,552
>> THERE IS A GOD.

852
00:50:31,552 --> 00:50:35,623
>> A RESEARCH AND CONSULTING
FIRM HAS RELEASED A NEW REPORT

853
00:50:35,623 --> 00:50:40,428
DETAILING SOME OF THE
SHORTCOMINGS WHEN IT COMES TO

854
00:50:40,428 --> 00:50:40,961
LATINO REPRESENTATION.

855
00:50:40,961 --> 00:50:43,330
>> IF IT GOES WELL, NO ONE SAYS
ANYTHING.

856
00:50:43,330 --> 00:50:44,832
IF IT DOESN'T, YOU'RE AT FAULT.

857
00:50:44,832 --> 00:50:48,402
>> WHEN YOU LOOK AT THE NUMBERS,
THEY DON'T ADD UP TO JUST HOW

858
00:50:48,402 --> 00:50:53,274
BIG OF A POPULATION AND HOW
IMPORTANT LATINOS ARE ACROSS BOARD.

859
00:50:53,274 --> 00:50:57,144
>> OUR ATTEMPTS AT DOING THIS
ARE NEVER GOING TO STOP.

860
00:50:57,144 --> 00:51:01,682
>> WE'RE NOT JUST THERE TO
FULFILL A STEREOTYPE OR CHECK A BOX.

861
00:51:01,682 --> 00:51:06,587
>> AND HOPEFULLY YOUNG LATINOS
AND LATINAS ARE SEEING THAT AND

862
00:51:06,587 --> 00:51:08,189
SEEING THERE'S OTHER
OPPORTUNITIES FOR US AS WELL.

863
00:51:08,189 --> 00:51:12,426
>> WE INTERVIEWED OVER 100 FOLKS
ACROSS THE INDUSTRY FROM

864
00:51:12,426 --> 00:51:15,863
PRODUCERS, WRITERS, ENTRY FOLKS,
AND WE LOOKED AT A HUGE DATA

865
00:51:15,863 --> 00:51:21,936
SET, OVER TEN YEARS OF DATA,
26,000 FILMS, 10,000 TV SHOWS,

866
00:51:21,936 --> 00:51:24,905
NIELSEN VARIETY DATA AND WE PUT
THAT TOGETHER.

867
00:51:24,905 --> 00:51:26,407
THE DATA WAS QUITE TELLING.

868
00:51:26,407 --> 00:51:31,946
>> THE McKINSEY REPORTS STATES
JUST 4% HAVE LEAD OR CO-LEAD

869
00:51:31,946 --> 00:51:32,379
ROLES.

870
00:51:32,379 --> 00:51:35,015
>> WHICH IS PATHETIC.

871
00:51:35,015 --> 00:51:36,884
>> WHY IS THAT WHEN THERE'S
TALENT FOR ON SCREEN AND BEHIND

872
00:51:36,884 --> 00:51:38,586
THE SCENES?

873
00:51:38,586 --> 00:51:45,626
>> IT'S SAD TO SAY
BUT #HOLLYWOODTOOWHITE.

874
00:51:45,626 --> 00:51:50,631
THAT'S THE PROBLEM.
IT'S BAKED IN, SYSTEMIC RACISM.

875
00:51:50,631 --> 00:51:54,902
>> 19% OF THE POPULATION IS
LATINO, THE REPORT SAYS WE

876
00:51:54,902 --> 00:51:59,240
ACCOUNT FOR 29% OF BOX OFFICE
TICKET SALES AND 24% OF

877
00:51:59,240 --> 00:52:01,175
STREAMING SUBSCRIBERS.

878
00:52:01,175 --> 00:52:06,814
>> LATINO MOVIES DO 60% BETTER
THAN THEIR COUNTERPARTS WITH 25%

879
00:52:06,814 --> 00:52:10,584
LESS BUDGET AND SO TAKING A STEP
BACK THERE'S A REAL BIG

880
00:52:10,584 --> 00:52:11,352
OPPORTUNITY HERE.

881
00:52:11,352 --> 00:52:15,890
>> EVERY TIME YOU PITCH A LATIN
PROJECT, OH, WE HAVE TO DO IT

882
00:52:15,890 --> 00:52:20,694
FOR LESS BUT YOU'RE NOT GOING TO
GET GREAT CONTENT UNLESS YOU PUT

883
00:52:20,694 --> 00:52:22,163
THE SAME MONEY AND VALUE.

884
00:52:22,163 --> 00:52:26,967
>> IN FACT, RESEARCH SUGGESTS
THERE'S ABOUT $18 BILLION IN

885
00:52:26,967 --> 00:52:29,737
POTENTIAL REVENUE BEING IGNORED
BY THE INDUSTRY.

886
00:52:29,737 --> 00:52:36,510
>> WE FOUND THE MOVIES GET
NOMINATED MORE OFTEN, AND THEY

887
00:52:36,510 --> 00:52:42,316
ACTUALLY WIN.
AND SO WHEN YOU ACTUALLY PUT

888
00:52:42,316 --> 00:52:45,619
REPRESENTATION, WHAT YOU FIND IS
IT MAKES GOOD BUSINESS SENSE,

889
00:52:45,619 --> 00:52:49,657
UPWARDS OF $18 BILLION.
WHEN YOU HAVE SHOWS LIKE

890
00:52:49,657 --> 00:52:50,291
"WEDNESDAY" --

891
00:52:50,291 --> 00:52:55,029
>> THE ONLY PERSON WHO GETS TO
TORTURE MY BROTHER IS ME.

892
00:52:55,029 --> 00:52:58,632
>> -- THE LAST OF US, WHEN YOU
PUT A LATIN STAR IN IT --

893
00:52:58,632 --> 00:52:59,333
>> DO YOU TRUST ME?

894
00:52:59,333 --> 00:53:01,035
>> IT'S A HUGE HIT.

895
00:53:01,035 --> 00:53:06,073
>> ACTOR, COMEDIAN AND PRODUCER
TALKING ABOUT THIS PROBLEM FOR

896
00:53:06,073 --> 00:53:09,376
YEARS, DEDICATING MUCH OF HIS
CAREER TO EDUCATING OTHERS ABOUT

897
00:53:09,376 --> 00:53:11,946
THE LATINO EXPERIENCE.

898
00:53:11,946 --> 00:53:16,784
>> HOW DID WE BECOME SO
NONEXISTENT?

899
00:53:16,784 --> 00:53:20,454
>> UNTIL WE HAVE EXECUTIVES THAT
UNDERSTAND OUR CULTURE AND THE

900
00:53:20,454 --> 00:53:22,022
IMPORTANCE, NO ONE ELSE WILL GET
IT.

901
00:53:22,022 --> 00:53:25,092
IT'S WHAT WE CALL THE NETWORK
EFFECT, WHEN YOU HAVE LATINOS

902
00:53:25,092 --> 00:53:29,430
WHO ARE IN POSITIONS SUCH AS
EXECUTIVES, WRITERS, CREATE

903
00:53:29,430 --> 00:53:29,763
OPPORTUNITIES.

904
00:53:29,763 --> 00:53:31,932
>> WHAT WOULD YOUR
RECOMMENDATIONS BE TO THE POWERS

905
00:53:31,932 --> 00:53:35,035
THAT BE IN HOLLYWOOD TO MAKE IT
A MORE EQUITABLE INDUSTRY?

906
00:53:35,035 --> 00:53:38,038
>> I LIKE TO GET LATINO
EXECUTIVES IN THERE.

907
00:53:38,038 --> 00:53:42,176
I NEED THAT DESPERATELY.
AND, SECONDLY, IS GREEN LIGHT

908
00:53:42,176 --> 00:53:45,646
LATIN PROJECTS.
FLIP YOUR WHITE STARS AND PUT A

909
00:53:45,646 --> 00:53:46,547
LATIN STAR INSTEAD.

910
00:53:46,547 --> 00:53:47,681
>> AND GIVE THEM A CHANCE.

911
00:53:47,681 --> 00:53:49,750
>> YES.
TO GROW, TO GET TO THAT SPOT

912
00:53:49,750 --> 00:53:53,454
WHERE YOU CAN GREEN LIGHT ANY
MOVIE.

913
00:53:53,454 --> 00:53:56,890
>> OUR THANKS TO MARIA FOR THAT
CONVERSATION, AND FOR MORE ON

914
00:53:56,890 --> 00:53:59,693
HOW HOLLYWOOD IS DOING WHEN IT
COMES TO LATINO REPRESENTATION,

915
00:53:59,693 --> 00:54:03,631
WE'RE GOING TO BRING BACK IN
CLAYTON DAVIS FROM "VARIETY."

916
00:54:03,631 --> 00:54:06,600
YOU'VE REPORTED ON THIS TOPIC
EXTENSIVELY.

917
00:54:06,600 --> 00:54:08,702
>> WHAT WE SEE HERE, WE'RE NOT
GOING AWAY.

918
00:54:08,702 --> 00:54:12,940
WHEN I SAY WE, LATINOS HAVE BEEN
HERE FOR SO LONG AND CONSTANTLY

919
00:54:12,940 --> 00:54:18,045
WE ARE SURPRISED THAT WE MAKE UP
A HUGE AMOUNT OF THE BOX OFFICE.

920
00:54:18,045 --> 00:54:22,516
I'M JUST LOOKING FOR WHAT'S MINE.
IF WE'RE 20% OF THE POPULATION,

921
00:54:22,516 --> 00:54:26,887
WE CONTRIBUTE $7 TRILLION TO THE
GDP, THEN WE WANT TO SEE THAT

922
00:54:26,887 --> 00:54:32,126
MUCH REPRESENTATION ON SCREEN.
WE DON'T HAVE THAT RIGHT NOW.

923
00:54:32,126 --> 00:54:34,094
OSCARIZING.
WHAT HE SAYS OFTEN, WE DON'T

924
00:54:34,094 --> 00:54:39,166
WANT ROLES JUST FOR LATINOS,
LATINO-BASED ROLES.

925
00:54:39,166 --> 00:54:43,103
RAUL JULIA PLAYED "DEATH OF A
SALESMAN" ON BROADWAY THAT

926
00:54:43,103 --> 00:54:45,105
CHANGED HIS LIFE, BROUGHT HIM TO
HOLLYWOOD.

927
00:54:45,105 --> 00:54:47,975
AND THEN LOOKING AT SOMETHING
LIKE "IN THE HEIGHTS," WHAT WE

928
00:54:47,975 --> 00:54:53,714
TEND TO DO IS PUT OUR HOPES AND
DREAMS ON THE SHOULDERS OF ONE.

929
00:54:53,714 --> 00:54:58,052
WE HAVE MIRANA BUT WE HAVE A
FINITE NUMBER.

930
00:54:58,052 --> 00:55:01,488
WE NEED TO FILL THAT BENCH AND
MAKE SURE HOLLYWOOD IS DOING THE WORK.

931
00:55:01,488 --> 00:55:05,526
>> CLAYTON, IT'S WORTH POINTING
OUT SOME OF THE NUMBERS AGAIN,

932
00:55:05,526 --> 00:55:09,096
THAT REPORT THAT WAS POINTED

933
00:55:09,096 --> 00:55:16,403
OUT, 5% ARE LATINO OR LATINA
THOUGH THEY MAKE UP 19%.

934
00:55:16,403 --> 00:55:19,039
>> WE ARE NOT SPEAKING WORDS ON
SCREEN.

935
00:55:19,039 --> 00:55:25,412
THAT'S THE MOST JARRING THING I
CAN SEE, BUT WHAT I HAVE BEEN

936
00:55:25,412 --> 00:55:27,648
SEEING IS HOLLYWOOD THINKS
THEY'RE DOING THE WORK WITH DEI

937
00:55:27,648 --> 00:55:29,850
DEPARTMENTS.
WE'RE STILL BEING OTHERED.

938
00:55:29,850 --> 00:55:37,725
BRING US INTO THE ROOM, INTO THE
C SUITES.

939
00:55:37,725 --> 00:55:40,794
YOU CAN MAKE MORE MONEY.
DO THE RIGHT THING AND BE

940
00:55:40,794 --> 00:55:42,696
PROFITABLE AT IT.
IT'S A NO-BRAINER.

941
00:55:42,696 --> 00:55:43,197
>> SO IMPORTANT.

942
00:55:43,197 --> 00:55:45,966
>> CLAYTON, THANK YOU FOR
BRINGING THAT TO US.

943
00:55:45,966 --> 00:55:47,301
WE APPRECIATE IT.

944
00:55:47,301 --> 00:55:54,641
>> OUR LIVE COVERAGE FROM THE

945
00:55:54,641 --> 00:55:56,410
OSCARS RED CARPET CONTINUES.

946
00:56:11,225 --> 00:56:12,326
>>> HI, BARBIE.

947
00:56:12,326 --> 00:56:13,393
>> HI, KEN.

948
00:56:13,393 --> 00:56:14,017
>> HI, BARBIE.

949
00:56:14,017 --> 00:56:14,829
>> HI, BARBIE.

950
00:56:14,829 --> 00:56:16,130
>> HI, KEN.

951
00:56:16,130 --> 00:56:17,965
>> HI, KEN.

952
00:56:17,965 --> 00:56:18,799
>> HI, KEN.

953
00:56:18,799 --> 00:56:19,733
>> HI, KEN.

954
00:56:19,733 --> 00:56:21,135
>> I GOT US BOTH ICE CREAM.

955
00:56:21,135 --> 00:56:21,735
>> COOL.

956
00:56:21,735 --> 00:56:23,370
>> HI, BARBIE.

957
00:56:23,370 --> 00:56:24,538
>> HI, BARBIE.

958
00:56:24,538 --> 00:56:25,806
>> HI, BARBIE.

959
00:56:25,806 --> 00:56:26,640
>> HI, BARBIE.

960
00:56:26,640 --> 00:56:30,544
>> THE ACADEMY SAID, HI BARBIE,
EIGHT TIMES, HUGELY SUCCESSFUL

961
00:56:30,544 --> 00:56:35,449
FILM, A NUMBER OF NOMINATIONS
INCLUDING FOR BEST PICTURE, BEST

962
00:56:35,449 --> 00:56:39,620
SUPPORTING ACTOR AND ACTRESS AND
THE NOMINATION FOR ADAPTED

963
00:56:39,620 --> 00:56:41,622
SCREENPLAY.
MANY PEOPLE TOOK NOTE WHEN THE

964
00:56:41,622 --> 00:56:45,225
FILM'S LEAD ACTRESS MARGOT
ROBBIE AND TALENTED DIRECTOR

965
00:56:45,225 --> 00:56:48,762
GRETA GERWIG DID NOT RECEIVE
NOMINATIONS.

966
00:56:48,762 --> 00:56:51,031
>> WE HAVE SEEN PEOPLE SAY HI
BARBIE ON THE CARPET.

967
00:56:51,031 --> 00:56:52,032
>> A LOT OF PINK.

968
00:56:52,032 --> 00:56:54,034
>> PINK IS IN FASHION, THAT'S
FOR SURE.

969
00:56:54,034 --> 00:56:58,238
EVERY YEAR AROUND THIS TIME WE
HEAR ABOUT THE SO-CALLED OSCAR

970
00:56:58,238 --> 00:57:01,008
SNUBS, OF COURSE.
TIME TO HAVE OUR EXPERT, CHRIS

971
00:57:01,008 --> 00:57:05,546
CONNELLY, LOOK INTO WHY POPULAR
FILMS AND STARS GET OVERLOOKED. CHRIS?

972
00:57:05,546 --> 00:57:08,782
>> THANKS, GUYS.
YEAH, THE OSCAR SNUB, WELL, NOT

973
00:57:08,782 --> 00:57:11,151
EVERYONE LIKES THE WORD.
NOT EVERYONE LIKES THE CONCEPT,

974
00:57:11,151 --> 00:57:14,021
BUT YOU KNOW WHAT PEOPLE REALLY
DON'T WANT, WHEN ONE OF THEIR

975
00:57:14,021 --> 00:57:17,825
FAVORITES IS DENIED A NOMINATION.
SO LET'S GO INSIDE WHAT IT'S

976
00:57:17,825 --> 00:57:23,564
LIKE TO BE LEFT OUT.
THIS YEAR'S OSCAR NOMINATION

977
00:57:23,564 --> 00:57:26,834
MORNING SAW PLENTY OF "BARBIE"

978
00:57:26,834 --> 00:57:32,739
SUPPORTERS AS MAJOR SINS OF O OMI
OMISSION.

979
00:57:32,739 --> 00:57:33,106
>> NOT MY LIFE.

980
00:57:33,106 --> 00:57:36,243
>> SNUBS, IF YOU WILL.
NO BEST DIRECTOR NOD FOR GRETA

981
00:57:36,243 --> 00:57:41,315
GERWIG AND MARGOT ROBBIE NOT
ACKNOWLEDGED IN BEST ACTRESS.

982
00:57:41,315 --> 00:57:45,819
EVEN RYAN GOSLING EXPRESSING HIS
DISAPPOINTMENT AND THE MESSAGE

983
00:57:45,819 --> 00:57:50,958
IT SEEMED TO SEND.
JUSTINE TRIET GOT A BEST

984
00:57:50,958 --> 00:57:54,495
DIRECTOR NOD.
THE FOURTH IN FOUR YEARS.

985
00:57:54,495 --> 00:57:58,398
THE SO-CALLED SNUB COMES IN ALL
SHAPES A AND SIZES, BOX OFFICE

986
00:57:58,398 --> 00:58:03,804
HITS GET PASSED OVER FOR SMALLER
FILMS WHICH NEED THAT BOOST.

987
00:58:03,804 --> 00:58:11,845
NO BEST PICTURE NOMS FOR J

988
00:58:11,845 --> 00:58:16,450
"JURASSIC PARK" OR ""SATURDAY
NIGHT LIVE"."

989
00:58:16,450 --> 00:58:19,953
TAYLOR SWIFT, OLIVIA RODRIGO --

990
00:58:19,953 --> 00:58:21,889
♪ I WONDER IF IT COULD BE REAL

991
00:58:21,889 --> 00:58:25,359
>> EVEN JOHN LEGEND IN RECENT
YEARS, EACH OF THEM MISSING OUT

992
00:58:25,359 --> 00:58:28,629
ON A NOMINATION.
SOMETIMES IT'S THE MATH, JUST

993
00:58:28,629 --> 00:58:34,268
TOO MANY WORTHY CHOICES.
NO NATALIE PORTMAN FOR "MAY

994
00:58:34,268 --> 00:58:36,703
DECEMBER."
NO SALTBERG IN ORIGINAL

995
00:58:36,703 --> 00:58:38,405
SCREENPLAY.
REMEMBER, IF YOU THINK YOUR

996
00:58:38,405 --> 00:58:41,108
FAVORITE HAS BEEN SNUBBED, YOU
HAVE TO BE WILLING TO SAY, WHO

997
00:58:41,108 --> 00:58:45,679
SHOULD NOT HAVE BEEN NOMINATED?
AND OTHER TIMES, IT'S PERSONAL.

998
00:58:45,679 --> 00:58:50,951
ONE OF THE JUICIEST BACK IN 1963
WHEN BETTE DAVIS BUT NOT CO-STAR

999
00:58:50,951 --> 00:58:53,220
JOAN CRAWFORD WAS NOMINATED
FOR --

1000
00:58:53,220 --> 00:58:56,456
>> WHATEVER HAPPENED TO BABY
JANE?

1001
00:58:56,456 --> 00:59:00,394
>> THE FEUD CAST JESSICA LANGE
AND SUSAN SARANDON, THREE OSCARS

1002
00:59:00,394 --> 00:59:05,599
BETWEEN THEM, TO CHRONICLE THE
EPIC AFTERMATH.

1003
00:59:05,599 --> 00:59:07,768
>> I'M TRYING TO HELP YOU.

1004
00:59:07,768 --> 00:59:10,771
>> REMEMBER THE NOMINEES ARE
PICKED BY EACH INDIVIDUAL

1005
00:59:10,771 --> 00:59:15,208
BRANCH, SO BACK IN THE '80s IT
WAS DIRECTORS SNUBBING STEVEN

1006
00:59:15,208 --> 00:59:19,079
SPIELBERG FOR 11-TIME NOMINATED
"THE COLOR PURPLE" AND PASSING

1007
00:59:19,079 --> 00:59:24,418
OVER BARBRA STREISAND.
BUT THE ENTIRE VOTING BODY

1008
00:59:24,418 --> 00:59:27,955
NOMINATES BEST PICTURE.
SO WHEN SPIKE LEE'S GREAT DO THE

1009
00:59:27,955 --> 00:59:29,122
RIGHT THING WAS OVERLOOKED --

1010
00:59:29,122 --> 00:59:31,825
>> I WAS BORN THIS BROOKLYN.

1011
00:59:31,825 --> 00:59:36,463
>> -- IT WAS AN ACADEMY WIDE
OUTRAGE ADDRESSED BY KIM BASINGER.

1012
00:59:36,463 --> 00:59:40,334
>> BUT THERE IS ONE FILM MISSING
FROM THIS LIST, AND THAT'S "DO

1013
00:59:40,334 --> 00:59:42,469
THE RIGHT THING."

1014
00:59:42,469 --> 00:59:45,906
>> SOMETIMES SNUBS BRING ABOUT
CHANGE.

1015
00:59:45,906 --> 00:59:51,244
IN THE 'NIGHTS THE ACCLAIMED
"HOOP DREAMS" WAS SNUBBED, A

1016
00:59:51,244 --> 00:59:53,981
CALL FOR THE ACADEMY TO
ESTABLISH AN OFFICIAL

1017
00:59:53,981 --> 00:59:58,885
DOCUMENTARY BRANCH.
WHY ARE TEN MOVIES NOMINATED

1018
00:59:58,885 --> 00:59:59,920
INSTEAD OF JUST FIVE?

1019
00:59:59,920 --> 01:00:03,557
>> THERE'S NO GOING BACK.
YOU'VE CHANGED THINGS.

1020
01:00:03,557 --> 01:00:06,793
>> IN LARGE PART BECAUSE OSCAR
VOTERS FAILED TO SELECT

1021
01:00:06,793 --> 01:00:11,198
CHRISTOPHER NOLAN'S "THE DARK
KNIGHT." MAYBE THE CENTURY'S MOST

1022
01:00:11,198 --> 01:00:13,467
INFLUENTIAL FILM.
BUT NOTHING WAS A GUT PUNCH

1023
01:00:13,467 --> 01:00:19,072
QUITE LIKE NOMINATION MORNING IN
2016, A WHITE WASH, 20 ACTORS

1024
01:00:19,072 --> 01:00:25,579
AND ACTRESSES, ZERO PEOPLE OF

1025
01:00:25,579 --> 01:00:29,816
COLOR. NO STRAIGHT OUTTA COMPTON.

1026
01:00:29,816 --> 01:00:34,921
>> EVERY TIME YOU GET INTO THE
RING, THAT'S WHO YOU'RE GOING AGAINST.

1027
01:00:34,921 --> 01:00:38,625
>> SLY STALLONE, BUT NO MICHAEL
B. JORDAN FOR "CREED."

1028
01:00:38,625 --> 01:00:42,429
THE #OSCARSOWHITE BECAME A
RALLYING CRY.

1029
01:00:42,429 --> 01:00:45,465
NOT PEOPLE ATTACKING THIS
NOMINATION OR THAT NOMINATION

1030
01:00:45,465 --> 01:00:49,836
BUT ASKING QUESTIONS, AGAIN,
ABOUT THE PROCESS AND ABOUT THE INDUSTRY.

1031
01:00:49,836 --> 01:00:53,106
>> RESULT, CHANGES IN THE
ACADEMY'S VOTING MEMBERSHIP.

1032
01:00:53,106 --> 01:00:58,011
AND STILL A LONG WAY TO GO.
DID VIOLA DAVIS NOT GET

1033
01:00:58,011 --> 01:01:01,982
NOMINATED FOR "THE WOMAN KING"
LAST YEAR? HMM.

1034
01:01:01,982 --> 01:01:06,586
BUT IT'S CHER WHO PROVES THE
BEST REVENGE FOR NOT RECEIVING A

1035
01:01:06,586 --> 01:01:10,157
NOMINATION FOR HER ROLE IN
"MASK" CAN BE SERVED, WELL,A

1036
01:01:10,157 --> 01:01:10,757
DRESS. THAT DRESS.

1037
01:01:10,757 --> 01:01:14,194
>> YOU CAN SEE I DID RECEIVE MY
ACADEMY BOOKLET ON HOW TO DRESS

1038
01:01:14,194 --> 01:01:18,565
LIKE A SERIOUS ACTRESS.

1039
01:01:18,565 --> 01:01:22,502
>> AND WITH A WIN TWO YEARS
LATER FOR THE ALTOGETHER PERFECT

1040
01:01:22,502 --> 01:01:22,836
"MOONSTRUCK."

1041
01:01:22,836 --> 01:01:28,575
>> I DON'T THINK THIS MEANS THAT
I AM SOMEBODY, BUT I GUESS I'M

1042
01:01:28,575 --> 01:01:35,082
ON MY WAY. THANK YOU.

1043
01:01:35,082 --> 01:01:38,985
>> WELL, FOR "BARBIE" FANS,
MARGOT ROBBIE IS A NOMINEE IN

1044
01:01:38,985 --> 01:01:41,988
BEST PICTURE AS ONE OF
"BARBIE'S" PRODUCERS.

1045
01:01:41,988 --> 01:01:45,525
GRETA GERWIG A NOMINEE IN
ADAPTED SCREENPLAY, ADAPTED.

1046
01:01:45,525 --> 01:01:48,261
ADAPTED FROM WHAT, YOU MIGHT ASK?
IT'S SIGNIFICANT BECAUSE THIS

1047
01:01:48,261 --> 01:01:51,731
YEAR ADAPTED IS SEEN BY MANY AS
A MORE COMPETITIVE CATEGORY THAN

1048
01:01:51,731 --> 01:01:56,770
ORIGINAL IS, BUT YOU CAN NEVER
COUNT OUT "BARBIE", CAN YOU, GUYS?

1049
01:01:56,770 --> 01:02:01,308
>> ABSOLUTELY NOT, CHRIS.
"BARBIE" IS ALIVE ON THE RED

1050
01:02:01,308 --> 01:02:02,642
CARPET THAT IS FOR SURE.

1051
01:02:02,642 --> 01:02:07,948
>> THAT IS ONE THING THAT IS
TRUE, THE PINK IS IN.

1052
01:02:07,948 --> 01:02:11,985
>> THANK YOU, CHRIS.
WE APPRECIATE IT AND MANY OTHERS

1053
01:02:11,985 --> 01:02:15,355
AND PAST WINNERS HAVE ADMITTED
THAT IT'S BEEN DIFFICULT FOR

1054
01:02:15,355 --> 01:02:18,759
THEM, SOMETIMES THEIR MIND IS
GOING BLANK AFTER HEARING THEIR

1055
01:02:18,759 --> 01:02:23,263
NAME CALLED TO WIN AN OSCAR.
BACK TO EVA PILGRIM WITH WHAT

1056
01:02:23,263 --> 01:02:26,199
THE EXPERIENCE WILL BE LIKE
BESIDES BIG WINNERS AFTER THEY

1057
01:02:26,199 --> 01:02:31,171
RECEIVE THEIR SHINY NEW OSCARS.
EVA?

1058
01:02:31,171 --> 01:02:33,006
>> INSIDE THE GOVERNORS
BALLROOM.

1059
01:02:33,006 --> 01:02:37,177
I WANT TO SHOW YOU MORE OF THE
SPACE, BECAUSE IT'S SO COOL.

1060
01:02:37,177 --> 01:02:40,380
WHEN THE OSCAR WINNERS COME
HERE, THEY DON'T ACTUALLY HAVE

1061
01:02:40,380 --> 01:02:43,250
THEIR NAMES ALREADY ETCHED INTO
THOSE STATUES.

1062
01:02:43,250 --> 01:02:47,120
THAT HAPPENS HERE, AND THE WHOLE
ROOM IS ABLE TO WATCH IT ON

1063
01:02:47,120 --> 01:02:50,657
THESE BIG SCREENS.
BUT BEFORE THEY GET HERE, THOSE

1064
01:02:50,657 --> 01:02:55,395
OSCAR WINNERS GO ON A VERY
SPECIAL JOURNEY CALLED THE

1065
01:02:55,395 --> 01:03:02,035
WINNER'S WALK, AND WE GOT TO
CHECK IT OUT.

1066
01:03:02,035 --> 01:03:03,970
THEY WILL ARRIVE HERE TO THE
WINNER'S WALK.

1067
01:03:03,970 --> 01:03:07,974
THIS IS THE FIRST MOMENT THEY'VE
BEEN ALONE SINCE THEY FOUND OUT

1068
01:03:07,974 --> 01:03:11,811
THAT THEY WON THE OSCAR.
THEY'LL BE HOLDING THEIR OSCAR

1069
01:03:11,811 --> 01:03:15,282
WALKING THROUGH THIS AREA WHERE
THERE'S PICTURES OF PREVIOUS

1070
01:03:15,282 --> 01:03:18,718
OSCAR WINNERS AND MOMENTS, SOME
OF THEM CALL THEIR MOM, AS THEY

1071
01:03:18,718 --> 01:03:23,657
TAKE IT ALL IN FOR THE FIRST
TIME. THEIR NEXT STOP, RIGHT HERE

1072
01:03:23,657 --> 01:03:28,395
WHERE A BIG POSTER WILL BE.
ALL THE OSCAR WINNERS SIGN THIS

1073
01:03:28,395 --> 01:03:31,298
POSTER MARKING THE HISTORIC
NIGHT.

1074
01:03:31,298 --> 01:03:36,603
THEY THEN ARRIVE HERE IN THE
WINNER'S LOBBY, AND USUALLY

1075
01:03:36,603 --> 01:03:38,505
PEOPLE CHEER FOR THEM WITH THEIR
OSCAR AS THEY WALK INTO THIS

1076
01:03:38,505 --> 01:03:42,909
ROOM. THEY CAN GET A GLASS OF
CHAMPAGNE HERE AT THE BAR BEFORE

1077
01:03:42,909 --> 01:03:47,948
THEY HEAD OVER TO TALK TO OUR
LARA SPENCER AND OUR "GMA" TABLE.

1078
01:03:47,948 --> 01:03:51,918
SO MANY ICONIC MOMENTS HAVE
HAPPENED, THE EMOTIONS, THE

1079
01:03:51,918 --> 01:03:55,355
EXCITEMENT OF THOSE BIG WINS
PLAYING OUT RIGHT HERE FOR THE

1080
01:03:55,355 --> 01:03:57,757
FIRST TIME.
AND THEN, NEXT STOP, IS HERE

1081
01:03:57,757 --> 01:04:02,162
WITH THE BRIGHT LIGHTS OF ALL
THE PHOTOGRAPHERS TAKING THOSE

1082
01:04:02,162 --> 01:04:05,899
PICTURES WE'VE ALL SEEN.
THE OSCAR WINNERS HOLDING THE

1083
01:04:05,899 --> 01:04:09,736
GOLD STATUETTES.
THEIR FINAL STOP IS HERE IN THIS

1084
01:04:09,736 --> 01:04:13,740
ROOM WITH HUNDREDS OF MEDIA FROM
ALL OVER THE WORLD WHERE THEY

1085
01:04:13,740 --> 01:04:17,043
GET A CHANCE TO THANK ALL THE
PEOPLE THEY DIDN'T HAVE TIME TO

1086
01:04:17,043 --> 01:04:20,714
THANK DURING THEIR SPEECH, AND
ANSWER QUESTIONS ABOUT HOW THEY

1087
01:04:20,714 --> 01:04:25,518
FEEL IN THIS MOMENT WHEN THEY
FOUND OUT THEY WON THE OSCAR.

1088
01:04:25,518 --> 01:04:32,425
AND THEN IT'S TIME FOR THE PARTY.

1089
01:04:32,425 --> 01:04:34,261
AND THIS IS WHERE THE PARTY
HAPPENS.

1090
01:04:34,261 --> 01:04:36,997
SO THEY COME IN HERE WITH THEIR
OSCAR, RIGHT?

1091
01:04:36,997 --> 01:04:40,333
THEY GO UP THESE VERY STEPS
RIGHT HERE, UP TO THIS LITTLE

1092
01:04:40,333 --> 01:04:44,804
BAR AREA, AND THAT'S WHERE THE
ACTUAL ETCHING OF THEIR NAMES

1093
01:04:44,804 --> 01:04:48,441
GOES ONTO THE OSCAR AND INTO
HISTORY.

1094
01:04:48,441 --> 01:04:51,411
AND THEN, ONCE IT'S DONE, IT
ONLY TAKES A FEW MINUTES, THEY

1095
01:04:51,411 --> 01:04:54,347
COME DOWN THE STAIRS.
IT'S REALLY A SPECIAL MOMENT IN

1096
01:04:54,347 --> 01:04:56,950
THIS ROOM, BECAUSE EVERYONE IS
WATCHING IT, AND THEY'RE

1097
01:04:56,950 --> 01:05:00,754
CHEERING AND CELEBRATING FOR
THESE WINNERS WITH THEIR NEW

1098
01:05:00,754 --> 01:05:03,523
STATUES.
ALSO, YOU HAVE TO REMEMBER THAT

1099
01:05:03,523 --> 01:05:06,960
THESE OSCARS ARE HEAVY, Y'ALL.
THEY'RE 8 1/2 POUNDS.

1100
01:05:06,960 --> 01:05:10,530
WHEN YOU GO TO PICK IT UP, IT IS
A SERIOUS AMOUNT OF WEIGHT.

1101
01:05:10,530 --> 01:05:13,733
IT'S A WORKOUT.
THESE OSCAR WINNERS CARRYING

1102
01:05:13,733 --> 01:05:16,970
THAT STATUE ALL OVER THE ROOM
ALL NIGHT LONG.

1103
01:05:16,970 --> 01:05:21,241
AND YOU SEE SO MANY SPECIAL
MOMENTS THAT HAPPEN IN THIS ROOM

1104
01:05:21,241 --> 01:05:25,812
WITH ALL OF THESE HUGE
CELEBRITIES INTERACTING WITH

1105
01:05:25,812 --> 01:05:30,317
EACH OTHER.
IT IS TRULY SPECIAL, GUYS.

1106
01:05:30,317 --> 01:05:32,352
>> AND EIGHT POUNDS, BUT THEY'RE
NOT PUTTING THAT DOWN.

1107
01:05:32,352 --> 01:05:33,119
>> EXACTLY.

1108
01:05:33,119 --> 01:05:35,322
>> CARRYING IT ALL NIGHT, ALL
NIGHT LONG.

1109
01:05:35,322 --> 01:05:38,658
AND I LOVE HOW EVERYTHING IS
GOLD IN THAT ROOM INCLUDING YOU,

1110
01:05:38,658 --> 01:05:41,895
EVA. YOU ARE JUST SPARKLING.
LOVE TO SEE YOU SHINE.

1111
01:05:41,895 --> 01:05:44,531
AND WE ARE JUST ABOUT AN HOUR
AWAY FROM THE OFFICIAL OPENING

1112
01:05:44,531 --> 01:05:51,037
OF THE OSCARS RED CARPET.
WE'LL HEAR FROM Da'VINE JOY

1113
01:05:51,037 --> 01:05:53,039
RANDOLPH, ONE OF THE FAVORITES
TO TAKE HOME AN OSCAR TONIGHT.

1114
01:05:53,039 --> 01:05:54,307
STAY WITH US.

1115
01:06:11,157 --> 01:06:14,394
♪

1116
01:06:14,394 --> 01:06:16,296
♪ I WILL PROVE YOU WRONG

1117
01:06:16,296 --> 01:06:19,132
♪ I'LL TAKE YOU ALL THE WAY

1118
01:06:19,132 --> 01:06:20,433
>>> WELCOME BACK TO HOLLYWOOD,
EVERYONE.

1119
01:06:20,433 --> 01:06:25,205
WE ARE LIVE OUTSIDE THE DOLBY
THEATRE WHERE IN JUST A FEW

1120
01:06:25,205 --> 01:06:28,174
SHORT HOURS EXCITED, PERHAPS
NERVOUS, NOMINEES WILL BE

1121
01:06:28,174 --> 01:06:30,877
DREAMING OF WALKING AWAY WITH
THAT COVETED OSCAR.

1122
01:06:30,877 --> 01:06:34,247
I HAD A CHANCE TO SIT DOWN WITH
ONE OF THOSE NOMINEES, Da'VINE

1123
01:06:34,247 --> 01:06:38,852
JOY RANDOLPH, TO TALK ABOUT HOW
HER CHARACTER, MARY, FROM "THE

1124
01:06:38,852 --> 01:06:40,820
HOLDOVERS" HELPED HER CONNECT TO
HERSELF AND OTHERS AND WHY SHE

1125
01:06:40,820 --> 01:06:44,124
SAYS THIS IS JUST THE BEGINNING.

1126
01:06:44,124 --> 01:06:46,059
>> YOU CAN THINK I'M A SILLY
GIRD.

1127
01:06:46,059 --> 01:06:48,728
>> I DON'T NEED YOU FEELING
SORRY FOR ME.

1128
01:06:48,728 --> 01:06:52,132
>> SEE, I'M JUST SAYING, THIS
WAS THE FIRST GOOD THING THAT

1129
01:06:52,132 --> 01:06:53,967
CAME WITHIN THIS PRISON WITH YOU.

1130
01:06:53,967 --> 01:06:57,270
>> YOU MENTIONED IN YOUR SPEECH
FROM THE GOLDEN GLOBES HOW MARY

1131
01:06:57,270 --> 01:06:58,004
CHANGED YOUR LIFE.

1132
01:06:58,004 --> 01:07:01,708
>> THE CHARACTER MARY, OH, MARY,
YOU HAVE CHANGED MY LIFE.

1133
01:07:01,708 --> 01:07:05,478
YOU HAVE MADE ME FEEL SEEN IN SO
MANY WAYS THAT I HAVE NEVER

1134
01:07:05,478 --> 01:07:10,283
IMAGINED, AND I HOPE I HELPED
YOU ALL FIND YOUR INNER MARY

1135
01:07:10,283 --> 01:07:12,752
BECAUSE THERE'S A LITTLE BIT OF
HER IN ALL OF US.

1136
01:07:12,752 --> 01:07:15,989
>> HOW HAS SHE CHANGED YOUR
LIFE?

1137
01:07:15,989 --> 01:07:20,760
>> I'VE ALWAYS WATCHED HER IN
PERFORMANCES AND THOUGHT TO

1138
01:07:20,760 --> 01:07:24,864
MYSELF, I WOULD LOVE TO, AS A
BLACK WOMAN, BE ABLE TO CONVEY

1139
01:07:24,864 --> 01:07:30,804
THE SAME THINGS AND TO MAKE AN
ORDINARY EVERYDAY WOMAN SPECIAL,

1140
01:07:30,804 --> 01:07:34,307
UNIQUE TO CONNECT TO.
I HEARD YOU GOT STUCK WITH

1141
01:07:34,307 --> 01:07:37,844
BABYSITTING DUTY.
HOW DID YOU MANAGE THAT?

1142
01:07:37,844 --> 01:07:41,748
BY ME GOING THROUGH THIS JOURNEY
AND GO DOWN THIS EMOTIONAL AND

1143
01:07:41,748 --> 01:07:46,352
CHALLENGING PATH, THE GIFT HAS
BEEN BOUNTIFUL AND THE BIGGEST

1144
01:07:46,352 --> 01:07:51,691
ONE BEING ME CONNECTING WITH
PEOPLE AND PEOPLE SHARING WITH

1145
01:07:51,691 --> 01:07:54,961
ME HOW THIS WORK IS IMPACTING
THEM.

1146
01:07:54,961 --> 01:08:02,669
AND NEITHER OF THEM MADE IT TO
25. THAT BABY WASN'T EVEN 20.

1147
01:08:02,669 --> 01:08:04,504
>> I'M SO SORRY.

1148
01:08:04,504 --> 01:08:08,308
>> I TOOK THIS JOB WHEN CURTIS
WAS SMALL BECAUSE I WANTED TO

1149
01:08:08,308 --> 01:08:11,744
ENSURE HE WOULD HAVE A GOOD
EDUCATION.

1150
01:08:11,744 --> 01:08:14,314
>> HE WAS A GREAT KID.
I HAD HIM ONE SEMESTER.

1151
01:08:14,314 --> 01:08:16,182
VERY INSIGHTFUL.

1152
01:08:16,182 --> 01:08:18,084
>> MM-HMM. HE HATED YOU.

1153
01:08:18,084 --> 01:08:23,556
>> WELL, LIKE I SAID, SHARP KID,
INSIGHTFUL.

1154
01:08:23,556 --> 01:08:27,894
>> YOU HAVE DESCRIBED YOUR
JOURNEY AS THE GAME CHUTES AND

1155
01:08:27,894 --> 01:08:28,761
LADDERS. HOW SO?

1156
01:08:28,761 --> 01:08:34,801
>> WELL, YOU KNOW, THIS INDUSTRY

1157
01:08:34,801 --> 01:08:38,938
AT-LARGE, YOU -- YOU'RE NOT IN
CONTROL.

1158
01:08:38,938 --> 01:08:44,110
THAT'S THE BLESSING ABOUT THIS
JOB, THAT MIXING OF REJECTION.

1159
01:08:44,110 --> 01:08:46,412
YOU'RE NOT IN CONTROL AND IT'S
ANYBODY'S GAME.

1160
01:08:46,412 --> 01:08:51,651
AND SO YOU HAVE TO FIND
STABILITY WITHIN YOURSELF TO

1161
01:08:51,651 --> 01:08:56,723
FORTIFY YOURSELF IN YOUR TRUTH,
HAVE CONFIDENCE, AND BE ABLE TO

1162
01:08:56,723 --> 01:09:00,159
WEATHER THE MONSTROUS STORM.
AND SO THAT'S WHY IN THESE

1163
01:09:00,159 --> 01:09:03,763
MOMENTS, AGAIN, THE CONNECTION
WITH THE PEOPLE IS A THING THAT

1164
01:09:03,763 --> 01:09:07,133
HAS ME COMING BACK.
IF YOU KNOW IT'S GOING TO BE

1165
01:09:07,133 --> 01:09:10,370
CHUTES AND LADDERS, YOU'D BETTER
LOVE THE GAME AS A WHOLE.

1166
01:09:10,370 --> 01:09:12,338
>> WHAT WAS YOUR FIRST PAID
ACTING JOB EVER?

1167
01:09:12,338 --> 01:09:17,177
>> WOW, MY FIRST PAID ACTING JOB
WAS ACTUALLY ROBIN WILLIAMS'

1168
01:09:17,177 --> 01:09:20,713
LAST MOVIE CALLED "THE ANGRIEST
MAN IN BROOKLYN."

1169
01:09:20,713 --> 01:09:24,717
I PLAYED HIS NURSE.
HE POURED INTO ME, AND I WILL

1170
01:09:24,717 --> 01:09:30,023
NEVER FORGET HOW THAT MAN WAS SO
GENEROUS AND SOUGHT ME OUT TO

1171
01:09:30,023 --> 01:09:31,824
ENCOURAGE ME AND IMPART WISDOM.

1172
01:09:31,824 --> 01:09:36,696
>> AND THIS LAST QUESTION, YOU
HAVE SAID YOU'RE JUST BEGINNING.

1173
01:09:36,696 --> 01:09:38,898
WE HAVEN'T EVEN SEEN ANYTHING
YET.

1174
01:09:38,898 --> 01:09:39,499
>> NO.

1175
01:09:39,499 --> 01:09:43,102
>> WHAT WOULD YOU LIKE TO DO?
FROM YOUR LIPS TO GOD'S EARS,

1176
01:09:43,102 --> 01:09:45,138
YOUR NEXT ROLE WHAT WOULD YOU
LIKE TO SHOW THE WORLD?

1177
01:09:45,138 --> 01:09:49,108
>> I THINK THE NEXT THING WE
WILL BEGIN TACKLING IS TO

1178
01:09:49,108 --> 01:09:54,681
PORTRAY A BLACK OPERA SINGER AS
A WAY OF MERGING TWO OF MY GIFTS

1179
01:09:54,681 --> 01:09:59,152
TOGETHER AND KIND OF RECLAIMING
MUSIC AND SINGING BACK FOR

1180
01:09:59,152 --> 01:10:01,588
MYSELF.
I THINK THAT WOULD BE QUITE POWERFUL.

1181
01:10:01,588 --> 01:10:03,022
>> OKAY. I'M HERE FOR IT.

1182
01:10:03,022 --> 01:10:04,223
>> THANK YOU.

1183
01:10:04,223 --> 01:10:05,458
>> THANK YOU.
ALL THE BEST TO YOU.

1184
01:10:05,458 --> 01:10:05,959
>> THANK YOU SO MUCH.

1185
01:10:05,959 --> 01:10:12,699
>> I'LL BE ROOTING FOR YOU.
REALLY ENJOYED THAT CONVERSATION

1186
01:10:12,699 --> 01:10:15,768
WITH Da'VINE, AND EVEN THOUGH
SHE HAS WON QUITE A FEW TIMES

1187
01:10:15,768 --> 01:10:19,539
THIS AWARDS SEASON, Da'VINE JOY
RANDOLPH FACES TOUGH COMPETITION

1188
01:10:19,539 --> 01:10:23,243
IN HER CATEGORY TONIGHT.
HERE'S A REMINDER FOR THE

1189
01:10:23,243 --> 01:10:27,280
NOMINEES FOR BEST SUPPORTING
ACTRESS.

1190
01:10:27,280 --> 01:10:33,486
>> NEVER BE RUDE.
NEVER SHOW OFF, NEVER BE

1191
01:10:33,486 --> 01:10:37,590
SELFISH, NEVER SHOW FEAR, NEVER
FALL DOWN, NEVER GET OUT OF LINE.

1192
01:10:37,590 --> 01:10:40,426
IT'S TOO HARD.
IT'S TOO CONTRADICTORY AND

1193
01:10:40,426 --> 01:10:44,731
NOBODY GIVES YOU A MEDAL OR SAYS
THANK YOU.

1194
01:10:44,731 --> 01:10:50,903
>> GOD KNOWS I DO, BUT I'LL KILL
HIM DEAD BEFORE I LET HIM OR

1195
01:10:50,903 --> 01:10:52,872
ANYBODY BEAT ME.

1196
01:10:52,872 --> 01:10:56,776
>> MY LITTLE SISTER PEGGY AND
HER HUSBAND INVITED ME TO GO SEE

1197
01:10:56,776 --> 01:11:00,980
THEM IN ROXBURY, BUT I FEEL LIKE
IT'S TOO SOON.

1198
01:11:00,980 --> 01:11:06,319
LIKE I'M ABANDONING HIM.
THIS IS THE LAST PLACE MY BABY

1199
01:11:06,319 --> 01:11:09,355
AND I WERE TOGETHER.

1200
01:11:09,355 --> 01:11:14,327
>> IF YOU DIE, I WANT TO BE THE
LAST PERSON YOU SEE.

1201
01:11:14,327 --> 01:11:16,863
BUT DON'T DIE.
BUT IF YOU DO, I'M GOING TO BE

1202
01:11:16,863 --> 01:11:19,432
RIGHT THERE WITH YOU.

1203
01:11:19,432 --> 01:11:23,036
>> I KNOW THAT. THANK YOU.

1204
01:11:23,036 --> 01:11:25,772
>> IT'S YOUR QUESTION.
IT'S NOT PROPERLY PHRASED.

1205
01:11:25,772 --> 01:11:27,307
>> DO YOU UNDERSTAND WHAT I'M
GETTING AT?

1206
01:11:27,307 --> 01:11:28,074
>> I DO.

1207
01:11:28,074 --> 01:11:28,908
>> WHY DON'T YOU ANSWER IT?

1208
01:11:28,908 --> 01:11:32,211
>> I DON'T LIKE YOUR PHRASE.

1209
01:11:32,211 --> 01:11:35,982
>> WHO WILL WIN?
CLAYTON DAVIS, CHRIS CONNELLY,

1210
01:11:35,982 --> 01:11:38,084
KELLEY CARTER ARE BACK WITH US
TO HANDICAP THIS RACE.

1211
01:11:38,084 --> 01:11:40,286
SO LET'S MAKE THE CALL AGAIN,
GUYS.

1212
01:11:40,286 --> 01:11:43,122
WHO WILL WIN, WHO SHOULD WIN,
WHO COULD PULL OFF AN UPSET

1213
01:11:43,122 --> 01:11:44,857
TONIGHT.
CLAYTON, WE'LL START WITH YOU.

1214
01:11:44,857 --> 01:11:49,862
>> NOW THE EASIEST CATEGORY OF
THE NIGHT, I THINK.

1215
01:11:49,862 --> 01:11:54,634
Da'VINE JOY RANDOLPH BY A MILE
IS THE MOST AWARDED SUPPORTING

1216
01:11:54,634 --> 01:11:58,571
ACTRESS GOING INTO AN OSCAR
NIGHT IN HISTORY, WON OVER 70

1217
01:11:58,571 --> 01:12:01,240
PRIZES.
AND WHY THAT'S SIGNIFICANT, NOT

1218
01:12:01,240 --> 01:12:07,246
ONLY IS THAT FACT WILL, OVER
3,300 OSCAR STATUETTES GIVEN OUT

1219
01:12:07,246 --> 01:12:12,085
IN HISTORY, SHE WILL BE THE 19th
BLACK WOMAN TO BE GIVEN AN

1220
01:12:12,085 --> 01:12:16,689
OSCAR.
0.005%, AND THAT'S ABYSMAL, BUT

1221
01:12:16,689 --> 01:12:21,494
TO SEE A WOMAN SUCH LIKE Da'VINE
GET THIS NOTORIETY IS HUGE IN

1222
01:12:21,494 --> 01:12:21,894
OUR INDUSTRY.

1223
01:12:21,894 --> 01:12:27,700
>> CHRIS AND KELLEY WHAT SAY
YOU? CLAYTON SAYS 100% Da'VINE.

1224
01:12:27,700 --> 01:12:31,471
>> IN 1989 JODIE FOSTER WAS UP
FOR "THE ACCUSED."

1225
01:12:31,471 --> 01:12:33,906
IT WAS MY FIRST OSCARS.
GOING IN, I SAID SHE WAS THE

1226
01:12:33,906 --> 01:12:37,643
LEAST LIKELY WINNER. SHE WON.
AT THAT PRESS CONFERENCE AFTER

1227
01:12:37,643 --> 01:12:41,147
THE CEREMONY, SHE TRASH TALKED
ME FROM THE STAGE.

1228
01:12:41,147 --> 01:12:43,249
HOW ABOUT THAT LEAST LIKELY
THING, CHRIS?

1229
01:12:43,249 --> 01:12:45,485
I'VE BEEN A FAN OF JODIE'S EVER
SINCE.

1230
01:12:45,485 --> 01:12:49,589
I'M GOING TO DO HER A FAVOR.
JODIE FOSTER IS THE LEAST LIKELY

1231
01:12:49,589 --> 01:12:50,490
WINNER IN THIS CATEGORY.

1232
01:12:50,490 --> 01:12:52,759
>> WOW. WOW.

1233
01:12:52,759 --> 01:12:56,229
>> THE MOST LIKELY WINNER IN
THIS CATEGORY, ABSOLUTELY IS

1234
01:12:56,229 --> 01:12:59,065
Da'VINE JOY RANDOLPH.
SHE'S WHO SHOULD WIN.

1235
01:12:59,065 --> 01:13:02,235
SHE IS WHO WILL WIN.
AND I THINK IF THERE IS AN

1236
01:13:02,235 --> 01:13:05,538
UPSET, YOU KNOW, EMILY BLUNT MAY
FIND HER WAY IN THE

1237
01:13:05,538 --> 01:13:08,674
CONVERSATION, BUT I THINK WE ALL
KNOW THAT Da'VINE JOY RANDOLPH

1238
01:13:08,674 --> 01:13:12,111
IS GOING TO BE THE BIG WINNER
TONIGHT.

1239
01:13:12,111 --> 01:13:15,448
>> PLACE YOUR BET, FOLKS.
IT SEEMS LIKE A SURE THING, GUYS.

1240
01:13:15,448 --> 01:13:18,317
THANK YOU SO MUCH.
AND FOR THOSE OF YOU AT HOME, WE

1241
01:13:18,317 --> 01:13:22,622
STILL HAVE SO MUCH MORE AHEAD AS
WE CONTINUE OUR COVERAGE FROM

1242
01:13:22,622 --> 01:13:24,524
THE OSCARS RED CARPET HERE IN
HOLLYWOOD LIVE.

1243
01:13:24,524 --> 01:13:27,393
THE STARS ARE ON THEIR WAY AND
WE'RE BRINGING IT TO YOU ALL

1244
01:13:27,393 --> 01:13:30,496
RIGHT HERE ON ABC.
DON'T GO ANYWHERE.

1245
01:13:44,977 --> 01:13:47,046
♪ BABY LET ME LOVE YOU DOWN

1246
01:13:47,046 --> 01:13:49,949
>>> WELCOME BACK TO HOLLYWOOD.
WE ARE LIVE OUTSIDE THE DOLBY

1247
01:13:49,949 --> 01:13:53,152
THEATRE, AND YOU ARE LOOKING AT
THE MOST FAMOUS RED CARPET IN

1248
01:13:53,152 --> 01:13:56,756
THE ENTIRE WORLD WHERE TONIGHT'S
NOMINEES AND PRESENTERS WILL BE

1249
01:13:56,756 --> 01:14:00,593
STRUTTING THEIR STUFF SHORTLY
ALONGSIDE THEIR PLUS ONES AND

1250
01:14:00,593 --> 01:14:06,766
ONE OF THOSE NOMINEES LOOKING TO
PULL OFF AN UPSET IN A VERY

1251
01:14:06,766 --> 01:14:12,038
COMPETITIVE CATEGORY IS STERLING
K. BROWN FROM "THIS IS US."

1252
01:14:12,038 --> 01:14:16,375
NOW HE IS A BONA FIDE MOVIE STAR
WITH AN OSCAR NOMINATION AND A

1253
01:14:16,375 --> 01:14:20,112
CHANCE TO MAKE HISTORY FOR HIS
ROLE ALONGSIDE LEAD ACTOR

1254
01:14:20,112 --> 01:14:23,616
NOMINEE JEFFREY WRIGHT IN
"AMERICAN FICTION."

1255
01:14:23,616 --> 01:14:25,985
KELLEY CARTER HAD A CHANCE TO
TALK TO BROWN ABOUT THE ROLE

1256
01:14:25,985 --> 01:14:30,223
THAT EARNED HIM HIS FIRST OSCAR
NOD.

1257
01:14:30,223 --> 01:14:33,726
>> OSCAR NOMINATED, WHAT DOES
THAT FEEL LIKE?

1258
01:14:33,726 --> 01:14:34,927
>> COOL.
I FEEL BLESSED AND HIGHLY

1259
01:14:34,927 --> 01:14:40,433
FAVORED.
I FEEL THE COMPANY THAT IS IN

1260
01:14:40,433 --> 01:14:45,071
THE CATEGORY.
YOU HAVE GOSLING, DE NIRO,

1261
01:14:45,071 --> 01:14:50,676
DOWNEY JR. AND BROWN, WHAT?
I'M WITH THESE DUDES WHO ARE

1262
01:14:50,676 --> 01:14:52,678
HEAVYWEIGHTS.
TO BE COUNTED AMONGST THEM IS AN

1263
01:14:52,678 --> 01:14:53,346
INCREDIBLE HONOR.

1264
01:14:53,346 --> 01:14:56,816
>> AND WHAT ABOUT BEING
NOMINATED FOR THIS FILM AND THIS

1265
01:14:56,816 --> 01:14:57,617
ROLE IN PARTICULAR?

1266
01:14:57,617 --> 01:15:00,152
>> YOU GAVE HER OPIOIDS TO
SLEEP?

1267
01:15:00,152 --> 01:15:07,426
>> YEAH.
YOU HEAR OF AN HEROIN ADDICT?

1268
01:15:07,426 --> 01:15:09,462
WE MIGHT NEED TO REVIVE A
SENTENCE.

1269
01:15:09,462 --> 01:15:12,198
>> "AMERICAN FICTION," MY
FAVORITE FILM OF THE SEASON

1270
01:15:12,198 --> 01:15:12,632
HANDSDOWN --

1271
01:15:12,632 --> 01:15:14,200
>> THANK YOU, THANK YOU.

1272
01:15:14,200 --> 01:15:18,704
>> -- BUT WHAT DOES THAT FEEL
LIKE FOR YOU IN THIS ROLE IN PARTICULAR?

1273
01:15:18,704 --> 01:15:22,608
>> IT FEELS GOOD.
I LOVE THIS MOVIE.

1274
01:15:22,608 --> 01:15:26,345
I JUST WANTED TO BE A PART OF IT.

1275
01:15:26,345 --> 01:15:30,850
THERE WERE SOME SQUABBLES IN THE
BEGINNING, IT'S NOT THE LEAD AND

1276
01:15:30,850 --> 01:15:32,752
IT'S SORT OF A SUPPORTING
CHARACTER AND I READ THE SCRIPT.

1277
01:15:32,752 --> 01:15:35,555
NO, HOW CAN I BE DOWN?
THIS IS SOMETHING I HAVE TO BE

1278
01:15:35,555 --> 01:15:43,396
IN BECAUSE IT IS EXPANDING THE
BREADTH OF BLACK STORIES, IS

1279
01:15:43,396 --> 01:15:45,998
TOLD WITH EXCELLENCE.
IF IT HAS COMMERCIAL SUCCESS, I

1280
01:15:45,998 --> 01:15:48,301
LIKE TO SEE MORE OF THESE
STORIES BE TOLD.

1281
01:15:48,301 --> 01:15:52,071
IT SEEMS THE LANE WE HAVE BEEN
ALLOWED TO A CERTAIN EXTENT HAS

1282
01:15:52,071 --> 01:15:55,241
BEEN RELATIVELY NARROW.
TO SAY BLACK LIFE IS LIFE AND

1283
01:15:55,241 --> 01:15:59,211
THAT EVERYBODY CAN SEE
THEMSELVES INSIDE OF OUR LIVES

1284
01:15:59,211 --> 01:16:05,384
IS SOMETHING THAT GIVES ME GREAT
PRIDE. AND THEN WITH CLIFF --

1285
01:16:05,384 --> 01:16:10,122
I'VE BEEN THINKING ABOUT HOW DAD
DIED NOT KNOWING I'M GAY.

1286
01:16:10,122 --> 01:16:14,126
>> I THINK HE SUSPECTED IT.

1287
01:16:14,126 --> 01:16:18,698
>> HE MAY HAVE, BUT HE DIDN'T
KNOW FOR SURE.

1288
01:16:18,698 --> 01:16:23,102
HE NEVER KNEW THE ENTIRETY OF ME.

1289
01:16:23,102 --> 01:16:27,306
>> I'M FROM ST. LOUIS, MISSOURI.
I GREW UP IN THE '80s AND

1290
01:16:27,306 --> 01:16:33,079
HOMOPHOBIA WAS VERY STRONG AND
STILL IS PROBABLY VERY STRONG,

1291
01:16:33,079 --> 01:16:39,218
AND SO AS SYSTEM WHO IS
CISGENDER HETEROSEXUAL PLAYING

1292
01:16:39,218 --> 01:16:44,557
THE ROLE IS MY WAY OF SAYING TO
EVERYBODY ELSE WHO IS LIKE ME,

1293
01:16:44,557 --> 01:16:48,094
THERE'S NO DIFFERENCE.
WE'RE ALL JUST PEOPLE, RIGHT?

1294
01:16:48,094 --> 01:16:52,898
AND THE SORT OF ARBITRARY
DESIGNATIONS WE MAKE OF HOW WE

1295
01:16:52,898 --> 01:16:57,136
KEEP OURSELVES FROM COMING
TOGETHER, HOW WE SEPARATE

1296
01:16:57,136 --> 01:17:03,542
OURSELVES NEED TO SORT OF GO
AWAY AND JUST SEE THE HUMANITY

1297
01:17:03,542 --> 01:17:06,045
IN EVERYBODY ELSE.
THAT'S MY HOPE.

1298
01:17:06,045 --> 01:17:10,716
>> YEAH.
ALTHOUGH, TELEPHONES SO

1299
01:17:10,716 --> 01:17:12,418
BEAU IT WAS SO BEAUTIFUL.
THANK YOU FOR SAYING THAT.

1300
01:17:12,418 --> 01:17:14,420
>> ARE YOU GOING TO MAKE A MOVIE
OR WHAT?

1301
01:17:14,420 --> 01:17:20,760
>> UNFORTUNATELY, YES.
YOU KNOW WHAT, GOOD LUCK FINDING

1302
01:17:20,760 --> 01:17:23,029
SOMEONE HANDSOME ENOUGH TO PLAY
ME.

1303
01:17:23,029 --> 01:17:26,132
>> THIS HAS MADE HISTORY, THE
FIRST TIME WE'VE SEEN A LEAD

1304
01:17:26,132 --> 01:17:31,837
CHARACTER IN A FILM, BOTH BE
NOMINATED THAT ARE BLACK, THIS

1305
01:17:31,837 --> 01:17:35,841
IS HUGE, COLOSSAL.
TALK ABOUT THAT MOMENT AND THE

1306
01:17:35,841 --> 01:17:38,110
IMPORTANCE OF KIND OF
REPRESENTING IN THIS WAY.

1307
01:17:38,110 --> 01:17:43,315
>> SO I THINK JEFFREY AND I BOTH
FEEL THE SAME WAY IS THAT IT

1308
01:17:43,315 --> 01:17:46,018
SHOULD HAVE HAPPENED A LONG TIME
AGO.

1309
01:17:46,018 --> 01:17:50,189
THE FACT IT'S HAPPENING IN 2024,
WE ARE HONORED, HAPPENING FOR

1310
01:17:50,189 --> 01:17:54,727
THE FIRST TIME NOW?
I'VE HAD A FEW HISTORY MAKING

1311
01:17:54,727 --> 01:17:58,898
THINGS, AND IT FEELS WEIRD,
KELLEY.

1312
01:17:58,898 --> 01:18:03,035
I'M NOT THE DUDE WHO IS SUPPOSED
TO BE MAKING HISTORY. I'M SILLY.

1313
01:18:03,035 --> 01:18:10,943
I FEEL LIKE PEOPLE WHO DO FIRSTS
SHOULD BE STATELY.

1314
01:18:10,943 --> 01:18:14,814
LIKE HERSCHEL.
HERSCHEL IS STATELY.

1315
01:18:14,814 --> 01:18:18,851
SYDNEY IS STATELY.
DENZEL IS STATELY. I'M DUMB.

1316
01:18:18,851 --> 01:18:22,455
SO THE FACT I GET A CHANCE TO BE
PART OF ANY FIRSTS IS GOD'S WAY

1317
01:18:22,455 --> 01:18:29,995
OF SAYING EVERYBODY NEEDS TO
HAVE A SENSE OF HUMOR.

1318
01:18:29,995 --> 01:18:34,967
>> LOVE HIS COMMENTARY AND
ENTHUSIASM. AND WHIT IS BACK.

1319
01:18:34,967 --> 01:18:41,273
WHIT AND LINSEY, PUT US
TOGETHER, WE ARE LIT.

1320
01:18:41,273 --> 01:18:42,041
>> LIT DAVIS.

1321
01:18:42,041 --> 01:18:45,077
>> WHEN WE RETURN, THE RED
CARPET ISN'T JUST ABOUT

1322
01:18:45,077 --> 01:18:49,148
GLAMOROUS FASHIONS FOR WOMEN,
WHICH HOLLYWOOD MEN ARE

1323
01:18:49,148 --> 01:18:50,416
REDEFINING STYLE?
JOE ZEE AFTER THE BREAK.

1324
01:18:50,416 --> 01:18:53,385
STAY WITH US.

1325
01:19:04,063 --> 01:19:06,999
♪

1326
01:19:06,999 --> 01:19:09,368
>>> WELCOME BACK.
YOU ARE LOOKING LIVE AT THIS

1327
01:19:09,368 --> 01:19:13,139
YEAR'S OSCARS ARRIVAL CARPET.
IN JUST A SHORT WHILE, THE

1328
01:19:13,139 --> 01:19:15,775
NOMINEES AND PRESENTERS WILL BE
LINED UP STRIKING A POSE, OF

1329
01:19:15,775 --> 01:19:18,043
COURSE, IN FRONT OF THE DOZENS
OF MEDIA FROM ALL ACROSS THE

1330
01:19:18,043 --> 01:19:22,748
WORLD.
IN THE PAST THE CONVERSATION OF

1331
01:19:22,748 --> 01:19:27,086
FASHION IS FOCUSED ON WOMEN.
A LOT HAS CHANGED FOR THE MEN IN

1332
01:19:27,086 --> 01:19:29,522
RECENT YEARS.
JOE ZEE IS BACK TO TELL US MORE,

1333
01:19:29,522 --> 01:19:35,427
THE DUDES ARE GETTING THEIR DUE
ON THE RED CARPET RIGHT NOW.

1334
01:19:35,427 --> 01:19:37,229
>> ABSOLUTELY.
YOU ARE CORRECT, WHIT.

1335
01:19:37,229 --> 01:19:42,835
IN THE LAST FEW YEARS A GUY
DRESSING UNCONVENTIONALLY WAS A

1336
01:19:42,835 --> 01:19:45,838
FASHION OUTLIER.
IF THEY VENTURE BEYOND YOUR

1337
01:19:45,838 --> 01:19:49,375
TYPICAL TUXEDO LIKE THE ONE I'M
WEARING, A COLORED OR TEXTURED

1338
01:19:49,375 --> 01:19:52,545
JACKET, NAVY BLUE, BURGUNDY, IT
WOULD BE LIKE GROUNDBREAKING

1339
01:19:52,545 --> 01:19:53,145
STUFF, RIGHT?

1340
01:19:53,145 --> 01:19:54,079
>> OF COURSE.

1341
01:19:54,079 --> 01:20:00,686
>> NOW IT'S ANYTHING GOES FOR
MEN ON THE RED CARPET AND THE

1342
01:20:00,686 --> 01:20:04,056
YOUNGER GENERATION ARE RAISING
THE BAR AND EVEN WHEN WE SEE

1343
01:20:04,056 --> 01:20:07,693
CLASSIC STYLES IT'S WORTH AND
WORN WITH A BIG TWIST LIKE

1344
01:20:07,693 --> 01:20:10,863
BIGGER PROPORTIONS OR DIFFERENT
SILHOUETTES, AND LET'S NOT

1345
01:20:10,863 --> 01:20:14,934
FORGET THE ACCESSORIES.
WE'VE SEEN TONS OF JEWELRY THIS

1346
01:20:14,934 --> 01:20:18,637
SEASON, AND EVEN ROBERT DOWNEY
JR. HAS WORN DIFFERENT VERSIONS

1347
01:20:18,637 --> 01:20:22,007
OF HIS OWN TINTED SUNGLASSES.
WE TALKED TO SOME OF MY FASHION

1348
01:20:22,007 --> 01:20:25,144
INDUSTRY COLLEAGUES ABOUT THE
BREAKTHROUGH TRENDS AND WHO IS

1349
01:20:25,144 --> 01:20:31,116
AT THE TOP OF OUR BEST DRESSED
LIST.

1350
01:20:31,116 --> 01:20:33,986
>> THERE HAD BEEN NO RULES IN
MEN'S FASHION THIS SEASON.

1351
01:20:33,986 --> 01:20:39,225
>> WE'VE AMPED UP FORMAL WEAR.
WE'VE TAKEN IT TO BIGGER

1352
01:20:39,225 --> 01:20:40,859
PROPORTIONS AND DIMENSIONS.

1353
01:20:40,859 --> 01:20:43,362
>> SO LONG TO THE BLACK TUCKS.

1354
01:20:43,362 --> 01:20:48,167
>> DOUBLE-BREASTED JACKETS,
WE'RE SEEING SOME REALLY STRONG,

1355
01:20:48,167 --> 01:20:52,905
PADDED SHOULDERS, TROUSERS WITH
HIGH WAIST, WIDE LEG.

1356
01:20:52,905 --> 01:20:58,110
I REALLY LIKE IT BECAUSE THEY'RE
BIG, DRAMATIC AND IMPRESSIVE.

1357
01:20:58,110 --> 01:21:05,384
I THINK WE'RE SEEING ACTORS COME
OUT OF THEIR COMFORT ZONE.

1358
01:21:05,384 --> 01:21:10,923
BRADLEY COOPER AT THE BAFTAs
BROKE OUT OF THE NORM, HAD ON A

1359
01:21:10,923 --> 01:21:16,495
VERY LONG DOUBLE-BREASTED TUXEDO
JACKET, WIDE LEG TROUSERS.

1360
01:21:16,495 --> 01:21:18,764
ON TREND BUT NOT SOMETHING WE
TYPICALLY SEEN.

1361
01:21:18,764 --> 01:21:24,103
WE'RE GOING TO SEE A LOT OF SKIN
OR MALE CLEAVAGE.

1362
01:21:24,103 --> 01:21:26,639
>> LENNY KRAVITZ.

1363
01:21:26,639 --> 01:21:30,209
>> LENNY KRAVITZ DOESN'T AGE.
IF I LOOKED THAT GOOD, I WOULD

1364
01:21:30,209 --> 01:21:34,313
SHOW AS MUCH SKIN AS I POSSIBLY
COULD.

1365
01:21:34,313 --> 01:21:38,250
WE'VE SEEN A LOT MORE PASTELS
AND BRIGHT COLORS.

1366
01:21:38,250 --> 01:21:40,352
I THINK THAT'S THE "BARBIE"
EFFECT, AND A LOT OF MILITARY

1367
01:21:40,352 --> 01:21:46,659
INSPIRED LOOKS.

1368
01:21:46,659 --> 01:21:50,996
WE'VE SEEN NECKLACES, AMONG
DESIGNERS, MEN'S AND WOMEN'S

1369
01:21:50,996 --> 01:21:51,563
WEAR STYLES.

1370
01:21:51,563 --> 01:21:57,569
>> I THINK AS FASHION PROGRESSES
AND AS TIME PROGRESSES THERE IS

1371
01:21:57,569 --> 01:21:58,203
LESS ATTACHMENT TO DESCRIBING A

1372
01:21:58,203 --> 01:22:06,378
GENDER TO FASHION.

1373
01:22:06,378 --> 01:22:09,148
>> NICE SMILE.
LET'S SEE IT.

1374
01:22:09,148 --> 01:22:13,886
>> HANDS DOWN BEST DRESSED
CELEBRITY HAS BEEN COLMAN DOMINGO.

1375
01:22:13,886 --> 01:22:17,056
>> THERE'S NOTHING THIS MAN
CANNOT DO, NOTHING HE CANNOT

1376
01:22:17,056 --> 01:22:19,858
WEAR, AND HE'S REALLY BROUGHT IT
FORWARD.

1377
01:22:19,858 --> 01:22:22,227
TO BE CREATIVE OUTSIDE THE
TRADITIONAL TUXEDO.

1378
01:22:22,227 --> 01:22:28,033
>> LISTEN, I'M FROM A LONG
LEAGUE OF MEN WHO WORE PINKY

1379
01:22:28,033 --> 01:22:32,004
RINGS AND POLYESTER BUT HAD
STYLE AND SWAGGER.

1380
01:22:32,004 --> 01:22:34,373
I'VE ALWAYS LOVED TO DRESS.
I THINK THAT'S A GREAT WAY TO

1381
01:22:34,373 --> 01:22:36,075
TELL YOUR STORY.

1382
01:22:36,075 --> 01:22:40,079
>> HE HAS HIT EVERY TREND WE'VE
SEEN HIM IN LONG JACKETS, WE'VE

1383
01:22:40,079 --> 01:22:44,083
SEEN HIM IN BIG PROPORTIONS,
WE'VE SEEN HIM IN WIDE-LEGGED

1384
01:22:44,083 --> 01:22:47,052
TROUSERS, LOTS OF JEWELRY.
WE'VE SEEN HIM SHOW SOME SKIN.

1385
01:22:47,052 --> 01:22:50,322
LITERALLY EVERY TREND THAT WE'RE
GOING TO SEE COMING DOWN THE RED

1386
01:22:50,322 --> 01:22:52,858
CARPET THIS SEASON, HE HAS
NAILED AT ONE AWARD OR ANOTHER.

1387
01:22:52,858 --> 01:22:57,730
>> I CAN GO TO EVERY PHOTOGRAPH
OF EVERY IMAGE AND TELL YOU WHAT

1388
01:22:57,730 --> 01:23:00,666
THE STORY WAS.
VERSACE PINK SUIT THAT I WORE,

1389
01:23:00,666 --> 01:23:04,903
AND I WORE THAT BECAUSE THAT WAS
THE FIRST TIME COMING OUT OF THE

1390
01:23:04,903 --> 01:23:06,405
PAN
PANDEMIC, AND I PUT THIS ON, AND

1391
01:23:06,405 --> 01:23:11,410
THE TAILOR STARTED CRYING,
PEOPLE HAVE BEEN INSIDE FOR SO

1392
01:23:11,410 --> 01:23:13,445
LONG.
GOING TO BRING JOY THAT COLOR

1393
01:23:13,445 --> 01:23:15,981
WILL MAKE PEOPLE FEEL GOOD.
I WORE IT FOR HER AND TO MAKE

1394
01:23:15,981 --> 01:23:16,982
EVERYBODY FEEL GOOD.

1395
01:23:16,982 --> 01:23:21,019
>> THE OSCARS IS SUCH A GREAT
OPPORTUNITY FOR GUYS TO REALLY

1396
01:23:21,019 --> 01:23:24,456
SHINE. IT'S YOUR NIGHT.
IT'S YOUR EVENT. EMBRACE IT.

1397
01:23:24,456 --> 01:23:28,160
FOLLOW THE RULES OR AT LEAST
KNOW THE RULES SO CAN YOU BREAK THEM.

1398
01:23:28,160 --> 01:23:36,769
BUT HAVE FUN.

1399
01:23:36,769 --> 01:23:38,837
>> WE GATHERED ALL THE GUYS TO
TALK ABOUT FASHION.

1400
01:23:38,837 --> 01:23:41,240
YOU'RE GOING TO HELP US ALL OUT.

1401
01:23:41,240 --> 01:23:43,509
>> ABSOLUTELY.
NOW WE'LL REVEAL OUR OWN

1402
01:23:43,509 --> 01:23:51,550
PERSONAL MEN'S FASHION ICONS.

1403
01:23:51,550 --> 01:23:55,921
CLEARLY, YOU ALL UNDERSTOOD THE
ASSIGNMENT.

1404
01:23:55,921 --> 01:24:00,959
THE VELVET, THE BLUE, THE BLUE,
CHRIS AND I, THE DOG ATE THE HOMEWORK.

1405
01:24:00,959 --> 01:24:02,594
>> CLASSIC TRADITIONAL.

1406
01:24:02,594 --> 01:24:03,996
>> TIMELESS.
THAT'S WHAT WE ARE.

1407
01:24:03,996 --> 01:24:09,601
WHEN IT COMES TO MY OWN PERSONAL
STYLE ICON, I WILL SAY PAUL

1408
01:24:09,601 --> 01:24:11,670
ZMESKAL.
THE MOST CONTEMPORARY WAY AND

1409
01:24:11,670 --> 01:24:19,111
IT'S ALWAYS THE SMALL, SUBTLE
TWISTS THAT WORK FOR ME.

1410
01:24:19,111 --> 01:24:21,980
HE COMES FROM A SMALL TOWN IN
IRELAND AND HE NEVER THOUGHT

1411
01:24:21,980 --> 01:24:29,021
THAT FASHION COULD BE SOMETHING
THAT COULD BE PART OF WHO HE IS.

1412
01:24:29,021 --> 01:24:31,056
STORY TELLING AND
SELF-EXPRESSION AND I THINK

1413
01:24:31,056 --> 01:24:35,861
WHETHER IT'S THE SMALL BROACH OR
EVEN HIS CHAIN FROM NORMAL

1414
01:24:35,861 --> 01:24:41,733
PEOPLE CHARACTER OR WEARING A
T-SHIRT UNDER A TUXEDO OR NO

1415
01:24:41,733 --> 01:24:44,603
T-SHIRT AT ALL, IT'S PERFECT,
SIMPLE AND MEMORABLE.

1416
01:24:44,603 --> 01:24:46,405
>> ALL RIGHT, DeMARCO.
YOUR TURN.

1417
01:24:46,405 --> 01:24:48,774
>> COLMAN DOMINGO.

1418
01:24:48,774 --> 01:24:49,675
>> YES, YES.

1419
01:24:49,675 --> 01:24:50,375
>> GOOD ONE.

1420
01:24:50,375 --> 01:24:56,815
>> HE GIVES ME A LITTLE TEDDY
PENDERGAST MEETS MARVIN GAYE, A

1421
01:24:56,815 --> 01:24:59,351
POP OF COLOR, ACCESSORIES, THE
MUSTACHE.

1422
01:24:59,351 --> 01:25:03,789
HE'S WORKING THE MUSTACHE,
BRINGING IT BACK TO THE RED

1423
01:25:03,789 --> 01:25:05,123
CARPET.
SOMETHING ABOUT HOW HE BRINGS

1424
01:25:05,123 --> 01:25:08,527
HIS OWN PERSONALITY, DOES WHAT
ONLY COLEMAN CAN DO AND GET AWAY

1425
01:25:08,527 --> 01:25:11,630
WITH IT.
HE WILL BE WEARING LOUIS VUITTON TONIGHT.

1426
01:25:11,630 --> 01:25:15,901
>> HE WAS THE TOP GUY MOST
DESIGNERS WERE FIGHTING TO DRESS.

1427
01:25:15,901 --> 01:25:19,838
>> WOW.
AND HE'S NOT AFRAID OF COLOR.

1428
01:25:19,838 --> 01:25:22,241
>> NOPE. COLOR?
HE'S NOT AFRAID OF ANYTHING.

1429
01:25:22,241 --> 01:25:27,079
>> WHEN HE PICKS HIS OUTFIT,
HE'S TRYING TO TELL A STORY.

1430
01:25:27,079 --> 01:25:30,916
>> I THINK WE'VE SEEN SORT OF
THIS TRANSITION OUT OF, OH, I'M

1431
01:25:30,916 --> 01:25:36,155
JUST GOING TO WEAR A BLACK
TUXEDO, I CAN SIT DOWN WITH A

1432
01:25:36,155 --> 01:25:39,091
DESIGNER AND CRAFT SOMETHING
AROUND MY SELF-EXPRESSION.

1433
01:25:39,091 --> 01:25:42,227
>> WHIT AND I ARE TAKING BABY
STEPS.

1434
01:25:42,227 --> 01:25:44,796
>> YOU TOOK A BIGGER ONE THAN
ME.

1435
01:25:44,796 --> 01:25:46,999
>> CLAYTON, HOW ABOUT YOU?

1436
01:25:46,999 --> 01:25:52,070
>> BESIDES BEING THE SECOND MOST
FOUGHT AFTER FOR DESIGNERS, FOR

1437
01:25:52,070 --> 01:25:58,177
ONESELFISH REASON ONLY, SHORT
KINGS, MAN, SOME OF US AREN'T

1438
01:25:58,177 --> 01:26:01,113
DeMARCOS AND COLMAN DOMINGOS WHO
CAN PULL THIS OFF.

1439
01:26:01,113 --> 01:26:05,484
I LIKE THE COLOR MATCHUPS HE
DOES. HE OWNS IT ON THE CARPET.

1440
01:26:05,484 --> 01:26:10,122
FOR A GUY WHO DANCES NAKED IN
HIS MOVIE, DRESSES UP VERY

1441
01:26:10,122 --> 01:26:13,292
NICELY FOR RED CARPETS.

1442
01:26:13,292 --> 01:26:18,997
>> LIKE JOE SAYS, I PUT THE
REPEAT IN STEP AND REPEAT.

1443
01:26:18,997 --> 01:26:22,601
IT IS 1960 CAREY GRANT IN A

1444
01:26:22,601 --> 01:26:29,975
TUXEDO WITH SOPHIA LOREN,
RETURNING ONE MORE TIME TO HIS

1445
01:26:29,975 --> 01:26:33,345
CLASSIC MIDNIGHT BLUE ROLE FOR
THAT TOUCH OF MINK WITH DORIS

1446
01:26:33,345 --> 01:26:37,249
DAY IN 1962.
HE IS THE EPITOME OF GRACIOUS

1447
01:26:37,249 --> 01:26:39,618
AND SOPHISTICATION IN ONE'S
LATER YEARS.

1448
01:26:39,618 --> 01:26:47,059
BELIEVE ME, I'M ALL ABOUT ONE'S
LATER YEARS THESE DAYS.

1449
01:26:47,059 --> 01:26:52,097
IMAGINE HOW HE MIGHT HAVE LOOKED
BACK IN THOSE DAYS.

1450
01:26:52,097 --> 01:26:53,065
WHIT, WHAT ABOUT YOU?

1451
01:26:53,065 --> 01:26:55,901
>> I LOVE IT.
I'M ONBOARD WITH ALL OF THAT BUT

1452
01:26:55,901 --> 01:27:00,372
GOING JAMES BOND, 007.
IF WE WERE DRINKING MARTINIS,

1453
01:27:00,372 --> 01:27:04,309
THEY WOULD BEING SHAKEN, NOT
STIRRED. I LIKE THE CLASSIC LOOK.

1454
01:27:04,309 --> 01:27:09,047
JOE IS HELPING ME PUSH MYSELF
OUT OF MY COMFORT ZONE, BUT IF I

1455
01:27:09,047 --> 01:27:12,784
WERE TO CHANNEL SOMEONE -- I
DON'T THINK I'M THERE YET BUT

1456
01:27:12,784 --> 01:27:17,022
MAYBE SOME DAY THE KENERGY OF
RYAN GOSLING.

1457
01:27:17,022 --> 01:27:20,659
WE HAVE SOME PHOTOGRAPHS -- WAIT
A MINUTE. HOLD ON A SECOND.

1458
01:27:20,659 --> 01:27:21,360
>> OH, WOW!

1459
01:27:21,360 --> 01:27:24,296
>> THE ONE ON THE LEFT IS
ACTUALLY ME FROM HALLOWEEN.

1460
01:27:24,296 --> 01:27:26,932
THE ONE ON THE RIGHT OUR
GRAPHICS DEPARTMENT HAD A GREAT

1461
01:27:26,932 --> 01:27:28,634
TIME WITH THAT.

1462
01:27:28,634 --> 01:27:33,605
>> LOOKING GOOD.

1463
01:27:33,605 --> 01:27:37,209
>> SOMEONE ELSE'S CHEST.
NOT MINE.

1464
01:27:37,209 --> 01:27:38,844
>> THAT'S A WINNER.

1465
01:27:38,844 --> 01:27:42,547
>> ALL RIGHT, GUYS.
LOVE THIS GUY TALK.

1466
01:27:42,547 --> 01:27:45,917
A LITTLE FASHION GUY TALK ON THE
RED CARPET.

1467
01:27:45,917 --> 01:27:48,287
>> SELF-ESTEEM BOOSTER.

1468
01:27:48,287 --> 01:27:50,522
>> THANK YOU.
AND COMING UP NEXT, WAIT UNTIL

1469
01:27:50,522 --> 01:27:53,325
YOU SEE THE CLIP WE'VE UNCOVERED
OF RYAN GOSLING.

1470
01:27:53,325 --> 01:27:55,694
THIS IS LONG BEFORE HE WAS AN
OSCAR NOMINEE.

1471
01:27:55,694 --> 01:27:59,031
LET'S JUST SAY IT WAS FROM A TV
SHOW THAT NEVER QUITE TOOK OFF.

1472
01:27:59,031 --> 01:28:03,535
THAT AND MUCH MORE WHEN WE
RETURN FROM THE OSCARS RED

1473
01:28:03,535 --> 01:28:06,204
CARPET RIGHT HERE IN HOLLYWOOD.
STAY WITH US.

1474
01:28:22,321 --> 01:28:23,970
♪ PARTY FIESTA FOREVER

1475
01:28:23,970 --> 01:28:26,973
>>> WELCOME BACK TO HOLLYWOOD
AND OUR COUNTDOWN TO THE 96th

1476
01:28:26,973 --> 01:28:30,276
ANNUAL ACADEMY AWARDS.
IN JUST A FEW HOURS THE COVETED

1477
01:28:30,276 --> 01:28:32,545
GOLD STATUETTES WILL BE HANDED
OUT.

1478
01:28:32,545 --> 01:28:36,316
RIGHT NOW THIS IS WHAT THE SCENE
LOOKS LIKE OUTSIDE THE DOLBY

1479
01:28:36,316 --> 01:28:39,753
THEATRE FILLING UP WITH MEDIA,
REPORTERS, JOURNALISTS FROM ALL

1480
01:28:39,753 --> 01:28:43,023
OVER THE WORLD AHEAD OF THE
STARS WALKING THE RED CARPET.

1481
01:28:43,023 --> 01:28:48,128
AND EVA PILGRIM IS INSIDE TAKING
US BEHIND THE SCENES OF THE

1482
01:28:48,128 --> 01:28:51,965
GOVERNORS BALL.
NOT ONLY IS THIS THE OFFICIAL

1483
01:28:51,965 --> 01:28:55,302
AFTER PARTY BUT WHERE STARS HAVE
BEEN KNOWN TO, LET'S SAY, LET

1484
01:28:55,302 --> 01:28:59,939
LOOSE, SO TO SPEAK, HAVE SOME
FUN.

1485
01:28:59,939 --> 01:29:01,675
>> OH, YEAH.
THERE WILL BE LOTS OF EATING,

1486
01:29:01,675 --> 01:29:03,443
LOTS OF DRINKING, LOTS OF
DANCING.

1487
01:29:03,443 --> 01:29:06,746
I'M HERE IN THE DEEJAY BOOTH.
DON'T WORRY, WHIT.

1488
01:29:06,746 --> 01:29:11,184
I'M NOT IN CHARGE.
IT WILL BE DEEJAY KISS AND MOS

1489
01:29:11,184 --> 01:29:14,521
AND THEY'RE PRETTY PROTECTIVE.
THEY DON'T LET PEOPLE UP HERE.

1490
01:29:14,521 --> 01:29:17,324
IT'S EXCITING THAT I'M HERE.
THE ONLY PERSON I THINK THAT

1491
01:29:17,324 --> 01:29:22,762
SNUCK UP HERE TALKING ABOUT
LETTING LOOSE, WESLEY SNIPES A

1492
01:29:22,762 --> 01:29:26,199
COUPLE YEARS AGO WAS DANCING.
EVERYONE WAS TALKING ABOUT IT.

1493
01:29:26,199 --> 01:29:30,336
THEY HAVE A FOND MEMORY.
I WANTED TO SHOW YOU THE VIEW OF

1494
01:29:30,336 --> 01:29:33,707
THE ROOM FROM HERE.
SO THEY'VE TURNED THE LIGHTS

1495
01:29:33,707 --> 01:29:38,111
DOWN FOR US AND YOU CAN SEE WHAT
IT'S GOING TO LOOK LIKE WHEN THE

1496
01:29:38,111 --> 01:29:44,317
CROWD COMES IN TONIGHT VERY
MOODY. IT IS A BEAUTIFUL ROOM.

1497
01:29:44,317 --> 01:29:48,822
AMONG THOSE THAT WILL BE HERE IN
THE CROWD, THOSE NOMINEES VYING

1498
01:29:48,822 --> 01:29:50,457
FOR BEST SUPPORTING ACTOR.
LET'S TAKE A LOOK BACK AT THEIR

1499
01:29:50,457 --> 01:29:54,627
CAREERS.

1500
01:29:54,627 --> 01:30:01,368
THE LEGENDARY ROBERT DE NIRO SET
THE RECORD BETWEEN THE FIRST AND

1501
01:30:01,368 --> 01:30:04,170
LAST NOMINATION, 49 YEARS.
THIS YEAR'S NOD COMES FOR HIS

1502
01:30:04,170 --> 01:30:09,442
PORTRAYAL OF THE MURDEROUS
WILLIAM HALE IN MARTIN

1503
01:30:09,442 --> 01:30:11,644
SCORCESE'S "KILLERS OF THE
FLOWER MOON."

1504
01:30:11,644 --> 01:30:14,380
>> HER SISTER, YOUR WIFE, HE'S
TAKING MONEY.

1505
01:30:14,380 --> 01:30:19,819
>> BUT BEFORE THE OSCAR NOD AND
THE CAREER, THE UP-AND-COMING

1506
01:30:19,819 --> 01:30:23,123
22-YEAR-OLD NEW YORK CITY KID
WAS AN EXTRA IN THIS 1965 FRENCH

1507
01:30:23,123 --> 01:30:25,024
FILM "THREE ROOMS IN MANHATTAN."

1508
01:30:25,024 --> 01:30:27,360
>> LLOYD, YOU BE THE
PSYCHIATRIST.

1509
01:30:27,360 --> 01:30:28,628
>> SURE, MAN.

1510
01:30:28,628 --> 01:30:34,200
>> DE NIRO WOULD LAND HIS FIRST
ROLE IN 1968 "GREETINGS" ABOUT

1511
01:30:34,200 --> 01:30:36,770
THREE YOUNG MEN JUMPING AROUND
NEW YORK CITY LOOKING FOR WAYS

1512
01:30:36,770 --> 01:30:42,008
TO AVOID THE VIETNAM WAR.
IN 1978, DE NIRO WOULD STAR IN

1513
01:30:42,008 --> 01:30:47,013
HIS FIRST OF 11 MARTIN SCORCESE
FILMS FOR THE FILM "MEAN STREETS."

1514
01:30:47,013 --> 01:30:50,950
>> TOO GOOD FOR THIS $10, HUH?
YOU'RE TOO GOOD FOR IT?

1515
01:30:50,950 --> 01:30:52,352
IT'S A GOOD $10.

1516
01:30:52,352 --> 01:30:55,688
>> THE NEXT YEAR WOULD BRING DE
NIRO TO NEW HEIGHTS AND CEMENT

1517
01:30:55,688 --> 01:30:58,658
HIM AS ONE OF THE ALL-TIME
GREATS WITH HIS FIRST OSCAR

1518
01:30:58,658 --> 01:31:00,393
NOMINATION AND WIN IN HIS

1519
01:31:00,393 --> 01:31:08,201
LEGENDARY PERFORMANCE AS A YOUNG

1520
01:31:08,201 --> 01:31:15,241
ACTOR IN "THE GODFATHER."
DE NIRO WAS AUDITIONING FOR THE

1521
01:31:15,241 --> 01:31:21,114
PART OF SONNY WHICH WENT TO
JAMES CAAN.

1522
01:31:21,114 --> 01:31:23,650
>> YOU'RE GOING TO TAKE THEM.
DO YOU KNOW WHAT THEY'RE GOING

1523
01:31:23,650 --> 01:31:24,851
TO DO TO YOU?

1524
01:31:24,851 --> 01:31:31,491
>> RYAN GOSLING FOR HIS
PERFORMANCE AS KEN, IN GRETA

1525
01:31:31,491 --> 01:31:33,593
GERWIG'S SUMMER BLOCKBUSTER
"BARBIE."

1526
01:31:33,593 --> 01:31:37,564
>> THIS IS NO LONGER "BARBIE'S"
DREAM HOUSE THIS SHALL

1527
01:31:37,564 --> 01:31:41,901
HENCEFORTH BE KNOWN AS KEN'S
MOJO DOJO CASA HOUSE.

1528
01:31:41,901 --> 01:31:46,339
>> BEFORE HIS KENERGETIC
PERFORMANCE RYAN GOSLING WAS

1529
01:31:46,339 --> 01:31:49,976
SHOWING AUDIENCES NEAR AND WIDE
HIS ARRAY OF TALENTS AS AN

1530
01:31:49,976 --> 01:31:53,613
ASPIRING CHILDHOOD ACTOR, SINGER
AND DANCER.

1531
01:31:53,613 --> 01:31:57,784
♪ M-I-C-K-E-Y

1532
01:31:57,784 --> 01:32:01,054
>> IMPRESSING DIRECTORS IN THE
DISNEY CHANNEL THE MICKEY MOUSE

1533
01:32:01,054 --> 01:32:02,689
CLUB.
GOSLING WOULD CO-STAR WITH THE

1534
01:32:02,689 --> 01:32:04,357
LIKES OF BRITNEY SPEARS,

1535
01:32:04,357 --> 01:32:11,664
CHRISTINA AGUILERA AND CAREY
RUSSELL.

1536
01:32:11,664 --> 01:32:15,101
HERE WITH A YOUNG JUSTIN
TIMBERLAKE.

1537
01:32:15,101 --> 01:32:21,441
HE TOOK A U-TURN TO THE
CHILDREN'S ANTHOLOGY HORROR

1538
01:32:21,441 --> 01:32:23,910
SERIES
SERIES, "ARE YOU AFRAID OF THE DARK?"

1539
01:32:23,910 --> 01:32:25,378
>> NO CUTTING IN LINE.

1540
01:32:25,378 --> 01:32:26,512
>> THAT'S MY BROTHER.

1541
01:32:26,512 --> 01:32:29,549
>> IN THE HORROR SERIES
"GOOSEBUMPS" HE COMES IN

1542
01:32:29,549 --> 01:32:30,550
POSSESSION OF A CURSED CAMERA.

1543
01:32:30,550 --> 01:32:36,656
>> I MEAN, LOOK AT THIS THING.

1544
01:32:36,656 --> 01:32:38,825
>> THERE'S NOWHERE TO PUT THE
FILM.

1545
01:32:38,825 --> 01:32:43,096
>> HE WAS CAST IN "THE
UNBELIEVABLES."

1546
01:32:43,096 --> 01:32:50,637
>> THERE WAS A SWINGING PARTY,
IT WAS ONE HELL OF A LOVE-IN. EW.

1547
01:32:50,637 --> 01:32:52,906
>> A PILOT WHICH WAS QUICKLY
CANCELED.

1548
01:32:52,906 --> 01:33:04,350
>> OH, I GOT THIS. GAME.

1549
01:33:04,350 --> 01:33:12,325
>> MARK RUFFALO FOR HIS

1550
01:33:12,325 --> 01:33:14,093
PERFORMANCE IN "POOR THINGS."

1551
01:33:14,093 --> 01:33:17,330
>> YOU'RE LOSING SOME OF YOUR
ADORABLE.

1552
01:33:17,330 --> 01:33:22,068
>> HE JOINS THE RANKS OF JEFF
BRIDGES, ROBERT DUVALL, JACK

1553
01:33:22,068 --> 01:33:25,438
NICHOLSON FOR THE MOST
NOMINATIONS IN THAT CATEGORY.

1554
01:33:25,438 --> 01:33:26,739
LIKE MANY ACTORS YOU HAVE TO

1555
01:33:26,739 --> 01:33:33,947
START SOMEWHERE.

1556
01:33:33,947 --> 01:33:40,153
THAT'S A MARK RUFFALO PLUGGING
CLERASIL.

1557
01:33:40,153 --> 01:33:45,358
HE WOULD APPEAR IN "ARRESTING
BEHAVIOR" CANCELED AFTER FIVE

1558
01:33:45,358 --> 01:33:45,758
EPISODES.

1559
01:33:45,758 --> 01:33:47,427
>> HOW FAST WERE YOU GOING?

1560
01:33:47,427 --> 01:33:51,864
>> I DON'T KNOW. MAYBE 20.

1561
01:33:51,864 --> 01:33:54,600
>> I'M GOING TO ASK YOU AGAIN,
HOW FAST WERE YOU GOING?

1562
01:33:54,600 --> 01:34:02,508
>> 25.
RUFFALO IN THE OFF BROADWAY PLAY

1563
01:34:02,508 --> 01:34:06,412
"THIS IS OUR YOUTH."
HE WOULD STAR IN LOW BUDGET

1564
01:34:06,412 --> 01:34:13,786
INDIE FILMS LIKE "MIRROR MIRROR
2: RAVEN DANCE."

1565
01:34:13,786 --> 01:34:15,421
>> ALL THEY KNOW ABOUT IS DRUGS.

1566
01:34:15,421 --> 01:34:19,258
>> THE QUIRKY COMEDY" SAFE MEN."

1567
01:34:19,258 --> 01:34:20,293
>> SWEET MUSTACHE.

1568
01:34:20,293 --> 01:34:21,527
>> THANKS, MAN.

1569
01:34:21,527 --> 01:34:25,465
>> AND ROSE TO NEW HEIGHTS IN
THE SUNDANCE WINNER, "YOU CAN

1570
01:34:25,465 --> 01:34:27,634
COUNT ON ME."

1571
01:34:27,634 --> 01:34:31,738
>> IT'S NOT LIKE I'M HAVING AN
ARGUMENT WITH A STRIPPER'S

1572
01:34:31,738 --> 01:34:34,941
BOYFRIEND AND SAY THIS WOULD BE
A GOOD TIME TO STICK IT TO SAMMY

1573
01:34:34,941 --> 01:34:37,210
AND GET MYSELF LOCKED UP.

1574
01:34:37,210 --> 01:34:40,580
>> STERLING K. BROWN IS UP FOR
HIS FIRST AWARD FOR HIS

1575
01:34:40,580 --> 01:34:44,817
PERFORMANCE AS THE CHARISMATIC
BROTHER OF JEFFREY WRIGHT IN

1576
01:34:44,817 --> 01:34:45,251
"AMERICAN FICTION."

1577
01:34:45,251 --> 01:34:47,887
>> DID YOU KNOW DAD HAD AFFAIRS?

1578
01:34:47,887 --> 01:34:52,525
>> OH, FOR SURE.

1579
01:34:52,525 --> 01:34:53,026
>> HOW?

1580
01:34:53,026 --> 01:34:56,696
>> YOU CAN JUST TELL.
I WAS TOLD HE WAS KISSING A

1581
01:34:56,696 --> 01:34:57,363
WHITE WOMAN ONCE.

1582
01:34:57,363 --> 01:35:01,100
>> HE LANDED A SMALL ROLE ALONG

1583
01:35:01,100 --> 01:35:06,439
PAUL GIAMATTI IN "THE RESISTIBLE
RISE."

1584
01:35:06,439 --> 01:35:12,145
HE APPEARED IN THE 2002 TVDOCU
HAD BEEN DRAMA "SMALLPOX."

1585
01:35:12,145 --> 01:35:15,481
>> SHE HAD A HIGH FEVER BUT
NOTHING THAT WAS TOO ALARMING.

1586
01:35:15,481 --> 01:35:18,684
SHE WAS COMPLAINING OF A
HEADACHE, BACK PAIN.

1587
01:35:18,684 --> 01:35:22,422
>> STERLING WOULD BEGIN A RUN OF
ONE-OFF PERFORMANCES ON MAJOR

1588
01:35:22,422 --> 01:35:25,124
NETWORK TELEVISION SHOWS LIKE
"E.R.."

1589
01:35:25,124 --> 01:35:29,295
>> DO YOU HAVE ANY IDEA HOW MUCH
24/7 NURSING CARE IN THE STATE

1590
01:35:29,295 --> 01:35:30,630
FACILITY COSTS?

1591
01:35:30,630 --> 01:35:37,070
>> IN "NYPD BLUE" HE'S ACCUSED
OF KILLING A MOB BOSS' DAUGHTER.

1592
01:35:37,070 --> 01:35:40,740
>> IF THE KEYS ARE IN IT, IT WAS
LIKE HE WAS ASKING ME TO STEAL IT.

1593
01:35:40,740 --> 01:35:47,513
>> JAMES SPADER AND KERRY

1594
01:35:47,513 --> 01:35:49,048
WASHINGTON IN "BOSTON LEGAL."

1595
01:35:49,048 --> 01:35:51,651
>> DO I GO WITH GOD ON MY SIDE
OR NOT?

1596
01:35:51,651 --> 01:35:55,188
>> ROBERT DOWNEY JR. PICKED UP
HIS THIRD ACADEMY AWARD

1597
01:35:55,188 --> 01:36:00,026
NOMINATION FOR HIS PORTRAYAL OF
LOUIS STRAUSS IN "OPPENHEIMER."

1598
01:36:00,026 --> 01:36:07,333
>> I GAVE HIM EXACTLY WHAT HE
WANTED, TO BE REMEMBERED NOT

1599
01:36:07,333 --> 01:36:13,272
HIROSHIMA, NOT NAGASAKI.
HE SHOULD BE THANKING ME.

1600
01:36:13,272 --> 01:36:17,243
>> HE WAS FIRST NOMINATED OVER
30 YEARS AGO FOR HIS UNCANNY

1601
01:36:17,243 --> 01:36:21,447
PERFORMANCE AS THE SILENT FILM
MASTER IN "CHAPLIN" AND

1602
01:36:21,447 --> 01:36:24,717
RECOGNIZED FOR HIS CONTROVERSIAL
PERFORMANCE IN THE HOLLYWOOD

1603
01:36:24,717 --> 01:36:28,855
SATIRE "TROPIC THUNDER."
BEFORE THE AWARDS AND BOX OFFICE

1604
01:36:28,855 --> 01:36:33,159
JUGGERNAUT "IRONMAN" FRANCHISE
HE GRACED THE SILVER SCREEN AS A

1605
01:36:33,159 --> 01:36:37,063
5-YEAR-OLD BOY IN HIS FATHER'S
1970 MOVIE "THE POUND."

1606
01:36:37,063 --> 01:36:43,236
HE WOULD APPEAR IN A SERIES OF
HIS FATHER'S FILMS LIKE 1972

1607
01:36:43,236 --> 01:36:48,141
WHERE AFTER A TRAGIC ENDING, HIS
CHARACTER MIRACULOUSLY COMES

1608
01:36:48,141 --> 01:36:51,043
BACK TO LIFE.
HE PAID HIS DUES AS A BACKGROUND

1609
01:36:51,043 --> 01:36:57,116
ACTOR IN THIS 1980 FILM "THE
ACADEMY."

1610
01:36:57,116 --> 01:37:00,253
HE WOULD JOIN THE CAST OF
"SATURDAY NIGHT LIVE."

1611
01:37:00,253 --> 01:37:05,057
>> I KNOW WHY WHALES BEACH
THEMSELVES. SPIDER-MAN TOLD ME!

1612
01:37:05,057 --> 01:37:08,895
>> HE WAS GONE AFTER JUST ONE
SEASON SAYING HE WAS ILL SUITED

1613
01:37:08,895 --> 01:37:12,398
FOR RAPID-FIRE SKETCH COMEDY,
BUT HE STARTED TO MAKE HIS WAY

1614
01:37:12,398 --> 01:37:17,537
IN HOLLYWOOD AFTER BEING CAST IN
SEVERAL FILMS ALONGSIDE THE

1615
01:37:17,537 --> 01:37:19,806
1980s TEAM DARLINGS "THE BRAT
PACK."

1616
01:37:19,806 --> 01:37:23,643
HERE HE IS AS THE BULLY IAN IN
"WEIRD SCIENCE."

1617
01:37:23,643 --> 01:37:25,912
>> MONETARY LOSS --

1618
01:37:25,912 --> 01:37:30,583
>> IN "LESS THAN ZERO" DOWNEY
DELIVERS ONE OF HIS RAWEST

1619
01:37:30,583 --> 01:37:31,717
PERFORMANCES OF HIS YOUNG CAREER.

1620
01:37:31,717 --> 01:37:37,023
>> I WAS WONDERING IF I COULD
STAY AT HOME TONIGHT.

1621
01:37:37,023 --> 01:37:40,393
I JUST REALLY WOULD LOVE TO WAKE
UP AND KNOW WHERE THE HELL I AM

1622
01:37:40,393 --> 01:37:42,428
FOR ONCE.
IT WOULD BE A NICE CHANGE OF

1623
01:37:42,428 --> 01:37:44,830
PACE FOR ME.

1624
01:37:44,830 --> 01:37:48,634
>> JUST SO COOL TO SEE ALL THOSE
OLD CLIPS.

1625
01:37:48,634 --> 01:37:52,438
AND I'M LOSING MY MIND GETTING
TO WATCH ALL OF THIS HAPPEN HERE

1626
01:37:52,438 --> 01:37:55,675
IN THE GOVERNORS BALLROOM,
SEEING THE FINISHING TOUCHES PUT

1627
01:37:55,675 --> 01:37:59,145
ON THE DIFFERENT FOOD STATIONS,
AND I JUST WANT YOU TO TAKE NOTE

1628
01:37:59,145 --> 01:38:01,781
OF THIS ROOM.
ACROSS THE ROOM THERE ARE THESE

1629
01:38:01,781 --> 01:38:05,551
PANELS THAT ARE SET UP AND
PICTURES IN THESE PANELS

1630
01:38:05,551 --> 01:38:09,889
REPRESENT EACH OF THE BEST
PICTURE NOMINEE, THAT'S PART OF

1631
01:38:09,889 --> 01:38:12,959
THE DECORATION HERE.
SOON THIS ROOM WILL BE FLOODED

1632
01:38:12,959 --> 01:38:16,762
WITH ALL OF THE WHO'S WHO OF
HOLLYWOOD AND THOSE SPECIAL

1633
01:38:16,762 --> 01:38:22,134
MOMENTS THAT WE ALL HEAR ABOUT
THAT HAPPEN WILL HAPPEN RIGHT

1634
01:38:22,134 --> 01:38:28,307
HERE, TWHIWHIT AND LINSEY.
I FOUND THE MOST COMFORTABLE

1635
01:38:28,307 --> 01:38:31,077
CHAIR.
IT IS THOSE CURVED SOFAS, IN

1636
01:38:31,077 --> 01:38:33,679
CASE ANYONE IS WONDERING.

1637
01:38:33,679 --> 01:38:34,413
>> OKAY.

1638
01:38:34,413 --> 01:38:37,216
>> IT'S ALL ABOUT THE
COMFORTABLE SEATING FOR ME.

1639
01:38:37,216 --> 01:38:41,587
>> YES, EXACTLY.
EVA, CAN YOU WEDGE ONE OF THE

1640
01:38:41,587 --> 01:38:42,923
EXIT DOORS OPEN?

1641
01:38:42,923 --> 01:38:44,156
>> YES.

1642
01:38:44,156 --> 01:38:45,691
>> WE'LL SNEAK IN AND MEET YOU.

1643
01:38:45,691 --> 01:38:47,994
>> THOSE CHOCOLATE STATUETTES.

1644
01:38:47,994 --> 01:38:50,830
>> AND THEN WE'LL GET FULL
ACCESS. THANK YOU, EVA.

1645
01:38:50,830 --> 01:38:54,433
THE ACTORS HAVE REMINDED US JUST
HOW GRATEFUL THEY ARE, TOO, FOR

1646
01:38:54,433 --> 01:38:58,404
EVERY WALK-ON PART, SMALL ROLE,
ANY GIG THAT THEY FIRST HAVE

1647
01:38:58,404 --> 01:39:01,540
WHEN THEY WERE STARTING OUT, AND
LOOK AT WHERE IT LED THEM NOW.

1648
01:39:01,540 --> 01:39:04,610
WE ARE LEADING TO MORE BIG
CELEBRITY INTERVIEWS WHEN WE

1649
01:39:04,610 --> 01:39:07,079
RETURN AFTER THIS BREAK.
DON'T GO ANYWHERE.

1650
01:39:07,079 --> 01:39:09,115
OUR EXCLUSIVE LIVE COVERAGE FROM

1651
01:39:17,657 --> 01:39:21,160
♪

1652
01:39:21,160 --> 01:39:23,462
>>> AND WELCOME BACK.
YOU ARE LOOKING LIVE AT THIS

1653
01:39:23,462 --> 01:39:26,599
YEAR'S OSCARS RED CARPET.
WE'RE JUST ABOUT 15 MINUTES AWAY

1654
01:39:26,599 --> 01:39:32,805
FROM THE OFFICIAL OPENING OF THE
RED CARPET, EVERYTHING GETTING

1655
01:39:32,805 --> 01:39:36,609
STARTED AN HOUR EARLIER THAN
USUAL, AND THE NOMINEES ARE ON

1656
01:39:36,609 --> 01:39:37,143
THEIR WAY HERE.

1657
01:39:37,143 --> 01:39:42,014
>> IT WAS A THRILL TO SIT DOWN
WITH THE TALENTED ARTISTS AT THE

1658
01:39:42,014 --> 01:39:47,820
NOMINEES' LUNCHEON INCLUDING THE
FIRST NATIVE AMERICAN NOMINATED,

1659
01:39:47,820 --> 01:39:51,724
LILY GLADSTONE.
SHE SAID THE CELEBRATION SHOWS

1660
01:39:51,724 --> 01:39:57,163
THE IMPACT INDIGENOUS PEOPLE CAN
HAVE ON AND OFF SCREEN.

1661
01:39:57,163 --> 01:40:00,966
>> YOU HAVE NICE COLOR SKIN.
WHAT COLOR WOULD YOU SAY THAT IS?

1662
01:40:00,966 --> 01:40:04,303
>> MY COLOR.

1663
01:40:04,303 --> 01:40:08,674
>> SO WHERE WERE YOU WHEN YOU
FOUND OUT YOU WERE NOMINATED?

1664
01:40:08,674 --> 01:40:13,145
>> I WAS IN OKLAHOMA ON THE
OSAGE RESERVATION.

1665
01:40:13,145 --> 01:40:16,215
MY MOM WAS FILMING THE TV SCREEN
SO I COULD SEE IT.

1666
01:40:16,215 --> 01:40:17,883
I COULDN'T READ IT THROUGH THE
PHONE.

1667
01:40:17,883 --> 01:40:20,486
NO, MOM, I WANT TO SEE YOU AND
DAD.

1668
01:40:20,486 --> 01:40:23,823
SHE FLIPPED THE CAMERA AROUND
AND I LEARNED BASED ON THEIR

1669
01:40:23,823 --> 01:40:26,926
REACTION THAT IT HAD GONE THAT
WAY.

1670
01:40:26,926 --> 01:40:31,230
>> AND HOW HAVE THE OSAGE
RESPONDED TO ALL OF THIS ATTENTION?

1671
01:40:31,230 --> 01:40:36,602
>> ONE OF THE SILVER LINEINGS OF
HAVING BEEN ON STRIKE WHEN THE

1672
01:40:36,602 --> 01:40:41,374
FILM CAME OUT, IT GAVE THE
SPOTLIGHT TO OSAGE PEOPLE,

1673
01:40:41,374 --> 01:40:45,144
PEOPLE WHO WORKED ON THE FILM,
WERE SURVIVORS OF THE VICTIMS OF

1674
01:40:45,144 --> 01:40:50,182
THE REIGN OF TERROR TO SPEAK
ABOUT IT FIRST, WHICH FELT

1675
01:40:50,182 --> 01:40:52,785
APPROPRIATE.
THE STORY BLIELONGS TO THEM.

1676
01:40:52,785 --> 01:40:58,257
IT WAS MADE WITH MARTIN SCORCESE
AND THE OSAGE PEOPLE.

1677
01:40:58,257 --> 01:41:02,628
THE LEVEL OF OWNERSHIP AND PRIDE
OF THE STORY IS ONE OF THE FEW

1678
01:41:02,628 --> 01:41:07,433
TIMES IN MY OWN CAREER I'VE SEEN
A ROLE I'M PLAYING ON SCREEN AND

1679
01:41:07,433 --> 01:41:11,036
I'M JUST FEELING FOR THAT PERSON.
I FELT SO MUCH PROTECTIVENESS

1680
01:41:11,036 --> 01:41:14,173
OVER MOLLY, WATCHING HER IN A
WAY THAT, YOU KNOW, THE WAY YOU

1681
01:41:14,173 --> 01:41:17,143
STAND UP FOR YOUR FRIENDS BEFORE
YOU STAND UP FOR YOURSELF.

1682
01:41:17,143 --> 01:41:18,477
I NEED YOU HERE.

1683
01:41:18,477 --> 01:41:21,814
>> I'M RIGHT HERE.

1684
01:41:21,814 --> 01:41:25,651
>> WHEN YOU FEEL FOR HER AND YOU
FALL IN LOVE WITH HER BEAUTIFUL

1685
01:41:25,651 --> 01:41:30,623
SISTERS, HER INCREDIBLE MOTHER,
THESE INCREDIBLY EMOTIONALLY

1686
01:41:30,623 --> 01:41:37,129
HEAVY, IMPACTFUL MOMENTS BROUGHT
BY THESE WOMEN ON SCREEN, A REAL

1687
01:41:37,129 --> 01:41:39,865
HUMANIZATION.
LOOKING AT THIS RELATIONSHIP IS

1688
01:41:39,865 --> 01:41:43,736
AN ANALOGY FOR THIS LARGER
SYSTEM OF EXPLOITATION OF

1689
01:41:43,736 --> 01:41:46,372
INDIGENOUS PEOPLE, OF INDIGENOUS
TRUST.

1690
01:41:46,372 --> 01:41:48,707
I THINK THE FILM DID AN IMMENSE
JOB.

1691
01:41:48,707 --> 01:41:53,712
>> I RED YOU KEPT A PICTURE OF
MOLLY ON THE FRONT OF YOUR

1692
01:41:53,712 --> 01:41:56,449
SCRIPT, AND IT WAS IMPORTANT FOR
YOU TO SHOW HER AS A SURVIVOR

1693
01:41:56,449 --> 01:41:59,318
NOT SO MUCH A VICTIM.

1694
01:41:59,318 --> 01:42:03,122
>> I THINK ACTORS GET EXCITED
ABOUT DOING A BIO PIECE.

1695
01:42:03,122 --> 01:42:05,958
I DO, TOO.
YOU GET TO SIT AND STUDY

1696
01:42:05,958 --> 01:42:09,762
SOMEBODY ELSE'S VOICE, THEIR
INTONATION, THEIR BODY LANGUAGE.

1697
01:42:09,762 --> 01:42:12,665
THERE WAS NONE OF THAT FROM
MOLLY. THERE WERE PHOTOGRAPHS.

1698
01:42:12,665 --> 01:42:17,603
SO THESE TWO PHOTOS THAT I HAVE,
THE FRONT WAS MOLLY BEFORE SHE

1699
01:42:17,603 --> 01:42:21,340
MET ERNEST, TAKEN WITH HER
SISTERS WHEN THEY WERE VERY

1700
01:42:21,340 --> 01:42:22,908
YOUNG.
THE LOOK ON HER FACE, I WOULD

1701
01:42:22,908 --> 01:42:26,412
SIT AND ABSORB WHO SHE WAS.
BUT THEN ON THE OTHER SIDE OF MY

1702
01:42:26,412 --> 01:42:29,949
BINDER, I HAD A PHOTO OF HER NOT
LONG BEFORE SHE PASSED AWAY.

1703
01:42:29,949 --> 01:42:33,319
SHE HAS THIS HEAD TILT THAT I
TOTALLY COULD SEE IN HER

1704
01:42:33,319 --> 01:42:38,390
GRANDDAUGHTER, A LITTLE BIT OF A
WRY SMILE, HER HEAD WAS UP AND

1705
01:42:38,390 --> 01:42:43,963
SHE LOOKED LIKE SHE WON, THE
SPIRIT AS AN OSAGE WOMAN.

1706
01:42:43,963 --> 01:42:47,833
>> YOUR REACTION TO BEING THE
FIRST NATIVE AMERICAN WOMAN TO

1707
01:42:47,833 --> 01:42:51,437
EVER GET THE BEST ACTRESS FOR
THE ACADEMY AWARDS?

1708
01:42:51,437 --> 01:42:54,673
>> THE FIRST NATIVE AMERICAN
NOMINEE FOR THIS KIND OF BLOWS

1709
01:42:54,673 --> 01:42:59,345
MY MIND.
THE ORIGIN OF FILM, SOME OF THE

1710
01:42:59,345 --> 01:43:03,816
EARLIEST FILM REEL, GOING OUT TO
SEE, WERE MADE BY NATIVE PEOPLE

1711
01:43:03,816 --> 01:43:06,552
DOCUMENTING AND SHOWING AND
CAPTURING SOME OF OUR DANCES,

1712
01:43:06,552 --> 01:43:11,957
OUR OWN STORIES.
AMERICAN INDIANS WERE AT THE

1713
01:43:11,957 --> 01:43:18,164
HEART OF HOLLYWOOD IN THE 1920s.
THEY INFLUENCED THE CULL TURE O

1714
01:43:18,164 --> 01:43:19,431
FILM.
IT DOESN'T MEAN IT DOESN'T HAVE

1715
01:43:19,431 --> 01:43:23,802
A HUGE IMPACT FOR LEADING ACTORS.
IT'S A BIG DEAL.

1716
01:43:23,802 --> 01:43:27,873
IT'S LONG OVERDUE BUT IS VERY
WELCOME.

1717
01:43:27,873 --> 01:43:28,541
>> THE POTENTIAL TO MAKE SOME

1718
01:43:42,288 --> 01:43:44,957
♪ IT MIGHT SEEM CRAZY WHAT I'M

1719
01:43:44,957 --> 01:43:45,791
ABOUT TO SING ♪

1720
01:43:45,791 --> 01:43:47,793
>>> WELCOME BACK TO OUR ABC
COVERAGE FROM HOLLYWOOD.

1721
01:43:47,793 --> 01:43:52,064
WE ARE THE OFFICIAL HOME OF THE
OSCARS AND HAPPY, SO HAPPY, TO

1722
01:43:52,064 --> 01:43:54,200
BE JOINING YOU LIVE FROM THE RED
CARPET.

1723
01:43:54,200 --> 01:43:57,336
WE'VE BEEN TAKING A LOOK AT HOW
A FEW OF TONIGHT'S NOMINEES

1724
01:43:57,336 --> 01:44:03,642
STARTED THEIR ACTING CAREERS
EARLY ON, SOME AT THEIR EARLIEST

1725
01:44:03,642 --> 01:44:05,077
ROLES, OTHERS NOT SO MUCH.

1726
01:44:05,077 --> 01:44:08,814
>> WITH THAT IT'S TIME TO TAKE A
LOOK AT THE WOMEN IN THE BEST

1727
01:44:08,814 --> 01:44:11,383
SUPPORTING ACTRESS CATEGORY LONG
BEFORE THEY WERE NOMINEES.

1728
01:44:11,383 --> 01:44:15,888
BACK TO OUR COLLEAGUE DeMARCO
MORGAN FOR THAT. DeMARCO?

1729
01:44:15,888 --> 01:44:19,725
>> IT IS GOOD TO SEE YOU AGAIN.
FOUR OUT OF THE FIVE IN THIS

1730
01:44:19,725 --> 01:44:21,126
CATEGORY, IT IS THEIR FIRST
NOMINATION.

1731
01:44:21,126 --> 01:44:24,530
BEFORE THIS, THEY WERE IN DISNEY
CHANNEL MOVIES AND ON THEATER

1732
01:44:24,530 --> 01:44:26,465
STAGES, BUT ONLY ONE, AND I MEAN
ONE, CAN TAKE HOME THE GOLD

1733
01:44:26,465 --> 01:44:33,272
TONIGHT.
AMERICA FERRARA PICKS UP HER

1734
01:44:33,272 --> 01:44:37,443
FIRST NOMINATION AS THE EVERYDAY
MOM, GLORIA, A PIVOTAL ROLE

1735
01:44:37,443 --> 01:44:41,814
WHICH PROVIDES THE POWERFUL AND
WIDELY ACCLAIMED MONOLOGUE IN "BARBIE."

1736
01:44:41,814 --> 01:44:45,084
>> YOU'RE SUPPOSED TO STAY
PRETTY FOR MEN, NOT SO PRETTY

1737
01:44:45,084 --> 01:44:47,686
THAT YOU TEMPT THEM TOO MUCH OR
THREATEN OTHER WOMEN BECAUSE

1738
01:44:47,686 --> 01:44:51,390
YOU'RE SUPPOSED TO BE A PART OF
THE SISTERHOOD BUT ALWAYS STAND OUT.

1739
01:44:51,390 --> 01:44:56,762
>> STAND OUT SHE DID AS THE
LIVELY AND PASSIONATE YOLANDA

1740
01:44:56,762 --> 01:44:59,565
SHOWING OFF HER DANCE MOVES AT
THE 2002 DISNEY CHANNEL MOVIE

1741
01:44:59,565 --> 01:45:06,772
"GOT TO KICK IT UP. Y
"A ROLE SHE SAYS PUT HER ON THE

1742
01:45:06,772 --> 01:45:07,473
MAP.

1743
01:45:07,473 --> 01:45:09,375
>> I THOUGHT I WOULD BE
NOMINATED.

1744
01:45:09,375 --> 01:45:12,511
I WAS DISAPPOINTED IN THE
ACADEMY TO LEARN THEY DIDN'T

1745
01:45:12,511 --> 01:45:15,781
CONSIDER DISNEY CHANNEL MOVIES.
SO, YOU KNOW, 17-YEAR-OLD

1746
01:45:15,781 --> 01:45:18,817
AMERICA IS WONDERING WHAT TOOK
SO LONG.

1747
01:45:18,817 --> 01:45:21,854
>> AND IN 2002 SHE DIDN'T HAVE
TO WAIT LONG TO BE CAST AS THE

1748
01:45:21,854 --> 01:45:27,426
LEAD IN HER FIRST FEATURE FILM
"REAL WOMEN HAVE CURVES."

1749
01:45:27,426 --> 01:45:33,098
SHE PLAYS A YOUNG ANNA GARCIA,
HER NOW INFAMOUS MONOLOGUE,

1750
01:45:33,098 --> 01:45:35,968
DEFIES HER MOTHER'S VIEWS ON HOW
A WOMAN SHOULD LOOK.

1751
01:45:35,968 --> 01:45:39,171
>> HOW DARE ANYBODY TELL ME WHAT
I SHOULD LOOK LIKE OR WHAT I

1752
01:45:39,171 --> 01:45:42,308
SHOULD BE WHEN THERE'S SO MUCH
MORE TO ME THAN JUST MY WEIGHT.

1753
01:45:42,308 --> 01:45:48,580
>> THAT SAME YEAR SHE WOULD BE
CAST IN A SINGLE EPISODE OF THE

1754
01:45:48,580 --> 01:45:54,053
CBS DRAMA "TOUCHED BY AN ANGEL"
WHERE SHE PLAYS A SPECIAL NEEDS STUDENT.

1755
01:45:54,053 --> 01:45:57,690
>> I WALK OUT OF THAT CLASS
EVERY TIME I CAN HEAR THOSE KIDS.

1756
01:45:57,690 --> 01:45:59,892
OH, SPECIAL NEEDS.
SHE MUST BE STUPID.

1757
01:45:59,892 --> 01:46:03,929
I'M NOT STUPID.

1758
01:46:03,929 --> 01:46:07,132
>> THE NEXT YEAR WOULD BE CAREER
DEFINING AS SHE WAS CATAPULTED

1759
01:46:07,132 --> 01:46:11,737
INTO THE MAINSTREAM IN HER
BREAKOUT PERFORMANCE ON ABC'S

1760
01:46:11,737 --> 01:46:14,373
COMEDY DRAMA SERIES "UGLY BETTY."

1761
01:46:14,373 --> 01:46:16,508
>> BETTY SUAREZ.

1762
01:46:16,508 --> 01:46:17,242
>> HI.

1763
01:46:17,242 --> 01:46:22,281
>> Da'VINE JOY RANDOLPH IS
NOMINATED FOR HER FIRST OSCAR

1764
01:46:22,281 --> 01:46:25,451
FOR HER PERFORMANCE IN "THE
HOLDOVERS" AS THE HEAD COOK OF A

1765
01:46:25,451 --> 01:46:30,356
PREP SCHOOL WHO IS COPING WITH
THE LOSS OF HER SON IN THE

1766
01:46:30,356 --> 01:46:30,689
VIETNAM WAR.

1767
01:46:30,689 --> 01:46:34,760
>> MY SISTER PEGGY AND HER SON
INVITED ME TO ADVICE KNIT

1768
01:46:34,760 --> 01:46:36,295
ROXBURY.
I FEEL LIKE IT'S TOO SOON.

1769
01:46:36,295 --> 01:46:40,666
>> SHE BEGAN HER JOURNEY NEARLY
20 YEARS AGO AS A MUSICAL

1770
01:46:40,666 --> 01:46:44,770
THEATER MAJOR STARRING AS THE
WITCH IN PLAYS LIKE "INTO THE

1771
01:46:44,770 --> 01:46:52,611
WOODS" AND THE LEAD IN "MA R
RAINY'S BLACK BOTTOM."

1772
01:46:52,611 --> 01:46:58,250
IN 2012 SHE AUDITIONED FOR AN
UNDERSTUDY ROLE IN "GHOST THE MUSICAL".

1773
01:46:58,250 --> 01:47:03,122
>> I'M Da'VINE JOY RANDOLPH,
CURRENTLY IN LONDON REHEARSING

1774
01:47:03,122 --> 01:47:05,124
FOR A ROLE IN "GHOST."

1775
01:47:05,124 --> 01:47:06,392
♪ I'M OUT OF HERE

1776
01:47:06,392 --> 01:47:09,695
>> SHE GOT THAT ROLE AND QUICKLY
CAUGHT THE EYES OF CRITICS ON

1777
01:47:09,695 --> 01:47:17,503
BROADWAY EARNING HER A TONY
AWARD NOMINATION.

1778
01:47:17,503 --> 01:47:20,839
IN 2013 SHE WAS FIGHTING FOR
FAIR WAGES IN A SINGLE EPISODE

1779
01:47:20,839 --> 01:47:22,241
OF "THE GOOD WIFE."

1780
01:47:22,241 --> 01:47:25,644
>> DO YOU REALIZE WE GET PAID
10% LESS THAN STAFF AT OTHER

1781
01:47:25,644 --> 01:47:27,212
CHICAGO FIRMS OF OUR SIZE?

1782
01:47:27,212 --> 01:47:31,250
>> THE NEXT YEAR RANDOLPH WOULD
BE CAST AS A NURSE IN THE FILM

1783
01:47:31,250 --> 01:47:35,254
REQUESTING THE ANGRIEST MAN IN
BROOKLYN," ONE OF ROBIN

1784
01:47:35,254 --> 01:47:37,489
WILLIAMS' LAST FILMS, AN
EXPERIENCE SHE SAYS SHE WILL

1785
01:47:37,489 --> 01:47:38,991
NEVER FORGET.

1786
01:47:38,991 --> 01:47:43,328
>> IT WAS QUITE LITERALLY, I WAS
THE LOWEST PERSON ON THE TOTEM

1787
01:47:43,328 --> 01:47:47,366
POLE, AND I THINK HE MAY HAVE
TALKED TO MO MORE THAN ANYBODY

1788
01:47:47,366 --> 01:47:51,103
ELSE, AND I WILL NEVER FORGET
HOW THAT MAN WAS SO GENEROUS AND

1789
01:47:51,103 --> 01:47:54,873
SOUGHT ME OUT TO ENCOURAGE ME
AND IMPART WISDOM.

1790
01:47:54,873 --> 01:47:59,011
>> EMILY BLUNT IS A FORCE AS
KITTY OPPENHEIMER, THE WIFE AND

1791
01:47:59,011 --> 01:48:04,149
GUARDIAN OF THE FILM'S
PROTAGONIST ROBERT J. OPPENHEIMER.

1792
01:48:04,149 --> 01:48:06,685
>> YOU SIT THERE DAY AFTER DAY
LETTING THEM PICK OUR LIVES TO

1793
01:48:06,685 --> 01:48:12,658
PIECES. I WANT YOU FIRED.

1794
01:48:12,658 --> 01:48:18,730
>> SHE BEGAN HER CAREER OVER 20
YEARS AGO WHEN, AT THE AGE OF

1795
01:48:18,730 --> 01:48:24,470
18, SHE FIRST TOOK THE STAGE
ALONGSIDE DAME JUDI DENCH TO

1796
01:48:24,470 --> 01:48:26,872
PLAY THE ROYAL FAMILY.
FROM ROYALTY TO FIGHTING THE

1797
01:48:26,872 --> 01:48:30,976
ROMANS, THAT'S A YOUNG EMILY
BLUNT AS A CELTIC PRINCESS IN

1798
01:48:30,976 --> 01:48:37,082
THE DRAMA "THE WARRIOR QUEEN."
SHE WOULD JUMP FROM TELEVISION

1799
01:48:37,082 --> 01:48:42,054
TO FILM MAKING HER FEATURE DEBUT
PLAYING A YOUNG WOMAN OF WEALTH

1800
01:48:42,054 --> 01:48:46,425
AND PRIVILEGE IN THE CRITICALLY
ACCLAIMED FILM "MY SUMMER OF

1801
01:48:46,425 --> 01:48:47,492
LOVE" IN 2004.

1802
01:48:47,492 --> 01:48:50,195
>> SOME PEOPLE ARE PUT ON THIS
PLANET WHO ARE MADE TO SUCCEED

1803
01:48:50,195 --> 01:48:52,231
OR JUST MADE TO BLOSSOM.

1804
01:48:52,231 --> 01:48:53,532
>> IS IT POSSIBLE TO --

1805
01:48:53,532 --> 01:48:57,069
>> SUCCEED SHE WOULD MAKING HER
INTERNATIONAL DEBUT FROM THE

1806
01:48:57,069 --> 01:49:01,874
2006 CLASSIC "THE DEVIL WEARS
PRADA."

1807
01:49:01,874 --> 01:49:03,108
>> ANDREA?

1808
01:49:03,108 --> 01:49:04,877
>> YES.

1809
01:49:04,877 --> 01:49:06,979
>> GREAT.
HUMAN RESOURCES HAS AN ODD SENSE

1810
01:49:06,979 --> 01:49:09,047
OF HUMOR. FOLLOW ME.

1811
01:49:09,047 --> 01:49:15,621
>> DANIELLE BROOKS SNAGS HER
FIRST NOMINATION ALONGSIDE

1812
01:49:15,621 --> 01:49:17,890
COLMAN DOMINGO FOR HER
PERFORMANCE AS SOPHIA IN "THE

1813
01:49:17,890 --> 01:49:21,660
COLOR PURPLE."

1814
01:49:21,660 --> 01:49:26,265
>> GOD KNOWS I DO, BUT I'LL KILL
HIM DEAD BEFORE I LET HIM OR

1815
01:49:26,265 --> 01:49:27,532
ANYBODY BEAT ME.

1816
01:49:27,532 --> 01:49:31,103
>> ALMOST TEN YEARS AGO BROOKS
MADE A SPLASH ON BROADWAY IN THE

1817
01:49:31,103 --> 01:49:33,305
VERY SAME ROLE CATAPULTING HER
TO STARDOM.

1818
01:49:33,305 --> 01:49:34,640
>> I DON'T TELL YOU --

1819
01:49:34,640 --> 01:49:37,209
>> IT WASN'T LONG BEFORE SHE
WOULD LEAD THE PRODUCTION TO

1820
01:49:37,209 --> 01:49:43,015
JOIN THE CAST OF "ORANGE IS THE
NEW BLACK" AND BE INTRODUCED TO

1821
01:49:43,015 --> 01:49:45,350
AUDIENCES WORLDWIDE AS THE
ICONIC CHARACTER TASTY JEFFERSON.

1822
01:49:45,350 --> 01:49:52,658
>> IF I WAS THINKING I WOULD
HAVE KNOWN.

1823
01:49:52,658 --> 01:49:57,596
I NEVER HAD A CHANCE.

1824
01:49:57,596 --> 01:50:00,632
>> AND THE CHARACTER DEV.

1825
01:50:00,632 --> 01:50:03,468
>> LISTEN, YOU ARE GOING TO CALM
DOWN.

1826
01:50:03,468 --> 01:50:07,339
YOU'RE GOING TO PUT ON A BIG OLD
SMILE AND GET THIS MONEY.

1827
01:50:07,339 --> 01:50:08,507
DO YOU HEAR ME?

1828
01:50:08,507 --> 01:50:13,278
>> FROM GETTING CLIENTS ON
"RAVEN LIVE" TO PLAYING A BIRD

1829
01:50:13,278 --> 01:50:16,982
HERSELF, THAT'S BROOKS AS THE
VOICE IN THE ANIMATED FILM

1830
01:50:16,982 --> 01:50:19,651
"ANGRY BIRDS."

1831
01:50:19,651 --> 01:50:20,953
>> OH, I FELT A PECK.

1832
01:50:20,953 --> 01:50:27,793
>> JODIE FOSTER EARNED HER FIFTH
OSCAR NOMINATION IN "NYAD" AS

1833
01:50:27,793 --> 01:50:33,131
THE COACH AND CONFIDANTE OF
DIANA NYAD.

1834
01:50:33,131 --> 01:50:36,935
>> THIS ISN'T ABOUT YOU OR YOUR
DESTINY. THIS IS ABOUT ME, OKAY?

1835
01:50:36,935 --> 01:50:38,904
FOR ONCE THIS IS ABOUT ME.

1836
01:50:38,904 --> 01:50:42,708
>> LONG BEFORE SHE WAS TRAINING
SWIMMERS BOAT SIDE ON THE WATERS

1837
01:50:42,708 --> 01:50:44,476
OF THE CARIBBEAN --

1838
01:50:44,476 --> 01:50:46,244
>> USE COPPERTONE.

1839
01:50:46,244 --> 01:50:48,981
>> -- SHE WAS PROMOTING
COPPERTONE SUNSCREEN ON THIS

1840
01:50:48,981 --> 01:50:54,853
BOAT IN 1965 WHEN SHE WAS JUST 3
YEARS OLD.

1841
01:50:54,853 --> 01:50:57,889
SHE WOULD GET HER FIRST
ON-SCREEN TELEVISION CREDIT AT

1842
01:50:57,889 --> 01:51:03,962
THE AGE OF 5 IN THE ANDY
GRIFFITH SHOW "MAYBERRY."

1843
01:51:03,962 --> 01:51:06,398
>> WHEN HE KISSES HER, SHE WILL
AWAKEN.

1844
01:51:06,398 --> 01:51:08,367
>> HER CHILDHOOD ACTING CAREER
WOULD CONTINUE.

1845
01:51:08,367 --> 01:51:15,874
THIS CLASSIC 1969 EPISODE OF
"THE DORIS DAY SHOW."

1846
01:51:15,874 --> 01:51:17,676
>> WHAT IS A FALSE ALARM?

1847
01:51:17,676 --> 01:51:20,078
>> WHEN SOMEBODY COMES TO PUT
OUT A FIRE AND THERE IS NO FIRE.

1848
01:51:20,078 --> 01:51:23,648
>> SHE PLAYS THE ADORABLE LITTLE
SUSAN WHO, ALONG WITH HER

1849
01:51:23,648 --> 01:51:28,754
CLASSMATES, FALLS FOR THE NEW
TEACHER IN "MY THREE SONS."

1850
01:51:28,754 --> 01:51:31,923
FOSTER WOULD BE CATAPULTED TO
STARDOM WHEN AT THE AGE OF 14

1851
01:51:31,923 --> 01:51:35,827
SHE WOULD BECOME ONE OF THE
YOUNGEST ACTRESSES IN HOLLYWOOD

1852
01:51:35,827 --> 01:51:40,132
HISTORY TO BE NOMINATED FOR AN
OSCAR FOR HER BRILLIANT

1853
01:51:40,132 --> 01:51:43,235
PERFORMANCE IN MARTIN SCORCESE'S
TAXY DRIVER.

1854
01:51:43,235 --> 01:51:46,304
>> WHY DO YOU WANT ME TO GO BACK
TO MY PARENTS? THEY HATE ME.

1855
01:51:46,304 --> 01:51:47,739
WHY DO YOU THINK I SPLIT IN THE
FIRST PLACE?

1856
01:51:47,739 --> 01:51:50,442
THERE AIN'T NOTHING THERE.

1857
01:51:50,442 --> 01:51:55,313
>> WILL JODIE FOSTER PICK UP HER
THIRD OSCAR OR WILL THERE BE A

1858
01:51:55,313 --> 01:52:01,720
NEW FACE IN ACADEMY AWARD
HISTORY?

1859
01:52:01,720 --> 01:52:06,958
JODIE FOSTER'S NOMINATION FOR
"NYAD" COMES 29 YEARS AFTER HER

1860
01:52:06,958 --> 01:52:09,261
LAST OSCAR BID IN 1995, BUT
Da'VINE, SEEMS LIKE SHE'S THE

1861
01:52:09,261 --> 01:52:12,330
ONE TO BEAT THIS SEASON.
IF I'M A BETTING MAN, AND YOU

1862
01:52:12,330 --> 01:52:15,467
KNOW ME, I THINK SOMEBODY WILL
BE SINGING A VICTORY TUNE BEFORE

1863
01:52:15,467 --> 01:52:18,036
THE NIGHT IS OUT.
WE'LL SEND THINGS BACK TO YOU.

1864
01:52:18,036 --> 01:52:20,005
>> ALL RIGHT.
A LOT OF PEOPLE ONBOARD WITH

1865
01:52:20,005 --> 01:52:21,606
THAT.
I LOVE SEEING THOSE EARLY CLIPS,

1866
01:52:21,606 --> 01:52:25,444
BY THE WAY.
NOT SURE THE NOMINEES LIKE

1867
01:52:25,444 --> 01:52:27,446
SEEING THEM WHEN WE PUT THEM ON
THE AIR, BUT IT'S FUN.

1868
01:52:27,446 --> 01:52:30,182
>>> COMING UP RIGHT HERE, WE'RE
GOING TO TAKE A LOOK AT THE RACE

1869
01:52:30,182 --> 01:52:35,620
FOR BEST ACTOR.
WILL CILLIAN MURPHY FIN, OUT HIS

1870
01:52:35,620 --> 01:52:37,022
RUN WITH HIS FIRST OSCAR.

1871
01:52:47,684 --> 01:52:50,962
♪

1872
01:52:50,962 --> 01:52:53,934
>>> AND WELCOME BACK TO
HOLLYWOOD.

1873
01:52:53,934 --> 01:52:57,070
WE ARE LIVE FROM OUR GREAT
POSITION ALONG THE ARRIVALS

1874
01:52:57,070 --> 01:53:00,874
CARPET AT THE DOLBY THEATRE, THE
SITE OF TONIGHT ANSWER 96th

1875
01:53:00,874 --> 01:53:04,744
ANNUAL ACADEMY AWARDS.
WE'RE STARTING TO SEE A BIT MORE

1876
01:53:04,744 --> 01:53:06,346
TRAFFIC ON THE CARPET.
HOPEFULLY THE NOMINEES WHO ARE

1877
01:53:06,346 --> 01:53:09,149
ON THEIR WAY ARE NOT HITTING TOO
MUCH OF THAT TRAFFIC.

1878
01:53:09,149 --> 01:53:11,851
WE ARE GETTING WORD THE RED
CARPET IS OFFICIALLY OPEN.

1879
01:53:11,851 --> 01:53:13,453
>> OPEN FOR BUSINESS, WHIT.

1880
01:53:13,453 --> 01:53:13,987
>> IT'S ON.

1881
01:53:13,987 --> 01:53:16,790
>> THIS IS CERTAINLY ONE
HOLLYWOOD PARTY YOU DO NOT WANT

1882
01:53:16,790 --> 01:53:19,893
TO SHOW UP FASHIONABLY LATE.
WE CAN IMAGINE THE FIVE TALENTED

1883
01:53:19,893 --> 01:53:23,930
MEN NOMINATED FOR BEST ACTOR ARE
ALL WELL AWARE AND MINDFUL OF

1884
01:53:23,930 --> 01:53:25,732
THAT.
HERE IS A REMINDER OF WHO IS

1885
01:53:25,732 --> 01:53:30,904
VYING FOR THE OSCAR IN THIS
CATEGORY.

1886
01:53:30,904 --> 01:53:31,504
♪ 6.

1887
01:53:31,504 --> 01:53:35,342
>> I HAVE HAD THE MISFORTUNE OF
TEACHING YOU THIS SEMESTER, AND

1888
01:53:35,342 --> 01:53:40,613
EVEN WITH MY OCULAR LIMITATIONS,
I WITNESSED FIRSTHAND YOUR

1889
01:53:40,613 --> 01:53:43,216
GLAZED, UNCOMPREHENDING
EXPRESSIONS.

1890
01:53:43,216 --> 01:53:44,517
>> SIR, I DON'T UNDERSTAND.

1891
01:53:44,517 --> 01:53:47,854
>> THAT'S GLARINGLY APPARENT.

1892
01:53:47,854 --> 01:53:51,758
>> I CAME TO YOU WITH THOSE
CALCULATIONS, WE THOUGHT WE

1893
01:53:51,758 --> 01:53:54,761
MIGHT START A CHAIN REACTION
THAT WOULD DESTROY THE ENTIRE

1894
01:53:54,761 --> 01:53:58,665
WORLD.

1895
01:53:58,665 --> 01:54:04,004
>> I REMEMBER IT WELL.
WHAT ARE THEY?

1896
01:54:04,004 --> 01:54:06,506
>> I BELIEVE WE DID.

1897
01:54:06,506 --> 01:54:13,013
>> I'M FED UP WITH IT, THE BLACK
PEOPLE IN POVERTY, BLACK PEOPLE

1898
01:54:13,013 --> 01:54:15,015
RAPPING, BLACK PEOPLE AS SLAVES,
BLACK PEOPLE MURDERED BY THE

1899
01:54:15,015 --> 01:54:20,020
POLICE.
ALL NARRATIVES ABOUT BLACK FOLKS

1900
01:54:20,020 --> 01:54:22,288
IN DIRE CIRCUMSTANCES WHO STILL
MANAGE TO MAINTAIN THEIR DIGNITY

1901
01:54:22,288 --> 01:54:24,758
BEFORE THEY DIE.

1902
01:54:24,758 --> 01:54:27,994
>> AND I LOVE MUSIC.
I LOVE MUSIC SO MUCH, IT KEEPS

1903
01:54:27,994 --> 01:54:30,563
ME GLUED TO LIFE EVEN WHEN I'M
DEPRESSED, AND I CAN GET DEEPLY

1904
01:54:30,563 --> 01:54:36,169
DEPRESSED.
BUT I HAVE A WORK ETHIC AND THAT

1905
01:54:36,169 --> 01:54:37,103
KEEPS ME AFLOAT.

1906
01:54:37,103 --> 01:54:40,807
>> ON THE DAY THAT I WAS BORN
BLACK, I WAS ALSO BORN A

1907
01:54:40,807 --> 01:54:45,645
HOMOSEXUAL.
THEY EITHER BELIEVE IN FREEDOM

1908
01:54:45,645 --> 01:54:52,752
AND JUSTICE FOR ALL, OR THEY DO
NOT.

1909
01:54:52,752 --> 01:54:56,723
>> SOME COMPELLING ROLES THERE.
SO IS CILLIAN MURPHY STILL THE

1910
01:54:56,723 --> 01:54:59,626
ONE TO BEAT?
CLAYTON DAVIS IS BACK WITH US TO

1911
01:54:59,626 --> 01:55:04,564
HANDICAP THIS RACE TWHA.
WHAT DO YOU THINK?

1912
01:55:04,564 --> 01:55:10,470
>> WE HAVE 12-TIME AWARD NOMINEE
BRADLEY COOPER, PAUL GIAMATTI

1913
01:55:10,470 --> 01:55:14,607
HASN'T WON, JEFFREY WRIGHT
HASN'T WON.

1914
01:55:14,607 --> 01:55:17,610
CILLIAN, THAT'S HARD TO BEAT.
I THINK IT'S GOING ALONG WITH

1915
01:55:17,610 --> 01:55:18,278
THE "OPPENHEIMER" --

1916
01:55:18,278 --> 01:55:19,612
>> THE MOMENTUM IS THERE.

1917
01:55:19,612 --> 01:55:22,882
>> I'VE BEEN HEARING ABOUT PAUL
GIAMATTI, SO WE'LL SEE.

1918
01:55:22,882 --> 01:55:23,717
>> SPOILER.

1919
01:55:23,717 --> 01:55:26,486
>> IT COULD HAPPEN.

1920
01:55:26,486 --> 01:55:29,222
>> THANK YOU, CLAYTON.
AS WE MENTIONED, THE RED CARPET

1921
01:55:29,222 --> 01:55:32,192
IS OFFICIALLY OPEN FOR BUSINESS.
THE STARS HAVE STARTED TO

1922
01:55:32,192 --> 01:55:33,960
ARRIVE.
SO MANY OF THEM PLAYING A ROLE

1923
01:55:33,960 --> 01:55:37,464
IN TONIGHT'S FESTIVITIES
INCLUDING OUR NEXT GUESTS WHO

1924
01:55:37,464 --> 01:55:40,400
ARE STANDING BY WITH CHRIS AND
KELLEY.

1925
01:55:40,400 --> 01:55:46,573
>> HEY, GUYS.
HERE I AM WITH CELEBRITY DEEJAYS

1926
01:55:46,573 --> 01:55:49,609
DEEJAY MLS AND KISS I AM FRIENDS
WITH, TOO.

1927
01:55:49,609 --> 01:55:52,912
YOU HAVE BEEN DOING THIS FOR
EIGHT OR NINE YEARS.

1928
01:55:52,912 --> 01:55:55,782
DOESN'T THE PRESSURE INCREASE AS
YOU GET MORE AND MORE INTO THE

1929
01:55:55,782 --> 01:55:58,184
YEARS WITH THIS?
WHAT'S IT LIKE FOR YOU.

1930
01:55:58,184 --> 01:56:00,487
>> NOT REALLY.
WE'RE VERY COMFORTABLE BEING

1931
01:56:00,487 --> 01:56:05,225
HERE. WE'VE BEEN HERE EIGHT, NINE
YEARS. WE UNDERSTAND THE CROWD.

1932
01:56:05,225 --> 01:56:08,728
>> IT'S ALWAYS AN HONOR.
IT'S ALWAYS AN HONOR.

1933
01:56:08,728 --> 01:56:11,664
>> WHAT'S THE SONG THAT YOU PLAY
THAT YOU WANT EVERYONE TO GET ON

1934
01:56:11,664 --> 01:56:13,733
THE DANCE FLOOR TO?

1935
01:56:13,733 --> 01:56:17,170
>> I WOULD SAY WE LIKE TO KEEP
IT CLASSIC.

1936
01:56:17,170 --> 01:56:19,672
I WOULD SAY "DON'T STOP UNTIL
YOU GET ENOUGH."

1937
01:56:19,672 --> 01:56:20,540
EVERYBODY HITS THE FLOOR.

1938
01:56:20,540 --> 01:56:24,410
>> DEFINITELY.
OR PRINCE "KISS."

1939
01:56:24,410 --> 01:56:28,047
>> I LIKE THAT.
WHAT HAPPENS WHEN YOU HAVE A

1940
01:56:28,047 --> 01:56:30,884
WINNER OR NOMINEE FOR BEST
ORIGINAL SONG WALK INTO THAT

1941
01:56:30,884 --> 01:56:33,086
GOVERNS BALL?
DO YOU TRY AND DROP THE TRACK?

1942
01:56:33,086 --> 01:56:39,592
WHAT'S IT LIKE FOR YOU?
IS THERE PRESSURE? NOT REALLY.

1943
01:56:39,592 --> 01:56:43,863
I REMEMBER WE'RE A BIG FAN OF
THE ALBUM AND DROP A COUPLE TRACKS.

1944
01:56:43,863 --> 01:56:48,434
>> A LOT OF THE BEST SONG
NOMINEES ARE -- THE BEST SONGS

1945
01:56:48,434 --> 01:56:51,104
ARE VERY CINEMATIC, SO THEY'RE
NOT FOR A PARTY.

1946
01:56:51,104 --> 01:56:53,840
THEY WORK BETTER IN A MOVIE.

1947
01:56:53,840 --> 01:56:57,143
>> HOTTEST SONG THIS YEAR YOU
THINK YOU ARE GOING TO PLAY WHAT

1948
01:56:57,143 --> 01:57:01,714
IS THAT GOING TO BE, THAT CAME
OUT? A NEW SONG?

1949
01:57:01,714 --> 01:57:04,918
>> BEYONCE, 100%.
IT'S NUMBER ONE RIGHT NOW.

1950
01:57:04,918 --> 01:57:08,488
>> IT'S NUMBER ONE ON MULTIPLE
CHARTS SO YOU HAVE TO PLAY THAT TONIGHT.

1951
01:57:08,488 --> 01:57:11,624
>> SO WE'RE THINKING WE'RE GOING
TO SEE A LOT OF FAMOUS PEOPLE

1952
01:57:11,624 --> 01:57:12,892
DOING A LINE DANCE AT THE PARTY?

1953
01:57:12,892 --> 01:57:15,829
>> A LOT OF LINE DANCING, YES.

1954
01:57:15,829 --> 01:57:19,532
>> TAKE ME BACK TO YOUR FIRST
OSCARS AND THEN FLASH FORWARD TO

1955
01:57:19,532 --> 01:57:22,669
THIS ONE, WHAT'S BEEN THE
JOURNEY FOR BOTH OF YOU

1956
01:57:22,669 --> 01:57:25,338
ESPECIALLY THAT YOU GET TO DO
THIS TOGETHER, TOO?

1957
01:57:25,338 --> 01:57:33,079
>> FIRST OF ALL, IT'S LIKE A
BLESSING.

1958
01:57:33,079 --> 01:57:34,581
TO BELIEVE AND GROW WITH
MICHELLE.

1959
01:57:34,581 --> 01:57:37,584
THE SHOW HAS BEEN AROUND FOR A
LONG TIME, BUT IN THE LAST NINE

1960
01:57:37,584 --> 01:57:39,152
YEARS WE'VE GROWN.

1961
01:57:39,152 --> 01:57:43,489
>> IT'S A JOURNEY AND THE
ANCHORS REALLY ANCHOR -- EXCUSE

1962
01:57:43,489 --> 01:57:47,627
ME, THE OSCARS ANCHORS THE YEAR.
WE LOOK FORWARD TO IT.

1963
01:57:47,627 --> 01:57:50,797
WHEN IT'S A COUPLE MONTHS OUT,
WE START GETTING READY, WE START

1964
01:57:50,797 --> 01:57:54,267
GETTING EXCITED.
AND IT'S JUST, LIKE I SAID, A

1965
01:57:54,267 --> 01:57:57,470
TREMENDOUS HONOR TO BE HERE AND
HELP CELEBRATE ALL OF THE

1966
01:57:57,470 --> 01:57:58,404
NOMINEES AND WINNERS.

1967
01:57:58,404 --> 01:58:03,109
>> YOU HEARD IT HERE FIRST.
CELEBRITIES WILL BE LINE DANCING.

1968
01:58:03,109 --> 01:58:03,743
BACK TO YOU, WHIT AND LINSEY.

1969
01:58:03,743 --> 01:58:06,980
>> WE LOVE IT, ALL RIGHT.
THE PARTY JUST GETTING STARTED.

1970
01:58:06,980 --> 01:58:09,148
KELLEY, THANK YOU SO MUCH.
YOU CAN SEE THE RED CARPET

1971
01:58:09,148 --> 01:58:11,217
REALLY STARTING TO GET MORE
CROWDED, TOO.

1972
01:58:11,217 --> 01:58:13,686
WE HAVE MORE STARS ON THEIR WAY
TO US, SO STAY TUNED.

1973
01:58:13,686 --> 01:58:17,257
WE'LL BE BACK FROM HOLLYWOOD

1974
01:58:26,532 --> 01:58:30,603
♪

1975
01:58:30,603 --> 01:58:31,871
♪ I WILL PROVE YOU WRONG

1976
01:58:31,871 --> 01:58:34,907
>>> AS YOU CAN SEE WITH THE RED
CARPET NOW OFFICIALLY OPEN, THE

1977
01:58:34,907 --> 01:58:37,877
PHOTOGRAPHERS AND THE FANS
FINALLY GETTING A CHANCE TO SEE

1978
01:58:37,877 --> 01:58:41,915
THEIR FAVORITE STARS IN PERSON.
WE'RE ALL WONDERING WHO WILL BE

1979
01:58:41,915 --> 01:58:43,549
THE EARLY BIRD TODAY.
WHO ARE GOING TO BE THE FIRST

1980
01:58:43,549 --> 01:58:46,252
STARS TO SHOW UP?
WE'LL BE THE FIRST TO FIND OUT.

1981
01:58:46,252 --> 01:58:49,656
THE RACE FOR BEST SUPPORTING
ACTOR, ROBERT DOWNEY JR. IS THE

1982
01:58:49,656 --> 01:58:52,725
FRONT-RUNNER AFTER AN INCREDIBLE
AWARDS SEASON ARRIVED.

1983
01:58:52,725 --> 01:58:57,063
THE CATEGORY IS STACKED WITH A
LOT OF TALENTED ACTORS INCLUDING

1984
01:58:57,063 --> 01:59:00,133
A FIRST-TIME NOMINEE, A LEGEND
MAKING HISTORY, REPEAT NOMINEES

1985
01:59:00,133 --> 01:59:07,640
AND, OF COURSE, A WHOLE LOT OF
KENERGY.

1986
01:59:07,640 --> 01:59:11,678
>> KEN THIS IS MY DREAM HOUSE.
IT IS MY DREAM HOUSE! IT'S MINE!

1987
01:59:11,678 --> 01:59:16,149
>> NO, THIS IS NO LONGER
BARBIE'S DREAM HOUSE THIS WILL

1988
01:59:16,149 --> 01:59:21,421
BE KNOWN AS KEN'S MOJO DOJO CASA
HOUSE.

1989
01:59:21,421 --> 01:59:26,592
>> I TALKED IT OVER WHILE YOU DO
THIS --

1990
01:59:26,592 --> 01:59:27,193
>> TRIAL?

1991
01:59:27,193 --> 01:59:29,762
>> NO, NO TRIAL.
YOU CAN'T GIVE OPPENHEIMER A PLATFORM.

1992
01:59:29,762 --> 01:59:34,133
>> RIGHT.

1993
01:59:34,133 --> 01:59:41,307
I'VE BECOME THE VERY THING I H
HATE.

1994
01:59:41,307 --> 01:59:43,910
>> YOU TOLD THEM TO DO IT IN THE
FRONT OF THE HEAD, WHY DID YOU

1995
01:59:43,910 --> 01:59:45,244
DO IT IN THE BACK OF THE HEAD?

1996
01:59:45,244 --> 01:59:47,780
>> THE FRONT IS THE FRONT, THE
BACK IS THE BACK.

1997
01:59:47,780 --> 01:59:50,583
>> HE HAS TO MAKE IT LOOK LIKE
HE DONE IT HIMSELF.

1998
01:59:50,583 --> 01:59:51,484
IT LOOKS LIKE MURDER.

1999
01:59:51,484 --> 01:59:57,690
>> I'VE BEEN THINKING A LOT
LATELY ABOUT HOW DAD DIED NOT

2000
01:59:57,690 --> 01:59:58,858
KNOWING I'M GAY.

2001
01:59:58,858 --> 02:00:03,529
>> I THINK HE SUSPECTED IT.

2002
02:00:03,529 --> 02:00:10,169
>> MMM, HE MAY HAVE BUT HE
DIDN'T KNOW FOR SURE.

2003
02:00:10,169 --> 02:00:14,173
>> STIFF COMPETITION.
AGAIN, OUR TEAM OF EXPERTS

2004
02:00:14,173 --> 02:00:15,775
ASSEMBLE.
LET'S HANDICAP THIS RACE.

2005
02:00:15,775 --> 02:00:18,478
IS THIS A DONE DEAL FOR ROBERT
DOWNEY JR.?

2006
02:00:18,478 --> 02:00:19,412
>> YES, BUT --

2007
02:00:19,412 --> 02:00:20,413
>> IT IS?

2008
02:00:20,413 --> 02:00:23,149
>> BUT WE HAVE TO LOOK AT THIS,
THERE'S ALWAYS A SURPRISE ON THE

2009
02:00:23,149 --> 02:00:28,488
NIGHT.
NO ONE IS EXPECTING IT IN THIS

2010
02:00:28,488 --> 02:00:33,226
CATEGORY BUT RYAN GOSLING,
PEOPLE WHO LOVED "BARBIE," SAY

2011
02:00:33,226 --> 02:00:35,828
HE'S THE FUNNIEST PART OF THAT
MOVIE AND WHAT KIND OF A WIN

2012
02:00:35,828 --> 02:00:37,330
WOULD THAT BE?
ONE OF THE BEST THE ACADEMY EVER

2013
02:00:37,330 --> 02:00:42,235
CHOSE.
BUT MARK RUFFALO, FOUR-TIME

2014
02:00:42,235 --> 02:00:45,104
NOMINEE, HASN'T WON YET.
WE'LL SEE IF "IRON MAN" CAN BEAT

2015
02:00:45,104 --> 02:00:47,974
"THE INCREDIBLE HULK."
I THINK HE CAN.

2016
02:00:47,974 --> 02:00:51,644
>> HE WAS HILARIOUS IN "POOR
THINGS."

2017
02:00:51,644 --> 02:00:52,278
>> HE WAS.

2018
02:00:52,278 --> 02:00:55,848
>> AND CHRIS AND KELLEY, YOUR
THOUGHTS AS WELL?

2019
02:00:55,848 --> 02:00:59,018
>> I MEAN, YES, ROBERT DOWNEY
JR. ABSOLUTELY IS A LOCK FOR

2020
02:00:59,018 --> 02:01:02,989
THIS WIN TONIGHT.
HOWEVER, IF THERE'S A SURPRISE,

2021
02:01:02,989 --> 02:01:07,059
I'M GOING TO PUT SOME MONEY, AND
IT'S NOT GOING TO WIN ME MUCH,

2022
02:01:07,059 --> 02:01:10,596
MONEY ON STERLING K. BROWN
BECAUSE I LOVED HIS PERFORMANCE

2023
02:01:10,596 --> 02:01:15,067
IN "AMERICAN FICTION."
I THOUGHT HE WAS SO BRILLIANT,

2024
02:01:15,067 --> 02:01:18,805
CAPTIVATING, AND IN A SEASON,
QUITE FRANKLY, NO ONE WAS

2025
02:01:18,805 --> 02:01:21,207
TALKING ABOUT HIM BEING IN
CONTENTION, I THOUGHT THE OSCARS

2026
02:01:21,207 --> 02:01:25,111
MIGHT BE THE PLATE WHERE HE
SHOWS UP AND, LO AND BEHOLD, ON

2027
02:01:25,111 --> 02:01:29,415
NOMINATION DAY, HE SHOWED UP.
AND I THOUGHT THAT WAS SO RIGHT.

2028
02:01:29,415 --> 02:01:34,353
>> AS YOU HEAR THE CHEERS FOR
RYAN GOSLING FOLLOWING HIS

2029
02:01:34,353 --> 02:01:37,190
PERFORMANCE FOR "I'M JUST KEN"
YOU'LL WONDER WHY HE'S NOT

2030
02:01:37,190 --> 02:01:41,027
WINNING THIS AWARD. HERE IS WHY.
ROBERT DOWNEY JR. HAS ONE OF THE

2031
02:01:41,027 --> 02:01:44,597
MOST SIGNIFICANT CAREERS IN
HOLLYWOOD. HIS CASTING AS IRONMAN

2032
02:01:44,597 --> 02:01:47,266
TRANSFORMED WHAT THE MARVEL
MOVIES COULD BECOME AND THE KIND

2033
02:01:47,266 --> 02:01:50,536
OF TALENT THEY WOULD BE ABLE TO
CAST IN FUTURE MOVIES AND HIS

2034
02:01:50,536 --> 02:01:56,776
JOURNEY TO SOBRIETY IS ONE OF
THE MOST INSPIRING STORIES IN

2035
02:01:56,776 --> 02:01:57,710
THIS TOWN.
HE WILL WIN AND IT WILL MEAN A

2036
02:01:57,710 --> 02:01:59,779
LOT TO A LOT OF PEOPLE.
WHIT AND LINSEY?

2037
02:01:59,779 --> 02:02:02,315
>> ABSOLUTELY.
INCREDIBLY INSPIRING STORY AND A

2038
02:02:02,315 --> 02:02:04,584
LOT OF THOSE STORIES WE'RE GOING
TO BE FOLLOWING THROUGHOUT THE

2039
02:02:04,584 --> 02:02:06,519
COURSE OF THE DAY.
THANKS TO EVERYONE.

2040
02:02:06,519 --> 02:02:09,755
WE ARE NOT DONE YET WITH OUR
OSCARS PREDICTIONS. STAY WITH US.

2041
02:02:09,755 --> 02:02:12,391
WHEN WE COME BACK, WE'LL FIND
OUT WHICH FILM IS FAVORED TO

2042
02:02:12,391 --> 02:02:14,527
TAKE HOME THE BIGGEST PRIZE OF
THE NIGHT.

2043
02:02:14,527 --> 02:02:17,897
AS WE GO TO BREAK, AGAIN,
ANOTHER LOOK AT THE STARS

2044
02:02:17,897 --> 02:02:20,566
ARRIVING IN ALL THEIR OSCAR
SPLENDOR.

2045
02:02:20,566 --> 02:02:22,802
TAKE A LOOK AT THE RED CARPET.

2046
02:02:34,247 --> 02:02:36,249
♪ PARTY, KARAMU FIESTA FOREVER

2047
02:02:36,249 --> 02:02:38,267
>>> BACK NOW ON THE RED CARPET
AT THE DOLBY THEATRE IN

2048
02:02:38,267 --> 02:02:41,504
HOLLYWOOD, AS WE COUNT DOWN TO
TONIGHT'S OSCARS, ALL THE

2049
02:02:41,504 --> 02:02:44,340
EXCITEMENT IS BEING BROADCAST TO
YOU LIVE RIGHT HERE ON ABC

2050
02:02:44,340 --> 02:02:46,008
LEADING UP TO TONIGHT'S BIG
AWARDS SHOW.

2051
02:02:46,008 --> 02:02:49,779
>> YEP, AND AS WE MENTIONED, A
LOT OF PEOPLE WILL BE ROOTING

2052
02:02:49,779 --> 02:02:54,550
FOR COLMAN DOMINGO, A JOURNEYMAN
ACTOR, WHO COULD MAKE HISTORY

2053
02:02:54,550 --> 02:02:57,319
WITH A WIN TONIGHT.
I SAT DOWN WITH THE BREAKOUT

2054
02:02:57,319 --> 02:03:02,458
STAR OF "RUSTIN" WHOSE ACTING
CAREER SPANS NEARLY 30 YEARS.

2055
02:03:02,458 --> 02:03:06,362
>> YOU CALL IT TROUBLE, I CALL
IT AN OPPORTUNITY.

2056
02:03:06,362 --> 02:03:13,769
>> LET'S TALK ABOUT RBYRON
RUSTIN. WHAT DID YOU KNOW?

2057
02:03:13,769 --> 02:03:17,206
>> I LEARNED ABOUT HIM WHEN I
WAS 19 YEARS OLD AS A STUDENT AT

2058
02:03:17,206 --> 02:03:19,475
TEMPLE UNIVERSITY.
I WANTED TO KNOW ABOUT MY OWN

2059
02:03:19,475 --> 02:03:21,210
PERSONAL HISTORY.
I THOUGHT, WHO IS THIS?

2060
02:03:21,210 --> 02:03:26,182
AND HE ORGANIZED THE MARCH ON
WASHINGTON AND HE WAS OPENLY GAY.

2061
02:03:26,182 --> 02:03:28,317
MY MIND WAS BLOWN AS A
19-YEAR-OLD.

2062
02:03:28,317 --> 02:03:32,188
OH, HERE IS SOMEBODY WHO IS
REALLY OWNING HIS POWER AND

2063
02:03:32,188 --> 02:03:36,225
VIGOROUSLY CHALLENGING SOCIAL
NORMS IN MANY WAYS, YET HE WAS

2064
02:03:36,225 --> 02:03:39,595
MARGINALIZED IN THE HISTORY
BOOKS BECAUSE HE WAS OPENLY GAY.

2065
02:03:39,595 --> 02:03:42,398
WE ARE GOING TO PUT TOGETHER THE
LARGEST PEACEFUL PROTEST IN THE

2066
02:03:42,398 --> 02:03:45,301
HISTORY OF THIS NATION.

2067
02:03:45,301 --> 02:03:47,069
>> HOW BIG?

2068
02:03:47,069 --> 02:03:48,938
>> 100,000 PEOPLE.

2069
02:03:48,938 --> 02:03:53,075
>> YOU'VE BEEN ON THIS JOURNEY
FOR THREE DECADES, DOING

2070
02:03:53,075 --> 02:03:57,780
OFF-BROADWAY GIGS, BARTENDING IN
BETWEEN, WHAT DOES IT MEAN TO

2071
02:03:57,780 --> 02:04:01,417
YOU TO BE AN OSCAR NOMINEE?

2072
02:04:01,417 --> 02:04:05,754
>> I ACTUALLY HOPE THIS IS

2073
02:04:05,754 --> 02:04:10,793
INSPIRATIONAL TO MY FELLOW
JOURNEYMEN.

2074
02:04:10,793 --> 02:04:16,432
THE PEOPLE DOING THE WORK FOR A
LONG TIME. I'M ONE OF THEM.

2075
02:04:16,432 --> 02:04:17,733
IT CAN HAPPEN FOR YOU WHEN YOU
CONTINUE TO DEDICATE YOURSELF TO

2076
02:04:17,733 --> 02:04:21,303
THE WORK.

2077
02:04:21,303 --> 02:04:22,571
>> IT HAS TO BE TRULY MEANINGFUL
FOR YOU.

2078
02:04:22,571 --> 02:04:25,508
>> IT IS IN SUCH EXTRAORDINARY
WAYS, WAYS I NEVER IMAGINED.

2079
02:04:25,508 --> 02:04:30,346
I AM ABLE TO LOOK BACK AND SEE
THAT ALL THE TIMES WHERE I

2080
02:04:30,346 --> 02:04:34,516
WASN'T INVITED TO THE TABLE OR I
DIDN'T GET THAT AUDITION, IT WAS

2081
02:04:34,516 --> 02:04:36,752
ALL BUILDING TO THE PERSON I AM
NOW.

2082
02:04:36,752 --> 02:04:39,588
>> ANOTHER BIG ROLE, "THE COLOR
PURPLE."

2083
02:04:39,588 --> 02:04:44,059
THIS ICONIC ROLE PLAYING MISTER.

2084
02:04:44,059 --> 02:04:47,363
>> YOU'RE BACK.
YOU'RE POOR. YOU'RE UGLY.

2085
02:04:47,363 --> 02:04:48,864
YOU'RE A WOMAN.
I SHOULD HAVE KEPT YOU UNDER MY

2086
02:04:48,864 --> 02:04:52,034
SHOE.

2087
02:04:52,034 --> 02:04:57,172
>> I HAD TO PUT MY ARMS AROUND
MISTER AND I HAD TO LOVE HIM AND

2088
02:04:57,172 --> 02:05:00,843
UNDERSTAND WHY WAS HE HURTING.
HE WASN'T THAT FAR AWAY FROM THE

2089
02:05:00,843 --> 02:05:08,450
IMPACT OF SLAVERY WHEN IT COMES
TO BLACK MEN OF AMERICA, IN

2090
02:05:08,450 --> 02:05:08,884
GENERATIONAL TRAUMA.

2091
02:05:08,884 --> 02:05:10,819
>> AND YOU, THROUGH THIS FILM,
AND OTHERS RECENTLY, HAVE BECOME

2092
02:05:10,819 --> 02:05:15,724
CLOSE WITH OPRAH.
TRUE OR FALSE, THOUGH, YOUR

2093
02:05:15,724 --> 02:05:21,030
MOTHER USED TO WRITE LETTERS TO
OPRAH IN OPENS ONE DAY SHE WOULD

2094
02:05:21,030 --> 02:05:24,800
SEE YOU AND RECOGNIZE YOUR
TALENTS?

2095
02:05:24,800 --> 02:05:29,071
>> TRUE.
AS A YOUNG ACTOR, ARTIST TRYING

2096
02:05:29,071 --> 02:05:34,443
TO FIND THEIR WAY, I'M A MAMA'S
BOY. I WOULD TALK TO MY MOTHER A

2097
02:05:34,443 --> 02:05:37,146
COUPLE TIMES A WEEK.
MY MOTHER WOULD SAY, I WROTE

2098
02:05:37,146 --> 02:05:41,717
OPRAH TODAY. WHY?
BECAUSE OPRAH HELPS PEOPLE. OKAY.

2099
02:05:41,717 --> 02:05:43,285
OKAY, MOM.
YEARS LATER, WE STARTED

2100
02:05:43,285 --> 02:05:47,990
ORGANICALLY BECOMING FRIENDS.
AND SUDDENLY IT CAME TO ME, CAN

2101
02:05:47,990 --> 02:05:53,062
I TELL HER THIS?
YES, HEY, OH, DO YOU KNOW THAT

2102
02:05:53,062 --> 02:05:57,232
MY MOTHER WROTE YOU I THINK AT
LEAST SIX TIMES?

2103
02:05:57,232 --> 02:06:00,803
AND SHE'S LIKE, REALLY?
SHE WANTED US TO KNOW EACH OTHER.

2104
02:06:00,803 --> 02:06:04,606
SHE PASSED AWAY IN 2006, AND I
THINK I JUST REALIZED HER

2105
02:06:04,606 --> 02:06:05,441
LETTERS REACHED YOU.

2106
02:06:05,441 --> 02:06:11,780
>> SHE SAID SHE DIDN'T ACTUALLY
RECEIVE THE LETTERS. BUT --

2107
02:06:11,780 --> 02:06:12,648
>> SHE RECEIVED THEM.

2108
02:06:12,648 --> 02:06:13,549
>> SHE BELIEVED THAT --

2109
02:06:13,549 --> 02:06:14,049
>> RECEIVED THE MESSAGE.

2110
02:06:14,049 --> 02:06:16,118
>> YES.

2111
02:06:16,118 --> 02:06:18,220
>> EXACTLY.
EVERYTHING THAT HAS HAPPENED,

2112
02:06:18,220 --> 02:06:22,324
EVEN ME SITTING HERE WITH YOU, I
THINK OF MY MOTHER.

2113
02:06:22,324 --> 02:06:25,661
I WANT TO BE A RESPECTED ACTOR
THAT WORKED IN SMALL

2114
02:06:25,661 --> 02:06:28,998
PROFESSIONAL THEATERS.
MY MOTHER SAW BIGGER THINGS FOR ME.

2115
02:06:28,998 --> 02:06:33,969
>> AND IF YOUR MOTHER, EDITH,
COULD SEE YOU AND SPEAK TO YOU

2116
02:06:33,969 --> 02:06:39,141
RIGHT NOW, OSCAR NOMINEE, WHAT
WOULD SHE SAY?

2117
02:06:39,141 --> 02:06:41,977
>> I KNOW SHE WOULD SAY THE
THING SHE ALWAYS SAID TO ME.

2118
02:06:41,977 --> 02:06:46,715
I LOVE YOU SO MUCH AND I'M SO
PROUD OF YOU.

2119
02:06:46,715 --> 02:06:49,718
>> ONE BIG SMILE.
THERE YOU GO.

2120
02:06:49,718 --> 02:06:54,390
>> HE WAS SO FUN TO TALK TO.
BY THE WAY, HE DID PROMISE ME

2121
02:06:54,390 --> 02:06:56,525
COFFEE WHEN HE CAME ON THE RED
CARPET, BUT I DON'T THINK THEY

2122
02:06:56,525 --> 02:06:59,061
WILL ALLOW IT.
THE ORDERS ARE IN, YOU HEARD IT

2123
02:06:59,061 --> 02:07:00,529
FIRST.
TIME TO TALK ABOUT THE BIGGEST

2124
02:07:00,529 --> 02:07:03,465
PRIZE OF THE NIGHT, OF COURSE,
BEST PICTURE, AND WE'RE GOING TO

2125
02:07:03,465 --> 02:07:05,567
BRING IN ALL OF OUR CONTRIBUTORS
FOR THIS ONE.

2126
02:07:05,567 --> 02:07:08,504
BUT BEFORE WE GET TO THAT, LET'S
PUT UP THE GRAPHIC ON THE SCREEN

2127
02:07:08,504 --> 02:07:11,273
TO REMIND EVERYONE OF THE TEN
FILMS NOMINATED.

2128
02:07:11,273 --> 02:07:14,443
>> OKAY, GUYS, WITH THE TIME WE
HAVE, CUT TO THE CHASE.

2129
02:07:14,443 --> 02:07:18,047
TELL US WHICH PICTURE YOU THINK
IS GOING TO WIN FOR BEST PICTURE.

2130
02:07:18,047 --> 02:07:20,582
CLAYTON, LET'S START WITH YOU.

2131
02:07:20,582 --> 02:07:22,885
>> IT'S "OPPENHEIMER" BECAUSE
THE OSCAR GODS SAID SO, AND IT'S

2132
02:07:22,885 --> 02:07:26,822
THE MOST AWARDED FILM SINCE
"ARGOT" HAD A PERFECT SEASON.

2133
02:07:26,822 --> 02:07:29,892
>> "OPPENHEIMER," TOO.
THAT TIDAL WAVE IS UNSTOPPABLE.

2134
02:07:29,892 --> 02:07:32,027
>> IS EVERYBODY GOING TO SAY --

2135
02:07:32,027 --> 02:07:35,931
>> I LIKED IT AND IT FELT GRAND
AND BIG AND LIKE HOLLYWOOD, LIKE

2136
02:07:35,931 --> 02:07:38,167
YOU EXPECT IT TO BE.
SO "OPPENHEIMER."

2137
02:07:38,167 --> 02:07:39,768
>> INLOVE A SURPRISE.
"AMERICAN FICTION."

2138
02:07:39,768 --> 02:07:44,239
>> YES! LOVE THAT.
SWITCH IT UP.

2139
02:07:44,239 --> 02:07:47,876
LET'S GO TO CHRIS AND KELLEY.
YOUR PREDICTIONS.

2140
02:07:47,876 --> 02:07:51,180
>> I MEAN, "OPPENHEIMER" IS
GOING TO WIN.

2141
02:07:51,180 --> 02:07:55,918
WHO I WOULD LOVE TO SEE WIN IS
"AMERICAN FICTION," OR I LOVE

2142
02:07:55,918 --> 02:07:56,718
"KILLERS OF THE FLOWER MOON,"
TOO.

2143
02:07:56,718 --> 02:08:01,657
>> I'M GOING TO SAY "PAST LIVES"
BECAUSE SOMEBODY SHOULD BUT

2144
02:08:01,657 --> 02:08:06,862
"OPPENHEIMER" WILL WIN IN THE
CLASSIC ACADEMY STYLE LIKE

2145
02:08:06,862 --> 02:08:10,666
SCHINDLER'S LIST, EVEN PETER
JACKSON FOR THE LAST LORD OF THE

2146
02:08:10,666 --> 02:08:12,868
RINGS MOVIE.
YOU NOTICED YOU HAD A BIG

2147
02:08:12,868 --> 02:08:15,637
COMMERCIAL HIT A FEW YEARS AGO
AND IT REWARDS YOU FOR YOUR

2148
02:08:15,637 --> 02:08:18,307
SERIOUS FILM, HENCE
"OPPENHEIMER." WHIT, LINSEY?

2149
02:08:18,307 --> 02:08:21,977
>> OKAY.
KELLEY AND CHRIS, I ALSO WANT TO

2150
02:08:21,977 --> 02:08:24,413
ASK YOU A LOT OF HUGE
PERFORMANCES TONIGHT.

2151
02:08:24,413 --> 02:08:27,516
WE KNOW ALL THE NOMINEES FOR
BEST ORIGINAL SONG WILL PERFORM.

2152
02:08:27,516 --> 02:08:31,520
WE TALKED ABOUT BILLIE EILISH,
ABOUT RYAN GOSLING SINGING "I'M

2153
02:08:31,520 --> 02:08:33,956
JUST KEN."
WHAT ARE YOU BOTH LOOKING

2154
02:08:33,956 --> 02:08:40,529
FORWARD TO IN TERMS OF THE
PERFORMANCES TONIGHT?

2155
02:08:40,529 --> 02:08:45,234
>> I AM LOOKING FORWARD TO
SEEING RYAN GOSLING PERFORM BUT

2156
02:08:45,234 --> 02:08:47,703
BILLIE EILISH KILLED IT AT THE
GRAMMYS.

2157
02:08:47,703 --> 02:08:53,942
SUCH A BEAUTIFUL PERFORMANCE.
I WANT TO SEE WHAT SHE WILL BRING.

2158
02:08:53,942 --> 02:08:57,946
>> THE EMOTIONAL SPEECHES THAT
COME FROM THE HEART.

2159
02:08:57,946 --> 02:09:01,817
LILY GLAD TSTONE AND ROBERT DOWY
JR.

2160
02:09:01,817 --> 02:09:05,220
AT THE END OF AN AMAZING JOURNEY
FOR BOTH OF THEM, IT WILL BE

2161
02:09:05,220 --> 02:09:07,189
FASCINATING TO HEAR THEIR WORDS
AND FEELINGS AT THAT MOMENT.

2162
02:09:07,189 --> 02:09:08,957
>> AGREED.

2163
02:09:08,957 --> 02:09:13,395
>> WHAT ARE YOU LOOKING MOST
FORWARD TO?

2164
02:09:13,395 --> 02:09:18,066
>> SOME REGGAE WITH BECKY G.
THAT'S WHAT I'M LOOKING FORWARD TO.

2165
02:09:18,066 --> 02:09:21,703
>> THE BREAKOUT FORWARD AND
SEEING OUR POP STARS, ARIANA

2166
02:09:21,703 --> 02:09:24,706
GRANDE WILL BE PRESENTING AND
ZENDAYA WILL BE HERE.

2167
02:09:24,706 --> 02:09:29,144
SEEING WHAT THEY WEAR WILL BE A
SURPRISE, TOO.

2168
02:09:29,144 --> 02:09:30,579
>> EVA, DeMARCO?

2169
02:09:30,579 --> 02:09:35,784
>> I'M LOOKING TO SEE WHO THE
DATES ARE.

2170
02:09:35,784 --> 02:09:38,420
I'M WATCHING ALL NIGHT.
DO THEY CHANGE THEIR DATES LATER

2171
02:09:38,420 --> 02:09:39,121
IN THE NIGHT?

2172
02:09:39,121 --> 02:09:43,892
>> WE'LL HAVE ALL THE TEA
SPILLED ON "GMA3" TOMORROW.

2173
02:09:43,892 --> 02:09:45,594
>> WHO IS COMING WITH BRADLEY
COOPER?

2174
02:09:45,594 --> 02:09:49,031
>> WE HAD A LOT OF FUN TODAY.
THANKS SO MUCH TO ALL OF OUR

2175
02:09:49,031 --> 02:09:51,600
CONTRIBUTORS, THE WHOLE TEAM,
FOR KEEPING US ON TRACK TODAY.

2176
02:09:51,600 --> 02:09:56,271
BEFORE WE SIGN OFF, A REMINDER
OUR EXCLUSIVE LIVE RED CARPET

2177
02:09:56,271 --> 02:09:58,807
COVERAGE FOLLOWS IMMEDIATELY
FOLLOWING THIS BROADCAST ON OUR

2178
02:09:58,807 --> 02:10:03,846
STREAMING PLATFORM ABC NEWS LIVE
FROM 4:00 P.M. TO 6:30 P.M.

2179
02:10:03,846 --> 02:10:05,581
EASTERN.
THAT'S 1:00 TO 3:30 P.M. FOR

2180
02:10:05,581 --> 02:10:08,951
THOSE OF HOW ARE WATCHING OUT
WEST, AND WE HAVE MANY NOMINEES

2181
02:10:08,951 --> 02:10:11,253
HEADED OUR WAY RIGHT NOW, SO
DON'T MISS THAT.

2182
02:10:11,253 --> 02:10:14,656
>> YOU CAN HEAR SOME OF THE
APPLAUSE AS THEY MAKE THEIR WAY

2183
02:10:14,656 --> 02:10:17,025
DOWN.
THEN AT 6:30 P.M. EASTERN, 3:30

2184
02:10:17,025 --> 02:10:22,231
P.M. PACIFIC, BACK TO ABC
TELEVISION FOR THE OFFICIAL

2185
02:10:22,231 --> 02:10:28,937
OSCARS PRESHOW.
THE BIG TELECAST, THE 96th

2186
02:10:28,937 --> 02:10:33,108
ANNUAL OSCARS RIGHT HERE ON ABC.
ALSO, OF COURSE, STREAMING LIVE

2187
02:10:33,108 --> 02:10:37,145
AT ABC.COM AND ON THE ABC APP.
YOU CAN ALSO STREAM THE OSCARS

2188
02:10:37,145 --> 02:10:40,315
LIVE ON SEVERAL PLATFORMS THAT
CARRY ABC. LOTS OF WAYS TO WATCH.

2189
02:10:40,315 --> 02:10:41,850
>> YES.
LOTS OF WAYS TO WATCH.

2190
02:10:41,850 --> 02:10:45,053
WE'RE STILL GETTING STARTED, SO
COME BACK AND JOIN US ON

2191
02:10:45,053 --> 02:10:46,888
STREAMING.
FOR NOW, THANK YOU SO MUCH FOR

2192
02:10:46,888 --> 02:10:49,524
JOINING US FROM HOLLYWOOD.
ON BEHALF OF OUR ENTIRE TEAM

2193
02:10:49,524 --> 02:10:56,598
HERE ON THE RED CARPET, HAVE A
GREAT OSCAR SUNDAY. CHEERS, GUYS.

2194
02:11:01,637 --> 02:11:09,344
♪

2195
02:11:10,045 --> 02:11:13,649
♪

2196
02:11:14,316 --> 02:11:20,422
♪

2197
02:11:21,523 --> 02:11:27,863
♪

2198
02:11:28,530 --> 02:11:32,567
♪

2199
02:11:33,835 --> 02:11:53,242
♪